V: Let's start episode 144 of #AskVidasAndAusra Podcast. Listen to the audio version here. How are you Ausra?
A: I’m fine thank you. V: This question was sent by Barbara, and she writes: “Hi Vidas, I appreciate these copies of sheet music with fingering. I would like to see the fingering for traditional hymns.“ This question is timely, right? We have just finished creating our 10 Day Hymn Playing Challenge. A: Yes. V: Can you tell us a little more about this challenge? A: We selected 10 hymns, 5 older ones, and 5 more contemporary ones. So basically those 5 traditional, or older, hymns require that you use your earlier technique, so no heel on the double-bars, no finger substitutions in your hands, and then those modern ones you have to do otherwise. V: Play with heel? A: Yes, and no playing legato in the manual part. So if you will be able to master all of these 10 hymns, I think this will be a key for you to your hymn playing in general. V: Yes. Wonderful. I am just looking at the feedback we have for the about these challenges, and it looks as though people are finding this useful, this resource, right? A: Yes. V: And to start to use them, and actually one person even asked us to make a copy of those hymns, but to produce the fingering for manuals only, of the exact 10 hymns. So this means they are using this entire resource, and it is helpful. A: I know. And maybe some are not using pedals so they need to know only to play the manual part. V: Yes. Since we do not have everything yet finished, right, in case you don’t have a pedalboard on your organ, what could you do if you have such a score? Could you write down left hand fingering? Could I adjust just a little bit? A: Sure. That is just your baseline. V: Yes. It would be a little more difficult, of course, but you could use a different color, maybe, if our fingering is not entered in black. So you could use green or red, or blue.... A: Yes. V: Right, or something of a bright color to see. And that person actually said that it is hard to adjust and notate on that particular score so he wanted to do the work, you know, that we would do the work for him, basically to take the same hymn and reproduce it for manuals only. But the problem is that we use the hymnal for this and the fingering is already notated on the original sheet of the hymns. So basically the pedaling and pedal indications are already there, we cannot erase them. But it is not a problem I think, right Ausra? A: Yes. You could use Sibelius software. V: And if you don’t have Sibelius, you can simply use a different pencil or different color notation. Or even enlarge your copy – make it very large – then the spaces between the notes will be larger and you will be able to see your fingers better. Your adjusted new fingerings, right? A: Yes, that’s right. V: But in the future, of course, we could create something, a format for manuals only. With other sets of hymns. A: That’s true, although if your accompany hymns at church for congregation I think it’s good to have a pedal part. It gives such a support for congregational singing. And playing hymns without pedal doesn’t suit me. V: That’s probably true in most cases. But what about an instance when you don’t have a pedalboard – maybe you have a piano? A: Yes. then yes. V: Then you need to work on that. A: But the thing is that when you are playing on the piano you don’t have the problems you would have while playing organ. V: Such as? A: Because for example, you can’t use the early technique when you are playing on the piano because it does not apply to piano as to an instrument. To use an early technique to do all that articulation. Or for example when you are playing modern hymns, then you know you have to use sostenuto pedal which will help you play legato. So basically, all that fingering and pedaling stuff is more important when you are playing organ. Because on the piano there more ways to cheat. V: The organ, and not even the keyboard, right? A: Yes, yes. V: So could we say, Ausra, safely and honestly, that it was the reason that I chose to do this for pedals also. A: Yes. V: Because it sounds better on the organ with pedals, these hymns. A: Definitely, yes. V: And probably people should not stop there, because to play soprano and alto with the right hand, and tenor with the left hand and bass with the pedals is just the basic setting, right? You could do all kinds of other textures if you are more adventure oriented and like to take a little bit of risk, right? A: Yes. V: Do you know what I mean, Ausra? A: Not exactly. Perhaps you could explain what you mean. V: Well, there are perhaps ten or more ways of playing hymns: in two parts, in three parts, right? And so you could omit the two middle parts and play the soprano and bass parts only with your hands. That is easy. But you could also invert the two parts, and make the melody in the bass, and supply the extra top voice with your right hand. That is a creative way of playing hands, right Ausra? A: Yes, that is right. V: And you could also play trios and place the melody in any of the voices, soprano, tenor or the bass. A: That is a very sophisticated way of playing hymns. V: Its fun, isn’t it? A: It IS fun but it is not for beginners or intermediates. V: Exactly. So perhaps that could be the next level. A: Yes. V: And when you have mastered a trio texture you could add a quartet, right, and you play your melody in any voice, soprano, alto, tenor and bass. Even with the pedals you could use not 8' level pitches in the pedal, but perhaps 4' level, or even 2' stops like Cornet in your pedal to play the soprano or alto. A: That’s right. There are all kinds of possibilities. V: And it was historically done in 17th century, and in 18th century people have been playing that and organ composers have created such hymn preludes like that. A: That’s true, but again, though I would like to return to that pedaling part, if you would think about North Germany which is home for Protestantism, or Martin Luther. And if you would look at the organ they had such huge pedal towers… And why? That was because we needed it for accompanying congregational singing. They needed a loud pedal part. V: And of course you played all kinds of choral fantasias and improvisations. A: Yes that is true, and the hymn tunes. V: Yes. So all those choral melodies are beautiful tools to demonstrate he colors of the instrument. And sometimes, if you do not have sophisticated pedal boards, and sophisticated pedal stops, you could have couplers from the manuals. A: Yes. That is why couplers were added to the organ. V: OK guys. Please use our 10 Day Hymn Playing Challenge. This really helps people who are starting to practice it – and let us know how it goes. It is interesting. A: Yes it is very interesting to know about your progress. V: Exactly. And send us more of your questions, right Ausra? A: Yes. V: We love helping you grow. And remember: when you practice... A: Miracles happen!
Comments
V: Let’s start episode 143 of #AskVidasAndAusra Podcast. Listen to the audio version here. This question was sent in by Dan. And basically he comments after my question to him. I asked him ‘what is he struggling with in organ playing currently?’ And he wrote:
"With the Walther piece I find concentrating on the manual parts when the pedal enters, to be a challenge particularly, as in this piece, he’s got the melody in the pedal. I’m taking it way way slower then this at the moment though. With the Bédard suite, were doing things a little out of order, its a four movement suite. So I covered the first movement, and am working on the third right now. The third movement has a lot of suspensions in it, and I’m finding figuring out when parts move in those suspensions to be quite a challenge, but I’m getting it. And with the Dubois piece, its just a case of getting it smooth and polishing it up. I’ve almost got it." V: So Ausra, his practicing I think Walter’s, choral prelude, one of the collections, and then French Suite by Bedard, and then Dubois toccata. And with Walter he finds it difficult to play the manual parts when the pedal enters correctly. A: Well yes, that is often the case in Baroque music and Baroque pieces. V: Because it’s mostly fugal writing, correct? A: Yes, the polyphonic texture gives trouble to coordinate between feet and hands. V: Imagine if it’s like a fugette or even fugal texture then, the alto enter first, then the tenor, then the soprano, and only then the bass. And the instance where the bass or the pedals enter, then it’s four part texture. A: Yes, specific texture and you got a lot of things to do, to think, to listen to. V: I think that people take the first tempo, practice tempo, according to the first line. A: Yes V: Yes? And in the first line you only have one voice, it’s very easy and they tend to play to fast. A: That’s true and to know in general, I would suggest that if you have pieces like this, start to learn them and practice right away those hardest parts. Don’t play from the beginning. Then you see that texture is to fix that learning those parts, in combinations first, to play pedal separately. Then together, then start to learn those easier parts. Because, otherwise, you can play piece nicely, but not those parts where the pedals come in. V: Hmm, hmmm. A: So in order to make to make things even in the piece, throughout the piece, you need to start working from the hardest parts, from the beginning. V: That’s very natural, right? Let’s say, let’s say if the pieces just one line, solo piece, we have some pieces like this, especially in contemporary music. I’m thinking about Messiaen and his movements from Les Corps Glorieux