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Discount code Christmas2017 is applied automatically at the checkout in our Secrets of Organ Playing Store. Total Organist is half price also! Happy practicing! Vidas: Let’s start Episode 134 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Bruce, and he writes: “Thanks for extending my review period of Total Organist - it will be a help. I will be traveling most of December, taking care of family, and won't be able to get to the organ much. Thanks for asking what I'm currently struggling with. My main initial goals will be those of a pianist who wishes to extend into the organ. I'm thinking some things will be especially new to me: Pedalwork, of course. It's a real mind twister for me, to play pedals while keeping my left hand doing what it is supposed to do. It's weird, how getting my brain to accept that footwork is necessarily independent of bass lines as processed by the left hand. Fascinating, actually - I'm hoping it will be fun to work this out. From your inventory of teaching aids, I expect I'll start with your pedal course, and also look into your course in left hand skills. And l welcome your advice on how to get started with pedals.” First of all, let’s congratulate Bruce, Ausra, right? Ausra: Yes. That’s a challenge--to switch instruments from piano to the organ. Vidas: A lot of people are afraid of pedal work. And I was afraid, too. Were you afraid, at the beginning? Ausra: Yes, I was afraid of it, yes, very much. Vidas: Have you ever cried because of pedal passages which were difficult to learn? Ausra: Definitely. Definitely, yes. That was my biggest struggle at the beginning. And only later on I understood that Baroque articulation is actually much harder than playing pedal. Vidas: I’m always amazed, somehow, when I see younger students today playing pedal lines without much effort at all; in our Unda Maris studio, for example, or in Čiurlionis School, we had very gifted students, before. But it was not the case for me. It was really, really frustrating. Ausra: Neither for me. I think it depends on how good your coordination in general is; and it’s sort of a thing that you just either have or you don’t; and if you don’t have it, then you have to develop it. There is no other way. Vidas: Do you think, Ausra, that it’s part of human evolution, of the human species, that the next generation can play pedals better than the previous one? Ausra: I don’t know. That’s a good question, that’s a question for scientists. Vidas: Yes, they should compare our DNA, and think if they could isolate the gene for pedal playing. Ausra: But actually, you know, I’ve realized, now, by working at the Ciurlionis Art School for 12 years already, that nowadays kids are much more gifted than we were, actually. And so many have perfect pitch. In my days, when I was studying at the same school, we were lucky if in one class we would have like 1 or 2 students with perfect pitch; that was something. And nowadays, you can have like half of the students in your group that have it. Vidas: Absolutely. So, the human species is really, definitely moving forward, at least in pedal playing! Ausra: But that’s not the case with logical thinking. So I don’t think the human mind is developing as fast as their bodies. That’s my observation, from my experience. Because if you give them, like, logical assignments...they don’t come up so easily. Vidas: I know. For me, mathematical exercises, and verbal exercises, are more difficult with every passing year, I think. And 2018 will be no different. Ausra: Yes. So, what I could suggest for Bruce would be that he would not be afraid of playing pedal. That’s the main thing. It will come in time--maybe not as fast as he would wish, but overall, if he will practice daily, I think he will succeed. Vidas: Do you think, Ausra, that Bruce could think about pedals--his two feet, basically--as an additional third hand? Ausra: I never think about it, myself; but that’s a possibility. Why not? Vidas: Because usually, people play a solo line on the pedals, not double intervals--although there are pieces which require octaves and parallel intervals and double pedal lines--right? But even then, it’s really possible to play two voices with one hand. Right? It’s possible. Ausra: Yes. Vidas: So I think it’s not far from the truth to say that your pedal work should be treated as an extra hand. Ausra: Yes. Vidas: What that means, then, is that you simply look at pedals from the perspective of your hand playing. Imagine if you spend time developing your hand technique for several years as a pianist, right...And then, suddenly, you discover, “Oh, by the way, I have a third hand here. And I can use it!” So at first, it’s really difficult, right? Playing with your feet. Ausra: Yes, yes. Vidas: But little by little...It’s like going back to the first grade of piano playing, for your feet. Ausra: That’s right; but you know, my suggestions would be to find the right spot on the organ bench, to play in a slow tempo, and to work in combinations. Never play--especially if you are a beginner, and you have trouble playing pedal--never play all the voices together. Because in that case you will not have good results. Vidas: Do you think that the Pedal Virtuoso Master Course pedal scales and arpeggios would be beneficial to Bruce? Ausra: Sure. I think they would be beneficial to any organist. Vidas: Even for beginners? Ausra: Well, yes...maybe he could not do all the exercises right away, and maybe not play them in a fast tempo, but definitely he would find some useful stuff. Vidas: I think he has to combine exercises with repertoire, too. So, in order to feel the progress and a little bit of joy, too, because out of exercises, not too many people can stick with them for a long time and still feel joy, right? Ausra: That’s right. Vidas: So you have to supplement them with, like, additional treats--to give treats for yourself, like beautiful music, in addition to bread and salt and butter. Ausra: Yes, and for that repertoire, maybe that could be pieces at the beginning where it just has a pedal point. There are some pieces like this, especially in Italian music. Think about such composers as Domenico Zipoli, for example. Vidas: Yeah, 2 notes for the entire piece. Ausra: Yes. Like tonic and dominant, and back to tonic. Or you know, there are also other pieces that don’t have such a hard pedal part, but have some beautiful melodies. Vidas: If you were starting today, Ausra, playing pedals and organ, and going back in time--and now you know so much, right? How would you learn differently, or would you learn differently or not? Ausra: I don’t know. You know, for me, I realized that if you come to the organ after playing piano for some time, it’s easier to start with Romantic and later repertoire, where you use basically legato technique, which is so similar to what you did on the piano, or more similar. But you know, because I started with Baroque music, it was very hard--I found it very hard to grasp and digest all that Baroque articulation, together with pedal part and playing polyphonic music--that’s a challenge for beginners. Vidas: Maybe it’s because your teacher was so demanding, and gave you quite advanced pieces right away. Ausra: Yes, that’s true, too. Vidas: Well, that’s understandable, because you studied at a higher institution, right? And institution of higher learning--the Lithuanian Academy of Music. So above that it’s only heaven, right? So basically they needed you to push forward. But for people who are studying for their amusement: you don’t have to play Bach’s Toccata and Fugue right away--or even any type of fugue right away. You could play a small chorale prelude, just like “Ich ruf’ zu dir” by Bach. Ausra: Yes, that’s a nice piece. Beautiful, and not that hard! Vidas: Mhm. Exactly. So please, guys, apply our advice in your practice--it really helps when you do the steps, when you take it to the next level, and try to incorporate that in your daily routine. And send us more of your questions, right Ausra? Ausra: Yes. Vidas: Do you have fun answering them and helping people grow? Ausra: Yes! It’s really fun, and especially it’s fun to receive responses to our answers. Vidas: When somebody has applied them, and it worked out well, and they have progressed, and see success, right? Ausra: Yes. Vidas: Feedback. Ausra: That’s the most gratifying thing. Vidas: Excellent. And guys, don’t forget, because when you practice… Ausra: Miracles happen.
