Today I'm going to show you how to master Polonaise Militaire in A Major, Op. 40 by Frederic Chopin in 10 simple steps. Hope you will enjoy it!
Score: https://www.sheetmusicplus.com/title/... Transposition for Organists (Level 1): https://secrets-of-organ-playing.mysh... Organ Verset Improvisation Master Course: https://secrets-of-organ-playing.mysh... Organ Hymn Improvisation (Level 1): https://secrets-of-organ-playing.mysh... Hymn Harmonization Workshop: https://secrets-of-organ-playing.mysh... If you like my music making, you can support me on Patreon and get free organ CD's at https://patreon.com/secretsoforganpla... Buy me coffee: https://www.paypal.me/VPinkevicius My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt
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I was invited to play for the high school graduation ceremony at my church and one of the pieces they asked for was Bach's C Major Prelude from the Well-Tempered Clavier I. I thought I had the music memorised but when I started to play it, after a few measures I forgot how the harmony goes. Here's what happened.
If you like my music making, you can support me on Patreon and get free organ CD's at https://patreon.com/secretsoforganpla... Buy me coffee: https://www.paypal.me/VPinkevicius My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Today I came to my church and found the Swell pedal broken. I needed to fix it and in this video I will show you what I did.
If you like my music making, you can support me on Patreon and get free organ CD's at https://patreon.com/secretsoforganpla... Buy me coffee: https://www.paypal.me/VPinkevicius My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Today I'm going to analyse chords in CHRISTUS, DER IST MEIN LEBEN hymn setting. I will be using Caen sample set by Sonus Paradisi of Hauptwerk VPO. Hope you will enjoy it!
If you like my music making, you can support me on Patreon and get free organ CD's at https://patreon.com/secretsoforganpla... Buy me sample set: https://www.paypal.me/ausramotuzaite My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organis... Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Today I'm going to analyse chords in NUN DANKET ALL hymn setting. I will be using Velesovo sample set by Sonus Paradisi of Hauptwerk VPO. Hope you will enjoy it!
If you like my music making, you can support me on Patreon and get free organ CD's at https://patreon.com/secretsoforganpla... Buy me sample set: https://www.paypal.me/ausramotuzaite My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organis... Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt Thank you everyone for participating! You all made us very happy with your entries. We have all selected the following winners. You can congratulate them here.
Here are the rules for next week's contest. Today I'm going to analysis chords in OLD HUNDREDTH hymn setting. Hope you will enjoy it!
If you like my music making, you can support me on Patreon and get free organ CD's at https://patreon.com/secretsoforganpla... Buy me sample set: https://www.paypal.me/ausramotuzaite My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organis... Secrets of Organ Playing - When You Practice, Miracles Happen! https://organduo.lt
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 611 of Secrets of Organ Playing Podcast. This question was sent by Kaki, and Kaki writes, Thanks for the upload! I remember when I was learning the whole suite, always loved Krebs and this Courante was my favorite. There aren't many videos if any at all on this Clavierubung #2 and you uploaded the whole suite! Thanks so much, I enjoyed listening (: A little gem in the sea of youtube videos! V: And, Ausra, Kaki is referring to my recording on YouTube that I made of Krebs’ Courante from his Clavierubung Part 2. Remember our project at the beginning of quarantine, can you share us what led us to record entire Clavierubung Part 1, 2, and 3? A: Well, at the beginning of the quarantine, we had only one manual of the Hauptwerk, so we looked for the manual stuff at the beginning. So that’s when we started to record that Clavierubung. V: Yeah. We couldn’t go to the church anymore. I haven’t received any of multiple keyboards yet, or pedalboard, and Ausra wasn’t even aware that I ordered multiple keyboards and pedalboard. And bench, another bench, right? A: Yes, true. V: So it was like our little project to record Krebs’ works together every day and upload them on YouTube. At first, we did that as simple audio files, because Hauptwerk generates two files right away, if you want to record, make a Hauptwerk recording. It generates a MIDI file, which you can then manipulate into music notation of any kind, or playback that MIDI file on the same Hauptwerk sample set. And it also generates WAV file, which is high quality audio, uncompressed audio file which could be edited later, and then made into MP3 or into other formats and then uploaded into internet. So but Ausra, I’m interested into specific angle here: Why did you choose Krebs over, I don’t know, other composers, to record on this manual? A: Well first of all, I had the score of this volume of Clavierubung, and I have already played, like