for a single Cornet stop. A: Yes, yes. V: Or a reed? A: Mmm, hmm. V: So, it’s still difficult to play but not as difficult as let’s say, two voices, right? A: Yes, So true. The more voices you get, the harder it gets. Unless it’s a homophonic texture, then it’s another thing. But I’m talking about polyphonic texture. V: So in the polyphonic texture, if it’s just one line, and for everyone it’s different, but let’s say you can play this one line piece, collectively slowly with a few mistakes, then you need to go back, correct them, and probably, probably play it a few more times, right Ausra? A: Yes V: So five or ten times for one voice short episode. What happens if you have two voices? You have to repeat not twenty times but thirty times. Because you have one line, the second line alone, and both lines together. Thirty times. And if you have three part texture, you have actually seven combinations. That’s why you have to play seventy times. A: Your number scares me. V: I know. A: Stop counting. V: And if you have four part texture (I’m not finished yet), if you have four part texture, guess how many combinations? A: Too many, too many for me to count. V: Fifteen combinations, and if you give each combination just ten run-throughs, then you have 150 uh, plays to do. A: Well, you don’t have this so mathematical, exact or precise. But, the more you get the more you have to practice. V: Ausra, does it sound about right, if you have four part polyphonic texture, chorale, prelude or fugue or fuguette, that you need to practice that many times in order to fully master it. A: Yes, especially if you are a beginner. V: Mmm, hmm. We’re talking about people who have beginner skills or early intermediate. A: Yes. And another place he wrote about suspensions, my suggestion would be to lean more on those because suspensions always mark a dissonance in music and you have to lean more on dissonance. Because, after that resolution, usually comes. So that might help him too while practicing this piece. V: Mmm, you’re right. Um, what to you mean by lean on dissonances? A: Well, (chuckles) I didn’t mean like physically lean on them, but listen to them, and, V: Make them longer. A: Make them longer, yes. V: A little. A: A little bit, yes. V: Uh, huh! A: Not too much of course. V: And play them legato A: Yes. V: Suspension and resolution has to be played legato. A: Yes. V: At least it has to sound legato. A: Yes. V: In a very reverberant room maybe you could articulate a little bit. But if it’s dry acoustics, it definitely needs to be played legato. Those two notes. A: Yes. V: And with the Dubois toccata, I think he is on the right track, right? A: Yes. Although don’t practice that piece too fast too often because it might get muddy after a while. V: So maybe then dotted rhythms and reverse dotted rhythms might help. Slowing down and playing, tum, ta-tum, ta-tum. A: Yes, and know every time when you practice, play in a slow tempo too, not just that tempo. V: Mmm, mmm. True. A: That will help to keep things clean. V: Okay. It’s just a matter of spending time. A: Sure. V: And he will get it, eventually. A: Yes. V: Thanks, guys. Please send us more questions. We love helping people, right Ausra? A: Yes. V: And remember, when you practice… A: Miracles happen! Vidas: Let’s start Episode 142 of #AskVidasAndAusra podcast. This question was sent by David. He writes:
“I really can't thank you enough for making all this available. It has been my dream to be a proficient church organist (my wife is a United Methodist Pastor) and perhaps to do some recitals and some composing. I practice on a real Møller organ but where I play once a month is an electronic Allen organ. Your materials have kept me moving forward. You've spoken about lineage through you too Bach. Here, also is my lineage through Dean: 1. David Koch (me) 2. H. Dean Wagner 3. Barbara MacGregor 4. Marie-Claire Alain 5. Marcel Dupré 6. Louis Vierne / Charles-Marie Widor 7. Jacques-Nicolas Lemmens 8. Adolf Friedrich Hesse 9. Christian Heinrich Rinck 10. Johann Christian Kettel 11. Johann Sebastian Bach For all you do, thank you and God Bless, David” It’s amazing, Ausra, that people can calculate their lineage through ages until Johann Sebastian Bach, right? Ausra: Yes, it’s amazing; and I think they should be thankful to George Ritchie, who introduced us to this sort of thinking about J. S. Bach, and feeling like a part of that big organ tradition that lasts for centuries! Vidas: Although, when we published that early post about our lineage through Bach...it’s basically an idea. It’s a nice idea; but of course, we have to remember that among those masters, especially in the 20th century--in French tradition and even in German tradition--there were people who would do different things than Bach did, right? Let’s say, Marcel Dupré: he believed Bach’s music should be performed in one way. Today we are not agreeing with him, right? Ausra: Well, but these sort of things, these are just details, in terms of the larger picture. Vidas: Mhm. Ausra: I think the most important thing is that they are all carrying that organ tradition. Vidas: Absolutely. And that, of course, helps us to see the big picture. Ausra: Yes, and that also creates a responsibility on each of us, to be better, to practice more, and to be the best we can. Vidas: And what comes next? For example, our students... Ausra: Yes, and to spread our message as far as we can. Vidas: Right. If, guys, you are considering yourself, let’s say, our students...it’s a little bit dangerous, because we don’t know everyone, right? Ausra: Yes. Vidas: It’s a long-distance relationship. But still, our teaching across the globe spreads wide and far. And people might say, “Oh, we’re studying with Vidas and Ausra!” That’s fine! That’s fine...until a certain point, right? Ausra: Yes. Vidas: If it’s ethical. And then, what comes next? You have to think about your own students, right? Students--like, to the twelfth generation or thirteenth generation, too! Because then, your own students will probably continue this tradition, if you present it well. Ausra: Yes. Vidas: If you transmit it the best way you can possibly transmit, of course. Ausra: Uh-huh. And thinking about this, you know, chain of generations starting from J. S. Bach--it’s very interesting, because I’ve never thought that I’m so close to it; but when you start to count, then you see that happened not so long ago. Vidas: Exactly. Ausra: That not so many people are in between you and Bach! Vidas: And going further into history than Bach, you could say Buxtehude, right? And then, through Buxtehude, you could say things like Tunder, and Reincken also goes back, probably, through his interactions in let’s say Lübeck, and Hamburg was related there, too, so Scheidermann and Sweelinck come into play, at least indirectly, right? And then what comes before Sweelinck is also interesting: like, people from Italy--theorists and composers: Zarlino, right? The famous theorist and composer. And before him, in the Renaissance period, it can really, literally go into probably the earliest instances of organ literature that we know today. Not only organ; probably choral, too. Ausra: Yes. Church music, probably. Vidas: Mhm. So, organ music is maybe like 7 centuries long. The earliest instance of surviving notation is from about 1350 or 60, or the middle of the 14th century, basically: the famous Robertsbridge Codex. And they have several dances which are called Estampies; and we can at least hypothetically connect emotionally with that collection, too right? Ausra: Yes...maybe too far back, for me! Vidas: We don’t know what happened in those centuries, right? But yes. Do you think we could trace our lineage back to, let’s say, people who played Estampies? Ausra: Heheh! I don’t know. I don’t know this; but actually, I just read an article that, let’s say, for example, in Lithuania--we could all trace our lineage back to our only one king, Mindaugas. Vidas: Really? Ausra: I mean, yes, well, if a person had kids, and grandkids, it means that through a few centuries, their genes spread all over that area. Vidas: Mhm. Ausra: So they might all have...or maybe not Mindaugas, because I don’t know if his kids survived; but like, our Grand Duke Vytautas, that’s for sure--that we are all grandchildren of him. Vidas: Mhm. Ausra: Of his lineage. Vidas: This year in Lithuania is very special, because in 2018 we are celebrating the 100th anniversary of restoration of Lithuanian independence. Ausra: Yes! That’s actually the hundredth year of modern Lithuania. Vidas: Mhm. Ausra: Modern, independent Lithuania. Vidas: Yes. Ausra: That happened after the First World War. Vidas: February 16th of 1918. Ausra: Yes. You know, because the end of the First World War helped many European countries to declare their independence. Vidas: Yeah. But then, later, the Nazis came, and then the Soviets... Ausra: And then the Soviets came. And then the Soviet occupation began that lasted for 50 years. Vidas: And only finally in 1990, March 11, we declared our Restoration of Independence again. Ausra: Yes. Vidas: We’ve been independent for almost 28 years now. Ausra: Yes. That’s a good question--for how long. Don’t you think, sometimes, about this question? Vidas: Well, let’s hope the peace will last, and that reason will prevail, and emotions and madness will pass. I think political, diplomatic solutions are always a better way than military solutions. Ausra: Yes, that’s true. Because even when now, when we can spread our knowledge and share our thoughts with everybody in the world...that wouldn’t be possible otherwise. History would take another turn. Vidas: Yeah, like if some dictator would close down the internet, right? Ausra: Yes. Vidas: And we would have to be enslaved again, and... Ausra: Or you know, to just, to leave our country. That’s what happened, you know, during the Second World War. Vidas: A lot of people emigrated. Ausra: Yes, yes, when they saw that the Soviets were coming. Vidas: Mhm. Sad history. But we’re hopeful for the future; and we’re thankful, guys, that you’re listening to this, that you’re continuing this tradition, that you’re helping this tradition of many many centuries--after Estampies, after the Robertsbridge Codex, after Zarlino and Sweelinck and Bach--to continue. And we’re hopeful for the future, that through our efforts, and your efforts, too, that it will continue for many centuries to come. Ausra: Let’s hope for it! Vidas: Alright! And let’s practice now. Enough talking! Ausra: Yes, yes! Vidas: Enough theoretical hopes! Ausra: Don’t forget to practice every day! Vidas: Good. Thanks, guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 141 of #AskVidasAndAusra Podcast. This question was sent by Peter. He writes: “I think the amount of time we waste on things which are of no benefit is frightening. I wonder why? What makes the difference between the things you want to do (like eating tasty food, lying in bed, drinking to excess, wasting time on the computer etc.) and the things which you ought to do (practicing the organ, eating healthy food, getting to bed early, getting up early!) etc? An interesting psychological question. I suspect that a great deal of the answer is forming the correct habits, from an early age. The more you put into life, the more you get out of it.” So Ausra, we all know this situation, right? A: Yes, that’s so human-like. V: We love to procrastinate, to do things that are not necessarily worthy but are pleasant. What’s the reason for this, do you know? A: Well, I think it’s just human nature in itself that we seek pleasure in immediate gratification. It’s probably takes more satisfaction to eat tasty food which is not healthy like french fries or hamburgers and sweets instead of eating vegetables 5 times a day. But I think it’s important to force yourself to do other things, like practicing organ or going to bed early or eating healthier, I think looking to that final result of things. V: Which is what? A: Or further results, like playing recital or everybody praising you or lowering your blood pressure and exercising. V: But you see, Ausra, the final result for all of us is what? Death. A: Well, yes, if you would love from that perspective but since most of organists are Christian or at least I think so, you don’t think that with your death things will be over. V: So that’s why you need to eat vegetables 5 times are day and that’s why you need to floss your teeth. A: No, you do it just to make your life longer. V: I see what you mean now. A: I know, you’re making fun out of me. V: Not only out of you. I do this too so I’m making fun out of myself too. You see, I agree with you, it’s so difficult. We as humans tend to seek pleasure and tend to avoid pain. Two things in life. And not only humans - every animal. Every single our ancestor does this instinctively, right? A: Yes, I think so. V: But the difference with humans is we have so-called free will which not everyone believes we have. A: Yes, some people believe in predestination. V: Yeah. A: And that the choices are made for us from probably above. V: If you look from the scientific point of view, you could also argue that the world is governed by the laws of nature and that we basically behave according to the laws of nature but then there’s this question about unpredictability. Sometimes atoms in our cells and smaller particles than atoms move in unpredictable ways, like in quantum physics. So that’s I think the key to understanding that we sometimes can change our destiny and can behave in a different way than it’s destined, if you even believe in destiny. So with that in mind, I think there is hope, right? We can dream a little, make hopes for the futures, big goals and make plans and take steps to achieve those goals, right? A: That’s true, yes. And I think we have to find some sort of satisfaction in what we are making in practicing the organ. That the process itself would give us some pleasure. V: Exactly. Some people even say that the result is not that important as the process, as the journey. The journey is the goal, basically. To achieve something in life is not that important as to live a good life, basically. A: I think maybe our society is very much result-oriented. Don’t you think so? Like everything - educational system starting from an early age, having all those exams and grades. V: That’s what they call meritocracy. The better you do at school, right? Children hope to get better grades and with good grades they can get into a famous college, right? A: Yes. V: With famous college of course is a myth nowadays. It doesn’t matter anymore. But still many people believe this. And with famous college you could get a good job, right? Which is also not the case anymore. A: Yes, and you can make big money and you can become happy. V: For life. A: But it’s not necessarily true or not 100% true. V: So what makes people happy, Ausra? What makes you happy? A: I think small things makes me the most happier. V: Like what? Eating chocolate? A: Well, not so much chocolate but reading a good book, going for a walk. V: 10000 steps… A: Well, you are making goals already. V: My phone messed up and doesn’t count the steps I’m taking so I’m very frustrated now. And basically I lost motivation to walk. Because I don’t know how many steps I take. I may have to lie in bed today. I feel like I’m being robbed. A: But still you have to walk even if your phone doesn’t count your steps. V: OK. A: So for me happiness in small things. V: Of course doing things that you love is very important and that’s where organ playing comes into play, right? For some people it’s a profession, like for us. It’s what we do. But it’s even better if it’s your hobby, if it’s something you love to do in your spare time, then you can wait for this moment, wait for this privilege in your day to sit down on the bench and practice, right, Ausra? A: Yes, that’s right. And in general music gives me the biggest joy. Not necessarily playing but also listening to good music, to a nice performance. V: And then sometimes this short-term pleasure fades away, right? Because you have basically long-term hope that if you sit down on the bench and perfect yourself just one percent today and the next day and the day after that, after 72 days this percentage will double and it will compound and after one year it will be like 3800 percent of improvement in whatever skill you are trying to improve. So in the case of organ playing it’s I think a big deal after one year, right? A: Yes. V: So Peter if he’s struggling with let’s say motivation sometimes to get on the organ bench, do you think that he could think about that basic 1 percent improvement a day and not break a chain. If he, for example, had a calendar on the wall and notated X for every day that he practiced organ. X for a week, X for a month, X for 6 months. And then the entire point is simply to not break a chain of X’s, right? A: Yes. V: And it gives us pleasure in things routinely. A: That’s true. V: Would that work? A: Yes, that might work. V: Would that work for you if you would be struggling? A: Yes. You know, I remember when I was back in school I would check mark each day after it ended and I would count how many days were left until vacation. V: Aah. A: It was a good motivation to keep going. V: So it was for the upcoming pleasure. A: Yes. V: Of course there is fear of upcoming pain. Maybe deadline is also a good motivation, like recital. A: Yes. V: If you schedule a public performance or just a simple church service or even playing a short prelude and postlude in your friend’s church a month or two months from now, then of course you will have to announce for your friends and family that you will be there in two months and they will come to listen to your prelude and postlude. Then you will have all the motivation in the world, right? A: Yes. V: OK, what would be your final advice for Peter and people like him? A: Well, I think that everybody has to find their own way, really. Because we can suggest things that don’t work for them but try to look for new ways how to make yourself doing right things and to motivate yourself. V: What if people skip practice for one day, two days, three days? Should they scold themselves? A: I don’t think scolding yourself is a good thing. It’s not good for you. V: It’s very Christian though. A: Yes, it’s very Catholic. I think sometimes all the Catholic churches are built on that guilt. I think most of Catholics grew up knowing that feeling of guilt. And I don’t think it’s good psychologically, it might crush you down. So don’t feel guilt about not practicing. Just try in the future to avoid those long days without practice. V: Like in the morning… This is a new day, right? A: Yes. V: You wake up in the morning and you say, “Today will be a different day.” A: Sure. V: Thanks guys. This was Vidas. A: And Ausra. V: Send us more of your questions. We love helping you grow. And remember, when you practice… A: Miracles happen. Vidas: Let’s start Episode 140 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Irineo, and he writes:
Hello there once again, maestro Pinkevicius. Now THAT IS an interesting subject you chose for your podcast. Actually, I suspect different keys have different "taste" or meaning depending on each individual. For instance, Bach's splendid Toccata in G-minor BWV 915 has a fantastic Fugue which is not only splendid, but jocular. It's extremely witty as far as I'm concerned. It sure DOESN'T sound "sad" or "dark" a bit. But there's supposedly this "treaty" about different keys and the way they "taste" or are perceived by people. I couldn't locate a good friend of mine who told me about it many years ago, nor could I learn its name. But I recall having read about a luthier who developed a very special instrument (harpsichord) and stated that keys might actually have their own "flavor". Like C having a tart/sour taste, D being tasteless, E having a sweet one, F a bitter one and so on and so forth. Can you perhaps guide me here, maestro? By the way, I'm still working on the translation of my short chorale (which has a feature I've yet to see in music history, I daresay) but as soon as I finish it, I'll upload it as you kindly suggested. Keep up the good work, you both! Greetings as usual. Very truly yours, Irineo. So, this is a big question, right Ausra? Ausra: Well, yes. Vidas: What do you think about it? Ausra: Well, I think it’s a fascinating subject, talking about different characters of different keys. And there is actually so much information written about it--not so much nowadays, but you know, in historical sources. Vidas: And today, this information is sometimes transmitted incorrectly, because the instruments might sound alike because of the temperament, and the player doesn’t feel the difference between the keys. Ausra: Yes, and that’s very true, because the equal temperament sort of loses all those colors that ancient instruments had, and historical temperaments had. Vidas: What’s your favorite key, Ausra? Ausra: Well, I don’t have one particular key, but I definitely prefer keys with flat accidentals, with flats. Vidas: Mhm. Ausra: Such as, for example, F Major, or E♭ Major, c minor, g minor, d minor--d minor, I like d minor a lot. Vidas: And what’s the difference between d minor, let’s say (this is with 1 flat), and e minor (with one sharp), for you--in your mind? Ausra: Well, I don’t know, but flat keys sound better to me, and it’s actually more comfortable for me to play. And even on historical temperaments, I think d minor is a much more used key than e minor; and that’s because of the dominant chord of both keys. Vidas: Which is...? Ausra: Which is, you know...in e minor, it would be B, D♯, and F♯. And basically, it’s quite uncommon to have D♯ on historical instruments. Vidas: It usually is E♭ instead of D♯. Ausra: Yes, yes, because E♭ is used more often; so if it doesn’t have a split key, it has E♭, not D♯. Vidas: And if it doesn’t--if you can play any kinds of keys--then it means the temperament is adjusted or modified. Ausra: Yes; and in d minor, the dominant chord would be A, C♯, and E; and C♯--everything is fine with it because C♯ is C♯, not D♭. Vidas: C♯ is much more common than D♭? Ausra: Yes. And I’m always wondering, when I’m thinking about the early music like Buxtehude’s f♯ minor Praeludium...I just can’t imagine how it could be played on historical temperament. Because it starts with F♯, A, and then E♯ and G♯. It’s unbelievable. I think maybe somebody just transposed it for, I don’t know, scholarly purposes! Vidas: F♯, A, E♯, and G♯, right? Ausra: Yes. Vidas: That’s E♯. Imagine--E♯ is extremely rare. It seems like you’re hitting the note F. Ausra: Yes, and it should sound quite badly on the mean-tone temperament. Vidas: From Buxtehude’s time. Ausra: Yes, yes. Vidas: Didn’t he order some kind of adjustment of the temperament, in his Marienkirche in Lübeck? Ausra: No, I have to check Kerala Snyder’s book about it. I cannot recall it exactly-- Vidas: He did it, but Ausra: I think he did something. Vidas: But was it about the same time or not? We cannot tell. Ausra: Yes. Yes, and because no autograph score is available of Buxtehude’s organ works, so we might just guess. Vidas: So, another option of course is to transpose this piece. Ausra: I know. And I think maybe some of the pieces were transposed, actually. Vidas: And...to transpose to which key, in this case? Up or down? Ausra: Well, that’s a good question. I think up. Vidas: To...? Ausra: G minor. Vidas: Oh! G minor is quite common, right? Ausra: Yes, yes, that’s very common, yes. Vidas: It only has 2 flats, and the dominant is… Ausra: With F♯. So that’s ok. D, F♯, and A. Vidas: One of the most common keys, actually. Ausra: I know, it is one of the most common. Vidas: That’s why Franz Tunder composed so many Praeludiums in G. Ausra: Yes. And Buxtehude, too. Vidas: Mhm. Ausra: There are quite a few Praeludiums in g minor. But what about you? What is your favorite key? Vidas: I’ve been trying to avoid this question, therefore I’ve been questioning you! Ausra: Well? Vidas: Um...okay. I like E♭ Major, maybe because of that famous Prelude and Fugue in E♭ Major by Bach. Right? It has this solemn character--maybe even a royal character. Why royal? Because you remember the opera by Mozart, Zauberflöte? Ausra: Yes, I remember it--The Magic Flute. Vidas: And in which key does the Overture start? Ausra: In E♭ Major. And because it has 3 flats, there are speculations that it might mean in general also the Holy Trinity, too. Vidas: Uh-huh. Ausra: Especially in Bach’s case. But also in Mozart’s case, it’s sort of the magical key. Vidas: Why is it magical? Ausra: Well, it’s related to the Masonic Order, and all those kinds of mysteries. Vidas: Ah. Ausra: And with alchemy. Vidas: And the number 3 is very sacred. Ausra: Yes, yes, it’s a sacred number in actually many religions and different cults--3 is a magical number. Vidas: Why couldn’t Mozart have written it in, let’s say, A Major, with 3 sharps? If it’s 3, then why not sharps? Ausra: That’s a good question. I never thought about it. Do you know why? Vidas: Sharps should be a little more difficult to play for his beloved clarinet. Ausra: And I think maybe it’s related to trombones, too. Because it’s a rare case: actually, trombones were used very often in religious music-- Vidas: True. Ausra: Like religious cantatas. And it was very seldom the case to use it in opera. And I think it’s much easier for trombones to play in flat keys--and for most brass instruments, as far as I know. Vidas: Exactly. Ausra: And I think that’s why he chose E♭ Major. Vidas: Exactly. Then, I like, of course...I like A Major, though. Remember the Prelude and Fugue by Bach, BWV 536? Ausra: Yes, I remember it. But when I think about A Major, the first piece that comes to my mind is actually not an organ piece, but it’s Mozart’s Variations in A Major, and that very famous theme. I think everybody knows it. Vidas: Oh, you mean the Variations from the sonata-- Ausra: Yes. Vidas: --where the last movement is the famous...or am I mistaken…? Which one is Turkish March? Ausra: I think it’s of that sonata, yes. So the first movement is not written in sonata form, but it’s variations--in A Major. Vidas: Mhm, exactly. And what’s the character of those variations? Ausra: Very sweet, actually, very sweet. Nice and sweet. Vidas: And what’s the meter, then? 6/8? *starts humming* Ausra: Yes, it’s 6/8. Vidas: *continues humming* Yeah, it should be like 6/8. Ausra: Yes, it’s 6/8. Vidas: And what dance could it remind you of? Ausra: Well, very often the gigue is written in 6/8, but it’s not that kind of character of the gigue. It’s more...it’s more like a barcarolle. Vidas: Barcarolle, or sicilienne. Ausra: Yes, or sicilienne, yes. Vidas: But a gigue is usually faster. Ausra: Yes, so it’s probably a sicilienne. Vidas: So maybe 9/8 or 12/8. Ausra: Yes. Vidas: So if it’s a sicilienne, it has a pastoral character/nature right? Ausra: Yes, and A Major is very suited for nature, for pastoral use. Vidas: Mhm. So guys, you see what we’re doing here: we’re remembering well-known pieces in various keys, comparing the characters, and then finding out similarities between them; and maybe discovering the meter, and what kind of dance goes with that meter, right? And then it appears you can have a system of keys, meters, and dances, also. True? Ausra: Yes. Vidas: So when you play any organ piece in any key, look at the key, meter, and the character, and see if you can find a similar one by another composer--maybe from another instrument or even period, which has a similar character, key, or meter. Ausra: Yes. And I’m sure that you might find some similarities between different composers. Because those keys were not chosen accidentally, or you know, a particular meter. Vidas: Exactly. They have symbolic meaning, always. Ausra: Yes, and there are quite a few famous theories of musicologists or composers that have talked about it, and made treatises; such as, for example, Jean Philippe Rameau; or, you know, also Quantz on playing the flute--he talked about keys, too. Vidas: Marc Antoine Charpentier Ausra: Yes. Vidas: And these are the main ones. And C. P. E. Bach, of course, should have… Ausra: Well, he did not talk so much about keys. He talked more about thorough bass that kind of stuff. Vidas: Ah. What about Kirnberger? Ausra: Yes, I think you can find things… Vidas: Mhm. Kirnberger was a student of Bach, so... Ausra: Yes, so by studying Kirnberger, you can think about what Bach thought about keys and meters. Vidas: Excellent. So...this is a fascinating subject for you to explore. And please send us more of your questions. We love helping you grow--don’t we, Ausra? Ausra: Yes. Vidas: Okay, this was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. I’m so delighted to be able to teach you about avoiding mistakes when playing in an equal tempo today. Listen to the audio version here.
You see, recently one of my “Unda Maris” studio students played in our church and he had a trouble of keeping equal tempo and avoiding mistakes. I thought to help him with some of the tips which might be of value to you too because you also probably need to avoid mistakes and play at a constant tempo. So the problem is usually with the tempo that is too fast. A lot of people try to slow down when they practice and this is good. But this tempo still needs to be considerably slower. You see, when we play the organ we don’t necessarily feel the limits of our abilities and we pick the tempo that sounds well, the piece of music that we’re playing sounds well in this particular tempo but it doesn’t mean that this tempo is suitable for us at the moment. So when students played their piece and made mistakes usually it usually means they played too fast. So the normal tip would be to slow down and try to play at the 50 percent slower tempo. So that would be the first tip I could give you. Maybe slow down from let’s say 80 beats per minute to 40 beats per minute. That would be OK. What about if your concert tempo is at 60 beats per minute? Well, you could slow down to 30 beats per minute. If you still make mistakes after slowing down 50 percent, then you need to reduce the texture. What do I mean by that? Imagine if your piece of music has 4 voices and you’re playing it extremely slowly at 40 beats per minute and you still make those mistakes. This simply means you need to take this texture apart and play, let’s say just 3 voices at the moment. If that is too difficult for you, then play maybe 2 voices together. And if you still make mistakes, play it very slowly but only one voice. That’s why I always recommend to start your practice of a new unfamiliar piece with a single line only in most cases if you want to avoid mistakes completely. So soprano, alto, tenor, bass - all those lines could be played extremely slowly and without combining them first, just one voice. After you master this particular step, you are free to go to the next level and play 2 parts together. So that would be soprano-alto, soprano-tenor, soprano-bass, alto-tenor, alto-tenor and alto-bass, and tenor-bass combined. And the next thing would be to practice 3 voice combination - soprano-alto-tenor, soprano-alto-bass, soprano-tenor-bass and alto-tenor-bass. You see, how many steps we took in order to achieve this final combination - 4 parts combined, both hands and pedal, in other words. 14 steps before the final 15th step - 4 parts together. So don’t forget to do this. Of course, you don’t have to do this all the time if the piece is very easy, if the piece is of homophonic nature, if it moves in chords or if it’s a melody and accompaniment. Then you just need just 7 combinations: Right hand, left hand and pedals alone. Then right hand and left hand, right hand and pedals, left hands and pedals and the all parts together. If it’s not polyphonically complex music. So try these tips in your practice and let me know if it helps. It helped me and it helps this student that I’m trying to help in our “Unda Maris” studio. OK guys, please send us more of your questions. We love helping you grow. And remember, when you practice, miracles happen. Vidas: Let’s start Episode 138 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Rivadavia. And she writes:
“I am studying at least 15 minutes a day as suggested and have discovered that sometimes laziness or tiredness goes away and I can study for at least 1 hour in all. I love reading your podcasts, because I learn a lot from the difficulties that advanced musicians have. As I said in another email, I am a beginner (some sheet music from Ana Magdalenna Bach's book is still a bit difficult for me…) and I am no longer a child, but I intend to study until the end of my life because I like to learn music more and more. I am also very happy to be in contact with renowned organists, as well as you, since I am in an early stage and, in another circumstance, I probably would not even come close to musicians like you. Reading one of the last podcasts, the name of Bernard Winsemius was mentioned. I had the opportunity to watch a video on YouTube of this organist playing a work by Nikolaus Bruhns and found it very cool the way he played. The mastery over the instrument and the score. Sometimes when I'm too lazy, I'm out of work, I watch this video and I get motivated enough to do AT LEAST the fifteen minutes of practice. I have a piano-type MIDI keyboard at home, and I use free "Grandorgue" software to simulate organ sound. If you have never used it, it is very interesting and there is also the "Hauptwerk", but the full version is paid for. Of course they do not replace the wonderful real organ, but it helps to fantasize a little and learn to use the stops. Well, in that regard, I have a question. I know that there is an infinity of stops, but of the 10 or 20 most important, which could not be missing, which are considered the most fundamental? Is it possible to answer this question? Thank you so much for your generosity in helping so many people around the world, like me.” So Ausra, first of all: ten or twenty most important stops--in your opinion, where do we start? Ausra: Well, I would say the Principal stops are the most important. Vidas: An organ, large or small, should have a principal, right? Ausra: Well, unless it’s a practice organ like the one in our house. It doesn’t have principals because it doesn’t have enough space, and it would be too loud. But in general, yes; the Principal is the most necessary organ stop. Vidas: And those principals can be of various length. Ausra: Sure. You can have Principal 16’ in the pedal; sometimes manual, too, in a large organ; then 8’, 4’, 2’, and even smaller. Vidas: Mhm. Let’s see...of course, we need some flutes, right? Ausra: Yes, definitely; this would be the second most important stop. Vidas: Out of the flutes, what would you like the most, to have? Ausra: Out of the flutes? Well, you know...I don’t know, if I prefer like Chimney Flute, or Gedackt-colored flute. Which one do you like the most? Or organ flute like Flute Harmonique, French style. It depends on the concrete stop; I could not say that, for example, “This one is my favorite.” Vidas: The most interesting stop in the flute family, for me personally, on the St. John’s Church organ, might be Flauto Major, from the first manual. And of course, Flauto Minor, which is one octave higher, at 4’ length. Um...yes, I do like the Rohrflöte, and Gedackts as well. Ausra: For me, my favorite flute at St. John’s Church is the Flute 4’ on the second manual. Vidas: They call it Jula, right? Ausra: Yes. That is my favorite. Vidas: True. And it’s so deep in the organ, so it’s a little bit muffled, and it suits very well to play it alone. Ausra: Yes. Vidas: Do we need anything else, or would it be enough, to have just flutes...? Ausra: Well, actually, these would be enough, to have already the sense of organ. Vidas: But you mentioned the Principal chorus with mixtures, imitations… Ausra: Yes, yes, yes, then I said that you can have higher pitched, even than the 2’; so the mixture would probably be the most recognizable organ stop, for amateurs; because if you watch a movie, or any kind of, I don’t know, documentary-- Vidas: Mhm... Ausra: And if you would have organ playing, you would get pleno sound, with mixtures. Vidas: Mhm. Ausra: That’s how people in general have recognized the organ. Vidas: True, true. Let’s imagine we have some string stops, also. Ausra: Yes. These are very nice too; but probably not as common as principals and flutes and mixtures. But also it’s important to have them, and they are nice string quality stops. Vidas: Viola, Salicional... Ausra: Viola gamba… Vidas: And undulating stops, too, like… Ausra: Like Unda Maris... Vidas: Viola Celeste. Ausra: Celeste. Vidas: They work very well. Ausra: But also, you can have organ without it, and you still can play a lot of music. And, well, reeds are common, too; but also, not every organ has it. I would say in Lithuania it’s not such an often-encountered stop. Like in Italy, too. Vidas: Mhm. Ausra: You would not find many reed stops on historic Italian organs. Vidas: Alright, so...now let’s build a hypothetical organ with twenty stops for Rivadavia. Ausra: Ok, how many manuals? Two? Vidas: I would say with twenty stops, you would need two manuals. Ausra: Two manuals, and pedals. Vidas: Not three. Ausra: Of course, not three. Yes. Vidas: Two manuals. So on the first manual might be...what, seven? Or six. Or eight stops. Six, seven, or eight? Ausra: Hahaha! Vidas: Let’s divide it into the sections. Ausra: Well, ok, let’s do eight stops. Vidas: Eight on the first manual, and then eight on the second manual. Ausra: Maybe seven on the second, and five in the pedal. Vidas: And then five in the pedal, right? Ausra: Yes. Vidas: We’ll see. So, out of eight in the Great, of course...do you think that it could have 8’ Principal, or 4’ Principal foundation? Ausra: Well, now I’m thinking about it, it’s not too small an instrument for 8’ Principal. 8’, I think. Vidas: I think 8’ would be fine, yes. Ausra: Good. Vidas: That’s one, right? Ausra: Yes. Vidas: Do we need 16’ Bourdon? Ausra: That would be very nice, yes. Vidas: Two. Uh, some kind of flute, of 8’. Ausra: Definitely, you definitely have to have… Vidas: Let’s see, maybe Gedackt? Ausra: Maybe Gedackt. Vidas: Gedackt. Three. Now, four: do you need some strings on the first, or no? Ausra: Well, not necessarily, I would say. Vidas: Ok, so let’s go to the 4’ level. Ausra: Yes. Vidas: Octave 4’? Ausra: Octave, yes. Vidas: And Flute 4’. Ausra: Definitely. Vidas: So that’s five. Ausra: Yes. Vidas: Ohh...we’re using stops very quickly now! Ausra: I know! So, we have three left, so I would say it should be...Would you put Principal to foot, or Flute to foot? Vidas: Principal. Ausra: Principal. Ok, then we have a nice Principal chorus. And then of course, mixture: what kind of mixture would you add? How many of those? Vidas: Uh...I would say three or four. Ausra: Yes. And then, would you add a reed? Vidas: Trompette. Ausra: Trompette 8’? Ok. Vidas: Mhm. So that’s eight stops in the great. Ausra: Yes. Now let’s move to the second manual! Vidas: Okay. Second manual should be a little bit smaller in size, right… Ausra: Well, since we decided to have seven stops. Vidas: Okay. So maybe it would be built on the foundation of 4’ Principal… Ausra: Yes. Vidas: Which means we could have a Rohrflöte. Ausra: 8’? Principal 4’? Vidas: 8’. Principal 4’. Of course, don’t forget the strings… Ausra: Yes. Vidas: Before the Principal 4’, we could have a Viola, right? Ausra: Yes. Vidas: Viola--just one, or two? Viola, and maybe Viola Celeste. Ausra: Yes. Vidas: Two. Ausra: So these would be 8’ stops, both of them, yes? Vidas: Right, both of them. So...and the fourth would be Principal 4’. Ausra: Yes. Vidas: What’s next? Ausra: So now we have three stops left. Vidas: Do we need a flute 4’? Ausra: Yes. Vidas: Mhm. What kind of flute? Ausra: Well...what would you suggest? Something like at St. John’s? Or not necessarily? Vidas: This is atypical for a global audience, right? Maybe we could name a more typical stop, right? Something like Flauto Traverso, or something like that… Ausra: Yes. But it would be 4’. Vidas: 4’. Ausra: And then I think you should add Flute 2’, too, not from the second manual. Vidas: Yes, so that’s number 6. Ausra: That’s 6, yes, and now we have to have some sort of treat. Maybe Oboe 8’, or Krummhorn 8’--what would you suggest? Vidas: Oboe or Krummhorn, or Vox Humana? Ausra: Yes. Vidas: Hmm. Hard choice. Ausra: Haha! Vidas: Oboe...and Vox Humana or Krummhorn. Would this organ have a swell box? Not necessarily. Ausra: Not necessarily, yes. Vidas: So then, maybe...You go ahead! Ausra: I would have probably an Oboe. Vidas: Ok. That would be probably a more Romantic option. Ausra: Since we have already those two string stops… Vidas: Mhm. Good. So that’s seven. No mixture, right? Ausra: No mixture. Vidas: But… Ausra: But that’s okay, I mean… Vidas: But that’s okay, unless we could sacrifice one of the… Ausra: Pedal stops? Vidas: No. Maybe one string. Ausra: Yes, that’s a possibility, too. Vidas: And have a mixture instead of Celeste. Ausra: Maybe you want to have a mixture on the second manual, too. Vidas: Or sacrifice one pedal stop. Let’s go to the pedals now. Ausra: Ok. Vidas: What would be the lowest Principal based in the pedals? Ausra: 16’, of course. Vidas: 16’? Ausra: Because we have the 8’ Principal in the first manual, so we have to have Principal 16’ in the pedal. Vidas: Mhm. Ok. So that’s one. Ausra: Or...you would not add Principal? I think it’s fair, to have 16’ Principal in the pedal. Vidas: Yeah, let’s have 16’... Ausra: Because our pedal division is not so big, not so large--we have only 5 stops. It would be nice to have a Principal 16’. Vidas: And of course, then, Subbass 16’. Ausra: Subbass 16’, yes. Which is a flute stop. Vidas: What else? You would need, probably, Octavbass 8’. Ausra: Yes, yes, Octavbass 8’. This is a Principal stop. Vidas: And Flautbass 8’. Ausra: Sure. Vidas: Right? That’s four. Ausra: And then what else would you do? An Oktave 4’, or…? Vidas: Or reed? Ausra: Or reed, yes. That’s a hard question. I probably would have Octave 4’. Vidas: Or… Ausra: Because you know, you could actually couple the Trompette from the first manual. Vidas: And I would choose the reed, because every division, now, would have a reed-- Ausra: Except pedal. Vidas: And a different pitch level than the manuals. 16’ Posaune. Ausra: And how the Pleno would sound without mixture? Vidas: You could have a manual coupler, right? Ausra: That’s right. Maybe--okay, and which reed would you choose, then? Posaune or Trompette? Vidas: I would go with Posaune. Ausra: Posaune 16’, yes. Vidas: Mhm. So. We have five stops in the pedals, and seven in the second manual, and the first one, on the great-- Ausra: And of course you would add couplers, like you know, that you would be able to couple both manuals together, and to also add the pedal. Vidas: Yeah, second to the first, second to the pedals, and first to the pedals. Ausra: Sure. Vidas: That’s it. Ausra: Yes. Vidas: That’s all we need. Ausra: And actually, with such an organ, you could play a lot of music. Vidas: True. Will it have mechanical action, or not? For you? Ausra: If I would build an organ? Yes. The action would be mechanical. Vidas: Mhm, because the touch would be more sensitive; you could have more connection to the instrument. Ausra: Yes. Vidas: Excellent. So guys, this is our sample 20-stop organ on two manuals and pedals; if you like it, you can build it for Rivadavia! Or build it for yourself! Alright; this was Vidas. Ausra: And Ausra. Vidas: Don’t forget to send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 137 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Dan. He writes:
“Hi Vidas, just wondering, as of late, have you moved the podcast feed over to another provider? It looks like you have, as clicking the links to listen for example, on your latest post on your main site, takes me over to a site called musicoin.org. Apparently you can play directly from their site, but that for me, doesn’t seem to be working. I use a Screen reader, (VoiceOver on macOS 10), so I’m not sure if it’s an accessibility issue with their site, whether you have to have an account over there to listen, or what exactly is up with that. I was getting episodes just fine before, in my podcast app of choice, that being downcast, but lately I haven’t been. If a lot of subscribers are still on the old feed, and using apps such as downcast, overcast, iTunes, or Apple’s podcast app, or any podcast downloading apps available on the android side of things, they won’t be able to get your latest episodes. If you could, please provide me with a link that I can stick into my podcast app, to subscribe to the new feed. Doing a search in any podcast app, still brings up the old feed in search results. Thanks, and take care. Dan from Ontario Canada.” Ausra: Well, this is a very technical question; so Vidas, maybe you will answer it. Vidas: First of all, it might be frustrating for old users who have been listening to our podcasts for some time, because we haven’t updated our SoundCloud channel, right? Because we put every new podcast to Musicoin, right? He’s right--Dan is right; we use Musicoin.org. That’s because this platform is built on revolutionary blockchain technology and is dedicated to treating musicians fairly. What do I mean by that, Ausra? Ausra: Well, that, you know, musicians get paid more. Vidas: More? Ausra: Yes. Vidas: With SoundCloud, they don’t pay at all, actually. You pay a subscription for an entire month-- Ausra: That’s true. Vidas: Or a year (around $100 USD). And you don’t get anything in return. So, it’s almost the same with any other podcasting services. You, too, might host your videos on YouTube, and you could have an advertisement, and you could get a little bit of revenue; but that’s actually basically nothing compared to Musicoin. Ausra: Yes, so Musicoin seems the most fair for musicians. Vidas: So, right now, for example, looking at my Musicoin profile, I have...right now, earned after about basically more than 1 month, I have earned something like 3,600 Musicoins (currency symbol is $MUSIC). And one $MUSIC is worth about 4 or 5 cents right now. So you can do the math. That really is a beneficial way for any musician to try out, I think--this platform. And for blind listeners like Dan, I think the solution will be very simple: in the new year of 2018, the Musicoin team is planning to release their app for phone. And they will be easily listened to on the phone, then. And not only Dan, but anyone who uses phones for listening to audio on the road. So, that’s why we’re doing this, because it’s a good experiment for any musician, and we would like to report how it works. And after one month, I have reported, in some place--in one post--that it was like $110. So it’s a good start I think, for people--it’s just the beginning of this platform. If you join early, you would do, I think, quite well in the future. You can use our invitation link to join this; and of course, feel free to subscribe to our channel at Musicoin. Ausra: Sure. Vidas: Right? So yes, this was a technical question, but we have explained the reasoning why we are uploading our audio content. Not only this podcast, right? Ausra: Yes. Vidas: We are uploading other music that we perform, and older podcasts from other platforms, too. So it will catch up to the current state, and this will be a very robust and comprehensive platform and channel for future reference, too. Oh, and by the way, you can divide your revenue between up to 8 people! For example, if I have a guest on my podcast, I can divide my revenue and share with that guest, if he simply is on Musicoin, too. If I have an ensemble of up to 8 people, I can easily divide that revenue