Comments
Vidas: Let’s start Episode 133 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Bruce. He has a challenge with finger substitution to improve line. He writes:
As a pianist, I'm rather used to the sostenuto pedal, to the extent that I probably overuse it and it can be a bit of a crutch. Nothing like this pedal on the organ, of course, so I expect it's all about finger substitution, learning how to do this in a natural way. I expect there are exercises for me to pursue, and could use recommendations and support on this. On my own, for starters, I have been looking at BWV 639, as you and Ausra suggested in podcast #85. I am looking forward to looking at Ausra's analysis of this piece. I am also working on BWV 578 (g minor fugue) and BWV 659 (Nun komm der Heiden Heiland). And I have fooled around with Contrapunctus 1 from the Art of the Fugue a bit. And sight-reading some of the easier pieces from the Orgelbuchlein, without being too hard on myself over my current pathetic pedal ability. In the short term, it would be nice to see your first week of pedal work (from your pedal virtuoso master course) - or something you think would be more appropriate for a novice - and to download your fingerings for 578 and 659, and to look at Ausra's analysis of 639. Thanks again, and I'm eager to get started, in earnest, after the beginning of the new year. And look at the above items while I am able during December. Thanks! Cheers, -Bruce So basically, Ausra, he struggles to play legato lines, right? And he feels that he needs to learn to apply finger substitution, because unlike on the piano, organ doesn’t have sostenuto pedals. You have to do legato simply by applying fingers. Is it right? Ausra: Yes, that’s what I understood from his question. But actually, also, there is another side of this question; because the pieces, actual pieces that he mentioned in his question were all Bach pieces--all pieces written by Bach. So I don’t see how the first half of the question is related to his repertoire. Because I don’t know about you, but I never substitute fingers while playing Bach, because the technique when you use finger substitution is required for later music. Vidas: You don’t play legato--Bach? Ausra: No, you don’t play Bach legato. So you don’t have to use fingers substitution, because you play articulate legato, or quasi-legato, or non-legato. And you have to detach each note--not to play staccato, of course, but to detach each note, so you don’t have to substitute it. Vidas: I don’t know if Marcel Dupré would agree with you. Ausra: Well, it’s how things are nowadays. And it’s based on playing on historical instruments. So basically, what I would suggest for Bruce is to improve his finger technique in general; because I have seen many piano majors who cannot play well on the organ because they don’t have fingers muscles developed enough. And that’s because of overusing the sostenuto pedal. So even while playing piano, I would suggest for him to take some Scarlatti sonatas, and to play them without any pedal. Vidas: It would sound like harpsichord. Ausra: Yes, yes. Then it would improve his muscles. Then it would be easier for him to play on the organ. But definitely, when playing Bach or any other early music, don’t play legato; don’t use finger substitution. Vidas: I agree, too. I kind of tend to articulate perhaps even too much, and whenever I write down fingerings in my pieces, or for other people in early music, I tend to use the system which allows them to play with correct fingerings and correct articulation without even thinking about it. Let’s say, in one hand, you have a line of ascending parallel intervals, like parallel thirds or parallel sixths--that would be often the case, right Ausra? Ausra: Yes. Vidas: So, a lot of people try to play one three two four, one three two four, one three two four, or one four two five, for the six. It’s very inconvenient, and sometimes even use fingers substitution. But it’s not necessary, because parallel intervals--the rule is that they normally are played with the same fingering. And then you don’t have to think about articulate legato. Ausra: Well, unless there is like a special sigh motif, that is often used in Baroque music: then you have slurs where you have two notes attached-- Vidas: Exactly. Ausra: Then you would play with that kind of fingering; but not so many cases, you know... Vidas: There are always exceptions, right? Composers sometimes notate their own articulation, like legato, because it’s an exception to the rule of ordinary touch--that’s what they called it back in the day. And if a composer wanted smooth legato, they would notate a slur. Ausra: Yes. And you never should forget that organ is actually a wind instrument first of all. And while playing polyphonic music--and all music by J. S. Bach is basically polyphonic music--it just sounds bad when you’re playing it legato. Pipes don’t speak in that way. So, and even if you practiced on the piano in that way or on the electric organ, you still should keep in mind that your final goal is to play a pipe organ. Vidas: Mhm. Ausra: To perform it on a pipe organ. Vidas: Exactly. Ausra: And to articulate as if you would be playing it on the pipe organ. Vidas: And don’t use dynamics on the piano, as if in a normal piano composition. Piano, forte, mezzo forte, crescendo and diminuendo--it doesn’t work on the organ, right? Ausra: Yeah. Vidas: The touch should be always kind of a soft mezzo piano, I would think-- Ausra: Yes. Vidas: Without any accents, or too much force. Ausra: Yes. But of course, if Bruce will pick up some compositions by Romantic composers or later composers, then yes, definitely he will have to learn how to do finger substitutions. And that might be tricky, too, at the beginning, especially when you have thick texture. Vidas: I agree. And for closing advice, I would think that playing like string instruments--imagining how a violin would play this line--is also helpful. Ausra: Yes. Vidas: Not only flute, not only oboe, but also string instruments. Imagine there is a single melodic line in the Baroque style; and violins, would they play it like 4 notes legato, with the bow downward, right, or 8th notes downward? Of course not. They would do down, up, down, up, down, up--especially in a faster tempo, if it’s an allegro character--a fast-moving piece. Then, what that means is that at the moment of the bow switching direction, there is an almost imperceptible rest. Right? And that means there is articulation. For us organists, we can also leave a very small, insignificant amount of silence in between the notes, then. That’s how they played it on the wind instruments--by tonguing, and also with string instruments. So keyboard is no different, actually. Ausra: Yes. You have to listen to some good recordings of for example, Bach cantatas, where you can hear string player playing, or woodwinds playing. That might give you some idea what this style is. Vidas: Mhm. And for later music, as Ausra says, of course apply finger substitutions, but not too much. I don’t think you ever need to use fingers with finger substitution on a single melodic line. Ausra: Definitely not, but if you have thick texture, then yes you have… Vidas: Thick chords, maybe intervals, then maybe yes. We mentioned earlier the thirds would be easier to do: 1-3, 2-4, and here substitute 1-3 again, and then 2-4 to the next interval. Ausra: And then you can do 3-5, too. Vidas: 3-5, if it’s convenient, right? The same is for 6ths: 1-4, 2-5, substitute to 1-4 again, and back to 2-5. And vice versa. Ausra: Yes; and then substituting in later music, you have to learn everything in a slow tempo. That will help you. Vidas: I think one of the best exercises for Bruce, if he really needs to learn finger substitution, let’s say for later music, is to play scales with double thirds and sixths. Slowly at first, of course, in many keys, in all major and minor keys. This is part of the Hanon pianist virtuoso routine. It’s already in Part III, I believe, so it’s quite advanced technique; but it’s indispensable for later Romantic and 20th century and modern organ music, too. Right? Ausra: Yes! Vidas: So, do you think that people will find this podcast conversation helpful? Ausra: I hope so! Vidas: Excellent. Please, guys, send us your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 132 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by David, and he writes:
“Thank you so much for producing the sight reading course (and for having a cyber Monday sale on your course---I waited a year to get this discount so that I could afford the total organist course). I feel like this is such a basic question.... but on week 1, day 2 of the sight reading course, how does one subdivide, counting out loud, beyond the 8th note in 2:2 time signature? It would be the same as 32nd not in 4:4 time signature, which I have never learned to count aloud.... I have thus far used the 1 e & a 2 e & a method of counting out loud, but that really only works as far as 16th notes in common time or 8th notes in 2:2. How does one vocally subdivide farther than that? If you have already answered this elsewhere, I would be happy to be pointed in that direction. I don't want to ask you to repeat yourself if you have already addressed it.” I don’t think we have talked about it, yes Ausra? Ausra: Well, we talked maybe a little bit about subdivision, but not as complete, like for example how to count 32nd notes. So we might give some tips. Vidas: First of all, we want to say that this course, Organ Sight-Reading Master Course, is based on Bach’s Art of the Fugue. Ausra: Yes. Vidas: And in this particular case, the contrapunctus from the Art of the Fugue--it might be too fast if you count in alla breve time, in 2/2 time. Right? So...do you think that David and others who are taking this course need to play in 2/2 time right away? Ausra: Well, not necessarily; you can do it twice as slow as it is written, and it would still be okay. Vidas: So, 4/4? Ausra: Yes. I would suggest that they would do this in 4/4, at least for starters. Vidas: Because Bach wrote a lot of fugues this way, in his cycle, in which there are only 2 or even 1 beat per measure, right? Ausra: Yes. Vidas: One, and three--yes, 2 beats, in 2/2 time. And when you practice slowly, you need to have more--four, for example. Ausra: Yes. And what I notice about Bach’s pieces and other Baroque composers is that 32nd notes often appear in slow movement pieces--like you know, slow movements of the trio sonatas, or other sonatas, and chorale preludes that have this really slow tempo and ornamented cantus firmus. That’s how he uses it most of the time, in 32nd notes. And like in fast tempo pieces, he uses basically 16th and 8th notes; but 32nds very often appears in the slow movements. So there is no way you need to rush that, that contrapunctus. Vidas: Do you think that people could write in the parts of the measure themselves, in pencil? Ausra: Yes, that would help, I think, especially for beginners. Vidas: Mhmm. Ausra: And you know, how to subdivide, you actually have to do it, the best way to do it, I think, is to do it with your tongue--that you would do it mechanically, and that you would really feel that you are doing it. You can do it on any syllable which is comfortable for you. Vidas: But, to do it out loud? Ausra: Yes, yes! At least for starters. Vidas: Have you seen students playing rhythmically incorrectly, but saying to you that they’re counting inside their minds? Ausra: That’s very often the case, but it means that they don’t count. They deceive themselves. Because if they’re only doing it loudly at first...then you can maybe do it quietly inside. Vidas: What happens when you do it quietly is that you might THINK you are counting equally… Ausra: But you will not do it! Vidas: Yes. Because there is so much to do with your hands and your feet, that sometimes your mind wanders, and your counting rhythm and pulse also fluctuate. Ausra: Yes. And you know, I remember learning a piece called Icarus by Jean Guillou, that I had to prepare. That’s a challenging piece to learn, rhythmically and technically, because this was actually his original improvisation which was written out later by somebody else, I believe. And it has lots of fast passages. And what I did then when I learned the piece