Rachel Laurin (b. 1961) has become a leading female organ composer, and is recognized as such in her native Canada as well as in the United States. Almost half of her compositional output consists of solo organ works, though she has written for organ with other instruments, and made organ transcriptions of other keyboard and orchestral works. Laurin often works on commission, and has the privilege of having all of her organ works published by the prominent publishing company Wayne Leupold Editions. This document provides detailed analyses of Rachel Laurin’s three organ etudes: Étude Héroïque, Op. 38; Étude-Caprice, Op. 66 (Beelzebub’s Laugh); and Symphonic Etude for Solo Pedal, Op. 72 (Variations on “That Good Old Baylor Line”). The analyses give an insight into the composer’s harmonic language and formal structure. These particular works were chosen based on the composer’s suggestion, because she feels that they represent her musical personality well. Furthermore, this study includes a brief biography of Rachel Laurin, and it explores the relationship between the composer and the commissioners of the analyzed pieces. The three organ etudes were commissioned for different occasions: Op. 38 for an organ competition, Op. 66 for an American Guild of Organists regional convention, and Op. 72 for a recital by Baylor University’s organ professor. An organ competition committee in Canada commissioned Op. 38; Ken Cowan, Associate Professor of Organ at Rice University, commissioned Op. 66; and Isabelle Demers, Associate Professor of Organ at Baylor University, commissioned Op. 72. All three pieces are programmatic in a sense. Op. 38 is defined by an heroic character; Op. 66 depicts the Devil’s laugh; and Op. 72 is based on a pre-existing song.