In 2023, I purchased a repurposed Rodgers console to use with Hauptwerk software. This album is recorded using the sample set from the Steiner-Reck organ at St Luke's Catholic Church in McClean, Virginia. The sample set is made by Evensong. All tracks are "live," meaning each track is a continuous, unedited take. I decided to entitle this, "homeschooled." I was, in fact, homeschooled through most of elementary school and Jr. High. I've been practicing at home a lot lately because the pipe organ at my church is being replaced. These things take time, so this project has been part of my artistic outlet in the meantime. Here are my program notes: First, the Bach. This was the first piece I learned in the undergraduate studio at Concordia, Nebraska with Dr. Blersch. At my first lesson, he said, "you play with fire." Revisiting the piece, I can now see that the point of the opening pedal solo might not be to move your feet as fast as possible to show off. The next piece, "The Church's One Foundation," is one I wrote as practical church music It's vaguely in the style of Louis Marchand. "What God Ordains is Always Good" is a favorite hymn in my congregation. They just really like Pachelbel. These variations show off a lot of different colors on the organ. Then we have a couple of pieces by Mendelssohn. I enjoy using the fugue when we have the hymn, "Jerusalem the Golden" because the first seven pitches of the fugue are the same as the hymn tune. Then another piece by myself. This one I based on the slow movement from Widor's Gothic Symphony. I wrote it to celebrate the baptism of the daughter of one of my choir members. The final tracks are César Franck's Grande Pièce Symphonique. I learned this piece in the past semester. Although the Steiner Reck is not a French organ, it has enough versatility and the right reeds to play Franck. This piece was groundbreaking when written in the 1860s. It showed off the colors of the Cavaillé-Coll organ and was conceived on a large, symphonic scale. Franck introduces several themes throughout the piece. Like Beethoven in his ninth symphony, Franck brings the themes in one by one in the last movement, before rejecting them for a triumphant final theme.