Vidas: Let’s start Episode 104 of #AskVidasAndAusra podcast. Today’s question was sent by David, and he writes:
“To answer your question, the most important thing for me, in playing organ, is to learn how to read music well. I handle up to 4 flats, and up to 3 sharps with little effort. Beyond that I have never learned to read music well at all. The second most important thing for me is to learn how to count well and consistently. I know what you will say: when you practice, miracles happen. And here is what I say: You are right! I want to take this opportunity to thank you for this wonderful online resource for those of us who are learning -- or in my case, re=learning -- to play the organ. I am about to settle a lawsuit and with my money award, I intend to purchase the Total Organist training.” Interesting idea! Ausra: Yes. Vidas: To win a lawsuit, and then to invest this money into organ training! Ausra: Yes, that’s a nice idea. I would never have thought about it! Vidas: Excellent, guys. So maybe first of all, our advice would be to sue somebody, and then get more money out of this lawsuit, and then invest in your organ training! Ausra: Well, I would not suggest you to do that. Vidas: Hahahahaha! Ausra: Anyway, it would cost you a lot of trouble. Vidas: Excellent! But if we’re serious, let’s talk a little bit about how to help David and other people who want to learn how to read music well. And the second part is, of course, related--how to count well and consistently. Because if you’re reading well but not counting, you’re still not playing well; and the other way around is also true: if you’re counting well, but you don’t read music well in treble clef and bass clef, what’s the use of that? Ausra: Yes, that’s right. So basically you have to do a lot of sight-reading, I would say. That’s the key to learn how to read music well. Vidas: It’s so difficult to stick to the good regimen of regular sight-reading every day... Ausra: Yes. Vidas: Like 1 piece a day for 30 days. For 60 days. For 6 months. For 1 year. Without interruption, you see? It’s so difficult. Whenever we advise our students in the school to do that, when we explain the benefits that they will reap very very soon, they sort of nod in agreement; but after 2 or 3 days, they quit. So what we’re proposing here is, of course, very difficult. First of all, you have to have a lot of passion for this: if you’re just mildly interested in getting better, it will not work. Right, Ausra? Ausra: Yes. Yes, and because David said that he has trouble while playing music with many accidentals; so what I could suggest for him to do is try to play some of the sequences that I put on YouTube. Because playing sequences will help you to get familiar and get more comfortable with various keys. Vidas: And you here touched upon a very important subject which also relates to organ playing and helps to enhance your organ playing and sight-reading abilities, which is: theoretical knowledge of harmony. Ausra: Yes. Vidas: Without that, if you just sight-read, and you don’t think about what you are sight-reading--what this note or another note or this measure means, in terms of theoretical concepts--you are doing something incompletely. It’s like learning to read a difficult language like Japanese--to read, right, without understanding the words. Ausra: Yes, yes. Vidas: It’s possible to learn how to pronounce those characters, right? And you can even learn to memorize a poem or two in Japanese, and surprise your friend you meet from Japan, and they will be very very pleased, right? When you say things in Japanese for them. But what’s the use of that, if you don’t understand the meaning of your saying, of your poem? It’s the same with sight-reading, right, Ausra? Ausra: Yes. Vidas: You have to understand what you are playing. If you don’t understand what each measure means--how the composer created this measure--you’re not connecting your brain with your fingers. Ausra: That’s right. And actually, it’s the same with counting and keeping a consistent tempo. Vidas: Why? Ausra: Why? Well, it means...if you cannot count well, it means that you’re still having some technical difficulties, issues with the piece that you’re working on; and you know, those technical difficulties (maybe looking at the accidentals) keeps you from counting, from feeling comfortable with the right tempo. So all these problems, they’re interconnected among themselves. Vidas: What you’re saying, Ausra, is probably to choose pieces that are not too difficult. Ausra: Yes, that’s right. You know, I looked at the hymnal a few days ago, because I wanted to prepare for my harmonization seminars for Lithuanian organists; and I realized that there are very few different keys that are used in, for example, the Lutheran hymnal. And basically, the key that would win the competition for popularity in that hymnal was probably F Major. Vidas: Mhm. Ausra: So you could not learn well other keys from just playing hymns. So what I would suggest for organists to do, if they, for example, would like to sight-read hymns--you can do that, but maybe you can transpose it. Vidas: Excellent, excellent idea. Ausra: Play in the home key, and then transpose it to a different key. Vidas: Major and minor second, up and down. Ausra: Yes, that’s right. Vidas: For starters. And then, when you get better at this, a major and minor third, up and down. Ausra: Because for example, as David wrote, that he has trouble playing from many--more than 3 or 4 flats and sharps. Let’s imagine you’re playing a hymn in F Major, and then you are transposing a half-step up--so it would be F♯ Major, or G♭ Major, with 6 sharps or 6 flats. That’s a very good training. Vidas: Right away, after 1 accidental, you have 6 accidentals. Ausra: That’s right. Vidas: Yeah. That’s a great idea. Not too many people bother with transposing hymns, I think. Ausra: Yes, that’s right. Vidas: Because it’s a complicated process; and that’s why we have created a course on transposition. Ausra: Yes, it’s a very important skill. It will really help you to be more comfortable with every key. Vidas: And it will help you with sight-reading, too. Ausra: That’s right. Vidas: Definitely. Thanks, guys! We hope that you will apply our tips in your practice--right, Ausra? Ausra: Yes, we hope so. Vidas: And please send us more of your questions by replying to our messages that you are getting as a subscriber to our blog at www.organduo.lt. And remember, when you practice… Ausra: Miracles happen.
