Vidas: Let’s start Episode 124 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Dineke, and she wants to know when you really need to stop learning a piece--when enough is enough, when you have made enough progress so that you could pick up a new piece. First of all, I think it’s different for everyone, right Ausra?
Ausra: I think so, and I think it’s never enough to stop, actually--I mean, the piece is never perfect enough. I think if once, after playing a piece, you can say, “Oh wow, it’s perfect!” then it means that you don’t need to perform anymore. And I don’t think that’s possible. Vidas: Right. What about for you? For example, when you learned--remember the last piece you performed in public (it was a group of pieces, but), let’s say, Variations in D, Andante by Mendelssohn. Right? So, when did you decide to stop practicing this piece? Ausra: I never stopped practicing the piece. That’s my point. Vidas: Uh-huh. Ausra: Okay, I did it--I played in during a recital. But I will play it in the future, so I will still be working on it. Vidas: With some breaks, right? Ausra: Yes, with some breaks, yes. Vidas: In between those periods, you pick up other pieces. Ausra: Yes. Vidas: Depending on your goals. Ausra: Yes. And you know, after a while, I may be returning to that piece, and I will play it maybe differently. With new ideas. So polishing a piece--it’s never a finished process, for me at least. I don’t know, what about you? Vidas: That’s a good question. I feel that whenever I’ve learned a piece inside-out (very deeply analyze it, write down fingering and pedaling, even memorize it--sometimes I go very crazy and transpose it to keys that have different accidentals)--so whenever I do this, I know that whenever I need to take a break, even a break of several years, I can pick up this piece with relative ease, and continue practicing relatively without any struggle and frustration. Of course, several days and weeks might go shaky; but then, little by little, my memory refreshes, and I start playing just like a few years ago--or even a decade ago, I would think, too. But first of all, you need to learn the piece very very thoroughly, in order to do that after a while. Ausra: Yes. But in general, if you want to know if you’re over with that piece, you just have to be able to play in the right tempo without any mistakes, I would say, at least 3 times in a row. What about you? What do you think--would you agree? Vidas: That’s an excellent point, I think. If you want to be more secure, I think 5 or even 10 times in a row would work for some people. And it depends on the occasion, and on the stress level, and the level of what is at stake, right? Ausra: Because if you are playing for yourself, and you are making mistakes… Vidas: Nobody cares, right? Ausra: Yes--well, yes, but it means that definitely you are not done with this piece, because in public performance, it will be ten times worse! Vidas: But if you are playing it for a competition, let’s say, and somebody who’s an expert will judge you, and 10 or 20 other high-level organists will compete with you, then you have to be really precise, and perfect this piece up to the point that you can’t even make a mistake. That’s how professionals are different from amateurs, I’ve heard. Amateurs practice until they get it right, and professionals practice until they cannot make a mistake anymore. That’s a big difference, right Ausra? Ausra: Yes. Vidas: So, I think you have to be strict with yourself, when deciding when it’s enough, when it’s okay to show to the public; and be realistic of your level, because stress and all the stakes will get ahold of you during a public performance. So you actually have to play automatically-- Ausra: Yes, that’s right. Vidas: Be able to play with your eyes closed, in complete darkness, let’s say. Ausra: Yes. And you know, it’s often the case with organists, that you practice on one organ, and then you have to perform on another organ. It also will make things harder, actually; so you have to be really really ready, and know your piece very well. Vidas: And if you’re used to playing your RH on the upper manual, and the LH on the lower manual, it will make a big difference if you reverse the hands, if you’re not used to the reversal. Ausra: Yes, so you have to be really comfortable, to feel comfortable with your piece, to be able to do all these additional things. Vidas: It all comes quite naturally, I think, over time. Ausra: Yes. Vidas: You don’t need to rush those things; you don’t need to be in a hurry to reach perfection, I think. Right, Ausra? Ausra: Well, sometimes you do, if you have a deadline very soon. Vidas: What do you mean? Ausra: Well, if you have a recital in a few days, for example. Vidas: And...? Ausra: And you are not ready yet. So then you are in big trouble, and you have to worry. Vidas: So maybe your planning, then, is not okay. Maybe a person like this chose all the pieces that are new, and all the pieces that are very long, and all that are very difficult. That’s a big lack of understanding how to plan, right? Because you don’t need to play everything that’s difficult stuff, and everything new, like you cannot repeat. Ausra: That’s right. So, I don’t think there’s any one answer when your piece is ready. You just have to decide for yourself. Vidas: And know that whenever you come back to this piece, you will find something new to work on. Ausra: That’s right. Vidas: That’s okay. Even after a while, after a few years, your level might have grown, and you will figure out some new things on how to perfect it even further. Your taste might change, right Ausra? Ausar: Yes, that’s right. Vidas: Okay! Good luck, guys, in perfecting the pieces that you choose. You will never reach perfection--I will never reach perfection, and Ausra will--I don’t know, will you reach perfection, ever? Ausra: NO. Never. Vidas: Never? So, we have to live with that. But probably, the main point here is to become a little bit better each time we practice, than yesterday. Compare ourselves with ourselves yesterday-- Ausra: That’s a very good point. Vidas: --And not to the masters and other virtuoso organists whom we hear from recordings and videos. Polished. And you never know, if you pick up a CD, if the CD is a live performance, or if it’s edited with many many takes, and glued-together fragments, right? It’s not live anymore! Ausra: Yes, that’s right. Vidas: So, how do you record pieces, Ausra? Do you record it in one sitting, or do you take multiple takes? Ausra: Well, I record it in one sitting, actually. Vidas: Mhm. You don’t edit things? Ausra: No. Vidas: You might stop, when it’s a big break, right? In an episode, or at the end of a movement? Ausra: Yes, of course. Vidas: End of a movement. But it doesn’t make sense to me; I don’t like editing too much. I try to play with feeling and with liveliness. Of course, some sloppy mistakes are not okay for official recordings... Ausra: Sure, of course. Vidas: And I need to redo it--retake it until I get it right. Ausra: But then, I just record everything again. Vidas: Mhm. Ausra: From the beginning to the end. Vidas: Right. Thanks, guys--this is really interesting. Please send us more of your questions; we love helping you grow. Right, Ausra? Ausra: Yes. Vidas: And remember, when you practice… Ausra: Miracles happen.