was, actually, I subdivided out loud first, and I subdivided 32nd notes. Because usually you look at the piece of music, and you choose the smallest note values, and you subdivide in them first. And that will help you. So, if you know, the smallest note value is 32nd, you subdivide 32nd. If it’s 16th, then you subdivide 16ths. Vidas: This is especially true in modern music, in rhythmically advanced music, right? Like the music of Messiaen. Ausra: Yes. Vidas: Like in his pieces, he uses, I think, additive rhythmic value technique… Ausra: Yes, he adds a little bit with each figure. Vidas: Like for example, you might have a normal 4/4 measure, but with an added 32nd note. Ausra: Yes. Vidas: Or plus 1/16. And this is additive. So you need to keep counting based on that lowest or smallest note value: 32nd or 16th. Ausra: Yes. Yes, and especially when you are learning the text. Maybe after a while, when you know the music very well, you can stop doing that in that particular piece; but for starters, you definitely have to do it. Vidas: So the same as David says in his Contrapunctus from the Art of the Fugue, we recommend subdividing and playing with 4 beats, not 2 beats per measure. Ausra: Yes. Vidas: What would happen if he played right away in 2/2 time, counting just 2 beats? Ausra: Well, probably he would not be rhythmically correct on those... Vidas: Not precise. Ausra: Yes, not precise. And rhythmic precision is very important, especially while playing organ. Vidas: Do you think that people can play not precisely, and think that they’re playing pretty well? Ausra: Hah! That’s often the case, I think. Vidas: They don’t even notice how sloppy their rhythm is. Ausra: Sure, yes, yes. And rhythm is so important; because you know, we all have a heartbeat, so each person who does not even have musical pitch, still has that sense of rhythm. And let’s say if something happens during a performance, if you will keep a steady rhythm, it’s possible that some people even will not notice that you made a mistake and hit the wrong note of a wrong chord. But you know, if your rhythm goes out of the way, then everybody will notice it. Vidas: How interesting! Are you saying that rhythm is more important than melody? Ausra: Well, yes; in some cases I believe it’s more important. Vidas: Why? Ausra: Well, you know, because everybody can count. Everybody can count. Vidas: Do you think that dogs can count, too? Ausra: I don’t know! I mean human beings, all people can count. Vidas: One, two, and three… Ausra: Yes. Vidas: Four. But the melody is sometimes complex, and they don’t necessarily grasp the fluctuations in melody or mistakes in melody-- Ausra: Yes. Vidas: You’re saying that the rhythm is always noticeable? Ausra: Yes, that’s what I’m saying. Especially in the music of common periods, you know...in Messiaen, I think nobody would notice if you are playing something rhythmically incorrectly. Vidas: Or melodically incorrectly. Ausra: Yes, definitely. But I’m talking about music written in the common period. Vidas: With Messiaen’s modes, people might have a feeling that something’s wrong with the notes, if you play the wrong note, because then it’s a foreign color. Ausra: Well yes, but you have to be advanced, I think, in music, generally. Or you know, to have very good musical intuition. Vidas: Thank you guys, this is getting really fun! And 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. PS Kae who transcribes these podcasts for us, wrote that her professors at SPU taught her to say "One-ta-e-ta-and-ta-e-ta" (for 8 32nd notes, or 1/4 of a measure). Hope this helps. Vidas: Let’s start Episode 131 of #AskVidasAndAusra podcast. Listen to the audio version here. And today’s question was sent by Aleksey, and he wants to know how to play the pedals without looking at your feet. So, this is a challenging situation for a lot of organists, isn’t it, Ausra?
Ausra: Yes, it is. Vidas: Do you sometimes look at your feet when you play? Ausra: Sure, when I’m trying an unfamiliar organ, then I have to look at the pedal first. Then, there are sometimes tricky spots, where I also have to check the pedal. Vidas: Me too, from time to time. Especially when I improvise, I need to look down, because I’m not always sure which notes I will be playing in a second or so. And when playing repertoire, especially on an unfamiliar organ, the feel of the pedalboard is not very easy to memorize. And therefore, some looking is okay, right? Ausra: Yes, some looking is okay. It’s not good if you cannot play pedal at all without looking at it, on the same organ. If you are, let’s say, practicing on your organ every day, and then after practicing for a year you still have to look at it, then it’s not good. Vidas: True. I think one of the most important things here to do for organists is simply to apply pedal preparation. Ausra: Yes, that’s a good idea, you know. It’s very helpful. Vidas: For quite some time--maybe for a few months. And then you get used to the feel of the pedalboard and you no longer need to worry about it; but at first, you have to have a breakthrough. Ausra: Yes. Vidas: So, how do you do pedal preparation, Ausra? Ausra: Well, you know, because there are very few pieces that you use pedal all the time without any rests--usually you have some pedaling part and then you have some rests--so, during those rests, you need to know exactly what is coming up next-- Vidas: In the pedals? Ausra: Yes, in the pedals. And prepare in advance. Vidas: So, for example, if the passage was ended with your right foot, and the next passage starts with the right foot also, you need to slide your foot to the next key, right? Ausra: Yes, that’s right. Vidas: Right away. Ausra: Or let’s say there are sometimes there are passages that will finish on the same note and it will begin on the same note. So don’t move your leg. That will save time and energy, and you for sure will hit the right note. Vidas: A lot of times, people do the opposite. They finish an episode with the pedals, and they place the feet on the, I don’t know, maybe some place next to the swell box, or on the swell box… Ausra: Or behind the bench. Vidas: Exactly. Ausra: That’s what I do often--I put my right foot on the swell box and the left on the organ bench--or a little bit behind it. Vidas: Because it’s more convenient this way. Ausra: Sure. Vidas: How to do this without putting your feet on the place to rest, but slide into the next note position on the pedalboard? Is there a trick you could use to do that successfully and comfortably? Do you know? Ausra: Well yes: just keep your foot above the pedalboard! That’s possible! Vidas: What about sitting on the bench? Does it help if you sit, for example, too deep, or in the middle, or next to the edge of the bench? For you? Ausra: Well, if you sit on the edge of the bench, you might fall down on the pedals. That’s not a good way. And also, not a good way to sit too deep--back on the organ bench. You have to sit somewhere in the middle of it. Vidas: Remember, we usually practice on two organs: here at home and at Vilnius University St. John’s Church. But the height of the bench is different on each instrument, right? Ausra: Yeah. Vidas: Which is lower? Ausra: At home, of course. Vidas: At home. Which is more convenient for you, Ausra? Higher or lower? Ausra: Well, it depends on which manual I’m playing on. Because, for example, at church it’s more comfortable for me when I’m playing on the first or second manual, but it’s uncomfortable to play on the third manual and pedal at the same time-- Vidas: Mhm. Ausra: Because the bench is quite high. Vidas: Exactly. Then, the third manual becomes too far away from you. Ausra: Yes; and you know, it just gets difficult, after practicing for some time. Vidas: What I mean is, I discovered that I also play more comfortably at St. John’s Church when I sit higher, and closer to the edge--not on the very edge, but just enough to keep me balanced. But then my feet are also free to do what they want, and they can slide into position without getting me into trouble; and then I can basically focus my looking on my fingers or the music rack, but not necessarily on the feet. Ausra: Yes, I think that position gives you more mobility. Vidas: Mobility. And if it’s opposite--if you sit too deep on the bench--then what happens? Ausra: Well, you cannot move comfortably. It will take you too much time. Vidas: Then you need to use more of your core muscles. Ausra: I know, and you need to have really long legs in order to reach, let’s say, you know, very far away on the right side, or pedals very deep on the left side. Vidas: So, it’s good advice for people to experiment with the bench height and with the position of your body on the bench, and see if you can find a comfortable way to shift your body when you need to move on the pedalboard; and then maybe you don’t even have to look so much. Ausra: Yes. And you know, sometimes try to play the pedal part alone, and see if you have trouble too, you know, and if you have to watch the pedalboard. But if you are quite comfortable with the pedaling part but you still are watching when you are playing with hands, then maybe it means that something is not wrong with your pedaling, but something is wrong with your coordination. Vidas: In your experience, Ausra, when you work with students, let’s say, in our Unda Maris studio from time to time, do you notice that people like to play pedals alone, or they want to play everything together, more often? Ausra: Well, mostly they want to play everything together. Vidas: Right away? Ausra: Yes. Vidas: Even though the problem might be just to separate the parts, and learn them alone. Ausra: Sure. Vidas: Do you think there is a reason why they choose to play everything at once? Ausra: Well, I think it gives more satisfaction, to hear the full harmony--all the piece. Vidas: You have to sort of postpone your gratification-- Ausra: Yes, that’s right. Vidas: --Until you can do this comfortably, both hands and pedals together. And people nowadays have trouble delaying gratification; they want to have results right away. Right, Ausra? Ausra: Yes. Vidas: Are you one of those people? Ausra: Hmm, well, yes and no. Of course I am--I want to have immediate gratification; but I also understand that things never happen at once. You have to work to get to your goal. Vidas: Do you have to force yourself to work precisely, and according to your plan, and not to give up ahead of time? Ausra: Well, of course, yes. I think everybody does. Vidas: I see. But it’s worth it, right? Ausara: Yes, it’s worth it. And it’s worth it when you see the final result: it motivates you to do the next piece right, to learn it in a right manner. Vidas: Whenever I catch myself playing with mistakes--even on the pedals, or pedals alone, or all the parts together--I think I need to slow down considerably, right? Whenever I force myself to slow down, mistakes disappear, and I can play more comfortably and more relaxed. Do you have the same experience, Ausra? Ausra: Yes, I have the same experience. Vidas: So the tempo might fluctuate in the same piece-- Ausra: Sure. Vidas: Because some places are more difficult than others. Ausra: Definitely. Vidas: Is that okay, or not? Ausra: Well, it shouldn’t be like this. I mean, you can give yourself some flexibility, but not too much. Vidas: I think it’s okay, as long as you’re conscious of your tempo fluctuations, right? Ausra: Yeah. Vidas: It’s a process of practicing; and you know this is a difficult spot, and you need to slow down, right? You consciously slow down--not because your legs or fingers need to slow down, but your mind says, “I have to slow down, because that’s how I will avoid mistakes.” Ausra: Yes, that’s right. I do that sometimes, unconsciously. Vidas: And then when you’re ready, you can pick up the tempo, normally. Ausra: Yes. Vidas: Good. Do you hope that people can apply this in their practice, too? Ausra: Well, I hope so. You should definitely try. Vidas: Great. Please guys, send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Jesus Is Born And Laid In A Manger (Organ Improvisation) Vidas: Let’s start Episode 130 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Aleksey, and he wants to know about registration: “What are some of the perfect, or worst, stop combinations?” That’s a broad question, right Ausra?