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Vidas: Let’s start Episode 103 of #AskVidasAndAusra podcast. Today’s question was sent by Victoria, and she wants to know if fingering is important in improvisation. That’s a question that she sent me after hearing my livestreaming on Facebook, when I improvised for 2 parts (I think note-against-note) some of the Genevan Psalm settings, like a counterpoint exercise. Sometimes the tune was in the soprano and sometimes it was in the bass. So she probably thought she might try it at home, this kind of approach; but first, of course, she wanted to figure out if she has to choose the fingering wisely. What would you say, Ausra?
Ausra: Well, yes, you always have to choose the fingering wisely; but it’s sort of...not as easy when you are improvising things. But you could write fingering for an original Psalm. Vidas: For a chant? Ausra: Yes, for a chant, yes, a Psalm tune. Vidas: Exactly. It’s like a theme. The theme is given to you; you can notate the fingering ahead of time, and add one additional voice (or two, three, four voices) in addition to the chant for yourself at the time you’re playing in improvisation, spontaneously. And as Ausra says, it’s difficult to do this with perfect fingering if you don’t have experience. Ausra: That’s true. Vidas: But in my case, for example, it wasn’t difficult, because I use some basic principles: I avoided using thumbs on the sharp keys, I avoided finger substitution and finger glissandos...and that’s about it, I think. Those 3 principles allowed me to create a nice, articulate legato, because the style, of course, was early style. Ausra: Did you have to think about fingering while improvising these Psalms, or not? Vidas: Uh...That’s a great question, because I had to think about other things! If you have to think about fingering when you improvise, of course, you are doing something wrong. Because in improvisation, fingering has to come naturally. It’s a byproduct, right? You play your music, and you figure out how the music will go--the flow of the music--ahead of time, when you’re playing; but your fingering principles should be set, basically, in your mind, well ahead of time, with your practice. So Victoria has, of course, a long way to go in this; and she needs to work on many many pieces of organ repertoire first, to get familiar with this foundation of fingering--and even pedaling, too, if she wants to play with pedals. Ausra: Yes, I couldn’t agree more--you build up your technique while you are learning organ repertoire, and then later on you can apply the same things, the same rules, to your improvisations. Vidas: Some people also like exercises, like scales and arpeggios with hands and feet and chords; that’s also part of any musical composition, and they basically isolated specific technical ideas into one exercise. And some people like to practice that, too, and it gives good results. Some people don’t, because they are bored with mechanical stuff, so they jump into music right away; but there’s a danger of straining your hands, because your hands will be cold at first--you have to warm up. So what I like to do is to warm up with improvisation. Slowly at first, gently, maybe, for a few minutes; maybe for 10, 15 minutes, whatever I like to do; and then I continue practicing repertoire--with, of course, correct fingering. Ausra: Yes. So correct fingering is definitely important, but don’t try to learn the correct fingering while improvising. You have to do it with your repertoire. Vidas: Maybe just keep the basic principles in mind, right? Ausra: Yes. Vidas: If you know the style that you will be improvising in--let’s say, Baroque style, right-- the basic principles which help you to achieve the desired articulate legato, and the 3 principles we adhere here to, are simply: avoid using the thumb on the sharp keys, avoid using finger substitution, and avoid using finger glissandos (because that leads to legato articulation). If you are improvising in Romantic style or modern style, what kind of fingering could you use, Ausra? Ausra: Then, of course, you would have to do all the things that you would be avoiding in the Baroque music: glissandos, finger substitutions...play as much legato as possible, especially if it’s Romantic style. Vidas: So first of all, you are free to use the thumb on the sharp keys. Ausra: Yes, definitely Vidas: But it’s not that convenient--it’s not that comfortable. Ausra: But you cannot avoid that. Vidas: If your key or the mode has many sharps or flats, then you are stuck with sort of modern fingering. Can you avoid finger substitutions and glissandos in modern music, too? Sometimes? Ausra: Well, very rarely. Usually you have to substitute. Vidas: Because...why? Because