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#AskVidasAndAusra 123: How to execute the B minor arpeggios of tonic chord over two octaves?12/8/2017 Vidas: Let’s start Episode 123 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Lilla and she writes:
“Hi Vidas, could you explain/make a video of how to execute the B minor arpeggios of tonic chord over two octaves? In particular, the low f# is marked to play with the right heel. And also, I need to support myself with my hands keeping on the bench (not on my lap). I am not sure how to change this to keep my balance without hand support. Thank you for your help!” So, playing arpeggios with feet. It’s not very easy, right Ausra? Ausra: Yes, that might be tricky sometimes, yes. Vidas: But I think it’s very beneficial in the long term, because it will develop your heel flexibility, yeah? Ausra: Yes. But from what I understood from her question, she places the heel on the low F♯. Vidas: Mhm. Ausra: I wouldn’t do that. Vidas: Yeah, because… Ausra: I don’t think it’s possible to hit the low F♯ with the heel. Vidas: She is studying from my Organ Pedal Virtuoso Master Course, and in that particular arpeggio in b minor over 2 octaves, I probably made a typo: on the low F♯, I placed the heel. So obviously, it has to be-- Ausra: Toe. Vidas: Toe. On any F♯s, you need toes. Ausra: Yes. Vidas: So, this means that you could actually play the b minor arpeggio with the pedaling indicated to f♯ minor, which is R-L-R, then L-L-R-R-R, R-R-L-L, and L. So, to clarify that, B would be played with right toe, the low F♯ with left toe, B again with right toe, D with left heel, F♯ with left toe, then B with the right toe, D with right heel, F♯ with right toe, and then backwards: D right heel, B right toe, and then F♯ with left toe, then D left heel, and the last note B with the left toe. So...is it complicated, Ausra? Ausra: Yes, yes. It seems very complicated when you are telling each note so slowly. Vidas: Yeah, I don’t want to make a mistake, telling people what not to do! And the other part of the question was that Lilla is not comfortable sitting on the organ bench and playing, right? Keeping her hands on the bench, while playing without the hands, on the pedals. How to change the position and keep her balance without hands. Could you help her with that, Ausra? Ausra: Well, I hope so. Maybe she’s sitting in that position--I mean, maybe the bench is too close to the keys, or too far away from the organ. That might be a problem, too. Vidas: Basically, the rule to change position is to always face your knees to the direction of the pedals that you’re playing. Ausra: Yes. Vidas: If your pedals are left and your knees are facing right, you will easily damage your knees, right? Ausra: Yes, that’s right. Vidas:So, how can you push over with one foot? Is it difficult, Ausra? Ausra: Well, not so much, I would say. Vidas: Which foot do you use to push? Opposite? Ausra: Yes. Vidas: If you go upwards, you use the left foot. Ausra: Yes, that’s right. Vidas: If you go downwards, you use the right foot to push off, changing direction. Ausra: Yes, that’s right. And you know, if something feels very uncomfortable for you, it means that you are doing something wrong. It shouldn’t be torture, playing organ. Vidas: And I think it’s best to adjust the bench’s position, as Ausra says, so that you’re neither too high nor too low, neither too far from the pedals nor too close to them--and actually, sit on the edge of the bench. Ausra: Yes, yes. Vidas: Not too deep on the bench. Ausra: That’s right, yes. Vidas: Basically, lean forward. Ausra: Yes. A little bit, yes. Vidas: Does it take practice to figure out a comfortable position? Ausra: Of course. It takes a lot of practice. Vidas: So, I guess people who will be struggling with this need to remember that it’s not an overnight success; because you have to play around, and figure out your comfortable position on the organ bench while playing technical exercises like scales or arpeggios with pedals. Ausra: And also the bench height might not be correct for your case, so you need to adjust that, as well. And--have you noticed that some organists place the organ bench a little bit... Vidas: Diagonally? Ausra: Diagonally, yes. Vidas: To the left. Ausra: What do you think about that position? Vidas: The left side is farther from the keyboards than the right side, right? Ausra: Yes. Vidas: You sort of face a little bit...strangely. The idea behind this approach is that you put your right foot on the swell pedal a lot-- Ausra: Yes. Vidas: To manipulate the box. And for this technique to work, you need to pedal your pieces extensively with the left foot. I don’t think it’s an ideal position; I think we use both feet equally often. Ausra: That’s right, yes. Vidas: Especially if one piece in your repertoire is like, from the 18th century, from the Baroque period, without any swell pedal, and then you suddenly change to Franck or Widor, where you need the swell pedal. Do you think you will have time to change the position of the bench? Ausra: Probably not. But I know that some organists sit like this all the time. They come to be so used to this diagonal position of the organ bench that they cannot play straight. It sort of amazes me. Vidas: And they’re very particular about this. Ausra: I know! Vidas: They mark the distance on the floor with a special marker! Ausra: Yes. So, but you need to see for yourself what works for you. Vidas: And sometimes it doesn’t work. Sometimes you encounter an uncomfortable bench, or uncomfortable pedalboard. So, that’s ok, too. You have to know that it’s temporary, because you will not play (probably) on that organ for your entire life, right? Ausra: Yes. Vidas: You will switch to other instruments. And you will get used to this a little bit, and adjust. Ausra: That’s right. Vidas: Alright, Ausra--what would be your last, final advice for people about playing pedals without hands? Ausra: Well, just try to do it, and... Vidas: Don’t give up. Ausra: Yes, don’t give up! Eventually you will succeed. Vidas: Because...your feet also have muscle memory! Ausra: That’s right. And it’s not as hard as it seems in the beginning. Vidas: And I think you could also take a slower tempo. A lot of people say, “I’m practicing very slowly!” But when I check their tempo, they’re too fast, actually. Ausra: Yes. Vidas: Twice as fast as we would advise! Alright, thanks, 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 122 of #AskVidasAndAusra podcast. Listen to the audio version here. Today's question was sent Robert, and he writes:
“My dream is to be able to play any hymn from our hymnal in church meetings when needed even with very short notice.” So, Robert wants to be a liturgical organist, right Ausra? Ausra: Yes, that’s how I understand this question. Vidas: It’s very useful to be able to sightread any hymn when you need to, right? Because you don’t usually select the hymns unless you’re musical director. Ausra: Yes. Vidas: Ausra, can you sightread any hymn you want? Ausra: Yes, I can do that. Vidas: When did you discover this magical skill? Ausra: A long time ago; I already cannot recall the exact date. Vidas: Were you born with this skill? Ausra: No, definitely not. I’m not Mozart; I’m no Bach! Vidas: Neither was I. But I don’t think either Mozart or Bach was able to sightread any hymn when he was a baby. Ausra: Well, I don’t know! Vidas: So, you can probably build this skill over time. Ausra: Definitely. You just have to do it every day. But, as Robert said in his previous question about having enough time to practice every day (and trying to procrastinate the practicing)--in that case, you will not be able to sightread hymns very well, unless you do it regularly every day. Vidas: Mhm. So, people who are in a similar situation like Robert, who want to excel in sightreading hymns and be great liturgical organists, but feel kind of stuck in the current situation, and they cannot really force themselves to do this every day--they have to remember their goal every day, right? Ausra: I think so, yes. And you just need to find out what is motivating you the most. Maybe meeting those congregation people, who will tell you after you play any hymn from the hymnal, “Wow, how can he do this this well, just sightread any hymn!” Maybe this will be good motivation enough for you to do it on a regular basis. Vidas: Is this a good idea: to write down your goals? Ausra: I think so, yes. For some people it is a good idea. Vidas: To write down their goals, and leave them in a place they could see every day. Ausra: On the refrigerator. Vidas: Refrigerator, somewhere near the mirror, next to the TV, next to the organ--everywhere there are distractions, right? Maybe they could even save their goal on the screen of the smartphone when they turn it on! Ausra: That’s right! Vidas: Remember Hans Davidson and his motto? Ausra: Yes, I remember that. Vidas: What was his motto? Ausra: Carpe diem. Vidas: What does it mean? Ausra: It means “seize the day” or “use the day.” Basically, don’t be lazy, and use every minute of your day. Vidas: And we know what Hans Davidson has achieved already, right? He organized and managed to build amazing historical instruments and replicas, not only in his native Sweden, but also across the pond in America. Ausra: That’s right. Vidas: Right? And for this he will be remembered! Ausra: Yes, of course. Vidas: Yes, definitely. At least for this. I think even more, for more things. So...we only live once, right Ausra? It seems like a long life, right Ausra? I have this clock here on my screen; it says that I have 12,919 days left to live. And this is called a “Death Clock”--you can install it in your Chrome browser, and you insert your birthday, and it gives you the number of days, hours, minutes, and seconds, with approximate average length of human life. And I think it’s good to know how many days are left, and to make them count. As a reminder. Ausra: Don’t you feel scared about this?! Vidas: Not at all. I feel kind of motivated to make them count. Because it’s only my life--my one and only life. What do you think about that, Ausra? I didn’t tell you that before! Ausra: It’s very scary, actually. I’m in shock. Vidas: Shock? Ausra: Yes. Vidas: So, because we are the same age, you have the same number of days, hours, minutes, and seconds left, too. Ausra: Well, I’m a little bit younger; and plus, I’m a woman. Usually women outlive men. Vidas: Mmm, true. I could have inserted your birthday! Ausra: Well I’m just making joke. Nobody knows exactly how much it will take for us to live. Vidas: So yeah, you can google “death clock” if you want one in your browser. It’s kind of a nice reminder, at least for me. And it says, “Life is short; make the most of it.” And then, of course, sightread hymns every day! Ausra: Yes, because if that’s your goal, you have to do it every day. Regularly. Vidas: At least for 6 months, right? Or even less: let’s say 67 days. That’s as many days as it takes to build a habit. After that, it’s easy. Ausra: Yes. Vidas: Excellent. Ausra, what habit will you be building today? Ausra: Well, I have so much to do that I don’t have time to build a new habit! Vidas: So explain to us, what will you be doing in the afternoon? Ausra: I will have a concert that I have to lead. Vidas: Uh-huh, which is called “ABC.” Ausra: Yes. Vidas: What does it mean? Ausra: I will be talking about music keys. Vidas: Hmm. A Major, a minor, B Major, b minor… Ausra: Yes, yes, that’s right. Vidas: And schoolchildren will play a piece or two from each of these keys, right? Ausra: That’s right, yes. Vidas: And what will you say? Ausra: Well, historically what each key meant. A little bit about composers and compositions. So on and so forth. Vidas: Even though they will be playing on the piano, it’s important for them to realize the difference between the keys, right? Ausra: That’s right. Although, I have like 12 pieces written in a minor for this particular concert. I don’t know what different 12 things I can say about the key of a minor. Vidas: So this concert should be named not “ABC” but “A”! Ausra: I think so, yes. And there is only one piece in the entire recital--it has like 29 pieces--written in b minor. And no B♭ Major, no b♭ minor, no B Major… Vidas: Just one piece in b minor? Ausra: One piece in b minor. So it’s not like ABC recital, but it’s like A and C, and B just, you know...I hope that girl who will play in b minor will not get sick. Vidas: Uh-huh. Ausra: Because that way, we will have to rename the recital--or cancel it! Vidas: Yeah, everything is on her now. The pressure! Ausra: Yes. So...I have plenty to do today! Vidas: Wonderful. How much time did you devote to preparing for this speech? Ausra: About 8 hours. Vidas: 8 hours? Ausra: Yes. Vidas: Was it a fun process for you? Ausra: Yes, it was fun. But I would not like to repeat it soon. Vidas: So, you said yes, but you kind of regret it...or not? Ausra: Yes. Actually, I do. Vidas: You would not say yes anytime soon, for this particular occasion? Ausra: Oh no, oh no, no, I will not say yes, I think! Vidas: Guys, if you want to have enough time for your dreams, and sightreading hymns, and doing things that you love--you have to learn to say no. Ausra: That’s right. Vidas: To say no to the projects that seem kind of interesting, but don’t necessarily align with your goals. They might align with other people’s goals, right? But since life is short, and for example, I have 12,919 days to live...I kind of feel that I have to do my own thing. Ausra: Yes, that’s right. Vidas: Which is meaningful. And no one else can do this for me, but me. Ausra: Yes, I’m just glad that today it will be over! So that’s it. Vidas: Excellent. What’s next for you? Bach recital, probably? Ausra: Well yes, Bach recital; plus also I have some extra work, at work that I have to do. Vidas: Mhm. Ausra: Which will take a lot of my time, too. But such is life. Vidas: Excellent. Today I will also be practicing Bach recital pieces that I’ve chosen. They’re wonderful, and I think I’m going to add some fingering and pedaling, at least in some of them. One of them is Bach’s Passacaglia! Ausra: Excellent piece. Very nice. Vidas: Wonderful. So, stay tuned if you want to master this piece with my fingerings and pedalings, with ideal articulation: articulate legato! Thank you guys. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 121 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Robert. He writes that “I’m not taking enough time every day to practice.” So Ausra, do you think that he doesn’t have time enough, or he cannot force himself to practice?
Ausra: Well, from his statement, it sounds like he might be probably too lazy to practice, like we all are sometimes. At least, I had such an impression, after reading his statement: “I am not taking enough time every day to practice.” Vidas: “Lazy” might be a cause for this, but I think this inner drive should come first, right? If you’re so motivated, and passionate about that, and if you want it so badly, then you don’t have to really force yourself. It comes naturally, right? Ausra: Well, then you will understand that practice is a privilege; and yes, you will practice every day. Vidas: I’ve heard an explanation about this issue: that you have to feel like a gun is pointing at your head, and then you will feel motivated to do whatever it takes! Ausra: Well, what I personally think is, I think your practice needs to become your habit. It’s like having lunch or dinner. You eat every day--I believe so, yes? So that’s what you have to do with practice: it just has to become a part of your routine, of your schedule, of all the necessary things that you do. Vidas: But Ausra, what if you stopped eating or drinking? For a week? For a month? Ausra: Well, you will die. Vidas: You will die, yes? So that’s why we keep eating and drinking. What would happen if Robert (or anyone else in his shoes) would stop playing? Ausra: Nothing. Vidas: Nothing. That’s why he is not taking enough time every day to practice. Ausra: But, because he already sent us this question, that shows that he actually worries about it. And actually, without practicing, he doesn’t feel well enough. Vidas: Mhm, mhm. Ausra: That he has that--I don’t know what to call it, inner guilt? Vidas: Yeah, it’s like this dog that we have to feed, and he’s saying, “Feed me, feed me, feed me!” and we forget every day, right, and he dies after three weeks. Ausra: Yeah. Vidas: I have this dream once in awhile. Or, you had this dream right? Ausra: Yes. Vidas: About a hamster? Ausra: Yes, yes. Vidas: I had another dream that I would skip classes--I would teach music classes in some school, and I would forget those classes for six months. So that would be...uhh, not a nice feeling in the morning. It’s kind of like that with Robert, too. He feels this guilt, I think, too; because he wants to succeed, but it takes willpower to do this. Ausra, is there any shortcut, silver bullet, or magical pill? Ausra: I don’t think so. It would be too easy--too simple! Vidas: Anybody could succeed, right? Ausra: Yes. Vidas: And anybody would succeed, actually. Ausra: Yes. Vidas: So, the best I can advise Robert is of course, imagine what bad would happen if he stopped practicing for himself--what life would look like if he didn’t practice for six months, for him. He has to visualize it, right? Or the other way around--imagine how his life would be if he practiced every day for six months, and what he could achieve in that time, right? Ausra: Yes. And of course, from his question, I could also understand that maybe he practices every day, but not enough. Vidas: Hmm. Could be. Ausra: So, that could be another issue: that you know, in that case, if he practices every day, but not enough, then he will never play well enough. Vidas: What is enough? Ausra: Well, it depends on how good you are already, and what your goals are. It’s different for each person. Vidas: Is 15 minutes enough? Ausra: I don’t think so. Vidas: Minimum of 15 minutes a day. If you are, you know, so busy, so tired, so exhausted, that you kind of feel like skipping today, we say: do just 15 minutes, and you will thank yourself the next day that you didn’t break the chain. Right? But if you’re serious about it, it should be more. Ausra: Yes, of course! Vidas: At least what? Ausra: Well, at least an hour. Vidas: At least an hour, probably. Ausra: At the very minimum. Vidas: Mhm. If you want to learn a few more advanced pieces and go further along into the perfection of organ art. It’s not easy to force yourself, right? Because life is so full of complications, and we have so many distractions every day, right? TV, computers, phones everywhere, and everything is shiny and wonderful… And they call to us: “Pick me, pick me, pick me! Do this, do this, do this! Forget organ practice! Just once!” So Ausra, what motivates you to practice? Ausra: Upcoming recitals. Due dates. Vidas: External motivation. Ausra: Yes, yes. Vidas: Hmm. I probably would practice less than now if I didn’t have my concert schedule lined up. So yes, guys, if you suffer from this trouble of not making enough effort and practicing every day, then schedule some public performances. Ausra: Yes. Vidas: That will be helpful, right? Ausra: That will force you to practice enough! Vidas: Does it have to be a full recital, Ausra? Ausra: Not necessarily. Vidas: What do you mean? Ausra: Well, you could do just one piece, I don’t know; it depends on your situation in life. Vidas: Could you find an organ friend in a church--like, an organist--and get to know him or her, and ask for permission to perform a postlude or prelude or communion piece… Ausra: Of course you can do that. Yes, you can do that. Vidas: In a month, let’s say, right? Ausra: Yes. Vidas: And then, there you go. You have a deadline. Ausra: That’s right. Vidas: Or two pieces, if you are more confident. Or, for people who want to advance even further, they could do half an hour of some sort of celebratory recital after some festivity in the church, like Easter. Ausra: Yes, because I believe that there is no better motivation to practice than fear of public performances coming up. Vidas: Everybody’s afraid, right? You think that you will mess up your playing, and everybody will make fun of you, and your career will be over, and your life will be over, and you will go to prison, and you’ll die eventually. Ausra: I don’t think you will go prison if you didn’t play a recital well. I hope not! Vidas: To organ prison! Ausra: Yes. Vidas: Where all the bad organists are staying! Or you will go to purgatory! Would you like to go to purgatory? Ausra: No. No. Vidas: Where all the bad organists are staying? Who play only white keys on weekdays and black keys on Sundays and festivities? Ausra: Yes, that’s funny. Vidas: So guys, look seriously and decide what you want to achieve within the next six months, right? It could be very small: learn and master 2, 3, 4 pieces, maybe. Just like that. And then, schedule some external accountability, like public performance. And then you will thank yourself later, because you will have to force yourself. Right, Ausra? Ausra: That’s right, yes. Vidas: Thank you, guys, for listening. Thank you for sending us your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 120 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Robert. He writes, “I never had a teacher or lessons. I have been doing this on my own.” Self-taught organist, right Ausra?
Ausra: Yes. Vidas: Is that a bad thing? Ausra: Well no, I don’t think so. We have cases like this in Lithuania--I think quite a lot. Not so much nowadays; but we had it before, I’m sure, especially in the Soviet times. When we had such a period, then it wouldn’t be possible to learn professionally to play organ, because organ was related to the church, and church was forbidden during the Soviet times. So many people just had to teach themselves to play. Vidas: I remember you recently taught a harmony seminar for church musicians. Ausra: Yes, yes. Vidas: How many of them do you think were amateurs and self-taught musicians? Quite a few, probably? Ausra: Quite a few, I guess, yes. That’s right. Vidas: So today, when information is so abundant on the internet, it’s just a matter of perseverance and really, inner motivation to succeed, rather than lack of information on how to do this, right? Ausra: Yes. And you know, the important thing is to know what you want from your playing. If you want to become, let’s say, a professional, skillful organ performer, for example, and make your living by performing organ, then probably you would have to have a teacher and to get some sort of formal education. But if you are doing this just to enjoy it, you know, for yourself, then I think it’s perfectly fine to just teach yourself. It might be just your hobby, you know? Vidas: And today, online, when you can find so much great advice and information how to play the organ, it’s better, I think, to learn from online sources which are “information” than from secondary teachers or crappy pedagogues who don’t necessarily have the right experience and qualification and broad, global vision of how to do this, maybe. They have learned this decades ago, right? Ausra: Yes... Vidas: Stuck in a rut. Ausra: Yes. Vidas: And have been teaching this for decades without any progress at all. Ausra: That’s true. Vidas: So I think it’s better to immerse yourself in the ever-changing global landscape, and to seek out the best of information yourself-- Ausra: Yes. Vidas: --Than to be stuck with one teacher whom you don’t really want to trust. Ausra: Yes. And especially if you live in the States, for example, and you want to eventually play in church, you don’t even have to get a formal education--to get, like, a university degree; because AGO has this wonderful certificate program, where you can take tests/exams and get a certificate. Vidas: A church service-playing certificate, it’s called, right? Ausra: Yes, yes, yes. Vidas: So it’s even open to AGO members from other countries, too. Ausra: Yes, that’s right. Vidas: If, let’s say, Robert lived in some upper area than North America, chances are there are organizations which offer certain certifications, too. Like in Europe, in the UK, there is also a similar system. Germany has the same thing. I don’t think Australia has one, but it might. Maybe Australia uses the British system; it might, I’m not sure; we have to ask our students about this particular thing. So, it’s not a bad thing to be self-taught nowadays. Ausra: Yes, yes I think so. Vidas: Great. So, never stop learning if you are alone, right? Because in our case, this organ-playing community around the globe, 89 countries and growing--they support each other. You know, from these questions we get every day, it seems like these things matter to people. Ausra: Yes, that’s right. And it’s very nice, actually, that organ still interests so many people. That’s fascinating, because I strongly believe that it’s one of the best musical instruments. Vidas: Because it can imitate an orchestra; it can imitate a choir; it can imitate human voice; basically, it has the broadest range of colors than any other instrument. Ausra: Yes, and think about all that repertoire that you can play on the organ, starting from the Middle Ages, and playing also modern music. So, no other instrument--no one else--has such a broad variety of repertoire as organ does. That fascinates me all the time. Vidas: Is that why you chose this instrument yourself, Ausra? Ausra: Well, at the time when I chose it, I didn’t think so much about it as I do now. And it’s also, for me, the organ is also a very beautiful instrument, if you think about all those historical instruments that are preserved--basically they are just, as Kerala Snyder wrote in his famous book, “The Organ as a Mirror of Its Time,” that it sort of preserves the history: art history, and history in general. That fascinates me every time. Vidas: Organ is generally thought to be a counterpart of the altar, right? Ausra: Yes. Vidas: In a similar style--opposing the altar, or supplementing the altar (if this organ was fit and designed for that particular space, not brought from other churches). Ausra: Yes, yes. Vidas: Wonderful. So, me too; I think I, too, share those sentiments for this grand instrument, because of its aesthetics, of its complexion and construction and--seven centuries of organ repertoire! It’s unbelievable. If you wanted to sight-read every piece of extant or surviving repertoire, I think you couldn’t do this in one lifetime. Ausra: Yes, yes. Vidas: Even while using free online material, which is, you know, freely available on the Internet. Ausra: Yes, it would take you too much time. It’s impossible to do. That you can choose from such a variety--that’s an amazing thing. Vidas: Right. Ausra: And also, you know, each country which has organs, it’s like a different story each time; because from one country to another, organs are so different. Vidas: And it’s never boring, because in one month or one year, you can focus on one country or one period, and the next one you can do the complete opposite, right? Take the opposite direction--French, German, English, Dutch, Spanish, Portuguese--you name it. Ausra: Yes, and even if you don’t want to focus on repertoire, even just playing hymns, it’s such fun. Because they are also such nice musical pieces. Vidas: It’s like a prayer for the organist, too. Ausra: Yes, yes. Vidas: I think people who are deeply religious could basically sing the hymns together with playing the harmony. Ausra: Yes. Vidas: Right? That would count as a prayer--or a double prayer, because as St. Augustine says, “Whoever sings, prays twice.” Ausra: Twice. Vidas: Yep. That makes sense, because it’s twice as powerful. Ausra: Yes, it is. Vidas: Wonderful, guys. So I hope even people who live in remote areas--in the countryside, in rural areas, in countries who are just developing, which have limited Internet access, maybe have expensive Internet connection--they still can Google some things, play from PDFs instead of watching videos, which is expensive yet in those countries-- Ausra: Yes. Vidas: And never, ever give up on this idea of learning and practicing for a lifetime, because you will get closer and closer to perfection, right? Ausra: Yes, that’s right. Step by step. Vidas: Do you think that your teacher, George Ritchie, thought he ever attained perfection? Ausra: I don’t think so. He’s so, so, so particular about details, and wants clean, nice playing--to polish it, to do it perfectly. So I think he, as any excellent musician, is very self-critical. And that’s how we develop ourselves, and perfect ourselves. Vidas: Mhmm. I think you inherited this sense of striving for perfection also from George Ritchie, too. Ausra: I hope so. I tried to take it from him! Vidas: Good. So, I hope you guys will go and practice today, right? I’ve been playing in the morning and Ausra was teaching, so it’s Ausra’s time now to practice a little bit. Ausra: Yes, that’s right. Vidas: Which piece will you be playing? Ausra: Well, I have to select repertoire for my next recital, so I probably will work on that. Maybe sightread some pieces by Bach. Vidas: Wonderful. The upcoming recital for the Bach birthday-- Ausra: Yes. Vidas: In March. Ausra: Yes. March 21st. Vidas: Yeah. So, we’ll go now and select repertoire and practice. I will enjoy listening to you practice; this is my favorite time of the day. And you guys, go ahead and practice, also, at least for 15 minutes--it still counts! If you’re tired or exhausted, never give up; just do a little bit of practice today before you hit the sack. You will thank yourself later, and tomorrow. Ausra: Go ahead and practice! Vidas: This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 119 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Neil, and he writes:
“Hello Vidas, I’ve recently changed careers from working in IT to now a freelance organist/pianist. My dream as an organ player is to be able play to the best of my abilities playing pieces from Bach to modern composers but also learning to improvise.” So Ausra, this is really interesting, that an IT expert would want to switch careers to a freelance musician, right? Sometimes musicians become IT specialists, but rarely the other way around. Ausra: Yes, it’s basically unbelievable! Vidas: But I guess if a person has a passion for it, and even a calling, then it’s really hard to refuse this, right? Ausra: Yes. Although, it’s hard for me to believe that, you know...I mean, who will pay your bills? I think it’s easier to pay your bills when you are an IT specialist than when you are a freelance organist/pianist. Vidas: Or maybe Neil is now a freelance IT specialist as well, doing part-time work as a freelancer in the IT area, in addition to organist/pianist work. Ausra: I think in general nowadays it’s probably best to combine different things… Vidas: Mhm, mhm. Ausra: Because I think you will hardly live well doing only one job. Vidas: Or even if you do well one year, the next year your priest might change, and the situation might change entirely, right? Ausra: That’s true. Vidas: With Protestant churches it’s a little bit more secure, I think; because the pastors get hired by the congregation, and they don’t change that often. Ausra: Yes. In general, I think that Protestant churches are more supportive of church musicians, because they understand that people have to make a living somehow. And that’s not as often the case in Catholic churches. Vidas: I wish I could understand anything about IT and programming and coding and software development; because now, for example, Neil has a skill set that he can use in his free time, right? Ausra: Yes, sure. Yes, but it’s excellent that he sort of catches or follows his dream, and is now a freelance organist/pianist. I think that’s wonderful. Vidas: And now he wants to be able to play Bach and other composers, even modern composers, right? And even learn to improvise. So that’s a broad goal, right? Ausra: That’s a very broad goal--basically a lifelong goal, might be. Vidas: I think the best Step #1 would be to progress very very slowly, setting realistic goals: what you would want to learn in a month, in three months, in six months from now, in one year--right, Ausra? Ausra: Yes, but if he has a lot of free time, he can do it faster and easier, probably. But of course, the first step would be to practice every day. Vidas: And pick repertoire very wisely, right? Progressing from the easier to the more advanced. Ausra: And since he wants to play organ and piano as well, he has to practice on both these instruments every day. Vidas: Mhm. How much time do you think he should devote to piano vs. organ? Ausra: Probably 2hrs on each. Vidas: Mhm. Ausra: So that’s 4hrs a day. And in these hours, he also needs to include improvisation, because he wants to improvise, too. Vidas: Yeah. So generally, I believe his goal is related to church playing--to church service musicianship, right? Because he wants to be able to improvise as a freelance organist. So probably he seeks employment, I would suspect. Ausra: Could be. Vidas: So maybe hymn playing also would be good, if that’s the case. Ausra: Yes, of course. Vidas: But it’s good that he also wants to play repertoire, right--not only hymns? Because he can progress much faster with repertoire. Ausra: Definitely. Vidas: Whoever practices repertoire will have a very easy time of playing hymns, I think. Ausra: That’s right. Because the repertoire is in general so much more sophisticated, complicated, compared to hymns. Vidas: I mean, there are hymn-like sections in real organ compositions, right? There are chordal-like textures-- Ausra: Yes. Vidas: Episodes; but they’re short, right? Not long. Ausra: Yes. Vidas: Maybe a page or less. But not the entire piece, probably. And all kinds of textures are employed… Ausra: And polyphonic music. Vidas: Right. Ausra: That’s often the case in organ music, especially if, you know, he says he wants to play Bach. Vidas: Right. So I think he has to think about the repertoire. Do you that think it’s wise to combine several styles of organ repertoire in his practice every day? Ausra: I think so. Vidas: Because he has to learn early technique and modern technique. Ausra: That’s right. Vidas: At least 2, right? Ausra: And because he’s now devoting his time to becoming an organist/pianist, he has to play a broad range of repertoire. A variety of it. Vidas: How many pieces, optimally, do you think he should focus on every day? 3, 4, 5? Ausra: Yes, basically. I would say maybe 2-3 on the organ and 2-3 on the piano. So, I don’t know, 4 to 6. Vidas: Mhm, mhm. Ausra: To play more at once would be too hard, probably. Vidas: It depends on how much time and energy he can devote to each instrument. Ausra: Yes. And of course on how long the pieces are, too. Vidas: So maybe he should focus on half an hour of repertoire on the organ, and half an hour of piano repertoire, right? Ausra: Yes. Vidas: So in half an hour, you could play 6 pieces of 5min of duration, right? Or 3 pieces of 10min of duration, or 2 pieces of 15min of duration, basically; right? Ausra: Yes, yes. Vidas: Whatever is the case. Ausra: And of course, he needs to work on planning. Because while playing on both instruments, he cannot just sit and play straight through for let’s say, 4hrs. He needs to divide his practice. So maybe do some in the morning, some in the evening. Vidas: Yes, I think 2 practice sessions would be ideal for him. Ausra: One on the organ, one on the piano. Vidas: Mhm. Maybe if he has access to the organ and piano at home, then he can do 2 sets of practices in the morning and 2 sets of practices in the evening, on each instrument, for 1hr each. But it’s important to take frequent breaks, right? Ausra: Yes. Vidas: Why? Ausra: Otherwise you can hurt yourself. Vidas: Especially if you’re doing this like a professional, right? Ausra: Yes. Vidas: Excellent. So, learning to improvise, of course, has to be included in that time; so maybe a little bit less of repertoire, and maybe an equal amount of time devoted to improvisation and repertoire, right? Ausra: Yes, that’s right. Vidas: What would be, let’s say, 3 styles of organ repertoire he should focus on right now? Ausra: Well, probably Baroque. Vidas: Baroque? Ausra: Bach, and, you know, his circle. Vidas: And earlier music, if he likes that. Ausra: Yes, earlier music, yes. Then, of course, the Romantic music, too, is very important. Vidas: 19th century? Ausra: Yes, 19th century German, French music. Vidas: Do you think that, let’s say early 20th century French music would still count as Romantic repertoire? Ausra: Well, yes, I would say French symphonic composers… Vidas: That’s included. Ausra: Yes, yes. Vidas: Yeah. And then the last one would be.... Ausra: And then of course modern music. Vidas: Probably from 1920s up to the present day, right? Ausra: Yes, that’s right. Vidas: Mhm. Excellent, excellent. And in improvisation, he should also switch styles, early and modern, if he likes, right? Ausra: Yes. Vidas: Wonderful, guys. I hope this conversation was helpful to you if you want to develop your career as a freelance pianist and organist. But don’t neglect your current skill set, right? Because it might come handy in the future, too. Ausra: Yes, that’s true. Vidas: We live in a different world now. Thanks guys, this was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. First, the news:
Final by Louis Vierne with fingering and pedaling from Symphony No. 1. 50 % discount is valid until December 6. Free for Total Organist students. PDF score (14 pages). Advanced Level. And now, let's go to the podcast for today. Vidas: Let’s start Episode 118 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Neil, and he writes that he finds it hard to think of chord progressions and keep on sticking to a few major and minor keys. Basically, Ausra, he needs to progress, but he’s stuck, right--with harmony. Ausra: Yes. Vidas: So...Do you have students like this in your classes? Ausra: Yes, of course I have them. Vidas: Who only love a few keys, like C Major, a minor, G Major, e minor, F Major, d minor--and that’s all! Ausra: Yes, that’s right. I have such students. Vidas: Do you sometimes ask your kids in which key your dictation will be today? Sometimes I do. Ausra: Yes, I do. Vidas: And what do they reply? Ausra: “C Major!” Vidas: C Major, right? What about E Major? Probably never. Ausra: Hmm...not too much. Vidas: Right? So, young people love keys with zero or one accidental. Ausra: That’s right. But we have to use all keys. Such is life. Vidas: You have some experience with key characters, right, now? Ausra: Yes, because I’m going to have a recital, actually. To… Vidas: Announce and to lead, right? Ausra: Yes, to lead the recital, yes. Which is called “ABCs;” and the idea of this recital is that I will have to talk about different keys and their meaning. Vidas: So what are the keys that will be in the program? Ausra: Well, basically, 12 pieces of a minor, 8 C Major, and then I think 2 or 3 A Major, 4 c♯ minor (wow) Vidas: Uh-huh. Ausra: 3 c minor, and only 1 b minor. Vidas: Uh-huh. Ausra: And no other like piece--no B♭, no minor or major, no. Vidas: So why do people...why are there so many keys, by the way? Why can’t a composer create everything in C Major or a minor? Ausra: Well, because you know, in old times, different keys sounded differently, and each had its own character. Vidas: That’s why they chose different keys, right? Ausra: Yes, yes; and only after 1917 all keys started to sound the same--you know, after all instruments started to be tempered in equal temperament. Vidas: Mhm. Which is now changing, of course, because of the movement in early style and early performance practice. Ausra: Yes, that’s right. That’s right. Plus, we are organists; we have so many historical instruments that are tuned in different temperaments. Vidas: Mhm. So you are going to explain all this, a little bit? Ausra: Yes, a little bit, because there will be kids from first grade till the end of high school, so my talk needs to be appropriate to everybody. So I cannot talk on a very high musicological level. Vidas: Not like we are talking today? Ausra: Oh, don’t make fun of me! Vidas: Hahaha! Excellent. So, what are the differences between some major keys--let’s say, what is the most joyful key, do you think? Ausra: C Major, probably. Vidas: C Major, right? Ausra: But F Major is joyful, too. And A Major. Vidas: E♭ Major might be a different character from C Major, although it’s a major key, too. Ausra: Yes. But for example, A♭ Major, you know, is the key of “grave”… Vidas: Grave key, right? Serious key. Ausra: Yes, it’s a serious key, although it’s a major key. Vidas: Strange. Ausra: So there are very interesting things, actually. Vidas: And with minor, too, there are some characteristics of sadness, melancholic keys; but there are also sorrowful keys, which is not the same; and also some pathetic keys, like very dramatic, like c minor… Ausra: Yes, that’s right, yes. Vidas: There is a reason why composers chose to have a “pathétique” sonata, right-- Sonata Pathétique (by Beethoven), in c minor. Ausra: Yes. And actually, its middle movement is in A♭ Major. Vidas: Uh-huh, uh-huh. True. And in different historical periods, composers chose different key relationships for middle movements. Do you remember, we have been playing Franz Seydelmann’s 4-hand sonatas? And middle movements are always in the key of the subdominant. Ausra: That’s very often the case with Classical sonatas, say with Mozart. Vidas: Mhm. Ausra: You very rarely find keys of dominant in the middle movement. Vidas: And even no keys with parallel major or minor. Ausra: Yes, yes Vidas: As was the case with Baroque music. Ausra: Yes, but then the Romantics already did things differently. For example, like Edvard Grieg, his famous Sonata in A Minor--the middle movement is in C Major. Vidas: True. So, Neil and others could really benefit from looking deeply into the keys and their meaning, right? Ausra: Yes. Vidas: And discovering, for example, the differences from one piece in one key and another piece in another key, of the same composer, let’s say, because it will be easier to compare. Ausra: As Neil said, he has a hard time understanding chord progressions. Vidas: Yeah… Ausra: Actually, you need to study chord progressions before actually playing or learning to play that piece, just for a better understanding of how music is written. But when you will actually perform it and learn it, you won’t always have to think about every single chord. Vidas: There is no time for this. Ausra: Yes. Vidas: You have to make music. Ausra: That’s right. Vidas: So, in order for him to understand chord progressions and get better acquainted with different keys, could he try playing sequences? Ausra: That’s right, yes. And YouTube is full of my sequences that I played as examples for my students. Vidas: True. And this helps, right? Ausra: Yes, it definitely helps. Vidas: Mhm. Because you can take a very simple chord, like a dominant 6 chord, and play up and down; so you can play those sequences in descending motion or ascending motion, right? That would help, right Ausra? Ausra: Yes, that would help; and it would help you to get familiar with all keys, and to feel comfortable while playing any key. Vidas: You can stick in one key: that is called the tonic sequence... Ausra: Yes, but you can, you know, transpose them to different keys. Vidas: ...While choosing a particular interval, like a major third, minor third, or major or minor second. That helps. Ausra: Yes. Vidas: Wonderful. Guys, 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 117 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Neil, and he writes:
“I don’t have a home organ so practising is on my Roland piano but I have access to an organ at my parish church.” So Ausra, do you think that playing on a keyboard or electronic piano is beneficial? Ausra: Yes, of course; you can do a lot on those. Vidas: Mhm. Ausra: You can learn the text, and keep your shape; but of course, it’s better in Neil’s case to practice at church. And it’s good that he has access to his parish church organ. And actually, very few of us have an organ at home. Vidas: Mhm. Vidas: So it’s good to have any type of keyboard at home. And even acclaimed virtuoso pianists sometimes don’t practice on an acoustic piano. They sometimes have electronic keyboards, like clavinovas, or Rolands, or others at home. Remember Ausra, we visited one house here in Vilnius, looking at some apartments; and there was a famous Lithuanian pianist--we saw his wife, with a baby--and of course, they had a piano, but not an acoustic piano, but an electronic piano! Ausra: Yes, I remember that. Vidas: So we talked about that, and apparently, her husband practices quite a bit. Ausra: Yes yes. So there is always a solution. But if you live in the States, I would say people in the States are quite generous--churches are very generous, actually, with sharing the organ. So you could easily get access to basically many church organs to practice on. Pipe organs, electronic organs... Ausra: Yes. Vidas: All kinds of organs. Of course, some churches don’t have pipe organs; and we prefer even a small pipe organ to a large electronic organ, I think. Ausra: Yes. Vidas: But that’s our taste, right? Other people might choose differently. Ausra: Yes. Vidas: Ausra, do you have some suggestions for people who are struggling to get access to a church organ? Ausra: Well, yes; just try to find a church that will accept you. Vidas: What will you need--the number 1 step--for this? Ausra: Well, just to call, actually. Vidas: Mhm. Ausra: To your local churches. Vidas: Or...Is it better to call, or to visit on a Sunday? Ausra: Well, I think it’s better to visit personally, then you show that you really care about it. But if you cannot do that, then call them. Vidas: Sometimes you can befriend a local organist, right? Ausra: Yes. Vidas: And listen to them play, and maybe after a while, ask them permission to play yourself once in awhile. Ausra: That’s right. Vidas: Or maybe volunteer to play in the church service, maybe for communion or prelude or postlude--just one piece, so that the local organist could get a better feeling for your abilities, right? Ausra: Yes. Vidas: And then, if you are friends, you can ask for more regular access to this instrument. Ausra: That’s right. Especially because in the States there are so many churches. So many organs! Vidas: Do you think sometimes donation helps? Ausra: Yes. Vidas: You could donate some small amount… Ausra: Yes, you could donate, or you could volunteer in some kind of work in the church... Vidas: Mhm. Not necessarily organ music-related… Ausra: Yes, yes, definitely. To be an usher or acolyte, or whatever you can come up with as an idea of what could be beneficial to the church. Vidas: Basically, make yourself useful to the community, and earn their trust. Ausra: Yes. Vidas: And then, maybe they themselves will offer you practice and rehearsal opportunities. Ausra: Yes. Vidas: Wonderful. So, I think, guys, you can look up many churches in your area; maybe some miles around your house, because you can drive some distances. What to do if people live in rural areas, like villages, remote forests--in the middle of nowhere, basically? Ausra: But still there should be a church in the main neighborhood. Maybe not as close, but still… Vidas: Like in the middle of Australia, or far north in Canada. Ausra: Well, that’s a hard question. What would you do in that case? Vidas: Well, I would probably try to find some bear settlements. And maybe in the bear settlement, you could befriend some polar bears, if you are in Canada, and then make yourself useful to their community; and then maybe the bears will offer you an opportunity to play their instruments! Not necessarily pipe organs, though. Ausra: Well, I would not want to get acquainted with a polar bear. Because I think this would be the last acquaintance you made! Vidas: What about in Australia? What kind of animals live in Australia that you could make yourself useful to? You know those ostriches, right--emu? Ausra: Yes, I have seen those on TV. Vidas: Uh-huh. So they run very fast, and they can kick you… Ausra: Well, you know, if you live in such a remote area, then probably the best thing would be to have an instrument at home. Not an organ, necessarily, but maybe a piano or electric piano… Vidas: Or some sort of keyboard, right? Ausra: Yes, some sort of keyboard. Vidas: You can get a cheap, used one from Ebay shipped to you for $20 or so. Just for starters--maybe not for a lifetime, but just to get used to the keyboard layout, and start practicing, basically. Ausra: Like in Lithuania, for example, they have upright pianos in a lot of homes; and some people don’t need them, and they want to get rid of them. But it’s hard to move them, because they are heavy; for example, imagine that you live on the tenth floor, and this piano cannot fit into an elevator, so you have to manually bring it downstairs by using the real stairs. Vidas: Mhm. Ausra: So it’s very hard work. So some people just want to get rid of the piano, and they make such an announcement like, “I’m giving away a piano, but you have to come and pick it up, and move it out.” So that’s what you could try to do: to look for an announcement like this. Vidas: And when you get a used piano, and if you don’t mind making alterations to your piano, you can modify this piano and attach an organ pedalboard to it. To the strings. Ausra: Yes, I know, some people have done that quite successfully. Vidas: Just like people who “midify” their keyboards, and add pedalboards with midi input, and play with the synthesized sounds with their feet, right? You could also do this with acoustic upright piano, while playing piano sounds with your feet! Ausra: And remember reading about Albert Schweitzer, when he was a missionary in Africa… Vidas: Mhm. Ausra: What kind of instrument did he have at home? Vidas: I think a pedal piano. Ausra: I think so, too. Vidas: But it might have been not an upright piano, but a grand piano with pedals. Ausra: Could be. I think it would have sounded very bizarre, in the middle of the jungle--Schweitzer playing Bach. Vidas: But people around him would have sung, too. In their local indigenous tradition. Ausra: Yes, yes. Vidas: It sounds a little bit like Lithuanian folk music, right? Ausra: Yes. Yes, some similarities, yes. Vidas: Those chords and harmonies...Wonderful, guys. Please send us more of your questions; we hope to help you grow as an organist. And remember, when you practice… Ausra: Miracles happen. Reminder: Today is the last day for Black Friday Cyber Monday 50 % discount:
You can buy any of our practice scores and training programs for half price. Enter discount code BFCM17 at the checkout: secrets-of-organ-playing.myshopify.com/discount/BFCM17 50 % discount also applies to Total Organist too! Happy practicing! And now let's go to the podcast for today: Vidas: Let’s start Episode 116 of #AskVidasAndAusra podcast. Here's the audio version. Today’s question was sent by Neil, and he writes that his challenge is with confidence: “I do suffer with nerves and when I have a service to play I try to make sure all hymns and service music feel OK.” So, confidence comes from experience, right Ausra? Ausra: Yes, but also some people are more confident from the beginning than others. Vidas: What do you mean? Ausra: Well, it depends how your parents raised you. Because for some kids, their parents tell them that they can do anything, they are the best, and so on and so forth; and for some, they just tell them, “You cannot do anything right,” “You are bad,” etc. so I think this is also very important. Vidas: Do you think that--I agree with you, by the way--but do you think that when a person gets to an older age--is an adult, and can make his or her own decisions about life--do you think that these previous childhood experiences might be changed a little bit? Ausra: Well, I think a little bit, yes; but not much. Vidas: I mean, can you change who you are? Ausra: That’s a very hard thing to do. Vidas: Not inside-out, but maybe you have some strengths that you want to develop, right? And some weaknesses that you want to make less pronounced in your character. So, could you go both directions a little bit, or even more? Ausra: Yes, you could go a little bit, I think so, yes. Vidas: Even though your childhood experiences were bad, right? Ausra: Yes. Vidas: Actually, research shows that children who had very abusive parents tend to be very independent later in life, and quite creative, by the way. Because in childhood experiences, they had to come up with some creative solution how to cope with those abusive parents and situations like that. Sometimes it’s a good thing to have stressful childhoods. From some perspectives. Ausra: Well, yes...I...well, yes, but still… Vidas: Of course, everyone would like to be a princess or a prince, right? Or cosmonaut, astronaut; they want to have this golden opportunity in life, and they have those dreams, right? But sometimes parents don’t let them dream, right? They steal their dreams. But what can you do about those parents? Basically nothing. Ausra: Yes, and I think Neil, in his question, in the second part of it, he actually answers his own question. Vidas: Which is: he writes that, “When I have a service to play, I try to make sure all hymns and service music feel okay.” Ausra: Yes. I think that’s the key to be more confident while you’re playing, while you perform during your service. Vidas: Be very well prepared? Ausra: Yes, you need to be very well prepared. This will add to your confidence. Vidas: This is something like you yourself, Ausra, feel like doing, right? When you have a project coming up, you tend to prepare for it very well. Ausra: I know, I have to do this. Because otherwise I would not survive. I would just have a nervous breakdown or something. Vidas: You don’t want to wing it on the spot? Ausra: Yes, yes. Vidas: Even though the result might be the same! Ausra: I know, the result might be the same, but my psychological comfort will be much different! Vidas: Right. So then, people like yourself and Neil have to spend quite a bit of time in preparation of church services or hymn playing. But by the way, when you for example, when you were working at Grace Lutheran Church in Nebraska, did you have to practice those hymns a lot? Ausra: Well, not a lot, but I practiced them, yes. Vidas: But not a lot, right? Ausra: Not a lot. Vidas: Even though you are a very prepared person and love to spend some time in advance with projects like hymn playing; even though you are such a person, you didn’t spend hours, right? Why? Ausra: Well, because I already had a good technical base. Vidas: And sight-reading abilities? Ausra: Yes. Vidas: So there is a way out, even for you and for Neil, I think. Because whenever your experience with sightreading gets better and better and better, I think you will feel the need to prepare diminish; because you will become, as Neil writes, much more confident. Ausra: Yes, that’s true...actually, that’s true! Vidas: So guys, I think I”ve never come across a better medicine and solution to this problem, to the confidence problem, than persistent, regular, and passionate sight-reading every single day. You don’t have to do it for hours; you don’t have to do it for half an hour, even; but spend a few minutes at least with a new, unfamiliar organ piece. Ausra: That’s right. Vidas: And perhaps, spend some time with harmony, too, and music theory, proofing your theory skills. Ausra: Yes, scales too. Vidas: Playing sequences, cadences, modulations. Ausra: Sometimes, when my eyes lose the text of the music, I’ll just play from my ear, knowing harmony and knowing what should come. Vidas: There is, of course, this dangerous moment: whenever you lose your text, and before you start to improvise on those chords in the style, when you are okay--but in between, this moment where you can slip and panic, right? Ausra: Yes, that’s right. Vidas: But if you have experience, right--real-life experience with getting out of these situations, and improvising and playing harmony--then you can feel much more confident Ausra: That’s right. And you know, another thing about confidence, being confident--you have to choose your repertoire very wisely. Because sometimes, lack of confidence might be because you are choosing pieces that are too hard for you yet. Of course, you cannot pick out your own hymns, because usually, the pastor decides what hymns will be during the service. But the chorale prelude, and offering, and postlude--you can play what you want. Vidas: And remember, you don’t have to play all 4 parts in your hymns. You can play the 2 outer parts--soprano and bass--with 2 separate hands with loud registration, and it would sound beautiful. Ausra: Because while you are preparing for the service, if you are making mistakes in your hymns or your prelude/postlude, it means that during the actual service, it will be even worse, because you will get anxiety, too. So you have to choose very wisely. Vidas: Mhm. Preferably too easy than too hard. Ausra: Yes. Vidas: That would be your final advice, right Ausra? Ausra: Yes. Vidas: Excellent. And my advice would be: today, before you hit the sack, make sure you pick up some new organ music and sight-read it. Even on the table, if you don’t have access to a keyboard. It really helps in the long run. Make it a lifelong habit. If you do this for 67 days, then it will become your second nature, and you won’t have to think about it anymore; you just miss it if you don’t do it, right? And become grumpy, like myself if I miss a day or two without practice. Ausra: Heehee. Vidas: Wonderful. Thank you, guys, for listening and applying our tips in your practice. It really makes a difference, right Ausra? Ausra: Yes. Vidas: And keep sending us your questions; we love helping you grow. Okay guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 115 of #AskVidasAndAusra podcast. Listen to the audio version here.
And today’s question was sent by Neil. He writes: “My challenge is with concentration - practicing a voluntary is one thing but when playing the piece at the end of the service I feel under pressure and can make mistakes even though the run-through before the service went OK.” So, a lot of people struggle with this, right? Focus, concentration… Ausra: Yes, I think so. But you know, since he writes that before the service, when he practiced, he could play the same piece okay, I think it might be not only concentration but also performance anxiety. Vidas: I see. Do you mean that when playing before the service, he can play without many mistakes because he’s less nervous? Or the prelude or voluntary might be easier than the toccata at the end? What do you think? Ausra: Hmm, well, that’s a good question. I’m just thinking that maybe he gets tired after playing an entire service; and I don’t know what the tradition is at his church, but maybe people stay to listen to the postlude... Vidas: Mhm. Ausra: And maybe the postlude is a more virtuosic piece than the prelude. I’m not sure, exactly; but yes, everybody, or many of us, have concentration problems. Vidas: I kind of feel that he might be not only tired, but feeling the end of playing, the end of the service, right? And his job is almost done, and his mind is almost relaxed, therefore. It’s like playing the last piece of the recital, or the last page of the piece: sometimes we make stupid mistakes! Ausra: Yes, that’s true. Sometimes, you know, after playing a hard spot, you just think, “Oh, I played that so well!” and then the mistake comes. Vidas: Remember the legendary organist… Ausra: Marilyn Mason? Vidas: Yeah. Ausra: Yes, I thought about her, too! Vidas: What did she say? Ausra: Well, she would say that your recital is not over until you are in the parking lot, next to your car. So...meaning that you have to keep your concentration until the very end. Because even after you release your final chord, if you will not be careful, you might hit the note or something... Vidas: Or pedals! Ausra: Or pedals, yes! That happens! Vidas: Or, when climbing off the organ bench, you would press the extreme high or low keys with your hand! Ausra: Yes, because of course, if you have a cancel button then you can solve that problem, just press cancel. Vidas: Mhm. Ausra: But if it’s a mechanical organ, and you forgot to take off some stops, then yes, that’s a possibility. Vidas: Yeah, because on a mechanical organ, if you play very loudly, and want to reduce the registration suddenly, you have to do all those mechanical changes by hand; and some people don’t do this right away because it’s very noisy. Ausra: That’s right; for example, in our church at St. John’s. Vidas: Mhm. So yeah. Did you, Ausra, have this experience yourself when playing a church service? Towards the end, you would make mistakes, or get more nervous than before? Ausra: Actually, no. It’s easier for me to play the end of a recital or service. Vidas: Because nobody listens to it? Ausra: Well, no, not because of that. For me, the hardest part is probably the first 10 minutes of performing. Vidas: Mhm. Like in any basketball match, right? Both teams are very nervous, and both testing the ground, and seeing who is stronger, right? But afterwards, they kind of get in the flow. Ausra: I know. It’s like this for different types of people. Some can be very excited at the beginning, and do things energetically, and then they lose the energy very soon. Vidas: Mhm. Ausra: And then for some, it’s very hard to begin to do a work, but after beginning they can just keep going forever. And I think I belong to these latter ones. For me, it’s hardest to start. Vidas: What about me? What do you think--which group do I belong in? Ausra: I don’t know, you should decide for yourself! Vidas: Because sometimes, I kind of feel that I also move very slowly at the beginning, but then go very long with excitement. But other times, I get excited very fast, and my focus switches, too, also, before I reach the end of the project! Ausra: Yes, but you know, going back to Neil’s problem, I would suggest that for every postlude he was going to play, he would find himself some sort of…(not a big) assignment. He would assign himself some sort of new thing to do in that. I don’t know, maybe just think in his mind, “Tenor voice.” Or you know, focus more on cadences. Or find something in his piece that would keep his concentration going on. Vidas: Mhm. And take his mind off that pressure. Ausra: Yes, yes. And just think about that particular thing that he has to do in his piece. Vidas: I usually tend to advise people to focus their gaze, their eyes on the current measure. That keeps them really focused throughout the piece; as the measures keep flowing, also your mind keeps flowing, your gaze keeps coming along. But then, you don’t pay attention to any outside things, like choir members walking or talking, outside of the organ, right? Would that help, Ausra? Ausra: Yes, could be. And I’m thinking that concentration is probably one of the biggest problems for everybody. Vidas: Because of course, technology and this instant gratification culture in our society rewards people with a very short attention span--right? Ads everywhere click and change every few seconds, and stimuli on the web are also constantly switching and changing; and everything is so colorful and bright. So yeah, we get confused, and focus is not a strong thing for us. Ausra: Well, yes, and because we are talking about postludes, I believe that all kinds of movement is going on during the postlude. Because some people are probably listening, but some are maybe already leaving the church, and moving, and I don’t know what about choir members, if they are also listening to your postlude or they are also talking, chatting… Vidas: Yeah, chatting, definitely. I think that part of the service is really… Ausra: The noisiest, probably, yes. Vidas: The noisiest, nobody’s really paying attention, everybody’s cheering that it’s over, and they want to interact with each other, right? Because they didn’t see each other for a week! Ausra: That’s right. Vidas: And suddenly, organ music distracts them from interacting, in this case. Ausra: Yes. Vidas: But the organist has to stay out of this, right? Ausra: Yes. Vidas: You have to keep going until the very end. Ausra: Yes, that’s why you need to play your postlude on organo pleno registration. Just play it loud. Vidas: So that they could not really chat loudly enough? Ausra: Yes. Make them listen to you! Vidas: Like thunder from above, right? Ausra: Yes. Vidas: Like God’s voice. Excellent. Ausra, do you think that people could strengthen their concentration somehow, over time? Are there any exercises? Ausra: Yes, I think so. Vidas: What helps, to you? Ausra: Meditation, probably. But of course, not everybody can meditate. Vidas: You don’t have to call it meditation, right? Ausra: Yes, just… Vidas: It’s breathing! Ausra: Yes. Or you know, yoga helps for some people. Vidas: Mhm. Ausra: And I realized that yoga for me is actually torture. Vidas: Mhm. Ausra: Because you have to concentrate, you have to breathe. But I think it might help Vidas: In yoga, time passes so slowly… Ausra: I know, I know. It’s just very hard--I find it very hard. Vidas: Mhm. Ausra: I like more dynamic exercises. But I think this thing could help. And also other intellectual games. Vidas: Will you have to focus for a longer time? Ausra: Yes, like maybe sudoku. Or I don’t know, doing crisscross. Vidas: Or reading. Even reading from long books, right? Not from newspapers and magazines with flashing pictures, but real books: novels, fiction writing, where you have to sit for a longer time with one work and immerse yourself in another life, in another world. That helps, right? Ausra: Yes. Vidas: Okay guys. What would be your last advice, Ausra, for Neil? Ausra: Well, for Neil and everybody else, and even for myself, I think that working on concentration is a lifelong goal. So eventually you will succeed; I hope so. And that’s what I wish for you all. And for myself, too. Vidas: And enjoy this process, right? Because the results are far away. Excellent. This was Vidas! Ausra: And Ausra! Vidas: And remember, when you practice… Ausra: Miracles happen. PS Organ improvisation "The Wolf And The Tailor" based on my favorite childhood's Lithuanian fairy-tale where the wolf threatens the tailor and the tailor cheats the wolf and cuts his tail off. Fun but cruel stuff. |
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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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