Ausra: Yes, it’s a very broad question. Vidas: Where should we start? Ausra: I think, you know, not understanding the style well can make you to put wrong stops for your pieces. Vidas: Remember sometimes we go to churches, and...especially not in Vilnius, but in other cities where people play the organ, but they completely--they don’t know what they’re using, what type of instruments, and what type of stops they should use. Sometimes they play with all the stops drawn out, and with vibrato, with tremolo. Ausra: Yes, that’s right, yes. Vidas: Have you heard that? Ausra: Yes, I have heard that actually many times. Vidas: It’s like a big Hammond organ--although it’s a pipe organ. It sounds quite funny! Ausra: I know, or when you use some undulating stop and you don’t use an 8’ stop. Vidas: True. Ausra: That’s another thing; I have heard that also many times. Vidas: Or when you use mixtures without foundations. Ausra: Yes. It’s also a horrifying sound, at least for my ears. Vidas: The reason they do that is sometimes mixtures are positioned closest to the player, in the bottom row-- Ausra: And it’s easy to pull them! Vidas: Easy to find them! And the principal is on the top, and you have to reach for it. And maybe an amateur organist just looks at the closest stop and draws it! Ausra: I know, it’s a hard thing, you know. And it takes time to develop good taste, and knowledge about different styles and different registrations; and how to adjust, for example, to a particular organ which is not built in that period, or not styled in that period, but you still have to play music from some particular period... Vidas: What organ do you know the most, Ausra? Ausra: St. Johns’, probably. Vidas: I agree. Ausra: And of course, our practice organ. I know it’s very big! It has 2 stops! Vidas: Yeah-- 8’ and 4’! Ausra: Yes! Vidas: Flutes! Ausra: And pull-down pedal. Vidas: There is so much to learn about those 2 stops. Ausra: I know. Vidas: Soft, and softer! Ausra: Yes. Vidas: Hahaha. Do you have a favorite organ stop in our church? Ausra: Well...well...my very favorite? ...Cornet. If I had to choose one, it would be the Cornet stop. Vidas: If I had to choose...I would choose two, actually: Unda Maris, and Viola Gamba. At first, Unda Maris was better for me than Gamba; but recently, I’ve been discovering such beautiful (and quite intense!) colors with the upper range of Viola Gamba on the third manual, that I kind of keep improvising on these stops all the time. Ausra: Yes. And I find that Cornet really beautiful; it’s very nice for a solo voice. Vidas: I think in every recital, we use Cornet at least once. Ausra: Yes. And there are also other nice stops. Some flutes are really nice. And I like Posaune in the pedal--Posaune 16’ in the pedals. Vidas: Especially the low E♭? Ausra: Haha yes! Vidas: Why E♭? Ausra: Because it makes such a funny sound. And it’s fun to play Bach’s Prelude in E♭ Major, where you have to...press it! Vidas: Oh, the B section? Ausra: Yes, yes. “Ba-ba-ba-bum, bum, bum, bum, bum, bum...BAHHH!” Haha! That low E♭! Ausra: Yes. It sounds funny! So, if we could tell people about things that they should probably not do while registering...I think even playing Trio Sonata by J. S. Bach... Vidas: Ok? Ausra: I would say you should always add 16’. Vidas: In the manuals or in the pedals? Ausra: In the pedals. In the pedals, because I have heard trio sonatas played so many times; and people not using 16’ in the pedal--I think that’s a principle mistake. Vidas: Remember, we recently heard even Bach cantatas--Christmas Oratorio--performed-- Ausra: Yes, yes. Vidas: And they didn’t play the continuo arias with double bass. Doubled bass was always present with choir movements, right? So always that octave-down sound was present in the loud sections; but when somebody sang an aria with 1 or 2 instruments, they didn’t use 16’. Ausra: Yes. Vidas: Which was, I think, not a good choice. Ausra: No; in general, I like a low foundation, that gravity in the pedal. And I would suggest to always play with a 16’ stop in the pedal, unless there is some indication by the composer not to do that, or if it has like a solo voice, or it should be played on some particular stop. Vidas: You sound like Mendelssohn, now. Ausra: Really? Vidas: He wrote in his Preface to his 6 Organ Sonatas that you should always include a 16’ stop unless there is indication otherwise. Ausra: Because, you know, without a 16’ stop in the pedal, organ loses half of its beauty. Vidas: But then there is the question of the historical period, right? Before the 17th century, for example, 16’ in the pedal was not very common. Ausra: Well, yes, because most of that music before that period was written only for manuals, so you don’t have that trouble. Think about, like, early Italian music, early French music--they didn’t have a developed pedal, so they did not need 16’. Vidas: What about German? Ausra: Well, I’m talking about non-German, starting from non-German. Look how the organs are developed; I mean, look at their huge pedal towers… Vidas: But before the 17th century, 16’ pedals even in Germany was not always chosen. Ausra: Well...do you mean if the performer would not choose it, or that it was absent from the organ? Vidas: Performer, of course. Because of course, those big huge pedal towers sometimes include 32’ stops. But cantus firmus in the pedals, when they used chorale notes in the long values played by feet, they did not always include 16’. Ausra: So then you have cantus firmus in the pedal. I already mentioned it’s when the pedal has a solo voice, then actually yes, you don’t include the 16’, but that’s another story. Vidas: Unless it’s the bass. Ausra: Yes. Vidas: In the bass, yes. Ausra: Yes, yes. Vidas: But if it’s in tenor, it’s 8’ level; if it’s alto, maybe 4’ level; if it’s soprano, maybe 2’ level. Right? Ausra: Yes. But for most cases, still you can find, you know...If you would compare repertoire with 16’ stop in the pedal and without it, I would say that with-16’ would win over those cases without 16’. Vidas: Especially the repertoire that we are accustomed to today. Ausra: Yes; and plus, if you are a church organist--if you are accompanying congregational singing--I just would not imagine that you would not use 16’ in the pedal. Vidas: Yes, you’re right. For congregational singing, 16’ stops are essential. Ausra: Yes. What about putting 16’ in the manuals? What would you suggest for people to do then? Vidas: There are choices when you want to have more gravity. And for example, some organs don’t have a pedalboard at all, but they have 16’ in the manual. Then you have stop combinations with 16’; and it’s a little bit muddy, but it’s a broader sound, with more gravity. It fits sometimes. And then there was a question with mixtures. Sometimes mixtures are high, sometimes low. With low mixtures, like in our St. John’s Church, the first manual mixture is based on the 4’ level; which means that you do need to have 16’ in the manual. Ausra: And I have heard many times, when organists come, and they just don’t use the 16’ in the manual but use that mixture--and it sounds, actually, not good. Vidas: Can you use mixtures with strings, for example? Is it a good idea? Ausra: Well...not so much. Vidas: You don’t...? Ausra: I don’t like that combination. Although I’ve heard some organists do that. What about you? Vidas: Yeah, sometimes. If the string is soft--and I don’t mean, here, undulating strings, like Viola Celeste, but just like Viola or-- Ausra: Gamba? Vidas: Gamba. Then sometimes it’s okay, especially when I improvise, and I build up a pleno sound, and I don’t have time to take out some of the strings--it sounds convincing, to me. Ausra: Well, if I want to strengthen my principal chorus, then I add flutes, not strings. That’s what I prefer. Vidas: Do you think flutes eat more air, or strings? Ausra: Flutes, probably. Vidas: So in our case, in our organ, there is some inconsistency with the winding system, and sometimes those “big” stops which require a lot of air don’t