of course, the texture is thicker. Ausra: Yes, yes. Vidas: But if you are improvising in 2 parts--I’m not sure if there are a lot of Romantic pieces for 2 parts. That’s a little bit different style, right? Ausra: Yes. Usually you have thicker texture and more chords. Vidas: At least 3 parts-- Ausra: Yes, that you have to play legato. Vidas: So whenever 1 hand plays 2 voices, or even more voices, you have to almost always use finger substitutions and glissandos. Ausra: That’s right. Vidas: But in 3-part texture, if your RH, let’s say, plays just 1 solo line, you could get away without finger substitutions and glissandos, right? Basically, don’t use finger substitutions and glissandos as a crutch instead of right fingering. Because sometimes people don’t even bother to think about fingering, and they use all kinds of basically incorrect versions--accidental fingerings. Right? This is not healthy, don’t you think? Ausra: Yes, that’s right. Vidas: Why? Ausra: Well, I think I mentioned this thing before--that if you’re playing with accidental fingering, it means that you’re playing the same thing over and over again with different fingering, so you will never get comfortable with that piece, or your process of learning will be very slow. Vidas: True. So figure out your fingering ahead of time. Write it down, especially the difficult spots. And that’s why we also like to help you practice with correct fingering, by providing you our choices of fingered and pedaled scores. That’s why they are so helpful for people. So basically, in modern music, you can get away without finger substitutions and glissandos only when the texture is rather thin. So in 2-part texture in modern music, there are some biciniums, right? You can do well with simple fingering, right? But then if you have chords and progressions when 2 voices are playing with 1 hand--it’s another story; you have to do all kinds of things. But prepared things in advance, right, Ausra? Ausra: Yes, that’s right. Vidas: So, for example, next time we will be playing a recital only of Baroque music, right? Ausra: Yes. Vidas: So we will not use any of those finger substitutions and glissandos in the November recital. Ausra: Well, I’m playing Mendelssohn… Vidas: Oh, you’re playing Mendelssohn. Are you using finger substitutions there? Ausra: All the time! Vidas: Right. It’s too thick. Ausra: Yes. Vidas: It’s a different story. So yes, we are also applying our own tips in our practice, you see guys. And whenever we play Baroque music (which of course we do regularly), we avoid finger substitutions and glissandos. And when improvising, also, keep the same fingering principles in mind. Ausra: Yes. Vidas: Thanks, 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.
Before we go to the podcast for today, I'd like to announce the news that our 5th e-book is finally ready.
"I'M A SLOW LEARNER" (And Other Answers From #AskVidasAndAusra Podcast) People who find our podcast helpful, will also enjoy having all these transcripts in one place for future reference. This e-book is available here for a low introductory pricing of 2.99 USD until November 8. All our other e-books in one collection are located here. Here’s what you’ll learn in this e-book (you'll receive PDF, MOBI or EPUB files to read it on any device): 1. I‘M A SLOW LEARNER 2. I SEEM TO BE SOMEWHAT DYSLEXIC BETWEEN MY FEET AND MY LEFT HAND 3. CONVENIENCE RUBATO - SLOWING DOWN, WHEN IT GETS DIFFICULT? 4. DO YOU HAVE SOME TIPS FOR MEMORIZING EASY PIECES? 5. IS BWV 565 TOO ADCANCED FOR MY LEVEL? 6. I WOULD LIKE RECOMMENDATIONS FOR SOME BACH PIECES WITH INTERESTING PEDAL PARTS THAT ARE ACCESSIBLE FOR PIANISTS 7. MY COORDINATION IS BEGINNING TO FAIL, SO I JUST STICK TO EASY, SLOWER, LESS COMPLEX PIECES 8. CAN I DOWNLOAD YOUR SCORES AT A LATER DATE? 9. THEIR WAY OF PLAYING HYMNS SOUND TIRED AND FUNERAL-LIKE 10. I'VE RECENTLY BEEN DIAGNOSED WITH AN ULNAR COMPRESSION WHICH IS AFFECTING THE SENSATION AND DEXTERITY OF MY RING FINGER AND LITTLE FINGER ON MY LEFT HAND 11. WHAT TYPE OF SHOES YOU SHOULD WEAR WHILE PLAYING ORGAN PEDALS 12. HOW TO READ BASSO CONTINUO 13. HOW TO CREATE ALTERNATE HARMONIZATIONS AND DESCANTS FOR THE LAST VERSE OF THE HYMN 14. WHAT ARE SOME TIPS FOR BUILDING UP SPEED, AND EXPECTATIONS FOR HOW LONG THIS SHOULD TAKE – WEEKS, MONTHS? 15. GIVING PRESENTS TO YOUR ORGANIST FRIEND 16. I LACK PATIENCE 17. I STRUGGLE WITH LACK OF MEMORY 18. I WOULD LIKE TO PLAY REASONABLY DIFFICULT SCORES AT FIRST GLANCE 19. I STRUGGLE WITH HIGHLY SYSTEMATIC AND LABORIOUS PRACTICE 20. LEARN TO SAY “NO” Please let us know what will be #1 thing from our advice you will apply in your organ practice this week. This training is free for Total Organist students. And now let's go to the podcast for today.
