Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 257 of Secrets of Organ Playing Podcast. This question was sent by Glaiza. And Glaiza writes, “Hi, please teach me to do full pedaling in organ.” Well, this is a rather complex and rather unspecific question, right Ausra? A: Yes, it’s very broad and very unspecific. Because you cannot just take and generally describe all pedaling instances on the organ. Because you could talk about position on the organ bench, how you position yourself, your body; how you would pedal if you would play early music; how you would pedal if you play Romantic music; how you would pedal if you would play modern music; and how you would pedal if you play on a historical instrument; and how you would play a certain piece on a modern instrument. V: You’re right, Ausra. So maybe we could talk about something that we do, right? Do you write in your own pedaling? A: Yes, I do. Not for everything; but yes, I do. I write more pedaling than fingering, for myself. V: What about me? A: I don’t know, tell us! V: Aha. So, good question, thank you! I sometimes don’t write pedaling for early music, because it has very strict rules, and I know them. Not only I know, but my body knows it; and I can play as I want without writing it down. But for later music, I guess there are more options, you know? And writing down the best option for me at that time is helpful. Yes. So, okay, talking about those options, Ausra--early music, right? Why do you think they didn’t play with heels, or they didn’t use heels in early times? A: Well, because on some particular instruments, to use heel would be physically impossible. V: What was the last instrument that you tried, with the short keys? Where heels were not possible to play? A: Well, even such an instrument as built by Andreas Hildebrandt in Paslek, Poland I don’t think it would be possible to use heels on that instrument. V: Right. Do you remember the local organist, what he did in order to facilitate the use of heels--with the bench? A: I remember, yes--he just turned that bench the other way around! V: Uh-huh. And then you have more space for your feet! In one way, it’s good, right? He doesn’t damage the organ or pedalboard, or something. He doesn’t need to replace the pedalboard with a modern one. But...I think he used the heels for playing hymns. A: But I think it’s also unnecessary, while playing such an instrument. I’m just thinking, if you are an organist at a church that has one of the most wonderful historical restored organs, then why use heels? You just torture yourself...and torture the instrument! V: Maybe it’s difficult to change the habit, you know, that he learned in music school or somewhere else. A: Well, you can relearn it, anyway, if you are lucky to be on such an instrument every day. V: Right, so no heels. And then, most of the passages can be done with alternate toes, right? A: Yes, most of them. V: Left, right, left, right; or right, left, right, left. But here are exceptions, right? Sometimes we use the same foot, when the passages are in extreme ranges of the pedalboard. A: That’s right. V: High or low. What else? Maybe when the note values are very slow? A: That’s right; and sometimes you use the same foot or toe, when you want to articulate more, if it’s 2 notes in different measures. V: Yes. And that happens often, when the pedal melody changes direction. A: That’s right. V: So if it goes up-up-up-up-up, you use alternate toes; but then if it suddenly goes down, at that moment you use the same foot. And therefore you have an accent. A: That’s right. And of course when you play early music, you need to put more weight on your big toe. You need to get that feeling that you are actually playing with your big toe. V: Oh, you need to--I think what you mean is to keep your feet turned inward, right? Not outward. A: Little bit, yes. Because how else would you put your weight on your big toe? V: What about the knees? A: They don’t have to be together. V: And heels? A: Heels as well. And that’s what I like about Baroque music. V: I see. And the later music, right? You can do almost whatever you want, right? Toe and heel, left and right. Are there any instances that you particularly avoid using heels and toes one way? A: Hahaha! Yes, there is one rule that I avoid. I never put my heel on the sharps! V: Okay. That’s a good rule. A: Yes. V: By the way, what if you play that sharp with the right foot, and then at the same time you have to depress the swell pedal? And your left foot is...busy? A: Then...then I will not use the swell box. V: Like in Reger, with double pedal. A: Yes. Then my assistant will have to do it for me! V: And who’s your best assistant? A: You! V: Thank you. Heheheheh. Now, let’s talk about things that I think will be useful for people to understand when they play scale passages in Romantic and modern music. You know there is that rule, toe-toe-heel-heel, toe-toe-heel-heel; left-right-left-right, but first you depress toe-toe-heel-heel, with different feet. The French technique. And that helps people keep the heels and knees together. Do you like it? A: Not so much. I don’t think it very well suits my body. Because when I was taught how to play the organ, nobody told me this rule; so I never kept my heels and toes together. And let’s consider it: people have different body constitutions, different weight; and if, for example, for somebody who is overweight--to keep heels and toes together and knees together--I think it’s almost impossible. V: Yeah, yeah. Exactly. And especially in places where you play in the extreme edges of the pedalboard: lower left, higher right. A: And I know this technique; I tried it, you know, in the States, when I had to play from the Ritchie-Stauffer technique book. And I can do it, but it gives a sort of...unnecessary tension to my body. V: Exactly. And I think one more thing could be useful for people to know: that there is a system that some organists play with the left foot on the left side of the pedalboard, and with the right foot on the right side of the pedalboard. A: In general, my rule when playing Romantic or later music is to see how much swell box I will need to use for a particular piece; and then if I need to use a lot of swell pedal, I try to do as much swell pedaling with my left foot as possible. What about you? V: I agree, yes. The swell pedal is an important consideration to make right from the start, right? When you make your choices for pedaling. And most of the time, you need to use your right foot for the swell pedal. So, at those spots when you use crescendo pedal or swell pedal, you play with the left foot alone. A: That’s right. V: And of course, if you want to learn how to pedal and develop advanced pedal technique suitable for Romantic and modern music, consider joining our Pedal Virtuoso Master Course. We have there total pedal scales and arpeggios over one and two octaves in 24 keys, with single voice and double octaves. You know, after that course--it lasts I think 12 weeks--you can go back to your difficult pedal pieces, and you will find out most definitely that they are not as difficult anymore. A: That’s right, yes. V: Thank you, guys. This was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen.
This blog/podcast is supported by Total Organist - the most comprehensive organ training online. 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...
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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime. Check it out here Here's what one of our students is saying: Dear Vidas, I have done some training as a monthly subscriber for a few months - did the Bach Little Preludes and Fugues. I particularly appreciate when you have training videos along with the pdfs you post. Your going through an analysis of the piece and pointing out possible tricky areas is helpful to me; I can pick up on things I might have missed on my own. I also find the structure you provide by suggesting practice "chunks" with timetables very helpful - the more structure, the better! Looking forward to delving in further this year! Dianne Would you like to receive the same or even better results that Dianne is getting? If so, join 80+ other Total Organist students here.