necessarily fit the large sounds--I mean, the large registration. I mean here, the 16’ flutes, on the third manual or on the second manual--I don’t use them. Ausra: Well, I don’t use them either; but I use 8’ flutes, and that doesn’t hurt the organ so much. Other than the wind system. So basically, registration is a tricky thing. You can know it theoretically very well; but on each instrument you need to adjust, and you need to listen. Because sometimes, you know, if you just pull out the stops that are required for that piece, and you will not listen to it, you might get a disaster, because each organ is a little bit different. But, like, we talked sometime about that organ in Nida that we have on the coast in Lithuania, that has just a ridiculous mixture. It’s so awful! I never use it! Even if I’m playing a piece by J. S. Bach that requires mixture and pleno registration--still, I don’t manage it. It’s very ugly! Vidas: It is too fierce, too...screaming. Ausra: Yes. Vidas: Too high-pitched. Ausra: Yes. Vidas: Like a cymbal, but too bright. Ausra: I know. And I’m thinking if I would use it, after my performance, probably the church would be empty--everybody would just leave! Vidas: Maybe it’s ok to use it just once in awhile, just for a special effect. And that’s it. Ausra: But, well, if you are playing, let’s say, a prelude and fugue by Bach-- Vidas: A long one…! Ausra: A long one! Then, you know, hardly anybody would survive it. And I’ve heard organists use that mixture, you know. So you always just need to listen to the organ stop, and to your registration. Vidas: And how it sounds in the church, in the sanctuary. Ausra: Yes. So it’s always a good idea, if you’re registering pieces for your recital, to have an assistant or somebody that could help you, to play a little bit of your music, so you could just go downstairs and listen to how it sounds. Vidas: If you don’t have an assistant, put a recorder or a phone down in the pews, and then record yourself for a short moment, and see if you like the combinations; and then come back, listen to it, and change something if you don’t. Ausra: Yes, that’s a good idea, too. Vidas: Thank you guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 129: There Is A Great And Profound Joy In Practicing And Performing on the Organ12/22/2017 Vidas: Let’s start Episode 129 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Helene, and she writes that her challenge is not keeping up with her daily practicing. She writes:
“I have talents in other ways in that I write fiction and non-fiction; I play other instruments, too. However, there is a great and profound joy in practicing and performing on the organ which is unparalleled.” Ausra, do you have other hobbies/interests/talents besides organ? Ausra: Yes, I do have some. Vidas: So it’s a perfectly normal thing-- Ausra: Of course it’s normal, yes. Vidas: --To have many interests instead of just one. Ausra: That’s right. Vidas: What would happen if a person would have just one passion, one single focus? Ausra: I think he would become very good in that area in which he concentrates. That’s my opinion. Vidas: Wouldn’t that be like...a limit for that person’s personality growth? Ausra: Hmm… Vidas: You know what I mean? Ausra: Yes, I know what you mean; but people are different, so you cannot judge for everybody. And you cannot measure everybody by the same scale. Vidas: For example, I also have some hobbies besides playing the organ (playing the organ is not my hobby anymore, of course); but there is a downside to it, of course: it all takes up energy and time. Ausra: Yes. And actually, I see a conflict in this question itself: because she writes that she is not practicing daily, and then she’s telling that it gives her profound joy, practicing and performing the organ. So...I sort of see a conflict in this. And she plays other instruments, as well. Vidas: Maybe she should choose what is more important to her. Ausra: Yes, because, I mean, if she really finds joy and happiness in practicing and performing organ, then that’s what she should do. And you know, you will not be a virtuoso in any instrument that you play; I think it’s impossible-- Vidas: You mean, in every instrument. Ausra: In every instrument, yes. Especially if they’re not all, like, keyboard instruments. I would say you could play excellent on harpsichord and organ, or organ and piano; it’s harder, but still possible. But...not like, probably, violin and organ. Or flute and organ. Vidas: Or flute, violin, and organ! Ausra: I know--still one of the instruments will be the leading instrument, for you. Vidas: Mhmm. It seems to me that she enjoys writing very much, right? Ausra: Yes. Vidas: She’s writing stories--made-up stories and nonfiction. So that might be another way to express her creativity. Music and writing are not in conflict, I think--they supplement each other, right? Like other instruments and organ may be in conflict, but writing and organ are not necessarily in conflict. Ausra: Yes, this is true. Vidas: How many hobbies can a person have and still manage them successfully, do you think? Ausra: I don’t know--2, 3 maybe? Vidas: 2-3? Let’s say not hobbies, but activities. It might be other things-- Ausra: Well, you know, it’s like talking about nothing--it depends on how much time you spend at work everyday, how big your family is, how many domestic responsibilities you have...All these things, you know--some people are so busy that they cannot have even one single hobby. For example, like, I’m working late at school everyday. So, it’s a different story with you--maybe you should tell about your hobbies. Vidas: I’ve heard--I’ve read, actually--a story by...Warren Buffett, I think...yeah, the famous investor. And he says that you should write down a list of 25 things you want to do in life, in order from the most important one from the least important one. But all these things are important to you: like playing, like writing, like maybe drawing for some people, like other things. And some people really have 25 things on their plate. And then, he says, circle the top 5, and cross out the rest of them--like 20 things--and never look at them again. These are still important things to you, but life is too short. For myself, I have too many interests, too, and I have to limit myself, too. And I find that 5 things in my day, I can still fit in; and practice, every day, 5 different things, perhaps. Like let’s say, of course, playing the organ--repertoire, right? Maybe like...of course, improvising; like composing, number 3; and then would be writing, of course; and I like drawing, too. So those 5 things are still manageable. But other things I have to forget about, I think. What about you, Ausra? Do you agree with this? Ausra: Well, yes. I would be very happy if I could do 5 things a day! My teaching schedule is so busy that it gives me no time for anything else. There are days when I can hardly practice, and I’m very happy if I can read for like 15 minutes before bedtime! When you teach like 7, 8, 9 hours a day, what else can you do? It’s exhausting! Vidas: Yeah. Of course, I didn’t say reading; reading, of course, is important. I didn’t count that. So yes, Helene and others who have many interests and hobbies--and love to play the organ besides that--sometimes need to figure out a way of letting things rest awhile, and see if they’re still important, right? Maybe take a break of 5 weeks or a month without doing that activity, and see if you miss it. Right? And if you do, then maybe you’ll see it’s important, and maybe it has to go up in your priorities list. What do you think about that, Ausra? Ausra: Well, definitely, yes. Vidas: Okay guys, please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 128 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Helene. She is an ordained minister, but also plays the organ; and one of her challenges is that she doesn’t let churches know of her ability--basically, as I understand, she keeps her organ playing talents a secret. Right, Ausra?