Vidas: Let’s start Episode 102 of #AskVidasAndAusra podcast. Today’s question was sent by Paul, and he writes:
“Dear Vidas Pinkevicius, thank you first for your good and precise advices. I spend 2 weeks in Italy, so it was not possible for me to answer immediately to your question. My dream: playing in such a manner, that people who listen to it would like to hear this kind of music in the future.” So, Ausra, it’s a very broad dream, I would say, right? Ausra: Yes. Vidas: Basically, it means, probably, to play organ in a way that people would feel compelled to come to your concert or recital or church service where you play in the future--right? Ausra: Yes, that’s right. But it’s sort of hard to please everybody. Maybe some of your audience would fall in love with your playing; but probably not all of them. Vidas: Definitely, because everyone has different tastes. Ausra: Yes. Vidas: And we both also have a little bit different tastes, right? Because you like some things that I like less, for example, right? Or vice versa. So that’s a perfectly normal and natural thing. Do you think, Ausra, that it’s wise to keep hoping that everybody would like your playing? Every listener? Ausra: I would be glad if at least some of the people who came to my recital would love it. Vidas: So when you play, for example, a recital--solo or together with me--do you think about your audience at that time, or no? Ausra: During my exact performance? Vidas: No. Ausra: No, but I think about my audience before a recital, while I’m selecting pieces for my recital. Then I think about them a lot. Vidas: And what’s your ideal listener? Do you have, so to speak, an avatar, or a character or persona in mind, for whom you would like to play? Or is it a general, symbolic person? Or maybe very specific: your friend or colleague, or a relative? Ausra: Well, no, I don’t have that particular imagination about an exact, concrete person. But what I keep in mind: I know I’m creating in my head, a sort of image of that person who might come to my recital. Vidas: And what is he like, in general? What kind of music does he or she like? Ausra: Various, actually; various styles, and so I’m trying to not play just one style of music, but to add various genres from different styles. What about you? Vidas: My opinion changed over the years. At first I felt compelled to play for a listener, an imaginary listener who would like to hear things that I like. Sort of similar to me. And because my taste also changes, this perspective also changed with the years. There was a time when I liked to play only early music, and there was a time when I liked to play only modern music; and there was a time when I liked to improvise long recitals. I’m not saying I don’t like these things anymore. I do, but not one or the other exclusively. Because if you do that, your audience is very limited, right? Ausra: That’s true. Vidas: You’ll maybe have an audience of one... Ausra: Mhm… Vidas: ...Yourself! Ausra: Yourself, yes, haha! That’s a possibility, too! Vidas: Maybe your family members, one or two, will come. But still I doubt it… Ausra: Right. Vidas: Because everyone is busy, and keeping their own things in mind; and you have to think something different, right, for everyone. Ausra: Yes, because you never know what people will expect from you. Because I have heard a few times, for example, people talking: “Oh wow, he’s playing without music score--he has such a good memory!” But then on the other hand, I also have heard such talk as, for example, with a person playing from sheet music--people went, “Wow, he can sight-read music! That’s amazing!” So you never know what people will like. Vidas: This is a good point, because it’s pointless to try to please everybody. We can’t even begin to please, because everyone is so in their own world; and I think the best we can do is provide something of quality. Quality is very important. Quality, but to have maybe a general direction where we would like to go with our public performance. And of course, it has to have an arc: like in any story, you will have to have a beginning, middle, and an end, and nice contrast and variety. Right? So your recital also should look something like that. It should not be in one mood or one tempo or one registration, don’t you think, Ausra? Ausra: Yes; and of course, first of all, you have to have a high standard, as you mentioned before, and you have to try to please yourself, to be happy with what you are doing. Vidas: And also, when you play a recital, I think it’s wise to select pieces that add value to the listener, right? I think the general direction should be a mix of things from a variety, maybe, of organ schools and historical periods; because