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 256, of Secrets of Organ Playing Podcast. This question was sent by Jeremy. And he writes: My Boellmann’s Suite Gothique performance at church went alright. Everything felt comfortable before the service, but some wrong notes crept in during the service, particularly in the Minuet. The Priere went really well. One small mistake that is bothering me occurred at the transition into the g minor section. A parishioner did approach me afterwards and thanked me, which was really nice. V: So Ausra, Jeremy is on our team who transcribes fingering and pedaling for us. A: Nice. V. And therefore, he is also a Total Organist student. So, at one point, he wrote that he is going to play entire Boëllmann Suite Gothique. And then I asked him to be sure to give his experience to me so later that I can discuss with you the feedback that he received from people and in general his experience from playing at church. So you see, he played really well, except some small mistake, right? I think he’s talking about mistake in Toccata where the transition into the g minor section is. But this is a wonderful piece to start toccata’s in general, right? A. Yes, I think we talked about it a few times ago. V. So because nobody was listening, let’s talk about it again. And this toccata is particularly fun to play because it has such a comfortable finger position, right? A. That’s true. V. And fun pedal, double pedal octave part at the end. A. Yes, that’s right. That’s very typical of French music in general—that they love to add double pedal at the end of the piece. V. Know what I think? This toccata might be a good model to improvise your own toccatas. A. That’s true. Because I’m not especially fond of this particular toccata, because the theme for myself is not a nice theme. And if I would be a church organist, I would probably not perform it at the church. This toccata is most suited for a horror movie or something like this. V. What makes you think that? A. The theme itself sounds for me like this. V. And what exactly sounds horrible to you. A. Minor key, V. Okay. What else? A. Accompaniment in the hands too. It’s quite scary. V. Exactly. And then there is one more thing that I’m thinking about. Do you know what it is? In the pedals. A. Yes, I know what you mean. I don’t know how to express it. V. In the middle of this theme there is a G flat. A. I know, that G flat, yes. V. Diminished fifth, and it sounds especially—I wouldn’t say ugly but it sounds strange. A. Well, so I think it’s a nice piece, but not for church service maybe. V. Mmm-hmm. What if somebody played it in a major key? A. Try it and see how you like it. V. (Laughs). Maybe it would be better. So Jeremy, I don’t know if Jeremy likes to transpose but that one might be a nice exercise in transposition, to transpose this toccata into the key that is maybe a related to C minor, maybe E flat Major. A. Anyway this toccata has a strong character. V. Yes. Once you hear it you will not forget it. A. That’s right. V. So, but of course the Prière; the Prière is most, one of the few beautiful pieces. Suitable for church too. A. That’s right. It’s very nice. Very very nice. V. Is it more suitable for Communion or Offertory? A. I think it could work both ways. V. Depending on how much time you have, right? A. That’s right. V. What makes the Prière so beautiful, in your opinion, Ausra? A. Well, nice melody, beautiful harmony, nice soft character. V. Legato touch. A. That’s right but most of the things in Boëllmann should be played legato because that’s his style. V. What about registration? Do you like the strings? A. Yes. That’s true. V. What kind of an organ would suit best, except of course, organs in Paris? A. So why I cannot choose French symphonic instruments for this piece? V. Because the majority of people don’t live in Paris. A. Well, but they still can organ with string stops. V. Strings, right? A. That’s right. V. Okay. What if you don’t have strings or even maybe one string, like you’re playing Neo Baroque organ for example? A. Well then you have to replace strings with flutes. V. Mmm-hmm. The more foundation stops, the better. A. That’s right. V. The more stops with the same pitch level, the better. A. Yes. So if you have only one string, add couple of flutes to that string, and it should work just fine. V. Couple the manuals. A. Yes, that’s (a) possibility too. V. We have created the fingering both the Prière and the Toccata too. Not yet for the Menuet. Menuet, do you like menuet? A. Yes, but I like Prière more. What about you? V. I don’t particularly. I think Menuet actually sounds better than the introduction of the Suite Gothique. Introduction Choral, it’s called. In the beginning, sort of Menuet, is just the regular chordal piece, but then it grows into something more with more of the elegant Scherzo texture. It becomes really nice. So Ausra, do you have any recommendations for Jeremy, if he wanted to play the next French symphonic work by, I don’t know, 19th Century or 20th Century composers? A. Well there are so much Romantic or Modern repertoire, if we are talking about 19th Century not 20th Century French music, so he could choose any of them. V. Talking about a difficulty level, right? You have so many difficult pieces. And Toccata, for example, is rather easy to play, right? What would be the next step? A. Well, if he also wants nice, French, and not too hard music, he might consider Langlais Suite Médiévale—Medieval Suite. V. Mmm-hmm. A. I think this is also nice setting of the pieces. V. I haven’t thought about it. Good suggestion. And it’s a 20th Century modal language. Maybe Jeremy is not used to that, so that would be a good introduction. A. Well, try it and see if you like it. V. Yes. A. If you will not like it, you may go back to an earlier age, let’s say try some Widor. V. Widor. Exactly. Like Vierne Symphony would be too difficult, I think. A. Yes, it’s too difficult yet. V. Unless, he played some of the movements from the Fantastic pieces. A. Oh yes! You could find some easier, more even in the symphonies, but if you would compare Vierne Symphony with Boëllmann Toccata, then of course the difference would be too great. V. Dubois and Gigout Toccata’s would be rather doable. A. Yes and we talked them a few times. V. Mmm-hmm. Okay guys. Thank you so much for listening. We hope this was useful to you to get general ideas (for) what you can do after you master Boëllmann Suite Gothique, and what makes it suitable or not so suitable for church services. Please send us more of your questions. We love helping you grow. This was Vidas. A: And Ausra. V: And remember, when you practice,,, A: Miracles happen!
This blog/podcast is supported by Total Organist - the most comprehensive organ training online. 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...
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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime. Check it out here Here's what one of our students is saying: Thank you very much Vidas! My biggest challenge is still to be patient and not rush ahead in a piece before I have mastered it bit by bit. I know this is a very bad habit and the reason why I never can play without making mistakes. I am trying to find the discipline! Practising just one piece does get a bit boring so in addition to BWV 639 I have now also started working on BWV 731. I have practised this in the past but with different fingering, I am now relearning it with yours. Best regards, Jur Would you like to receive the same or even better results that Jur is getting? If so, join 80+ other Total Organist students here.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start episode 255 of Secrets of Organ Playing Podcast. This question was sent by Heidi and she writes: Since I have imposed upon you again with a lengthy answer to what I’m sure you thought was a question that would have a succinct reply, I will reduce my desires into a few bullet points: (although I’m glad you know a little bit more about who I am) * I wish to expand my grasp of Theory to enable me to learn Improvisation * Most difficult are the physical challenges and the lack of motivation to practice because I get discouraged when I remember how I used to play. I still play well, just not as well as I was able to, and I remember that whenever I play. It is a blessing, and a curse! * My wishlist: Training materials and perhaps video? ? for the Bach’s Passacaglia and Fugue in C-Minor. V: Let’s start from the ending, right? We have this fingering and pedaling prepared for the score of Bach’s Passacaglia and Fugue in C Minor, right Ausra? A: Yes, that’s right, we have it. V: So Heidi and others who are interested in learning this piece can take advantage of it right away and Heidi is a new Total Organist student, she joined it recently and let’s welcome her and we hope that she can also quadruple her results and motivation. That’s her second challenge, right? The lack of motivation to practice because she remembers in the past how she used to play well. A: And I think she mentions herself those two problems are connected. Between physical challenges and lack of motivation I think that physical challenge comes from the lack of motivation to practice. It means that she practice not enough. V: Umm-hmm. And that’s the reason I thought about this problem for a very, very long time when creating materials for Total Organist and everything seemed right for that program. It’s very comprehensive. Actually too many materials to choose from and now we have organized everything according to the level of difficulty for beginners, basic level, intermediate, advanced level so everyone can choose whatever it is their skill level to learn and practice, whatever they like best. But you feel Ausra what’s the problem, right? That people who start learning a piece and not necessarily finish it. A: That’s right. Actually yes, that’s a problem with many of us in many cases. Even when we studied for our doctoral at UNL. I have learned that there are so many doctoral students who are not able to finish their dissertations and I think after taking all those years of studies, all those travels, getting all those credits done and taking comprehensive exams, I think to write dissertation and to finish it is just like a piece a cake, but it seems that it’s not and so many just quit doing it and will not receive their degree and that’s a pity. V: Maybe they don’t want it badly enough, right? A: But after spending so many years doing extensive studies. V: But I mean the diploma, the degree. Maybe it was important for them in the beginning and less important at the end. Maybe their goals changed. A: I think it’s some sort of procrastination that catches them up at this stage of getting a degree. V: I see. So, talking about Heidi and others who feel the lack of motivation to practice I came up with a solution recently. A: Really, tell us about it. V: I told you about that yesterday. Technology can save us, you know. A: How? V: There is a platform called BaseCamp and now I set up a communication channel for our groups. People who are transcribing fingering and pedaling for us, who are transcribing podcasts, and also for Total Organist students. And right now we have like sixty-seven students on the team and the good thing is you can have instant, automatic accountability. At the end of the day I can send them a question, “What did you work on today?” Every day, unless they decide it’s too much or they quit, right? It’s their choice. But I want to help them quadruple their motivation and if they quadruple motivation they will quadruple their results of their practice too. Because every day they know that I am going to ask this question of them and they will feel responsible to practice a little bit, at least fifteen minutes a day. What do you think about it, Ausra? A: So you will be like a mother for them, yes teaching, “No, no, no, you have to finish your meal, you have to brush your teeth before bed.” V: Sure, yeah. I could be mother or father, I don’t care as long as it gets people results. A: Yeah. V: What’s your question would be at the end of the day? A: That’s a too hard question, maybe I will not answer it. V: Maybe at the beginning of the day you could ask what people are going to practice on today, right? A: Yes, that’s right, I would like it more. V: At the beginning Ausra, and at the end Vidas. A very nice team. So you see guys if we used email coaching, right? Like we did, people would send us questions with their problems and we would answer those questions via email. That is helpful, right Ausra? But people first have to send them to us. That’s a big, big hurdle. And then nobody sees them, nobody notices. But here on this platform, on BaseCamp, everyone on Total Organist team, about sixty-seven people, will get a notification that somebody has written an answer. What did he or she practice on today, right? And then perhaps they will comment on it and perhaps they will share their own answer, too. You see, it’s like a community. A little bit of a community feeling and we could grow together. What do you think, Ausra? A: I think that’s a nice idea. V: I wouldn’t be able to do that on my own writing those questions to sixty-seven students, sixty-seven times but now technology allows me to automatically set up this question at the end of the day and people just get it and write an answer if they wish. So Heidi is Total Organist student and I think she will get so much out of it too. A: So now what about the first question. Heidi wishes to expand her grasp of theory in order to be able to improvise. V: Obviously, you could start improvising without any knowledge of theory by choosing random four pitches as we sometimes like to suggest, right? But Music theory never hurts. So we have a few courses on chords, on harmony, and she could take advantage within Total Organist. A: Yes, as you say theory never hurts. Tell that to my students at school. There will be a different opinion I think, that theory actually hurts. V: You know Heidi says she has lack of motivation to practice but in comparison to your students at school I think she has too much motivation to practice because she sends me questions like that. A: That’s true, that’s true. V: Has anybody asked this question before at school? A: Only “why do we have to do it?” V: So that’s the big difference. And remember when you practice… A: Miracles happen.