Ausra: Yes, that’s what I understood from her question. Vidas: So, why do people keep their talents a secret? Ausra: Well, I think there might be different reasons. In this case, maybe she sort of feels uncertain how her colleagues or the church would respond or react to it--that she’s actually playing organ. For me, it sounds like maybe she feels a little bit ashamed of playing the organ, and maybe she thinks that preaching or leading services is more important than playing organ. Which I don’t think is the right way, at least from my point of view. Vidas: You’re right. Remember we have some friends, and one of them is Paulius. He is a lawyer--his first profession is lawyer--but he started playing organ some years ago, right, as a hobby. And now of course, he is, we could say, a professional organist, because he receives a salary within the church; but in the beginning, he was just practicing for his own pleasure, right? And remember that time when he kind of felt a little bit hesitant to say to anybody from his work that he plays--he was a little bit shy, right, at first? Ausra: Yes. Vidas: So you’re right. What keeps people from basically letting other people know that they have other talents and hobbies, is probably insecurity and how other people would react, right? Ausra: But I think it’s important to let other people know about your talent. Vidas: Mhm. Ausra: And to share your talents with other people. Because I think service music is equally important. Vidas: Especially if Helene is a minister. Imagine this situation: she could preach, say, a sermon, right? Ausra: Yes. Vidas: And maybe she could play a prelude, or postlude at the end. Maybe she could not play every hymn in the service, because it’s just too much to do; but she could contribute. Would you think that her congregation would be in awe of her contribution? Ausra: Yes. I think so. I think people would appreciate it. Vidas: Right. So guys, I think among our listeners there are other people who have organ playing skills or hobbies, but their main profession is something else, right--they do something else for a living. And they keep it a secret; they practice in a basement or somewhere like an attic, where nobody is around, and never, ever share their art, let’s say on social media--never post a picture of their organ playing on Facebook or post a video on YouTube, right? Ausra: Yes, that’s right. Vidas: There are some people like that. Ausra: Yes. And you know, I understand why people don’t want to share their talents on social media. It might disagree with their beliefs. But I think playing organ in church, during a service, should not be kept a secret. Vidas: Exactly. Ausra: Especially if you are a minister, an ordained minister. Vidas: You are already sharing. Ausra: Yes, you’re already sharing; and I think playing organ would just support what you are doing. Vidas: And if people got over that initial fear of sharing their talents, and fear of being, you know, ridiculed in front of other people, sometimes--if they got over this situation and they would even play in front of other people--I think their general organ playing skill would improve, don’t you think? Ausra: Yes. And you know, playing organ--I think that’s a rare gift for a minister. Not too many ministers can play organ. Vidas: Remember in the old days, Lutheran seminaries had organ playing classes; and I think Concordia colleges in the US had many practice organs-- Ausra: Yes. Vidas: Like 40 practice organs. It was, I think, around the 1940s or something. Ausra: Yes, because I think it’s important for clergy to understand music in general--to understand the meaning and value of music, and how it helps to sort of lift up the congregational spirit in church. So I think this is even better, that a minister can play herself. Vidas: There are some side benefits to that, because she can sing well, probably. Ausra: Yes. Vidas: She can lead hymn singing very well. And this is also very important for a church, because sometimes organists play the hymns--they sing--but if they see a minister not participating in that, there’s a wall, right? Between what the clergy do and what the musicians do. Ausra: I know. And it’s like that in some Catholic churches; because if the mass is sung, and you have to make a response to a priest’s singing, so sometimes it’s so funny if the priest doesn’t have any pitch at all! And during like one phrase, he can modulate a few times! And the organist never knows how to pick up the response to it. Vidas: Of course, the priest doesn’t know they’re modulating… Ausra: I know, yes. And that’s because they don’t have good musical education, I think, in seminaries. Vidas: So if Helene and others DO have musical background, and can sing well and even play the instrument, it would be selfish-- Ausra: Yes, sure. Vidas: To keep it a secret. Ausra: And you know, if it’s hard to combine things in one service, for example, it might be too stressful to do preaching and playing in the same service; so maybe she could keep leading the worship as the minister on one Sunday, and maybe play the organ on the next one. Vidas: Mhm. Or just play occasional service music-- Ausra: Sure, sure. Vidas: Not everything, but just...like a dessert! Ausra: Yes. And especially like during or before big festivities, like Christmas or Easter, during Lent and Advent, many churches have additional services; so maybe she could play the organ on those services. Vidas: Yeah, on Saturday nights, Vespers-- Ausra: Vespers. Vidas: Mhm. Excellent. We hope this was useful to you, and we hope to inspire you to share your gifts with your community and congregation. People need this, right? And maybe they will be inspired to take up your example and share their gifts, too. Ausra: Yes, yes. Vidas: Right? You never know what impact you have on people around you. And if you play in church, and you are a minister, please write to us about your experience. It would be interesting to know how people react, and how you react to this situation. Thank you, guys! This was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 127 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Lilla, and she writes:
“Thank you for all your advice about organ playing - especially the pedal virtuoso course that I am taking now. Regarding the arpeggios, is it OK to NOT to follow with both legs, when one foot is playing the highest/lowest notes on the pedal board? I keep my other foot on the note that I need to play when switching legs. For example, in case of B minor arpeggios, I keep my left foot on D while keep playing with the right foot upward and backward. (I followed your suggestion to use the F# minor pedal signs for B minor and it seems to work better).” Isn’t that great, that the f♯ minor pedal version works for b minor, Ausra? Ausra: Yes, excellent. Vidas: Sometimes you get advantages of discovering similarities between the keys and transferring one type of pedaling to another key, which works sometimes with sharps, sometimes with flats. Ausra: Yes, it’s nice. It’s really a big help. Vidas: And saves time. So, her question is about… Ausra: About body position, basically. Vidas: Keeping either one foot in place, or moving that foot, together with another foot, upward and downward. What would you say about that? Ausra: Well, I would say that most of the organ scores would suggest to keep both feet together. Vidas: But in the case of, let’s say, b minor, in the middle of the pedal part, you use both feet. But then, it goes very high. Then, you only need to use the right foot. What about the left foot, then? Ausra: It cannot stay in the middle, I would say. Vidas: I think so, too. Ausra: Because otherwise you might fall down on the pedal, if you will shift your entire body too much to one side. Vidas: It’s an unnecessary burden, I think. Ausra: Sure, yes. Vidas: And in general, it’s quite difficult to keep your balance on the pedalboard while switching directions. Ausra: Yes. Vidas: You have to push off with the opposite foot, to switch direction with your knees, in order to simply not hurt your knees, right? Ausra: Yes. And remember that you must feel comfortable on the organ. Not like on the couch at home--but still, you know, it shouldn’t hurt, and it shouldn’t be very much uncomfortable. And if it feels like that, it means that something might be wrong. Vidas: Should Lilla stick with the virtuoso pedal course, or would it be beneficial for her to supplement her menu with real organ music? Ausra: Well, definitely supplement it with real organ music, because you might get bored by playing exercises. Vidas: And exercises don’t get you real life experiences. Ausra: Sure, sure. Vidas: They’re isolated techniques which develop one certain aspect of your playing, of your skill. Which is good, but in real music, you need all kinds of abilities, right? Ausra: Yes, especially while playing organ, you also need to work on your coordination. Vidas: Mhmm. Ausra: And if you are only playing pedal all the time, your coordination might not be as good. So you need to combine all those practices: do some pedal work, and do some repertoire. Vidas: Maybe play a scale or two, or arpeggio or two, for starters--for warming up. Ausra: Yes, definitely. It would be a good beginning, you know, to warm up. Vidas: And with your fingers, too. Ausra: Sure. Vidas: Something technical. For example, I like to kind of...warm up with improvisation nowadays; because I can warm up, and slowly, gradually feel the keyboard. And the pedals too, because I improvise with my feet as well. What about you, Ausra? How do you warm up? Ausra: Heheh. I warm up with dictations--playing to my students! Vidas: “Eight measures!” Ausra: Because I have so many classes that I teach--27 a week!--so I get plenty of warmups, with my hands, at least. Vidas: Do you play this same dictation over and over again, the same day? Or do you have different ones? Ausra: No, I have different classes, so I play different dictations. Some of them--most of them--are actually 3-part dictations; but some are 2-part, and some have only 1 voice. Vidas: Do students like those dictations? Ausra: Oh, no. They hate them. (Most of them.) Vidas: Do you like them? Ausra: Well...yes! Why not? Vidas: And why do you like them and your students don’t? Ausra: Because I can have the music score in front of me, and they just have to write it down by ear, so that’s another story. And they are hard dictations, so I understand why they don’t like them. Vidas: Do they have syncopations? Ausra: Yeah, syncopations… Vidas: Dotted rhythms? Ausra: Suspensions, dotted rhythms, and all kinds of...things... Vidas: They’re like short musical compositions-- Ausra: That’s right. Vidas: Like preludes of 8 measures. Ausra: Yes, yes. Vidas: And sometimes they do sound like preludes, when they are 3 or 4 parts. Ausra: Yes, those 3-part dictations, you could play them as preludes. Vidas: Mhm. I would even say 2-part dictations sometimes sound convincing. Ausra: Yes, because they have like secondary dominants, and some of them even have modulations. Vidas: So, you teach your students the skills for real-life improvisation, I think. Ausra: Well, yes, but dictations are mainly meant to improve the pitch--musical pitch, hearing. Vidas: Mhm. To help them understand what they’re listening to in real life. Ausra: Sure. Vidas: And that’s not necessarily enough for creating your own music, right? Ausra: That’s right. Vidas: You have another class--harmony-- Ausra: Yes. Vidas: --Which is a transition between playing repertoire, listening to what you play, and then improvising--creating your own music. Harmony is sort of the in-between step, right? Ausra: That’s right. It’s very important, you know. Vidas: Good. So, Lilla should also supplement her exercises, too, with real music, we think. Ausra: Yes, yes. Vidas: Alright. What about...what about other pedal virtuoso exercises? I have, I think, not only scales there, but also arpeggios over the tonic chord, arpeggios over the dominant 7th chord, arpeggios over the diminished 7th chord; and even, I believe, chromatic scales with single voice and with octaves. So it’s a really comprehensive approach. Not too many people finish what they start, from what I read; but those who do, thank me later. And thank themselves, too. Ausra: Yes. Excellent. Vidas: So, if you have the stamina to succeed, if you really want so badly to develop your ankle flexibility like Marcel Dupré taught, so then playing scales, arpeggios--with one foot and both feet--is very beneficial in the long run. But you have to not forget the real music. Ausra: Yes, definitely. You know, the real music is the most important, I think. All these exercises, they supplement the repertoire very well. Vidas: They are servants for repertoire. Ausra: Sure, yes, yes. Vidas: It’s not the goal to master those exercises. It’s a means--it’s a tool. Ausra: Yes. Vidas: They have to serve you. And if you don’t enjoy playing technical exercises, don’t play them. Right? This is for people who do enjoy them, like Lilla and others--hundreds of others, actually, who love isolated technical exercises. But other people cannot stand them, so they do something else. We need to always find a balance between what we can be passionate about, right--and what we can do long-term. Ausra: Yes. Vidas: Thank you guys, this was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. This is really fun. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 126 of #AskVidasAndAusra podcast. Listen to the audio version here. And today is a very interesting day: we celebrate 6 years of the beginnings of Secrets of Organ Playing! Isn’t that exciting, Ausra?