then, a person will find something that he or she will like. We have so many pieces in the repertoire, right? From seven centuries ago. And it would be nice to include something from many centuries--not all, but many. Ausra: Yes, that’s true. And you need to play various repertoire. And that way, somebody can connect with some of the pieces that you’re playing, and another person will connect with another piece that you’re playing in your repertoire. But this rule does not apply if you’re playing on a historically oriented organ--for example, a replica of some historical instrument, or on a real historical instrument. Then you have to choose repertoire appropriate for that instrument. Vidas: This is true for the organ, right? Because if you listen to piano recitals, every piano is more or less similar, right? It doesn’t have such variety as organ. And pianists can play basically everything on every piano, because every piano has about 88 keys. With organ it’s different. Some organs have 1 manual, some 2, some 4, some 5, or even more; and the range of the keyboard is different: 4 octaves, even 5 octaves. And the pedalboard is different: some organs have short octaves in the bass. Some even have split semitones, where D♯ is not the same as E♭, for example. So all those things have to be taken into consideration when you think about repertoire for your public performance; and also thinking about your audience, so that strangers who will come to your recital would not be bored. Ausra: Yes. It’s very important. Vidas: Because it’s nice to imagine you’re playing for friends who know you, who trust you, who like you. And of course, this might happen from time to time, when you are, for example, contacted to play a personal recital, a private recital for a group of friends (for a birthday party, let’s say). Then they will listen to almost anything you play. But in the majority of cases, you have another situation, right? That people will come to your recital, some of whom will never have heard about you before. And then, they have this preconceived notion about organ music: what they have heard about it in the past, what they like, sort of their preferences. And since everybody’s sort of different, it’s very difficult to please everybody this way. So Ausra, for example, our next recital when we play together in a couple of weeks, right? Ausra: Yes. Vidas: In about 2½ weeks. How do we plan this program, and what principles did we have in mind? Ausra: Well, we played some pieces solo--just played some solo pieces and some duets. Vidas: What we thought about it, I think, is that we’ll begin with the most pleasing musical piece that we’ve found on this program, right? Ausra: Yes, that’s true. Vidas: Definitely, because it’s an aria or duet from Bach’s Cantata No. 80, and we liked it so much; and we thought it would be nice to add it at the beginning. Because at the end, what did we choose? Ausra: Sonata by Mozart. Vidas: For 4 hands. Ausra: Yes. Vidas: And it’s a different piece, sort of loud-soft-loud registration, 3 parts, 3 movements; and it fits for the end very nicely, because it has this character of ending, at the end. So we have the beginning and the end figured out. And then in the middle--what did we do? Can you elaborate a little bit? Ausra: Yes. We play some solo pieces--for example, I’m playing Sweelinck’s Fantasia Chromatica; and that’s a hard piece for listeners to listen to. Vidas: Mhm. Therefore it’s not the first one, right? Ausra: Yes. Because otherwise I’m afraid that everybody would leave, right at the beginning of our recital! Vidas: And then, after this difficult piece, right, we again play a pleasing piece by Bach: this second aria. Ausra: Yes. Vidas: Which we arranged from the cantata. And so on. We sort of alternate between mentally difficult pieces and pleasing music; and therefore, we can also hope that our listeners will also be interested and not be bored, and be compelled to come again to our recitals, because we have this variety and contrast. Right? Ausra: Yes, that’s right. Vidas: And whatever you do, don’t play too long. It’s better for your recital to be too short than too long. Ausra: Yes. It’s better that people would leave your recital longing for more music, than the other way. Vidas: Exactly. So--wonderful, guys! Please send us more of your questions, we love helping you grow. And this was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: And let’s start Episode 101 of #AskVidasAndAusra podcast. And today’s question was sent by Paul, and he writes that his challenge is mainly his age, because he is 75 years old. First of all, Ausra, isn’t that great, that people still continue to improve when they are at this age?