This blog/podcast is supported by Total Organist - the most comprehensive organ training online. 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...
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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime. Check it out here Here's what one of our students is saying: My favorite things are: the daily encouragement and the reinforcement of technique which serves me well and helps to keep me focused as a full time church musician. Having some of the scores pre-marked saves me preparation time and can allow me to learn a piece faster. Have a great day, Robert Would you like to receive the same or even better results that Robert is getting? If so, join 80+ other Total Organist students here.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 254 of Secrets of Organ Playing Podcast. This question was sent by Gene, from http://generoberson.com and Steve from http://organbench.com. They want to know, “how to find people who are interested in your music.” That’s a difficult question, right, Ausra? A: Yes, that’s a very difficult question. V: Imagine, these organists are also composers, and of course, composers need to find organists who would be interested in their music to play,. So, it’s not enough to keep composing and hoping that people will find you, right Ausra? A: Yes, because I think that will never happen if you just compose and let your music live on her own. I think there are so many compositions written for organ nowadays that my best suggestions would be that if you compose music for your own instrument, you need to perform it yourself, first of all. V: That’s absolutely true. If you’re not playing it yourself, why should anyone else play it, right? A: True. V: You mentioned, Ausra, that new organ music composed today is having a difficult time to get noticed, right? What are some of the competitors for the attention of new compositions? A: Actually, old compositions! V: Classical music… A: Classical music, that’s right! V: So, when you are composing your own music, you’re competing with Bach, right? A: True. V: You are competing with Vierne, Franck, Mendelssohn, Messiaen, Langlais… A: and all other great composers. V: ...right. Of course, not everybody who loves Bach would enjoy playing modern music…. Right? ….composed today. And not everybody who enjoys modern music loves playing early music. But still, there is so much competition, and of course there are many many organists who are still composing today. A: That’s right. V: You’re competing with them, too. I also would add that you need to share more, in comparison to other organists. Look how people are creating. Somebody is creating music and then sharing the composition on social media, for example. I think that’s not necessarily the only way. If you are sharing the complete piece, then you are sharing the result. I think your future organists might be interested to see what your compositional process might be. A: That’s a good point, I think. V: What do you think about it, Ausra? A: Yes, I think that’s a very good point. And I would like to ask you, what would force you to learn a new piece by a living composer. What would be your criteria? V: Well, first of all, the piece has to be interesting—substantially high quality, because life is short, music is endless, so you have to choose wisely what to play and what not to play. And, if somebody is composing music, of course, I have to think about my own goals, not only that person’s goals of being noticed. So, a personal connection, of course, helps. When somebody knows me in person, then if they share this piece with me and share the process with me, for example, perhaps then I would become more interested to play it. A: But would you play it if you don’t like it, only because the music is dedicated to you, for example? V: I might play it once. You know? Just to try it out. Not necessarily in public, but as a sight reading, because I have to respect my listeners, too. If I would play low quality organ music, then it defeats the purpose, right Ausra? A: That’s right. So, I hope that people who start to compose organ music don’t have very high expectations that everybody will be playing their music at their earliest convenience, because I think this is not a good reason to start composing organ music. I think you need to compose it if you have that inner feeling that you must compose it. But the result of somebody playing it should not be your goal. That’s what I think. V: And also, Ausra, you have to think about the other thing. If you can not compose, then you should not compose. If you can live without composing, why bother then. Right? A: True. V: If you feel that it’s your destiny, like a calling, then go ahead compose, and actually, it will not matter to you if anyone notices you at first or not. A: That’s right. That’s what I’m thinking about art in general. V: And look at what painters, at what writers...writers usually start writing their novels and other works well before somebody notices them, and writes five, ten, or even twenty years before anyone sees them and decides to read them on a large scale. They might get published earlier than that. And today, you can self-publish your own organ music, too! You can sell your own organ music on your own website, for example, or on the Sheet Music Plus platform. They take a little bit of cut from your revenue, but they also provide some marketing tools, too, but you still have to find your audience, Ausra. A: That’s right, and think about early ages, too. Right now, we only mention a few names, because they were the best of their time, like J. S. Bach, yes. And I don’t think his compositions were so popular when he was alive. I think all his fame came later on. But look at the other composers that surrounded Bach. Almost nobody knows their names. And the same with all the great composers. V: You’re right Ausra, and look at Bach. If you really take his example, then we could behave in the same way, too. For example, when he was working in Leipzig, he kept composing his cantatas for five years in a row. It wasn’t like a published composition, it wasn’t distributed Europe wide to other musicians to perform, to other churches to perform. No, it was just in his circle. And you don’t need to compose cantatas, of course, but if you work in a church, if you are an organist and you keep composing, you could actually keep performing your own music on a weekly basis. A: That’s right, that would be a very good idea, Vidas. And you could share your music every week, and if people would like it, if you would like it, later on maybe you could publish it because I think there are so many editors that would like to publish church music, service music, in the States especially. V: That’s right, and don’t forget to record your own performances, and practices, too. It’s good to share your process, too—how you are learning piece. You could even talk about it, you can write a blog about your compositional process. You can even live cast or live stream videos of yourself composing on the screen. I’ve don’t that in the past. A: Yes, I think, actually, that composing something is easier than to get your piece popular. V: Yes. At first people don’t care at all. Then, they will start to notice you, but they might laugh at you at first. They don’t recognize the value of your composition. But, if you keep persistently composing and sharing your art, then they start noticing… sooner or later. It’s like an avalanche from the mountain. But that’s the trick. You have to go over that dip and persevere for several years, at least. A: That’s right. V: That’s the difficult part. Composing is more or less doable for everyone. But keep producing on a regular basis without being noticed—that’s the tricky part. Not everyone is capable. But I hope people who are listening to this and considering seriously can decide if this what they are born to do. A: That’s right. V: Thank you guys, this was Vidas, A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice, A: miracles happen!
This blog/podcast is supported by Total Organist - the most comprehensive organ training online. 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...
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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime. Check it out here Here's what one of our students is saying: I have so many favorite things about Secrets of Organ Playing. So I’ll do my best to articulate my thoughts. First of all, I hope you will understand that I have spent most of my time accessing the website as much as possible before my month ran out.? The wealth of available material was like shopping for candy!! I am very excited to have fun working with the courses I have download. So, that’s the first thing - the variety and thoroughness of the material available to organists. I took advantage of the variety of Harmony training available. Even though I’ve formally taken harmony, I am looking forward to reinforcing what I learned in the past. This is in preparation for the Improvisation training you offer! I can’t wait to delve into the improv training, something I’ve always dreamed of doing, but haven’t had the means. Here’s more that intrigues and excites me. As a young eager 17 year old, I studied with an Organist who brought me to the music that touched my soul, and I learned to play well, many of the compositions you offer on Total Organist. What excites me is that I have downloaded a number of these compositions to rework my fingering and pedaling achieving the articulate legato that I enjoy hearing and playing. You know, polish the music to achieve the excellence in execution that I desire. Bottom line, so that I don’t just go on and on…I think above all, it is the interesting variety of all things related to becoming a great organist. Truly this is the Total Organist program. Let’s add one more important aspect…the convenience of accessing this material and practicing at my convenience. Of course, this requires discipline to ensure steady progress. Secrets of Organ Playing truly uncovers essential “secrets” of how to become all you can be as an Organist! Heidi Would you like to receive the same or even better results that Heidi is getting? If so, join 80+ other Total Organist students here.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 253 of Secrets of Organ Playing podcast. This question was sent by Heidi, and she writes: Dear Vidas and Ausra, I am enjoying very much browsing your Course Materials and making downloads. My situation involves the fact that my children are grown, and my grandchildren are grown, the youngest is 14 years. For so many years having children and grandchildren blessed me with much to look forward to on a daily basis and kept me very busy. I am less busy with them now, and so I think God put Vidas in my life to give me the courage to embrace what I love so much, having the confidence again that someone with a special gift for teaching, and one who is qualified on every level is there to guide me. Thank you doesn’t even come close to expressing my gratitude! When downloading the materials, there is one aspect that I am having trouble with. How can I save/download your YouTube videos? Much of your training materials are presented on video, which is great, but I can’t figure out how to get the video onto my computer. Is there a special way I need to login to YouTube to download your training videos?? Will I learn as quickly as your other students??…perhaps not. But for me that is not the point. I will be doing what I feel I was called to do. Here is my all-time favorite quote. I have it printed and sitting on my Johannus Organ at home. I think of it every Sunday as I sit on the organ bench at church. Here it is: “If you are called upon to play a church service, it is a greater honor than if you were to play a concert on the finest organ in the world -- thank God each time when you are privileged to sit before the organ console and assist in the worship of the Almighty.” Albert Schweitzer I humbly thank you for helping me become all I can be in service. Hope you both are having a great weekend! Your friend, Heidi PS In one of the videos with both of you, I think you are sitting in the living area of your home? Anyway, the room looks so cozy! I too have many treasured pieces from my parents born in Germany. Vidas, it touched me to see what I believe were a few of the wonderful paintings by your Father which are hanging on the wall? We keep those we love alive through these treasures, right? A very warm and love-filled home environment! Wow, Ausra. I don’t know what to say. Heidi is our Total Organist student. A: Well, it’s a lovely letter. So, I loved that citation by Albert Schweitzer. Because in general I love Albert Schweitzer. V: Do you love the tempi of Albert Schweitzer? A: I’m not talking so much about tempi--I know he played Bach quite slowly. V: Mhm. A: But in general, I think he was a great man. But not the greatest man who ever lived. V: Remember we were probably first introduced to him in depth in Lincoln, right? A: Well, I had read his book on Bach even before going to the United States. V: Yes, me too; but I guess what I mean is, we took part in the multimedia presentation involving the life and works of Albert Schweitzer. A: Yes, I remember that was a wonderful evening. We all played music by J. S. Bach, and had these wonderful citations from Albert Schweitzer’s works. So, do you remember what you played? V: It might have been “Nun komm’”...Or did you play “Nun komm’”? A: No, I played “An Wasserflüssen Babylon,” with ornamented LH. V: I think I played 2 versions of “Nun komm’” from the 18 Great Chorales, the Leipzig collection--the one with the...not trio texture, but the one with the ornamented chorale in the soprano. That’s the first one. And then the second was, I think, where the cantus firmus is presented with the long notes in the bass, in the pedals--sort of a fugal texture in the hands, with organo pleno registration. I didn’t play the second version with the trio texture. A: Yes, anyway it was a wonderful, very memorable evening; and going back to Heidi’s letter, I think it’s wonderful that now that she raised her kids and her grandkids, she can enjoy playing organ. I think it’s a wonderful hobby. And I’m glad she finds our material useful. And maybe you could answer her question about the technicality--how to download YouTube, and what to do with it. V: You know, YouTube itself doesn’t allow downloading those videos to your computer, because it wants you to stay on the site and look at the ads and other related videos. That’s how they make profit, you know--when you click on those ads. That’s why you have to stream those videos, basically. But there is a roundabout, in doing this: you can simply Google keywords: “download youtube videos,” for example, or “download videos to your computer,” or “youtube to pc converter,” or “youtube to mp3,” if you want to just have the audio version. And I’m 100% sure you will find more than enough services to do that. I’ve used that also. You can do that on your phone, too, if you want to listen and watch on your phone, but not online, but directly on your device. There are versions for Android and iphone, too. Now I think we can talk a little bit about Albert Schweitzer’s quote, right? That the privilege to play in church services is greater than playing a concert on the finest organ in the world. First of all, remember that Schweitzer was a missionary in Africa. A: True, true. V: Not only a missionary, but together with Widor, he edited the complete works of Bach, right? Prepared an excellent edition which is still used by many organists today, although we have some other performance practice understandings today. But he also had, in Africa, a pedal piano, I think--in the jungle! A: Yes. V: And practiced organ works by Bach! A: I think he edited it, you know...the pedal... V: Added it. A: Yes, to the piano, that it would be a kind of, sort of organ. A modified organ. V: Do you think he had an extra set of strings, or just the trackers to play those bass strings on a regular piano? A: I think he might have had an addition of strings. V: Like with 16’? A: And I think it sounded very bizarre. And imagine like in the middle of Africa--people had never heard, at that time, such music. And can you imagine him playing, and what an impression he would make! V: But I’m not sure if he was in that part of Africa where people sing in harmonies, in 3- or 4-part chords. That in itself is a very fine singing tradition. Sometimes in Lithuania we have those polyphonic folk songs, but this is something different--it’s completely, I think, in major keys, and not modal versions like they have in different countries of the world, in different folk traditions. And remember in Lincoln, we had seen this documentary where people really sing on those hills, where Albert Schweitzer probably worked. That was spectacular. A: Yes, I remember that. V: Spectacular view. But as you say, if Schweitzer played Bach in the jungle, so then we can imagine what other people (and animals!) thought about that, too. A: Yes, very spectacular things happened. And about that citation, I think that’s what is so great about the organ--that it can also be played at worship. And I think it gives to the organ such a specific, spiritual feeling that probably no other instrument has. Don’t you think so? V: Absolutely, because a lot of organ works are spiritual in nature...Not necessarily spiritual, but sacred-- A: True, true. V: Based on chorale works, or Gregorian chant. A: And I think even if the piece doesn’t have particular chorale or hymn tune, or you know, Gregorian chant tune, I think even a prelude and fugue by Bach can be very sacred in itself, don’t you think so? V: You’re right, because the style of prelude and fugue by Bach is not different at all from the chorale prelude, or chorale fantasia. A: True, true. V: He uses the same technique. Fugal techniques. Ritornello techniques, like in prelude and concerti. And so, whatever Bach writes, I think it’s elevated in spirit, and might sound like a prayer or meditation for some people, too. So I understand completely what Schweitzer wrote about playing in church service. I just sometimes would regret, of course, that in today’s day and age, you would not be able to play classical, sacred repertoire of solo organ composers--the same Bach, like in many Catholic churches, because they prefer synthesizer and guitar, and sort of light, pop Christian rock music. I don’t know what Albert Schweitzer would have thought about that. A: Yes. Maybe he’s lucky that he didn’t survive until now! V: But if you have the privilege to play in church service, and be able to play classical masterpieces, or just simply solo organ music; if you’re improvising, too, then of course this is one of the ideal environments. A: Or even just accompanying hymns, in full harmony, for example for Christmas. I think it’s also very spiritual and uplifting. V: When the entire congregation can lift up the roof of the building! A: Yes, true, that’s true. I remember once accompanying for a Christmas Eve service, and people were singing so loudly that although I was playing full organ, I could still not hear my playing, because people were singing just so loudly. And I think it was just an amazing feeling. V: And of course, Heidi finishes her message with this allusion to the living area of our home, where we recorded those videos where we talk about some of the organ practice issues, pedal playing and memorization, too, I think. Yes, even now, when we are recording this particular podcast, we are sitting in those two chairs, and looking at our paintings on the wall, which are indeed by my dad--and that’s basically our studio, right Ausra? A: That’s true, yes. And I love looking at those paintings. Each time they tell me a different story. V: Do you think, Ausra, that people would enjoy seeing the photo of that environment, what we are looking at? A: I don’t know. V: We might ask. If you guys are interested, let us know. So, thank you so much, Heidi; thank you, other students who are sending us your questions and feedback. It’s really valuable to us, and basically allows us to continue to teach you and to help you grow. And please send us more of your questions. This was Vidas! A: And Ausra. V: And remember, when you practice… A: Miracles happen.
Before we go, we'd like to remind you that this week we're running Total Organist Summer Special with 50% discount. And of course, you will get the 1st month free too. You can cancel anytime. This offer ends today.
Check it out here Here's what one of our students is saying: I keep discovering new ideas. Eg. working for first time with improvisation course. It is very challenging. But practicing those short figures made me pick up Bach piece I had never looked at. I wanted to see if I could learn faster analyzing each chord. And boy does that work. I have learned two measures in ten minutes up to tempi. Because of figuring out chord structure etc. I am so excited not only about learning improvisation and from that learning how to listen to what I am playing. Instead of sitting here at organ telling myself how bad I am. Really working hard at it. You guys give me inspiration. After all these years I am finally enjoying practicing. Also all materials are very well organized. I have now finally able to use more than legato articulation. Never could get before going on your sight. I still have to take it slow as you always preach! Thank you guys for putting new life into my organ playing. William Would you like to receive the same or even better results that William is getting? If so, join 80 other Total Organist students here.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 252 of Secrets of Organ Playing Podcast. Today’s question was sent by Steve. He writes: Good morning Vidas, Another very fine podcast topic, very helpful, and thank you for posting. A couple of additional thoughts came to my mind as I listened to the podcast ... When I pedal this piece, I keep in mind the type of organ for which it was written. On French organs there's a stiffness in the pedals, because of linkage, that makes it a little more difficult to use the heels in rapid passages. Using the toes allows you to lean into the pedal more. So, with the opening theme, I keep the pedal legato with the right toe on D, stepping over it with the left toe taking C and Eb. Same with the F and Gb, I use the toes only ... right toe on F and left toe on Gb. The left heel could be used on the first note C, but if we use the right heel on D and F it's more difficult to get those 16th notes short enough, especially when the tempo is faster. I don't play this Toccata extremely fast ... for many reasons, but one reason is so I can get those 16th notes in the theme just right. It's hard to take in the countryside at 500 mph. It's the same with music. I've heard many organists using the heel on D with phrasing that isn't written into the score, who detach the C's and Eb's and hold those 16th notes on D too long. This changes the character of the theme completely. I also nuance the music at important places by inserting pull-outs (stretch-outs), with a slight slowing of the tempo when something else starts, like with the return of the theme in the pedal toward the end. Those big pedal octaves have to come out clear and even, and can't be taken too fast to give those big pipes time to get on speech. The ankles have to move very quickly here with both heels on D and be synchronized with each other, which automatically sets certain technical bounds to speed. A slight slowing of the tempo also helps to get those arpeggios in the hands to come out clean and clear. Speed is a wonderful gift to have, but speed is an illusion. The instrument in its own acoustical setting will suggest its own tempo by the way it breathes and responds to the organist's touch. Racing through this Toccata at tornado speed is something I avoid like the plague. That's virtuosity, but not serving the music. I'm a clarity guy, and it's just what sounds best to me. Steve V: So Ausra it seems that Steve is taking the suggestions about playing at a tempo that is clear for the listener not only for you and not for the sake of racing, right? Very seriously. A: I think that’s a very healthy attitude towards music in general, not only just this toccata but you need to hear what you are playing, you need to control what you are doing otherwise it will be just a mess. Don’t you think so? V: I agree with you Ausra and what was the last piece you played extremely fast. A: (laughs) Well I think back in the year 2000 when I was working on Louis Vierne’s Toccata No. 3 and was playing it St. John’s Church, all five movements. At that time I think I played those pieces extremely fast and probably couldn't control everything so well as I could now. V: So I gather you would slow down the tempo a little bit today. A: Yes, yes. V: Why? A: Well because now I already have that ability, being capable while being upstairs to hear what is happening downstairs. Because what you hear on the organ and what you hear downstairs is completely different. V: And when you hear the echo does it slow down your tempo or not? A: Well not necessarily, it depends on what you are playing but if you think about that Vierne Symphony, especially about the 1st and the last movements, and especially about the 1st movement when you start to play everything in unison. V: That’s the Third Symphony. A: Yes, the Third Symphony. Well, if you play that extremely fast on huge mechanical organ at St. John’s Church you will get a mess. Now I don’t think I would play probably entire symphony on that organ because I think the second movement and the first movement works extremely well for that organ. The beautiful first movement and the beautiful Unda Maris stop at St. John’s is just perfect. Not the first movement and probably not the third movement, Scherzo or Intermezzo as Vierne calls it because I think it needs lighter action. V: Right and usually french organs have barker machine. A: True. So on the french organ I think it would work fine and such a tempo as well but not at St. John’s church. V: What about me? A: So you tell it. So what have you played very fast lately when you remember it. V: Good question. Thank you. I remember practicing and performing Durufle Toccata back in Michigan I think. That was the time when I played it extremely fast I think. This way my audition piece for Doctoral studies in Rochester. Remember we went to Rochester, New York, Eastman School of Music to play there and also to Nebraska, to UNL so I remember playing also this piece in Detroit, St. Paul’s Anglican Cathedral and this was part of the student recital we both played. A: We both played, I don’t think it was part of the student recital. We both I think did solo recitals, short ones, I think half an hour. I remember that I played Liszt’s Prelude and Fugue in BACH and you did Durufle. I think a couple of the movements from the Suite, Op. 5. V: And I think I played the suite too fast there and in general because I was worried about the speed in general because it was a toccata and toccata is supposed to be played virtuosically and really fast. A: And to be honest I think this is one of the hardest toccatas that have ever been written for the organ, don’t you think so? V: Yes, it is one of the most difficult pieces I have ever played probably. Not necessarily the most, but one of the five maybe. Technically very challenging. So I think the tempo might have been a little bit too fast there, especially on a large instrument. A: Because as Steve mentioned so nicely about how the pipes respond and how the organ responds to your touch. I think he is so right and I’m just very glad that he thinks about these things because they are very, very important. V: And when we go hopefully to play at St. Paul’s Cathedral in London in a week and a half I think the acoustics, the echo there will be enormous, gigantic, right? A: Yes, probably the largest we have encountered yet. V: So I guess the tempi also will have to be adjusted a little bit too. A: True, true. And articulation too. V: It’s not like if you are playing at St. John’s church here in Vilnius where the echo is maybe five seconds. A: Well, it’s larger if it’s in the church at night, it’s seven. V: But we never play concerts at night. I played actually once for a group of friends. But in general it’s like more or less, five seconds and if you go to London, St. Paul’s Cathedral how long is the echo there? A: Twelve. V: So more than twice as long echo. Does that mean we have to slow down twice or more? A: No, but we need to keep that in mind and to slow down a little bit. V: To emphasize a little bit the texture, the harmony. A: Because in order to show the structure you need to be able to hear it yourself so it means you need to take bigger breaks after phrases. V: Let the instrument breathe more. A: True. V: Well, we hope to record this recital too and maybe when we come back we can share it too. A: Yes, that would be nice. V: OK, and please guys, send us more of your questions, we love helping you grow. And remember when you practice… A: Miracles happen.
Before we go, we'd like to remind you that this week we're running Total Organist Summer Special with 50% discount. And of course, you will get the 1st month free too. You can cancel anytime. This offer is valid until tomorrow, July 25.
