in Paris): Les pièces d'orgue (1676): 8 organ suites in the eight Church Modes Les pièces de clavessin (1676): harpsichord suites 2e livre d'orgue (1678): a mass and Magnificat settings for organ 3e livre d'orgue (1685): ten offertories, four symphonies, nine noëls, eight élévations and a program piece, Les cloches Second livre de clavessin (1687): harpsichord suites A few more pieces for harpsichord and some 20 works for organ survive in manuscript copies. Lebègue's harpsichord music continues the tradition established by Jacques Champion de Chambonnières and Louis Couperin. In the unmeasured preludes of the first book (the earliest published compositions of this kind) he uses a modified version of Couperin's abstract notation: the modifications, as Lebègue writes in the preface, aim "to present the preludes as simply as possible", and the pieces themselves are much shorter and simpler than Couperin's. To this end, he used mixed note values, as opposed to Couperin's whole notes throughout. No composers adopted Lebègue's notation, however, and his second collection of harpsichord music did not include unmeasured preludes. Another important aspect of Lebègue's harpsichord style is the tendency towards standardization: many of the suites begin with an allemande-courante pair, in still others it is followed by a sarabande, and then a gigue. Lebègue was also more formal than his predecessors in naming his compositions: none have the descriptive titles usually associated with the French harpsichord school. Les pièces d'orgue, Lebègue's first published organ collection, comprises eight suites, covering all eight modes. It is generally believed to be one of the finest French organ collections of the era, and also one of the most important for the development of the French organ school. Lebègue was probably the first among French composers to introduce independent pedal parts in his pieces. He also developed one of the most characteristic forms of French organ music—the [Récit de] Tierce en taille—as well as the trio à deux dessus, a three-voice polyphonic work with two parts for the right hand and one for the left (which is different from the other French organ trio form, the trio à trois claviers, in which the organist must use two manuals and pedal). Compared to these innovative works, the pieces in Lebègue's second book are tame, probably because the composer deliberately set out to write for amateurs and beginners (as is indicated in the publisher's preface). The third organ collection presents many different types