Ausra: Yes, that’s wonderful. Vidas: Do you think it’s too late to get better at this age? Ausra: I don’t think so. Vidas: Why? Ausra: Well, because I know some people who are 75, and they are very active, and are improving every day. Vidas: And there are opposite situations, where people are just staring at the TV screen all day long, and they get weaker and weaker every day. Ausra: Yes, I think some teenagers are older than some seniors. Because they just spend all day long playing with their smartphones and PlayStations and so on and so forth. Vidas: So, the fact that Paul sent us this question already shows us that he’s on the right path: basically, he has enough curiosity to improve himself. Ausra: Yes. Vidas: He is not satisfied with the current state, and he wants to get better all the time...Maybe faster than is possible, right? Ausra: Yes. Vidas: Maybe we should just basically support him, and inspire him to look at the situation from outside himself and really appreciate how far he has come. Ausra: That’s true. Because in general, I will be very happy if I live as long as to reach 75 years old; that’s a gift from life already, and it’s so nice that he’s still able to do things. Vidas: So, what helps? Of course, we’re not 75 years old yet, and we don’t know how people feel at this age; but general pointers could be: keep moving. Ausra: That’s true. Vidas: Keep being active, moving in terms of physically, and also mentally. Ausra: Yeah. Vidas: So mental practice is, of course, on the organ, very well. But also physical practice, as well. Ausra: That’s true. Do you think, Vidas, that practicing organ slows down ageing a little bit? Vidas: While you get older and older? Ausra: Yes. Vidas: I think it should, because your body gets a little bit weaker; but there are ways to postpone that process a little bit. Ausra: And do you think organ is a good way to help do it? Vidas: Yeah, especially because it’s primarily a mental activity. You’re looking at the symbols of music on a sheet of paper, which don’t mean anything to other people, perhaps; but you translate those symbols into meaningful musical ideas. So this is primarily a mental activity, which of course can just expand your mental capacity over time; of course that helps. Ausra: Yes, I personally strongly believe that organ may reduce the risk of such diseases as Alzheimer’s and Parkinson’s and multiple sclerosis--not to prevent them entirely, but to slow down the development of those; because while playing organ, you always have to basically use your coordination to coordinate your hands and feet, and look at the music; and it helps your brain keep moving. Vidas: Remember in our Unda Maris studio, we have a senior person who is maybe in her--I would say, maybe early 70s? She maybe started playing the organ not long ago, but she has trouble walking, right? Ausra: Yes. Vidas: She walks with the help of canes. And she enjoys playing the organ a lot, because of all those reasons, of course. It’s a good exercise mentally, and also physically. Ausra: Yes, that’s true. It’s better than sitting at the piano, because your feet are moving, too. That’s a great advantage, actually. Vidas: Yes. So don’t feel like you have stopped your progress, Paul, and others who are this age--maybe older. We have a lot of students who are even older, in their 80s, and even somebody who is 90 (or older) years old! So just keep practicing, keep getting better--1% of your efforts every day; and by the end of the year, you can look back, and you will see how you will have progressed a lot. Thank you so much, guys, keep sending us your questions; we love helping you grow as organists. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 100 of #AskVidasAndAusra podcast. And this question was sent by Paul, and he writes that he is a slow learner. First of all, let’s celebrate, a little bit, our small achievement: 100 podcasts of simply helping people to grow in organ playing, answering their questions. Isn’t that great, Ausra?