Ausra: Yes, it's been already 6 years! Wow, time flies. Vidas: Very fast. It seems like a few weeks ago, right? Ausra: Yes. Vidas: It seems like this September, for example. Remember the first article that I posted on EzineArticles, and started--you were not part of this project yet, but you joined it later, right? Ausra: Yes. Vidas: By the way, how did you decide to join the Secrets of Organ Playing blog? Ausra: I couldn’t explain how it happened… Vidas: Very naturally, probably--gradually. Ausra: Yes, yes, yes. Vidas: You were helping me behind the scenes with fingerings and pedalings… Ausra: Yes, yes, that’s right. Vidas: And of course... Ausra: I just didn’t want my name appearing somewhere. Vidas: You were too shy, right? Ausra: Yes, I was crypto-editor. Vidas: Crypto-editor! Haha. Ghost editor! But then somehow things changed, right? Ausra: Yes. Vidas: And are you happy about that? Ausra: Very much. Vidas: I sense that since you have started doing this together with me, our conversations became more lively online; and people, I think, get more out of this discussion than myself--I would write just a one-sided article, and now sometimes we disagree, we sometimes have discussion; and people can choose which one they like more, which version. Ausra: Heheheh. Yes, that’s right. It’s always good to have an argument, and compare things. Vidas: So, we would like to thank you guys very much for sticking with us for 6 years now, and we hope to help you grow as an organist even further in upcoming years, and help you reach your goals, right? Ausra: Yes. Vidas: And now, going back to the question that was sent by Irineo: he writes: “Hello back there maestro Pinkevicius, thank you for your interesting email. I have a couple of questions though. 1. How can I upload one of my pieces to Musicoin? I have it recorded in my iTunes, so I guess I should first transfer it to my laptop and then upload it to the site, am I correct? Do I need some kind of software to do so? If that's the case, which one would you suggest and where can I get ahold of it, please? 2. I also wrote lyrics for that piece. Therefore I suspect it might be classified a short Chorale. I have to translate it into English as well but, do you think I should upload its original lyrics as well as the translated version? Thank you so much in advance. Also send warm greetings to maestra Ausra please. Keep up the good work, you both! Very truly yours, Irineo” So, isn’t that exciting, Ausra, that people are joining Musicoin? Ausra: Yes! Very exciting! Vidas: You joined Musicoin, too. Ausra: Yes. Vidas: Why? Ausra: Because you suggested that, and I agreed! Vidas: Hahahaha! Do you find value in that program? Ausra: Yes, I think it’s much more beneficial than the others. Vidas: Like, if you put your music on SoundCloud, what do you get? Nothing. You simply have to pay monthly or annual membership fees for that, but you don’t get anything in return. What do you get for putting your music on Facebook? Ausra: Nothing. Vidas: Nothing, too! They actually put advertisements on top of your posts, and you become a product for them! So basically it’s a lose-lose situation for an artist. What about YouTube? YouTube does pay for views, and it makes a little bit of sense, right? A very insignificant amount compared to Musicoin. But it still does, so it’s, I guess, it’s one of those things you have to consider. What about Spotify? Spotify, I guess--I’ve heard that for 1 million--for 1 million--listens or playbacks, an artist gets $400. That’s nothing. For 1 million! You know, the majority of people will never get to a million. Ausra: Of course, it’s hard to get a million! Vidas: And then $400--that’s nothing compared to the work that is required to get to such a number, right? And Musicoin, with every listen on the Musicoin platform, an artist gets (right now) 1 Musicoin. (That’s their currency.) And 1 Musicoin currently is worth about 1.8c. And sometimes it rises in value, and sometimes it decreases in value, as with any cryptocurrency. But I guess, in general, the more people join this platform, the more valuable it will become in the future--right Ausra? Ausra: Yes, that’s everything. Vidas: It’s basically, the demand grows, and basically a supply and demand rule. So, it’s worth doing that for organists as well. You simply upload your tracks--it could be mp3 tracks, for now, only--and you watch your Musicoins come in. That’s very exciting. Ausra: Yes, that’s right. Vidas: Of course, you have to share--share your work all over the place so that people will find you. Right Ausra? Ausra: Because if you will not share, nobody will Know about you. Vidas: And another good thing about the Musicoin platform is that it’s built on so-called Blockchain technology, which enables them to create smart contracts: automatic contracts where you can specify which proportion of your revenue will go to you, and which proportion will go to, let’s say, your partners (if you have a band or ensemble or a small choir or something). Right now, you have to subdivide your revenue in 8 shares. So right now, for example, these podcasts with Ausra--we divide it in half. One half goes to Ausra, and one goes to me, because we both participate in this--right Ausra? Ausra: Yes. Vidas: Even though you say “yes,” you still get one Musicoin! Ausra: Okay, okay! Vidas: Or half a Musicoin. Ausra: I can give all my Musicoins to you, and make you happy! Vidas: Hahahaha. I know! But that’s not the point! The point is that you have the choice of doing this. Ausra: I know, but the thing is that you get such a technical question as this, the thing is that you are just more experienced. You know, all those programs, and internet stuff. Vidas: Or, maybe you have other questions that arise when I talk? You could ask! Ausra: Hahaha, maybe not now. Vidas: Good! Ausra: Let’s just answer Irineo’s question. Vidas: So, he writes that he wants to use the pieces that he uploaded to iTunes, right? And repurpose them on Musicoin. Ausra: How should he do this? Vidas: So, he simply has to transfer mp3s from iTunes. And there was, I think--I found an article online, “How to Download from iTunes,” and you can simply read the directions there. Ausra: Yes. And also, the second half of Irineo’s question was about either he needs to put the original lyrics, or just an English translation. So I think he definitely has to include both. Vidas: Yeah, to expand his audience. Ausra: Yes, yes, of course. Vidas: Some people will want to listen to the English version. And others--why not include the original language, too? And specify in tags, you could specify the language: English or another language. Ausra: Yes. Vidas: We could even submit a Lithuanian chorale, too. Ausra: Yes. It’s like watching movies, like for example, I love to watch a movie in the original language. It gives me much more, even if it’s a language I don’t know well enough, like French, for example. Vidas: And, to expand your audience, you can actually include an English translation in the description box. Even though the original track is in another language, people could click and read the English version, too. Ausra: Sure. Vidas: Everybody wins, this way! So, we hope this was helpful, right Ausra? Ausra: I hope so! Vidas: Don’t hesitate to use our invitation link to join Musicoin. And please, of course, invite other people--that’s how this platform grows; that’s how, in general, it becomes more valuable to you and to everyone. Because it’s a network; your songs, your music, get in front of many more people this way, inside of the platform of Musicoin, just like on YouTube or iTunes. And of course, you get paid for each listen. That’s fair treatment for every musician, I think. Thank you guys, this was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 125 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Peter. He writes:
“My challenges are lack of time, and spending/wasting time on other things(!) i.e. lack of willpower. And I think I need to improve my sight-reading if I am going to improve my overall organ-playing. Also, I hate most 'modern' organ-music. On this subject,it might be interesting if you could explain, in one of your blogs, what anybody 'sees' in sour-sounding, discordant 'modern' music. You know the kind I mean - where you are not sure if the player is making lots of wrong notes, or is this what it is supposed to sound like? Many highly competent professionals like this kind of music, but why? One such person said to me, "It's probably more satisfying to play than to listen to." In that case, why play it to an audience? Another said, "Well, I like it, and I'm going to play what I like." (He meant in a recital.) Is it any wonder that the organ is right at the bottom of the pile, in popularity, with the general public? Where I live, if we get an audience of 40 to a recital, that's very good. Usually, it's 20 or under. The idea is dying on its feet and a lot of it has to do with the kind of music people play, as well as the way in which they play it. (There's another topic for discussion - how is it that some people can play all their pieces absolutely accurately, and the performance is dull and boring, and someone else plays with a few mistakes, but it's exciting and attractive? 'Music' certainly is fascinating, as a subject.) I think you may agree with me that, the basic 'purpose' of music - any music - is to create emotion in the mind of the listener. But if that emotion is one of irritation, annoyance and unpleasantness, why would anyone want to repeat the experience? It makes no sense.” It’s a complex question, right Ausra? Ausra: Well, yes; a very broad one. Vidas: In general, I think Peter struggles with modern music comprehension, probably, and discovering the beauty of it. Ausra: Yes. That’s a tricky question to answer, because the term “modern music” is so broad. There are such different types of music in this “modern” organ music. Vidas: There is no longer a mainstream. Ausra: Yes, that’s right, so it’s very hard to describe. But I guess, you know, maybe modern music’s problem is probably too many dissonances. Vidas: Dissonances which people don’t know how to handle in their mind Ausra: Yes. Vidas: They don’t know what they mean; they don’t feel the resolution of the dissonances. Or maybe composers don’t resolve them anymore. Ausra: Yes. And of course, another trouble with modern music is that some of it actually just lost the form of it; and it’s very hard to listen, sometimes, to music which has no shape. Not like sonata form, where you have like 2 main subjects, and then another subject, and then you have all that exposition, and then you have the development of these themes, and then after that recapitulation comes back. Then you have a clear subject, and you can refer to it all the time. Even in a fugue. I don’t think very many listeners appreciate the fugue so much; but still, because you have a subject and it appears over and over again, it makes a fugue bearable to the listener. Vidas: Haha. Good term--“making fugue bearable.” This could be a tagline of some music website or for one of our recitals. Ausra: Well...Okay, and even listening to Bach’s Art of the Fugue, it’s hard work. Of course, you can appreciate such music the better you know it. So if you go to a concert where you know that modern music will be on the program, I suggest you do some research yourself, if you want to really appreciate it. Maybe find a score, or listen to a recording on YouTube, if that’s possible. Or at least maybe you will find a story of how that piece was written. Because sometimes, understanding what the composer felt at that particular moment of this particular composition may light it in another light, and you may understand it better. Vidas: And sometimes it’s a problem of communication, right? Performers don’t make an effort to introduce the music to the audience, either in spoken form or in text, as program notes. So less-experienced concert goers don’t know what to think during such a dissonant performance. Ausra: Yes. And I think another problem is that so much music is written already, that new composers, they try to do something differently. But actually, it’s hard to find something different, and do something differently; because as I said, 700 years of organ music, so...it’s very hard to find something new. So sometimes they want to make it as horrible as possible, to make it sound “new.” Vidas: I think originality is a complex question. Everyone wants to be original, but everything was created before, right? We just repeat history in a new way, perhaps. So the best way to be original, actually, is to combine old things--several things, not one, but several things, in a new and unexpected way; and then you will be original. Ausra: Well, and you know, composers did that time after time, in history, if you look back. It’s sort of, for example, like Romantic composers. They got inspiration not from the Classical music that was just before the Romantic period, but from the Baroque period. And what the Classicals did was, they found inspiration not in Baroque music but in Renaissance music--which was pre-Baroque. So...And they took some things of those old times, and put some new ideas into them. And it worked fairly nicely. Vidas: And I think people like Peter could benefit from sightreading modern music more. Literally taking it apart, and looking at the scores, and seeing how it’s put together helps to appreciate it when you hear it. He wrote that somebody he knows said that it’s probably more pleasant to play it than to listen to it, right? So...which means that he needs to play it more, simply. Ausra: Yes. Vidas: And then he will be able to appreciate modern music more. I’m not saying he should go on a modern music diet… Ausra: Oh, no! Definitely not! Vidas: For the record. But just to include some pieces in your sightreading menu would be helpful. Ausra: Yes. And another thing, I think, is that organists who perform only modern music are making a large mistake. I think they are losing audience, because if you want to play modern music, it’s okay, but you have to keep the right proportion. For example, if you are planning a recital, and it’s an hour long, I would suggest that your modern music wouldn’t take more than 10--well, at the most,15 minutes of your entire recital. Vidas: Mhm. Ausra: And don’t play it at the beginning, because your audience will leave right away! Vidas: You know, it’s another very complex question for people who choose to voluntarily play only modern music in their repertoire. For example, my friends James D. Hicks and Carson Cooman, they are known to perform only pieces that are created recently. James D. Hicks is playing (all over the world!) music from the Nordic countries, and Carson Cooman is a champion for avant garde music and modern music in general. So you could actually build a brand for yourself, of being the one who performs such music. And I don’t think that they worry about losing audience who don’t like such music, right? Because it’s simply not for them. Don’t you think, Ausra? Ausra: Well, yes and no… Vidas: It depends on your goals. If you want to please everyone, then of course, playing only modern music doesn’t help. Ausra: But what about pleasing yourself? For example, I could not just play modern music. Vidas: That’s why you don’t play modern music only. Ausra: I know. Although, I like modern music, and I have played it quite a lot, actually. Vidas: But then, imagine a situation where a person only plays music of dead composers--not only dead composers, but who lived a hundred years ago, two hundred years ago--three or four hundred years ago! If everybody would play this, then the advancement of organ art would be on a minimal scale. Probably creativity would be diminished, in general, in the organ world, because we would be repeating only museum-like performances! Ausra: You know, I don’t think it would be a huge disadvantage for organ music if none of the new pieces would be written, starting from this day on, because there are so many masterpieces already that you wouldn’t be able to play all of them in your entire life, even if you would live for like 200 years. Vidas: This is true. But what about for a composer, who feels the need to create something, to let it out into the world--what about them? Ausra: Well, that’s a tricky question--you got me! Vidas: So, what I meant is, everybody needs to be creative in some way, probably--to spend our days not only in consuming things, but also creating things. Performing music is one of the ways we consume music, and creating music (either in written form or in improvised form) is one of the creative endeavors. So, you could create, actually, stylistically old-fashioned music if you like it, right? It doesn’t diminish your creativity, if you like this particular style. But I think that people who create sooner or later become a little bit dissatisfied with repeating old styles. They want to create something which has never been created before. Ausra: You know, nowadays there are so many composers that I think you will be lucky if after you compose a piece, somebody will actually perform it. You don’t get much chance of that, knowing how competitive this field is. Vidas: Oh, this is another question probably too broad to answer today, but: in this global world, where everybody can create and everybody can share, and many people are doing this, so it’s getting more crowded every day, right--this global world of music? So then, the only way to get noticed, actually, is to stand out--to not follow where everybody else is going, but to lead, to do your own thing, to find your own voice. Ausra: And what I could suggest to Peter is: for example, if he decides to play some modern organ music, choose that modern organ music which was composed by organist composers. Because they actually know how to treat the instrument well. Vidas: Yes. Ausra: Because I have seen many organ compositions that were not composed by organist composers, and they were just disasters, because you can find things that are impossible to play well on the organ, and it sounds bad. But organist composers, that’s another thing. They know how to treat the instrument well. Vidas: What would be one composer you think would sound perhaps satisfactory enough for Peter, for starters? Ausra: Petr Eben maybe? Vidas: His music is not too challenging--not too dissonant? Ausra: Well… Vidas: He is dissonant. Ausra: He is dissonant, but he knows how to treat the organ. Vidas: What about Charles Tournemire? Ausra: Yes, Tournemire also. Vidas: I’m sightreading every day now from his cycle, “L’Orgue Mystique”. And I find that some of his meditations are quite simple in structure and very modal, and therefore sound quite sweet. So, a lot of French composers also do that modal, sweet writing, which you might find helpful, too. Thank you guys, this was very interesting. 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. |
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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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