between the members, and they automatically get their share. Whenever somebody is playing back the audio content, whether podcast or instrumental music or vocal song, then currently this platform gives you 1 $MUSIC. As I mentioned before, this $MUSIC is now worth about 4 or 5 cents. And the value of that $MUSIC is likely to increase over time, because as this platform gets traction, more and more people will start using it. And as the value of the $MUSIC gets to 10 cents, then they will start giving the artists only a fraction of a full $MUSIC, but not less than 2 cents--that’s their promise. And for 2 cents, it’s a decent amount of pay--a very fair amount of revenue for every musician--for every independent musician. You will not get better treatment for musicians anywhere, on any other platforms. And it’s of course free to join, for listeners, free to listen, and of course, free to upload your music--you don’t pay any fees at all. And you get $MUSIC instantly, directly, automatically, to your account; and then, once you get enough $MUSIC, you can transfer them to your desktop wallet; and then from there, you can exchange them to the currency which is called Bitcoin; and then from Bitcoin to any other currency including dollars, euros, pounds, anything else. So it’s an intermediate way of storing your $MUSIC in a wallet, if you want to cash out in the future. Wonderful! Thanks, guys, for listening. Please send us more of your questions; we love helping you grow. This was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 136 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Bruce. He writes:
“Hi Vidas, I'm trying to download BWV 578 (little fugue in g minor), but I don't see it in the list of directly downloadable items on the Total Organist web page. Is this piece available to me with my total organist subscription? If so, I would like to take it with me on my travels. How can I get a copy of it? I would really like to review and understand your recommended fingerings while I'm on the road.” So, Bruce is a traveler, right Ausra? Ausra: Yes. That’s what I understood from his question. Vidas: And he doesn’t always have access to a real organ. Ausra: That’s right. Vidas: Is it okay to study your music on the road? Ausra: Yes, I think so. That’s a very good thing to do, because this keeps you sort of still connected with the music that you are playing. Vidas: Somehow, I sometimes see people miss their practice because they don’t have access to an instrument--somehow either their church is far away, or they travel too much, right? Ausra: Yes, that’s right. Vidas: So...but it’s okay, probably, to simply take your music with you, and practice...let’s say, on the table. Or not? Ausra: Yes, you know, I still remember while studying at the Lithuanian Academy of Music, with Professor Leopoldas Digrys, I remember him talking about practice time, and he would strongly recommend to divide your practice in three stages-- Vidas: Mhm. Ausra: Three periods. And he would suggest to do one part of your practicing on the organ, another on the piano, and the third one--to do mental practice just looking at the score. Vidas: Of the same piece? Ausra: Yes, of the same piece. Vidas: How interesting. So, Bruce should then divide his practice time in three ways, right? Ausra: Yes, I don’t do it so much nowadays, but I did a lot of practice this way when I was still a student. Vidas: Let’s talk a little bit about each stage. While talking about organ practice, we all know it’s very beneficial, right? Ausra: Yes. Vidas: Because it’s organ music, and you adjust to your instrument. What about the second stage, basically piano practice of organ music? Ausra: Well, you know, it sort of helps you to develop technique, especially in Romantic and late music. It’s very beneficial; I remember when Bruce Neswick at Eastern Michigan University--he came to visit our school at the improvisation symposium that Dr. Pamela Ruiter-Feenstra hosted-- Vidas: Mhm. Ausra: And was initial leader of it; and he came to teach, to give some master classes on improvisation, and he also had to perform a recital at Pease Auditorium. And I remember he was playing the symphony by Louis Vierne... Vidas: Mhm. Ausra: And I remember that he did some of his practice on the piano. Vidas: Do you remember which symphony it was, by Vierne? Ausra: I think it was the first symphony. Vidas: The first symphony, and the famous Finale? Ausra: Yes, yes. I love that Finale, it’s so nice. And so, he found it very beneficial to practice that music on the piano. So, it will never hurt, you know; it’s a good way. Plus, most of us have access to piano much more often than organ. Vidas: Mhm. Ausra: Than access to the organ. So I think it might be beneficial, too. It might sort of give you more time to practice in general. And you know, let’s say if you have access, you don’t have a home organ, and you really need to work on your fingering and on technical stuff, you really don’t want to do that at church. I just can’t imagine doing that at church. Especially like in our church, at St. Johns, where there are tourists coming all day round...I would not want...it would be sort of like washing your underwear in front of all people! That’s the same, when you are working on those details, and working on the text. Vidas: Except I would think that a lot of people wouldn’t even understand that you’re washing your underwear. Ausra: I know, but I would understand that. I would not want to show that, you know, my sort of kitchen, in front of everybody. Vidas: Just in case Bruce Neswick comes along, right? Ausra: I...you know, I remember once when I was working on Vater Unser from Clavierubung Part III at Cornerstone, and I thought I was perfectly alone, and nobody was listening to me; and then I just heard that somebody actually is in the chapel, and was listening to my playing! And it was Olivier Latry. And I just felt so embarrassed. Vidas: And why? Ausra: Well...I wasn’t at the concert stage at that time, with my playing. I was just simply practicing. Vidas: But that’s okay, isn’t it? Ausra: Yes, that’s okay, but...you know...that’s not the best feeling. Vidas: You wanted to appear superhuman, in front of Olivier Latry? Ausra: Yes, yes, yes! Vidas: And what did he say to you? Ausra: Well, nothing, you know...but then he played himself, too, and I sort of had a private recital, played by him. Vidas: On the old, ancient organ? Ausra: Yes. Vidas: Mmm, how interesting. Ausra: It was wonderful. Vidas: A lot of people think that Olivier Latry is a master of French symphonic music, but that’s not really the case. Ausra: Well, he’s master of all French music, too, but not only all French music. I think he played Sweelinck, too--“Mein junges Leben hat ein End” from memory and it was wonderful. Vidas: Yeah. These people are masters of everything. So yes, guys, remember that sometimes the master himself, or herself, might be appear to be listening when are alone in your practice room. And don’t neglect your piano practice. Ausra: Yes, it’s very important. And also, you know, if you travel a lot, then just look at your score; you may play on the table, or you may just sing the lines in your head, or out loud if you can. Vidas: From my perspective, I can remember that whenever I have trouble with my technique of the manual parts, whenever I play them repeatedly on the piano--especially in a slower tempo--my technique really improves on the organ, too, of the same piece. It really helps. I remember practicing this of the concerto of Handel--one of the concertos, I think it was...this it was in... Ausra: G minor? Vidas: F Major. In Nebraska. Ausra: Mhm. Vidas: So yes, this helps. And whenever I travel, sometimes there is not enough time on the real organ, to practice for you. I remember practicing in my hotel room on the table, putting those thick pillows underneath me so that it would be like the organ bench height, and practicing my recital pieces. This was in Paris, in Le Madeleine Church, and the recital was quite, I think, normal...It wasn’t a scary feeling at all, even though I had like maybe 45 minutes or so to prepare. Ausra: Yes, because that mental preparation is very important. Vidas: Mhm. You can even prepare for a recital at home, while looking at the specifications, and prepare those registration changes in advance; and when you get to the real organ, you will be almost ready. Ausra: That’s true. Because it’s the most important thing how much time you will spend with the actual piece. Either way, playing on any instrument, or singing it, or just looking at the score. Vidas: So, mental practice is one of the ways, right? Ausra: Yes. Vidas: I wouldn’t even say it’s less important than instrumental practice. Because, remember that experiment with basketball players? Have I told you about this before? Ausra: I think you mentioned it, but you can tell it to our listeners, too. Vidas: Some of our subscribers know this story, but I think I will remind you, because it’s appropriate right now. There was an experiment with a control group of basketball players--it was in America, I think. Some of them were divided into parts, and one part was directed to play basketball, and shoot the basketball from one position for one hour every day for 30 days. So basically, for one month, they shot the basketball from one position for 1 hour. And the second group did this only by imagining: imagining the ball, imagining picking up the ball, and targeting the basket, and releasing the ball and imaging, visualizing, the path of the ball, and imagining the ball hitting the target--and so forth, basically, for one hour every day. And the third group, they were directed not to practice basketball at all--just forget about it for one month. And do you know what happened, Ausra? They afterwards compared the results… Ausra: So, how were the results? Vidas: Okay...This group which practiced with the real basketball, right, physically--they developed their technique, results, by...I would say like, something like 28%. I might be wrong, but somewhere around there. Ausra: What about the other groups? Vidas: The group which didn’t practice basketball at all--they sort of, after one month, stayed more or less the same. It’s interesting, right? Imagine not playing the organ at all for a month, and your level will stay almost the same, approximately, according to this basketball study. But the most surprising result was for people who only visualized playing basketball. They developed their technique...by 25%! Ausra: Wow. Vidas: Almost the same as those who practiced real basketball, physically. Ausra: But I hope you’re not suggesting to our listeners to just, you know...practice mentally! Vidas: No, but you could do the same experiment, if you don’t believe me. For example pick three pieces of approximately equal length, and equal importance and equal level of difficulty, and do this experiment for yourself for one month, right? One piece you play physically; the second piece, you do it mentally while looking at the score; and the third piece you simply...heh, forget it for an entire month! Right? Don’t look at the score, don’t practice it on the organ at all. So...And then report to us after one month--we’ll be eager to find out. It will be very interesting to report the results, right Ausra? Ausra: Yes, yes. Vidas: Wonderful. And please send us more of your questions; we love helping you grow. And we might be right about this experiment on the organ, and we might be wrong--right? So if anyone is brave enough to try, please send us the results. Ausra: But I think the combination of these three things--practice on the organ, practice on the piano, and mental practice--this is a good combination, so I strongly recommend you try it. Vidas: Excellent. And of course, BWV 578 Little Fugue in g minor is now available on the Total Organist dashboard, when you sign in as a member; and you can easily download it and start practicing, whether physically or mentally! Thanks, guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 135 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Mike, and he writes:
“When and When NOT to play the "Amen" of a Christmas Song/Carol? This has been a discussion. Some Christmas songs have an Amen at the end of them, some don’t. When playing one during a regular Church service, that has it at the end, I believe you play it. However, if you are playing this as a Christmas Carol, say for a choir to sing, then you don’t play it. Is this correct or not? Thank you very much.” Ausra, do you think that this question applies to any hymn or chorale--not just a Christmas song with pedal? Ausra: I think you may say so, because often, church songs/hymns have “Amen” at the end of them. But I think it’s sort of a broad question, because I think it depends on the denomination that you’re playing in; it belongs to the tradition. Vidas: What do you mean? Ausra: Well...the more liberal churches are, I think, the less they use the word “Amen” at the end of any hymn. Vidas: Oh, that’s right. Remember, we played from the Lutheran hymnal that is in the Missouri Synod, right-- Ausra: Yes. Vidas: --From the 1940s, I believe. This hymnal always had “Amen” at the end of every hymn. Ausra: Yes. But that’s because the Missouri Synod is sort of, you know, of the conservative lot. Vidas: Yes. Ausra: Not the most conservative, but on the more conservative side. Vidas: And what about, for example, more liberal Lutheran hymnals, like ELCA? Ausra: I think they don’t have Amen at the end of...at least of Christmas carols...so… Vidas: Yes, you’re right. It depends on the tradition of your congregation. Ausra: Yes. Vidas: Normally, I would say, more and more denominations don’t use Amen at the end. I would say. Ausra: Although I don’t see anything wrong with this word; you know, it’s a nice word. It doesn’t mean anything bad; it just confirms whatever you said before. Vidas: Mhm. Ausra: It’s like confirmation of what you sang, what the words were about. And that’s it. Vidas: It’s like at the end of the prayer, we would say, “Amen.” Ausra: Yes, yes. Vidas: Mhm. Ausra: So I don’t think it’s a word that you need to avoid; but in order to do things right, you just need to figure out what the tradition is in your particular church--your denomination--and how people accent it. So maybe just talk with your priest or pastor, and find out about it. Vidas: And this is true when you play hymns for, let’s say, concerts, or other non-liturgical occasions. Then you don’t actually need “Amen” at the end. Ausra: Yes, and if you sing an original composition with choir, for example, even if it’s based on a Christmas tune, then just look for what the composer suggests; if there is no Amen at the end, then don’t add it. Vidas: Let’s say there is a situation when you have no Amen at the end in your hymnal, but you would like to add it. Do you know how to do it? Ausra: Well, yes, that’s very simple. Vidas: What chords would you suggest? Ausra: Dominant and tonic. What about you? Could you suggest something else? Vidas: Dominant and tonic...On which scale degree in the melody would those two chords go? Ausra: On the fifth scale degree. Vidas: So, if the hymn ends on the fifth scale degree, you normally use dominant and tonic. But if the melody ends, let’s say, on the first scale degree, what would you do then? Ausra: Then you would use subdominant and tonic. Vidas: Subdominant and tonic. Do you know any hymns that end on the third scale degree? Ausra: No, I don’t recall. Vidas: So most often, still, it’s either tonic or dominant in the melody. Ausra: So, if the hymn is a Christmas carol that’s more from ancient time, and based on modal harmony, then you probably want or need to use subdominant and tonic. But if it’s more modern, then probably dominant and tonic would fit better. Vidas: And depending on the mode, too. Ausra: Sure, of course. Vidas: If, let’s say, the hypothetical mode is in C, but ends on G, which is the dominant note, it’s actually not C Major mode, but G mixolydian, I would say. Ausra: Yes. Vidas: Right? So then, dominant G Major chord, right… Ausra: Yes. Vidas: And the tonic chord, C Major, would not even be considered, I think, as a dominant in that mode. Ausra: Yes, it would be more like subdominant function. Vidas: Subdominant. In any case, look at the mode, and choose the chord or two chords which have one common note in them--usually it’s like a perfect fourth or a perfect fifth apart. Ausra: Yes. Vidas: Good, guys. So try this in your practice, if you want to add your own Amen at the end of any type of hymn. Ausra: Yes. Vidas: What kind of position would you usually do: closed position or open position, in those chords? Ausra: I think I would do closed position. It’s easier, and I think more convenient, really. What about you? Would you play it in open position? Vidas: I would say...I would look at the range of the melody. If it’s a high note, let’s say first scale degree but one octave higher, then I would use open position. And if it’s a low first scale degree, then closed position. Would that be ok, Ausra? Ausra: Yes, I think it would be excellent. But now, thinking about that--if you would do Christmas carols with choir and maybe the congregation would join you, I don’t think the sopranos would sing so high that you actually need an open position. Vidas: Mhm. Ausra: But that’s probably just my way of thinking, because I am an alto voice. Vidas: Most of the hymns end on the low first scale degree. Ausra: And when I was doing that workshop for church organists, hymn harmonization seminars, I looked closely at the ELC hymnal; and what I discovered was that most of the hymn tunes are written either in F Major or in G Major. I found some in D Major, but basically F Major and G Major--these are the two main keys that hymnals use. Vidas: And what do you want to say? Ausra: Well, that it’s a very comfortable range to sing, in these two keys. Sort of middle range. Vidas: Especially if you end on the lower first scale degree. Ausra: Yes, on the F or on the G of the first octave. Vidas: And no congregation member would sing higher than… Ausra: I think so, yes. Vidas: Higher than, let’s say, triple C or D. Ausra: Of course, if it’s an original composition written for a choir, then of course it might be high. But in that case, you probably would not add an Amen at the end of it. Vidas: Ah, I see. If it’s a congregational hymn, then yes; but if it’s a choir setting, then probably Amens are not necessary. Ausra: But yes, and of course it’s always a good idea to consult your clergy about these things; because some may not even think about it very closely, but for some it might mean a lot. So you better check it out. Vidas: Thanks, guys! We hope this was useful to you--right, Ausra? Ausra: I hope so. Vidas: And send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: 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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