Ausra: Yes, it seems so incredible that it’s already 100 podcasts. I don’t know how much we have to talk about! Vidas: When we first started, we didn’t realize we would go that far, right? It was supposed to be a limited number of episodes--maybe 10, maybe 20. Ausra: Yes, maybe 30, but not 100! Vidas: Yeah, people kept writing to us and kept asking these questions, and we were amazed, right? Ausra: Yes; and it’s really nice to help people, and especially it’s nice to receive a response to our answers. It’s very nice. Vidas: Yeah, and sometimes we put those nice letters we get into our folder called “Love Letters,” which is basically many thanks from people and encouragements for us to continue. So thank you so much, guys, this is really wonderful and we appreciate it a lot. Ausra: Yes, thank you so much! So now, let’s go back to Paul’s question. And really...what do you think he means by being a slow learner? Does he compare himself with somebody else? Vidas: Exactly. How do we know if we learn something “slowly” or “fast?” Ausra: Yes, how do we set those boundaries? Vidas: For example, let’s say a piece is 5 pages long, and we learn it in 1 month. Is it fast or slow? Ausra: So, I think it’s always a question mark… Vidas: Relative? Ausra: Yes, a very relative thing. Vidas: Do we advise people to compete with somebody else? Ausra: Well...yes and no. Because for some people, having that competition is a good thing, because it makes you to work faster and to develop necessary skills faster. But for other people, that competition might just simply destroy all passion for organ. Or anything. Vidas: I think the best competition is with ourselves, right? Ausra: Yeah. Vidas: Because we have to compare ourselves to ourselves yesterday, or ourselves a week ago, or a month ago, or a year ago. Only then will we know our true advancement, true level of how we progress, if we are on the right path or not. If we compare ourselves with other organists, who we listen to on YouTube or in recitals...as Ausra says, sometimes it is inspiring, but more often than not, it is discouraging, I think. Ausra: Yes. If, for example, we would have to compare our childhood experience in Lithuania and our experience while studying in the United States, what could you tell about all that--teacher and student relationship? Vidas: In Lithuania, there were several organ professors at the Academy of Music, and each of them had their studio organ class--maybe 5, maybe 6 people total. And generally, they were closed among themselves, right? They felt sort of a competition between other students of other professors. There wasn’t any atmosphere of collaboration in this kind of setting. Whereas in America it was completely different, right Ausra? Ausra: Yes; and in Lithuania, I always felt that all professors, no matter with whom you studied, would say negative things to you, like, “You did that, and that, and that, and that, badly!” Vidas: So that’s European--we have presenting problems... Ausra: Well, maybe not the European way, but Lithuanian, definitely, yes. Vidas: Ex-Soviet way, basically; because in earlier times, talking about negative things was very common, and not so much of optimistic, inspiring things. Ausra: So, how did you feel about it? Vidas: To me, I always wanted more freedom; so whenever somebody tried to push me, I kind of resisted, because my mind wanted to be free from those boundaries, and I wanted to explore myself all those musical adventures. So in that case, we had one organ professor, Gediminas Kviklys, who was the best, because he let us do whatever we wanted. Of course, by that time we were developed enough--and could be responsible enough--for our own progress. In America it was a completely different story, because it was so supportive and collaborative between organ studios; right, Ausra? Ausra: And that supportive atmosphere--telling good things, nice things to students--made you want to do even more, and to give yourself more, and to practice more, and to become the best. And it was very nice. Vidas: But other colleges and conservatories have different environments, because some of them are very competitive. Ausra: Yes, that’s true. Vidas: And I’m not sure how students get along in those organ studios, but they must feel some kind of competition, because they constantly compete in international and national organ competitions among themselves, right Ausra? Ausra: And that’s what I told you before: for some people it’s a very good thing, because they want to compete all the time. They want to feel that pressure. Vidas: Because they don’t have enough pressure from themselves? Ausra: Yes. Vidas: They have external motivation. Ausra: But actually, I don’t feel that I have to have that external pressure, because it makes me feel guilty all the time and just incompetent. Vidas: That’s true for me, too. I want to be free, and I want to do the things that I want to do. So, I then compare myself...with myself! Ausra: Yes, so like Paul said, be learning slowly--that’s your way to do it. And it’s ok. Maybe you will become a faster learner with time, maybe not. But don’t despair. Just keep doing what you are doing. And it’s much better to learn things slowly but correctly, than to learn them faster and incorrectly. Vidas: Of course, our daily efforts compound; and if you just get better one percent a day, the next day you also get better one percent; but plus that fraction of the percent you got better yesterday; and a week from that day, you get better also one percent, but also plus all those seven percent combined. So it compounds; and after one year--I don’t know, I have to do the math, but--it’s more than one thousand percent! Ausra: Definitely, yes. Vidas: If you do this. Ausra: What could accelerate your progress a little bit, maybe, is if you could find time to practice a day not once, but let’s say, twice; let’s say one time in the morning and one time in the afternoon/evening. That might do things faster. What do you think about it, Vidas? Vidas: It’s an excellent strategy, because our minds can only focus for so long without breaks. So maybe in the morning, for some time before you get tired; and then, you see, your day will already be a good day, because you have already practiced in the morning. You already did the thing that matters to you the most. And then, if anything happens and you don’t have time to practice in the afternoon or in the evening, it’s still a day not wasted, in this case. So early morning practices are always the best; and then if you can do a second practice, that’s even better. Ausra: Yes; so try that, and you’ll see if it works for you. Vidas: Yeah, it doesn’t have to be a very long practice, right? Maybe for half an hour before you take a break and continue--that’s completely possible, right Ausra? Ausra: Yes. Vidas: Thank you so much, guys, for listening to us, for applying our tips in your practice. It’s really a small milestone we have achieved, with 100 podcasts of answering your questions. Without our listeners it wouldn’t be possible. And keep them rolling--keep sending your questions to us, because we want to reach maybe another hundred, right Ausra? Ausra: I’m not thinking so far ahead, but...it would be nice! Vidas: But most importantly, we hope you'll do something with this advice. It really makes a difference. Excellent. This was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 99 of #AskVidasAndAusra podcast. This question was sent by Paul, and he writes that he doesn’t always have the patience for a highly systematic and laborious practice. So, that’s a common problem among organists, right?
Ausra: Well, I think for any kind of people this is a common problem. Vidas: What can we say? We don’t always practice systematically ourselves, right? Ausra: That’s true. Vidas: We’re humans, and we have weaknesses. Ausra: Yes. Vidas: I think the important part is recognizing our weaknesses, and learning from our weaknesses. But I think it’s unavoidable, sometimes, to make mistakes and do things that we regret later. Ausra: Yes, that’s true. Otherwise we would become robots and computers that could just program ourselves, and do systematic practice all the time. But that’s just life--it’s impossible to do, be a machine all the time. Vidas: What I think about organists who don’t always practice systematically, with patience, is that probably, they haven’t seen the results of systematic practice yet; and therefore, they haven’t been hooked on this. Do you think it’s safe to say so? Ausra: Yes, I think that’s true. But also if you don’t practice systematically, you still get some kind of results. Maybe not as good results-- Vidas: Not systematic results? Ausra: Yes, yes. Vidas: Maybe not quantifiable results. Maybe you practice sporadically, right? And you get better one time, but you don’t know if you will get better in time for your next public performance. Ausra: Yes. I think that public performance is that way which keeps us moving, actually. Vidas: Mhm. Absolutely. I remember the time when we came back from America, from our studies, and there were some months when I didn’t play in public--maybe 5, 6 months, maybe half a year. And I remember at that time, I almost didn’t practice, because there was no external motivation--no push from deadlines and things like that. Ausra: Yes, deadlines. This is the word that I most hate! “Due date,” “deadline”--ugh! Vidas: But it keeps us moving, right? Ausra: Yes, that’s true. Vidas: You don’t have to set external deadlines, right? But you can set internal deadlines, for yourself, for your own enjoyment. Ausra: Yes, that’s true. Vidas: For example, if you’re planning to learn a piece or two on the organ, give yourself a deadline by which time you can play through it. Ausra: That’s right. Vidas: And make a plan. Because in order to learn, let’s say, a piece which has 10 pages in let’s say 10 weeks, you have to learn one page a week! It doesn’t mean that after 10 weeks you will be able to play this piece in public, right? Because you need maybe 1 extra month to get fluent and even better at this. And so...But practices like this--you give yourself a plan, and you proceed step by step. Ausra: Yes, that’s right. So you just have to commit to do something--to learn a piece of music to play it in public. Vidas: So for example, in our case, we are preparing for a recital in what, 3 weeks? about 3 weeks, in November. And there are some pieces--really challenging compositions among our repertoire. And if it wasn’t for this deadline in November--yes, we would play together, we enjoy playing in organ duet, but it doesn’t mean that we would practice and get better on time. Right, Ausra? Ausra: Yes, that’s right. Vidas: So although you don’t like deadlines, you must be glad that this public appearance is coming up. Ausra: Yes, of course, it’s always nice to have that external push. Vidas: Because what--for this concert, we are learning new music, right? And we are slowly getting better at this. So I think for other people, too, our advice could be to find a chance to play in public. Ausra: That’s right. Vidas: A piece or maybe 2 pieces at a time. You don’t have to play an entire hour or thirty minutes of program at once. Ausra: Yes. So maybe make a tiny recital, play a fancy postlude after a church service. And never despair if practice will not go well that day, or you will be too lazy to practice; that’s just a perfectly normal, natural thing. You will do better the next time. Vidas: That’s right. And 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 98 of #AskVidasAndAusra podcast. And today’s question was sent by Rivadavia, and she would like to play reasonably difficult scores at first glance with the least error. So basically sight-read, yes, Ausra?
Ausra: Yes, yes. Vidas: So, is sight-reading a useful skill for organists, do you think? Ausra: Very useful; for any musician, it’s a useful skill. Vidas: Why? Ausra: Because the easier you can sight-read music, the easier you can learn music, too. Vidas: So, if I can play a medium-difficult piece from sight without preparation… Ausra: Yes? Vidas: Then probably, amount of time required to master that piece, or any other piece, would be minimal. