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An Exercise in Modal Interplay: Louis Vierne’s Carillon de Westminster February 24, 2021 Jonathan Bezdegian Jonathan Bezdegian earned his Doctor of Musical Arts degree in organ performance from University of Washington, Seattle, in 2018. He is a lecturer in music and director of the organ scholar program at Assumption University, Worcester, Massachusetts. He also serves as director of liturgical music at Christ the King Parish in Worcester, Massachusetts, and is dean of the Worsceter Chapter of the American Guild of Organists. Louis Vierne’s “Carillon de Westminster” from the Troisième Suite, opus 54, of his 24 Pièces de Fantaisie is a favorite of organists and audiences alike. While many play this piece, how many take the time to study the unique harmonies in this music? Organists view Vierne’s compositional style as highly chromatic. Yes, this is certainly true. However, how does one analyze Vierne’s music? There are very few studies providing a detailed harmonic analysis of this nature.