five pieces out of it for, during various occasions. V: Mm hm. A: Well, and I realized, Why not to learn and record the rest of them? Plus, I love them - really, I think this collection of music is great. Not offending that your Clavierubung, but I prefer my Clavierubung, that I played. V: That’s right - you’ve been playing Clavierubung Part 1. It has, I think 13 collections, 13 sets of chorale settings, each having three verses, right? A: Yes, and the first one which is my favorite, Allein Gott, it has even more. It has four parts, because it has not only Prelude but also Fughette, and then Chorale, and Chorale Alio modo. V: So it seems to me that Krebs started really advanced version with basically Prelude and Fugue, and then later his forms got simpler and simpler. A: But what I like about Clavierubung Part 1, that it’s very well suited for church musicians. Because all these based on different chorale tunes, and you can decide which one to play when. For example, that Erbarm mich is beautiful too, for example for Lent, and Allein Gott I think is well suited for solemn occasions. V: Mm hm. That’s right. At first we didn’t even use the camera to record ourselves, just the audio. A: Yes. V: And we added pictures in the video editing software. Specifically, we’ve been using iMovie. A: Yes. But Kaki’s talking about the Second Clavierubung. Obviously he or she liked your Krebs better. V: Maybe she hasn’t discovered your channel yet. A: I don’t know. Well anyway, is your Clavierubung Part 2 of Krebs suitable for church music as well? For church services, or not? V: Not so much. Because it’s a dance suite. A: Well, that’s what I thought. V: Dance suite, it’s in what, maybe 12 parts, 12 movements I think? Something like that. It’s all in C Major, and it has all those traditional dance suite movements, like Allemande, Courante, Sarabande, Gigue, Prelude and Minuet, what else? Probably Gavotte. Yeah, Gavotte and some others. Maybe Bouree. It’s really wonderful setting, this Clavierubung Part 2. I think the quality of the music is exceptionally high, just like in the part 1. A: Yes, it’s really nice. I remember a couple of those pieces that you had practiced. They sound really very nice. V: We’ve been recording each piece every day, and we tried not to cut and paste things together, and tried to learn entire piece and record it in one sitting, which wasn’t very easy at the beginning, because we were not used to this kind of live recording of music on Hauptwerk, right? The keyboard was still new to us. Felt quite strange, this light touch, plastic keyboard, and we spent a lot of time on each piece, even though each movement might not be longer than one or two minutes. A: That’s right. Anyway, if you want to do something with high quality, you need to put some effort into it, obviously. V: Good point. Do you remember Ausra, how much time you would spend on average, on each piece? A: No I don’t recall it. V: At least half an hour probably. A: Well yes, probably yes, at least. V: Even as simple as chorale harmonization, which is the last portion of each chorale, took you at least several tries. A: Well yes, because you need to think about harmony too, because Krebs provides only two voices, you know, soprano and the bass, and you still have to fill up yourself alto and tenor. V: Fill in. A: Fill in, yes. V: And there is this Clavierubung Part 3, which has six sonatas. A: (laughs) Are you going to record that as well? V: No, I already did. Remember, you recorded Part 1, and I recorded the rest. A: Yes, I remember it. V: Each of those sonatas have three movements, so six times three is eighteen movements. A: What about Clavierubung Number 4? V: I don’t think he wrote Number 4. A: Ha ha ha! V: It’s just three parts. Bach wrote four, I think. A: That’s right. V: Johann Sebastian Bach. A: (laughs) V: Yes. But you don’t regret recording Krebs. A: No, I love Krebs, really. V: We, while recording and uploading Krebs, we stirred, we caused a lot of problems on Hauptwerk. Hauptwerk-related audio platform called ContraBombarde Concert Hall. Remember, Ausra? A: Yes, I remember that. V: Because we’ve been uploading what we have created, and sometimes multiple uploads, multiple tracks per day. Like, I remember uploading yours and mine, like six Krebs sections per day - your six and my six - so twelve Krebs from both of us. And when they figured out that we are both husband and wife, so they got furious and they changed the terms of service and regulations. Now users are only able to submit three tracks per day only. A: Yes, we made history! Sometimes I think people hate us. V: Oh yeah, those who cannot produce so much, they feel inferior. A: True. V: Yeah. Funny. But I encourage Kaki to take a look at both Clavierubung Part 1 and Clavierubung Part 3. Not only take a look at Ausra’s and my videos, but also try to play those pieces. It’s really worth it. A: Yes, they are worth consideration. V: Thank you guys. This was very interesting discussion. We appreciate your questions. Please send them to us. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 606 of Secrets of Organ Playing Podcast. This question was sent by Laurie, and she writes: “Hi Vidas, Be sure you are sitting down to read this. ? I have no objection to the study of articulate legato touch for early music, but my question is, why MUST we use it? I understand it was the practice in the time of Bach and early music, but wasn't that true because the tracker instruments lent themselves to that sort of touch? And the flat pedalboards could be navigated easier with all toes, rather than using heels. But if we have a modern instrument that does not have "tracker touch" and has a concave radiating pedalboard, why not lend new interpretations to these masterworks? It could give new life and new understandings to old music. I'm sure you have heard Cameron Carpenter play. I'm not always a fan, but I learn something new about the construction of the music when I listen to his interpretations. For example, here he is playing the Bach B Minor Prelude and Fugue on a modern organ, making full use of colorful registrations and expression pedals. https://www.youtube.com/watch?v=jixCGS_AAG8 Isn't this improvisation in its own way? What do you say?” V: And by the way, Laurie is on the team of people who are transcribing these podcast conversations, so she’s also, then, a member of the Total Organist community as well! So, Ausra, what comes to your mind when you’ve listened to this? A: Well, of course you are free to choose. You live in a democratic country, and you can interpret music as freely as you want, but if you are thinking that this is something new, to play Bach legato and on a modern instrument, this is not a new way, because that ordinary touch about which Vidas and I are talking and advocating so much, actually it was sort of recreated and rediscovered, and only, I would say, 40 years ago, maybe, if I’m correct. And it all came with people like Harald Vogel, who advocated to play the Baroque music on the Baroque instrument and early music on the early instrument. And how I see things is that after you try to play it in the ordinary touch and using only toes for the pedalboard, you will never go back to playing otherwise. And the advantage of what we are advocating is this: If by chance in life you will get access to a historic instrument, you will be able to play it, and if you will only use only modern techniques and play Bach legato and use your heels while playing Bach, you will never be able to play on the historical instrument, because you will sit down at the organ bench, and you will see that it’s simply impossible. Okay, let’s hear what Vidas thinks about it! V: I have a few things to say. I think if Bach lived today and played those modern instruments, he might have written a completely different kind of music, right? And not necessarily in his own Baroque style. He might not have been an organist at all in this day and age. Right? It’s very idiomatic to his period that he became what he became, actually, and not even talking about Bach, but any other master from the past. So, when we encounter masterpieces from those days and we try to recreate how they might have sounded today, we always make some compromises, because when we are on a modern instrument, we don’t have those sounds available, or even the intervals available. The tuning system is different, and then we’re hearing a little bit different harmonies—not as pure, for example, not as colorful. But then the advantage to the modern era is that composers can modulate to any key they want and each key sounds exactly the same. It’s from the color perspective, but it kind of ties to this performance practice, and in forming performing practice, we’re not advocating that you should necessarily play everything with toes only, but you should know how it’s done, and then you are free to choose, and not only know, but I think you could try and practice and spend some time, and when you master one, two, three, or five pieces this way, try to do an experiment; try to learn something else from this period but in a legato fashion, with heels, for example. Try your own pedaling and fingering with finger glissandi and everything, and then go back to this historically informed technique in the way you play it, and see if it sounds more convincing. You see? The style of music lends itself to this kind of articulations, and if you use modern pedaling, you have to think about articulations. But if you use early pedalling and fingering, then it works automatically. You can recreate it automatically. You don’t even think about it. A: Well, and as I mentioned before, don’t think that what Carpenter does, that this is a new thing, because Marcel Dupré actually toured America many years ago during his lifetime, and he plays all Bach, complete works by Bach, and I believe he even played from memory, and of course, he used the legato techniques and toe and heel techniques on the pedalboard, so it’s nothing new, what you are talking about. Well, okay. V: And so, just try different approaches and then choose the one that sort of works for you in your situation. We just don’t want you to relearn the same piece twice. If you ever have the chance to play a tracker instrument, which was inspired by Baroque techniques, or an actual Baroque organ if you go to some church which has… some organs in the United States have historically based organs… and you might have a chance to play them, and what would you do then? Would you play legato, or would you try to relearn it the second time? We advocate that you don’t have to relearn it. You can do the same thing the right way right away, and then it would sound convincing on any instrument. The last thing, Ausra, if we consider this. If you play with articulation on a modern instrument, does it sound bad? A: Well, no, it doesn’t sound bad. V: Does it sound bad if you play with toes-only technique on a modern pedalboard? A: No, I have never noticed that. V: But the other way around, if you play on a historical instrument and you play legato, does it sound less convincing? A: Sure! Definitely. V: You see? It’s kind of self explanatory. This technique doesn’t go both ways. You can play with articulation and with toes only on any instrument, not only with a Baroque instrument. But when you go to the Baroque instrument, legato technique doesn’t work so much. I mean, there are some instances and exceptions, but in general the rule is articulate legato like string players would articulate with their bows, or with their tongues for wind instument players. Flutists, for example. A: Yes, I think that’s a very good insight you are talking about. V: Alright, guys! We hope this was useful to you! Please send us more of your questions; we love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 609 of Secrets of Organ Playing Podcast. This question was sent by Robert, and he writes, Dear Vidas, Thank you so much for the video of you working on Vierne Final, sym 1. Within just the first 3 minutes I learned so much about how to practice properly, the key word here is properly. I, of course, practice (and I'm a slow learner but I get there) usually sections at a time and slowly but watching you slowly and what appears to me slight hesitation at certain points to read ahead. I may be misinterpreting what you're doing but it makes sense and allows for a much smoother transition from section to section until the full work is learned and brought up to speed. I've listened to more than 3 minutes but not the complete video which I will do now. I can't wait to see what's ahead that I will learn. You are such a good human being and make the world a better place. Thank you. Warm regards to you both, Robert A: What a nice letter to write. Thank you very much, Robert! V: Of course, Robert refers to my recent video where I show my own practice method, how to master Vierne’s Final from the First Symphony in 11 steps. What do you think about my method, Ausra? A: Well, I think it’s working obviously, because we see the results of your playing. But I don’t have so much patience as you do. V: Oh, that’s strange. Because I always knew that I’m the impatient one. A: Not in practicing the organ, obviously. V: My mind is scattered all over the place, and I jump from one hobby to the next, faster than you can think of. But you are such a steadfast and very stable. Do you think you can’t spend like 30 minutes with one step or two? A: Well it surely would be very hard. V: Why? Can you share with us your hesitation? A: Well, I’m not sure that I could play throughout the piece and stop, let’s say what you do, every other quarter note, or whatever. V: It’s systematic, right? First I stop at every quarter note, then at every half note. Then every measure, two measures, four measures, one line, two lines, one page, two pages, four pages, eight pages, and so on. If the work is longer than 8 pages, then basically you need 11 steps. A: Well, but you see, have you ever tried this method on a completely new piece to you? V: Definitely. I learned Mendelssohn’s Prelude and Fugue No. 1 in C Minor this way. A: Because definitely this piece by Louis Vierne, this Final, is not a new piece for you. You are sort of repeating it. V: Yes. You can trace it back in my YouTube channel. It’s one of the first pieces I put there. From back in 2006, I think. I brought the recording from University of Nebraska, Lincoln. It was one of my doctoral recitals, right? A: Yes, I think so. V: And I’m refreshing this symphony right now, working on every movement, and I think I haven’t done the tutorial on how to master the third movement yet - what it’s called - Cantabile, or something - or Siciliana maybe. But it’s in 6/8 meter. It’s a very nice, not very slow movement, but sort of moderate slow in tempo. And I also intend to do this in 10 steps, too. A: But don’t you think that this method of learning might influence some people to not being able to play correctly in the right rhythm after practicing like this? V: I see your point. At first, I stop at every quarter note. A: Yes. V: Or, if the beat is let’s say eighth note, then I stop at every eighth note - even smaller segment. And then you think that people will have a hard time to practicing in the right rhythms, right? A: Yes, that’s what I’m thinking. That’s why I like to practice slowly, but in a smooth sort of tempo. V: That’s one way of looking at it, of course. But remember the second step is already largely in the first one. And stopping at half note values makes the quarter notes already at the right way, right? A: But it takes so much time. V: And we don’t have much time? A: Yes. V: Doing what? (laughs) A: Doing everything as well. V: Such as? A: Well, I’m not, I won’t start naming them all, because I do a lot in life. V: And I don’t, of course, because I just play and think all day long. A: Like Mary, yes? Or like Georgiana from Pride and Prejudice. V: Yes, that was a great movie. I see your point, actually. And that’s where we are different, right? In this way, I am very methodical, but I’m not always practicing in this way. Only in certain pieces when I’m having difficulty. Or when my due date is approaching, deadline is approaching, and I know I don’t have a lot of time, and my method is faster than playing without a system, right? So it actually shortens the process if I do this methodically. But I can also understand why it’s hard for people to focus and stay focused for let’s say two weeks with this method and one piece. It takes about that. Because one step, it requires at least three correct repetitions in a row - each step. So it’s a little bit unrealistic to do one step every day. You know, step every day. I think you have to spend maybe three days per one step, don’t you think? A: Yes. But usually, I’m really happy if I can play all my pieces that I’m working right now one time in a slow tempo each day. It’s already an accomplishment for me. V: Twice would be better than once. A: Sure. V: Now this how you, you’re practicing for example now, Franck’s A Minor Chorale, and Litanies by Jean Alain. And whenever you don’t have time to do it twice, then you feel a little bit, how would you say, unsatisfied. A: Yes, because then the next day, it’s almost like repeating the same practice as I had yesterday. Sort of like, you look with new eyes at this same piece. V: Yes. If you play it twice every day, then all things being equal, it will take twice as little of time. A: Yes, but if you have to practice solo pieces and church pieces at the same time, then sometimes you just simply don’t have time or energy left to play such a big piece as let’s say Franck’s Chorale twice. V: Joseph Kraus said, “That’s life in a big city.” A: True, but it also hurts hands. V: Can you tell us who Joseph Kraus is? A: Yes. He was our theory professor at UNL when we were working on our doctoral program, and actually, we both worked as Vidas and I were both his T.A. V: Teaching Assistants. A: Yes, Teaching Assistants in the theory field, so. And this was a man with a sad face, which he draw at one of his assignment lists which was very hard, so this man was wearing that and the picture said, “That’s life in a big city.” V: Yeah, if you are not rushing, if you’re not doing things more than you think you’re capable of doing, then probably you’re not living in a big city, right? A: Yes. V: Where life is much slower. A: And actually during the quarantine, we haven’t lived in the big city because we didn’t have to go to the city every morning and return home every evening. So we saved a lot of time, and we could practice more. V: Do you feel refreshed because of that? A: Well, yes and no, because today I was catching myself thinking how nice it would be to go to school back in September 1st, and it never happened to me before. V: You want to go to school? A: Yes, I want to go to school! V: Basically to work. A: Yes. V: And not to stay here and do online teaching. A: Sure. V: That’s interesting. Hopefully, your wish will be granted in September. A: Well, looking at the new numbers of corona situation right now, I doubt it. Maybe at the beginning of September, maybe October, but then, who knows? We might be staying at home. V: And also, who knows what our government will decide, if they will announce the quarantine or not. Because if they announce the quarantine, that will hurt the economy, and we don’t want to do that too much. A: Sure, it’s really scary. So I just hope the vaccine will be developed pretty soon, and all the intelligent people might get it. V: With intelligent people, you mean people who believe in vaccines? A: Yes. V: I see. A: Who believe in progress. V: And science. A: Sure. V: And reason. A: True. V: And that the earth is not flat. A: Do you think there are still people who believe that, that the earth is flat? V: Just Google "Earth is flat" and you'll see. A: And that the stork brought you? V: Just Google, “Earth is flat,” and you will be surprised. Um, I think there is a movement, growing movement of people, who believe that earth is flat, people never went to the moon, and so on. A: I remember that old movie about one African guy, very nice guy who, I don’t remember what was the name of his tribe, but he found a bottle from Coca Cola… V: Yes. A: And he was travelling to find the edge of the earth to throw that bottle down, and actually found it. V: Like a cliff. A: Yes. And he was very happy. V: Oh yeah. It’s, it was one of the bush people. A: I think so. V: In Kalahari. A: Yes. V: Great. So guys, we hope this conversation was useful to you. Please keep sending us your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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