Check it out here Here's what one of our students is saying: Dear Vidas At the moment I’m focusing at sight reading improvement… Also I’m interested on registration but not yet started. I’m curious and interested on fingering of Bach’s pieces because according the opinion of my teacher at conservatory I play Bach too much legato …possible because I’m coming from piano… In general I review the list of argument present on the total organist and all the pieces and think that is a very interesting work but I do not want to waste opportunity piking too quickly arguments …I like to profite in deep of each opportunity and I need time of coarse to do that. I spoke about your site with an organist my friend that is teaching at the government music school in Italy and he told me that this kind of material is not too useful and that is not so easy to profited and have good results from internet learning. I think different, I think that your work is very useful to organists because a loto of arguments are developed and is not so easy to find this kind of information even the teachers in the 40 minutes of lesson weekly cannot t give the information in deep all is very very fast, hurry, and the student will practise frequently in the wrong direction loosing time. That is my starting opinion …we will see in a couple of months what will happens. Best Regards Ferruccio Would you like to receive the same or even better results that Ferruccio is getting? If so, join 80 other Total Organist students here.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 251, of Secrets of Organ Playing Podcast. This question was sent by Michael. He writes: I'm really glad I have encountered such an opportunity from you, I want to be able to sight read most of the complex classical pieces by heart, as at now my current level is just playing hymns and not so difficult anthems for my church....please I want to just pick any complex Handel piece and sight read it easily… Please help me. V: Ausra, this is the second time when somebody asks us for advice of playing Handel pieces, right? A: True. V: I remember in the past, there was a gentlemen wanting to sight-read Handel’s pieces too. So this is an interesting question and interesting situation. A lot of people want to sight-read Bach, and maybe other more ‘organistic’ music, but Handel is not particularly known for creating complex organ music. A: No, but he wrote so many compositions, that no wonder why people want to play his music because it’s really beautiful. V: So Michael writes, that now he can only play hymns, which is a good starting point, right? A: Yes. V: Other people cannot play hymns, but he can. So if he can play hymns, I would recommend treating them as little short organ pieces, and start playing them voice by voice, and in combinations of two parts and three parts, and then expanding to sight-reading classical pieces, but easy ones first. A: True, I think there is no way to become a good sight-reader unless you practice repertoire on a daily basis, and sight-read on a daily basis. There is no magic pill, magic trick that you could take and to be able to sight-read anything you want. Well, and since Michael loves Handel, so pick up some of his music and start working with it. V: Umm, Handel’s fuguettes are easy enough, right? And even I would say, variations cycles, such as Chaconnes and Passacaglias are great for that. They have one tonal structure, but with each variation you get a different texture on the same harmony. So it’s a good way to learn different textures, techniques, arpeggio configurations, things like that. But also keeping just one set of harmony progressions, usually four or eight measures long. A: True. V: So each variation could be like a separate exercise. That’s a really great suggestion, Ausra. A: Yes, it is, I think. I know the more time you spend every day with your music, the easier it will become for you to sight-read. Because you have to build up some sort of repertoire. And the more pieces you have in the repertoire the easier it will get for you to sight-read, any piece of music. V: A question, for you Ausra: Do you think that Michael has to play both hands right away when he sightreads, or it could be possible to do just one hand at a time? A: You could do it only one hand at a time, if it’s too hard to sight-read everything together. V: Without major mistakes, right? A: True. True. V: And it’s even better. You can dissect the piece, right? And see how it’s put together and reverse then the hands. At first you practice one variation with the right hand, and then do the same variation with the left hand. And then maybe that’s it, all you need. Maybe you are playing very slowly and then the next day you do variation number two, same thing. A: True, and maybe after learning first ten pieces with separate hands, maybe after that you can do and sight-read with both hands together. V: But it will take a while. A: Yes, sure. V: Mmm-hmm. A: These things take time. V: But it’s definitely possible to do this on your own, because it’s just practice, and well, not only just practice, but deliberate practice. You have to know what you are trying to achieve with each run of your playing. Not just sight-reading for the sake of sight-reading but internalizing the structure, getting to know the chords and progressions, maybe key tonalities, modulations. But for that you have to know a little bit of harmony and music theory. A: True. These things are (all) connected. V: So do you recommend for Michael to start learning music theory and harmony at the same time, as practicing the organ? A: Well if he wants to become a learned musician, then yes. I would suggest him doing it. V: Mmm-hmm. It will help him. And sight-reading will also help him to discover music theory things too. A: True. Because the easier you orient yourself in the music theory things, the easier it will get for you to sight-read things. Because the easier you will understand them. V: I wonder, how much time does it take to develop a level when he could sight-read, let’s say, simple variations by Handel. A: I think it all is very individual. It’s hard to tell how much time it will take. V: What’s the minimum amount of time? Three, four years? A: Well, maybe less than that. It depends how much you will spend each day on it. V: Mmm-hmm. What about the maximum time? A: You’re asking me if I would be a magician; I would know everything. I don’t know. V: Sometimes people practice without improving, right. Have you seen those people? A: Yes, I have seen such people. And sometimes it’s hard to tell why they are not improving, but I guess not everybody can improve. Although I believe that if a person does not improve, it means that he or she makes something not right. V: Practices without head, without connecting the fingers with the mind. A: That’s right. V: So we hope Michael will do the opposite, of course; will practice mindfully and regularly. And that will help him improve. A: Let’s hope for it. V: Thanks guys, this was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice,,, A: Miracles happen!
Before we go, we'd like to remind you that this week we're running Total Organist Summer Special with 50% discount. And of course, you will get the 1st month free too. You can cancel anytime. This offer is valid until July 25.
Check it out here Here's what one of our students is saying: I appreciate your detailed videos along with your supportive approach. I also see that your site is one of the few that offer scores with fingering. Btw, reading that you enjoy composing then editing on Sibelius, I also am tinkering around with Sibelius. I started exploring using it to study counterpoint and harmony. About me, I’m a semi-retired software engineer. My main focus now retired, apart from painting the deck & etc., has been writing fiction and poetry, but I so love Bach organ music that I wish to be able to learn how to play Bach myself. Regards, Eric Would you like to receive the same or even better results that Eric is getting? If so, join 63 other Total Organist students here.
Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! V: Let’s start episode 250 of Secrets of Organ Playing Podcast This question was sent by Reggie, and he writes: Hello Sir, Thank you for your question. In answer to #1, I want to play the pipe organ at my church. In answer to number 2, I bought my first keyboard a month ago so I am still learning my first piece: Bach Preludio 1. I practice everyday but I am still internalizing the note and finger positioning. I had some musical training as a child and currently sing in the church choir. Thanks for asking! Reggie V: So, it seems, Ausra, that Reggie is playing the C Major Prelude, BWV 846 from the Well Tempered Clavier, Part Iago . Could be? A: Could be, yes. V: This is a wonderful piece, of course, it has a lot of arpeggio figuration, and even 5-part texture. A: True, but it’s not that hard. V: Much easier than the fugue that comes afterward. A: That’s true. That fugue is one of the hardest, in my opinion. V: Do you know why Bach chose to write the opening prelude as such an easy piece, and then right away the following fugue very very hard? What’s your hypothesis? A: Well, do you want to scare people for his new collection? I don’t know. That’s just a joke, but actually if you look at the Well Tempered Clavier, you can find, actually, various preludes. This one is not as hard, but for example, C minor, which is the second one, has a very fast tempo and a toccata like motion, so… V: But also, that C minor has one figuration extended throughout the prelude, like C major, too. A: Well, that’s usually the case with most of the preludes. V: And the fugue here in C major has four parts, and is very complex, because it’s a scholastic fugue. A: It is! It has that stretto at the end of it, which makes things even harder. V: Basically, in every measure, you will find the subject of the fugue. A: True. That’s, true. V: Maybe Bach wrote such a difficult fugue at the beginning because he was proud of it and he wanted it to be as a model for an entire cycle. A: Could be, and if you will think about the role of the prelude, prelude was sort of an introduction to the fugue. He had to warm up to set up the key. V: And, it wouldn’t make sense if the prelude would be even harder than the fugue. A: True. This usually doesn’t use the polyphonic texture. V: With some exceptions, of course. A: Yes, true. There are always exceptions to everything. V: So, Reggie is struggling with internalizing the note and finger positioning. Which means, that basically, he wants to play without mistakes. A: True. And I thought about if picking up a repertoire as a beginner is a good way to learn. And, I realized that, of course, you have to play some repertoire, but definitely, you have to work on the technical exercises. V: Such as? A: For example, Hannon. V: Hannon? A: Hannon, yes. And scales, arpeggios, chords… V: Maybe two-part inventions by Bach... A: True. V: ...if Reggie likes Bach’s music. A: True. I think that the two-part inventions are probably the best way to get acquainted with Bach. Well Tempered Clavier is too hard. V: Sometimes, I like to sight read music, and whenever I don’t have much time, I open two-part inventions and play a piece or two. It just takes a couple of minutes. What’s a favorite way of sight reading, Ausra? A: I never thought about it. What do you mean, a particular collection, or a particular composer, or what? V: Maybe, let’s start with collection. A: Well, I like to sightread Bach, of course, inventions, but also his suites, French, English, his Partitas. V: I bet they would sound wonderful on our piano at home. A: True. V: A half step lowered. A: True. V: I see. Do you have some suggestion for Reggie, how to increase finger positioning, which is probably the way of playing an entire passage in one position? Can he transpose a passage and go up and down as an exercise? A: Yes, well, it could be an exercise, but for this particular prelude, I would suggest for him to play it in chords, first. Don’t do that arpeggiated motion, but to play the full chords to find out what the harmony is about it. V: And how many parts there are! A: True, and later on this will help him to play in the right fingering and to play everything smoothly. V: Recently, I asked my kids at school to find out how many voices there are in this prelude, and nobody could guess that it’s a 5-part texture. Somebody said 4, somebody said 3, because there are 2 voices clearly in the left hand part, and a passage arpeggiated passage in the right hand part, right? But they didn’t think that those three notes in the right hand part are like three separate voices. A: True. V: So 3 + 2 would be a 5-part texture. Excellent. And Reggie wrote that he had some musical training as a child, and also sings now in the church choir. Do you think that helps? A: Yes, of course. Any kind of musicianship helps. Singing in the choir, too, it develops your pitch! V: And you get to know what the music director is doing, and sometimes you can observe how they conduct, and even if he becomes better at playing from sheet music and sight reading he can sometimes accompany the choir and play in the church service. A: Yes, and it’s too bad Reggie didn’t tell how old he is now, because we don’t know how many years he hasn’t practiced since his childhood. So, it’s very hard to say what to do next. V: True. A: What would you suggest if he would be a senior person? V: Like over 65? A: Yes. V: That’s a nice age to take up some hobby like organ playing and start practicing more seriously, because when people have more time after the working years, sometimes they have less motivation to do that, right? Because it seems like they are old and everything is behind them, and they cannot improve—which is, of course a total myth, and we have so many senior people to prove otherwise—that they are constantly improving every day. So, if he is over 65, I recommend, of course, to schedule some regular organ practices, or at home on piano, or keyboard, or go to church, if he sings in the choir, ask the musical director to let him do this once in a while… In exchange, he can volunteer sometimes to pay for church services….a hymn or two once in a while, if he feels comfortable. Right? Of course, don’t forget improvising, maybe. It’s a good way to warm up, to get to know your keyboard….things like that I do all the time. It works for me, and I hope it will work for other senior people. A: Those are very good suggestions. V: What about if he is just…. You know, he is obviously not a teenager, but let’s say if he is like our age, what would you suggest for him? A: Well, he could still apply to a music school, maybe. V: Right. A: To take a couple of courses. V: Or, he could prepare for the AGO Service Playing Certificate Test. That would be a great motivation to improve over the course of six months or one year. A: That’s true. That’s a very good suggestion. V: Ok, thank you guys. This was Vidas, A: And Ausra, V: Please send us more of your questions. We love helping you grow. And remember, when you practice, A: miracles happen!
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Check it out here Here's what one of our students is saying: I really appreciate your attention to detail, especially the thoroughness in approach to practice. My original organ teacher of 40 years ago emphasized the need to work in short sections, with much repetition - your approach is the same. Fingering is excellent and incredibly helpful. You explain things very well. I am reviving my long-dormant organ playing skills, and your method is exactly what I need. Many thanks, Andrew Would you like to receive the same or even better results that Andrew is getting? If so, join 55 other Total Organist students here. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 249 of Ask Vidas and Ausra podcast. This question was sent by Sarah. She writes: Hi Vidas, My dream for my organ playing: To be confident with articulation, pedals, and registration as I accompany hymns; am I supporting congregational singing? I wish to be an excellent church organist. Three things holding me back: Here, I don't have anything holding me back. I just need to continue to practice, listen, and learn. I have just accepted a position as accompanist at an Anglican church. My background is in...you guessed it: piano and voice. I have had a few organ lessons and have played organ using pieces written for manuals only. I discovered you and am very grateful you are here. I need to put in the time at the organ. This is all doable. I am blessed with a supportive pastor and a beautiful small pipe organ for practice. Thank you for what you are doing. My plan is to work through my basics books and then enroll in your program. Kind regards, Sarah V: So it seems that Sarah is on the right track. A: True, seems like she’s very well organized. She knows what she wants. She has nice surroundings, she has organ, nice pastor support so I think she’s on a good track. V: Of course because her major is voice and piano I think she needs to work on pedal playing more. A: True and on articulation of course because it’s different on the piano and the organ. V: And registration because it’s new. A: True. V: But she knows that already. A: That’s very nice. V: There are not too many people who know what they need, right? Many people know what they want not too many people need to know what they need. Do you think there is a difference between needs and wants? A: Sure, sure. V: What do you need Ausra? A: Many things. V: And what do you want? A: (laughs) Also, many things. V: Same things or different? A: Well probably different. V: Different, yah. And a lot of times when people let’s say come to us with some form of question they write that they want to be such and such organist, to develop these skills and sometimes they don’t realize that they need in addition to that to happen something else too. Right? A: True. V: Because Sarah wishes to be an excellent church organist. That’s her dream in organ playing. And to be that organist she needs to be good with articulation, pedals, and registration in hymn playing because she is a church organist, right? A: True. V: Is there anything else Ausra, that she doesn’t mention here that she needs. A: I think also playing repertoire. V: Ah, you are reading my mind. A: It’s important too because you know any church service does not exist only with hymns because you have to play something at the beginning and at the end and maybe one piece in the middle or maybe two pieces in the middle depending on the service. V: But if you go to any church in Vilnius and count those organists who play the repertoire for prelude and postlude or communion or offering do you think there are five people who do this? A: Probably less than five. V: Right so what are others playing then? A: Well some are doing some kind of hymns. V: Hymn playing, yah. A: True. V: They are singing introductory hymn, opening hymn as a prelude which is not the same, right? And since in Lithuania people in clergy don’t notice, don’t know how to make quality church music. They are satisfied probably, they can’t complain. A: True. But I think that even if you have an opening hymn you still have to have a prelude before it. V: Like introduction. A: Yes. V: So you think Sarah needs to learn how to introduce the hymns then. A: True. Because I think it would be very nice to play some sort of improvising sort of prelude in the same key and the same similar style as the opening hymn. But maybe that would be too much for a beginner, for starters. V: What if she played the first stanza of the hymn without singing, would that be a prelude? A: Sure, why not. You could do that. V: With different registration. A: Yes, yes. V: But of course when you do this often enough and with different types of hymns, little by little this becomes boring to you. A: True. V: So at first Sarah might be satisfied with playing just the hymns but I know that in less than three months she will feel that she needs something else too. To learn to introduce the hymns properly and to create short hymn preludes. A: Well yes and actually you can find even to buy some hymn introductions by other composers that might be suited well for the organist but I think it’s easier to create something on your own. V: Would you buy those collections Ausra, yourself, today? A: If I would be like twenty years ago then yes, I would buy but not now. V: You would introduce yourself. A: True. V: So, do you think Sarah needs to practice hymns and introductions for twenty years before she learns this skill. A: I don’t think so. If I would know so much twenty years ago as I do now I would never do it. V: Uh-huh. So it will come naturally to her if she practices and maybe some creative ways to introduce the hymn. A: Maybe it’s good to study some of examples written by other composers what they have done and maybe she would find some ideas that she could use on her own. V: Don’t you think she could take a look at Orgelbuchlein by Bach. A: Yes, but it might be too complicated. The Orgelbuchlein is quite a source but… V: What specifically is too complex there? A: Well you know thick texture. V: But then she could take a principle like one technique and try to use it in ten or twenty hymns in a row and they she will learn this specific technique with twenty hymns on the spot. That would be very handy skill to have, right? A: Yes. V: OK guys, if you are in Sarah’s situation where you need to transfer your piano skills and singing skills to the organ to accompany hymns and you wish to learn the pedal playing and registration and articulation and you need to learn creative ways to introduce the hymns don’t be afraid to play just in two voices. A: That’s true. V: Soprano and the bass from the hymnal. And soprano could play the normal hymn line, the chorale melody, and the bass, what could the bass do then? Passages then? A: Yes, that’s right. V: What else? Arpeggios? A: Yes. There are many ways to approach it. You can do passages, you can do arpeggios, you could do alberti bass. V: Um-hmm. It would sound like Krebs a little bit. So take a look at what Johann Ludwig Krebs did in his Clavier Übung Part I. A: I think it would be easier for starters to look at Krebs Clavierubung and not probably Bachs Orgelbüchlein. V: Yah, that’s right. They’re more systematic. Thank you guys, this was Vidas. A: And Ausra. V: Please send us more of your questions, we love helping you grow. And remember when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 248 of Ask Vidas and Ausra podcast. This question was sent by Jeremy, and Jeremy is on our team of people who transcribe our podcast conversations. So one day, he wrote that he received word that he passed the CAGO examination from the American Guild of Organists. And I asked him what the requirements were, and he writes: I found out about three years ago that I need some type of long term goal to work towards in my life. The easiest thing was to become certificate in something. It began with my Masonic organization, which I received a Masonic Instructor in the state of Iowa. I have been playing the organ for church for about ten years now and two years ago, I decided to take it more seriously by seeking out a teacher. Dr. Christiansen got me involved in the local AGO chapter, and encouraged me to work towards the Service Playing Certification and continued my education to get the Colleague certification. We now have a blood pact! If I take the Associate exam next year, he will take the Fellow exam. That being said, the certification program up to this point has been very practical for me as a church musician--standard repertoire that I have used quite a bit in the service, hymn playing, transposing passages of music, sight reading, harmonization, and improvisation. All of these things I have used at some point in the last year. The most work for me came in the improvisation and transposition portions of the exam. I was introduced to this in the past, but it always remained theoretical and not practical. I have now incorporated these into my daily practice sessions. Your courses have helped out a lot with them, but I still have miles to go! 3 pieces of repertoire: Bach In dir ist freude; Parry Chorale prelude on Omnium Christe Redemptor, and Alain Variations on a theme of Clement Janequin. 2 anthems: Britton's Jubilate Deo and Dupre's Ave Maria. Improvising an 8ish bar piece modulating between two keys. Sight reading a short three staff piece. Harmonizing a folk tune. Short prelude and hymn playing on two hymns. Transposing a hymn into two keys. A half step up and a step down. The improvisation and transposition were the most difficult part. I am reviewing your transposition course and your prelude in Baroque style course. Also, the complaints for the most part were about tempi. Too slow. V: So, let’s congratulate Jeremy about this great achievement. Right Ausra? A: True. It takes courage, you know, to do something like this. V: We have a Colleague, his name is Paulus, and he also wants to take the AGO Service Playing Certificate test. And he needs to practice; he needs to focus his efforts during the year, learn a lot of repertoire, and I know that it’s a challenge for him, too. A: Yes, it seems like he’s postponing it all the time. V: Yes, I haven’t heard about his decision lately to take this test. Maybe we should ask him. But Jeremy took the AGO colleague certification exam and passed, actually. So, that’s a big achievement. And next year, maybe if he has this motivation with Dr. Christianson to take the Associate exam, then that would also be a wonderful step—a big step forward. A: True. I think it’s wonderful that America has this program, and that you can get a certificate without entering to the University or a college. V: Plus, he has this “blood pact,” as he writes, with Dr. Christianson. And, when you have a mentor like this who is also involved in taking an exam, maybe, at the Fellow level, they both motivate each other, right? A: True. V: And that’s probably invaluable to have a partner in crime, so to speak. A: I think that way it’s easier to achieve something than to do it alone, by yourself. V: Yes, that’s why we figured out we need to have those improvisation competitions for people to advance together—to learn to improvise together, too, on Steemit. And also, Jeremy writes that improvisation and transposition were the most difficult part. Why do you think this was the case, Ausra? A: Well, because these are the hardest requirements, to transpose and to improvise. V: And why do you people struggle with this? Why can’t people, let’s say, transpose as easily as they can sight read? A: Well… V: It’s a stupid question, I know. A: That’s an interesting question. I guess it depends on how hard the piece is itself. Sometimes it might be harder to sight read, and sometimes it might be harder to transpose. But transposition—I think it’s something inside us that prevents us, because we sort of look at that assignment as a hard one, but it’s not that hard. Transposition is not that hard. You just need to do it regularly. Maybe take some exercises in the C clefs, that would help you to transpose easier. And of course, the skill of transposition will help you to improvise, too. V: Would you think that improvisation would help to transpose, too. A: Yes, I think these two assignments are related somehow. V: Because, when you improvise, you need to transpose the theme a lot of times. A: True. V: And when you transpose, you don’t need to improvise, but you need to read the music and to move it to either another either clef or key or position on the staff. So, this skill, of course, would develop with improvisation, moving the melody around. And that’s why it helps with improvisation. A: True. And you know, with transposing, you need to know that there are three ways to transpose, and each time, you need to select which way is more comfortable in a given situation. V: For example… A: As Jeremy wrote, that he needs to, for example, transpose a half step. Usually, that’s the easiest way to transpose, when you only need to transpose a half step, because then, you just change, in your mind, the key signatures. Let’s say you need to transpose from D major to D flat major. You just change in your mind 2 sharps with 5 flats. V: And 2 pus 5 is 7. So the sum of those two accidentals, when you do this half step, is always 7. A: And most of the time you can do that. Of course, you will say that, “Ok, if I have G major and I have to transpose a half step higher, how would I do it?” You can still do it. In that case you will have to imagine, for the key signature, 6 sharps and 1 double sharp, because it would be the key of G# major. And it still works. I think some of the piano composers such as Chopin used this key occasionally in their compositions. V: Yeah, you’re right. And would would be the last way to transpose? A: Well, the second way... V: The second way. A: ...would be to change the clef. I don’t know how well you are acquainted with the C clefs, but basically using those 5 C clefs, you can transpose pieces in any way. V: And F clefs. You need F clefs, too. A: F clefs, too. V: So, on the first line, we have Soprano clef. On the second line, we have Mezzo Soprano clef. On the third line, we have Alto clef. What else? A: Then Tenor clef on the fourth line, and then above, you have the Baritone clef. V: Aha, and what kind of C are we talking about? A: C clef always marks the C of the middle octave. So, if you have the soprano clef, it means you have the C note on the lowest line of the staff. V: And there are three F clefs, right? A: Yes. The one that we know so well, V: Bass clef. A: Bass clef. V: Which is F on the fourth line. A: True. V: Then F on the middle line, which is called Baritone clef. Then the one on the fifth line, it’s called Basso Profundo clef, which is the lowest. A: Yes V: But all three clefs indicate the tenor F, either on the third line, fourth line, or the fifth line. A: And there is also the old French treble clef, which is located on the first line. V: So this is G clef then, on the first line. A: Yes, is the G clef. So, basically two G clefs, then three F clefs then five C clefs. V: Oh, so there are 10 clefs, right? You only need to know 10 clefs. A: I know. V: And, if you know 10 clefs, you know everything. A: And, it seems hard at the beginning, but if you work with those clefs, the transposing will become very easy at the end of it. And, of course, you can always transpose on a given interval. And you use this system when you need to transpose probably to change by a major third, or a fourth… V: Whatever interval you want. A: Whatever interval you want. V: Not more than a perfect fourth or a tritone, because a perfect fifth is an inversion of the fourth. A: True. V: Excellent! Guys, please try it out at home. It’s not dangerous; you will not hurt yourself, unless you do it too much, and then what happens Ausra? A: I don’t know, you will get sick, probably. V: <laughing> I see, ok. This was Vidas, A: and Ausra. V: And remember; when you practice, A: Miracles happen. |
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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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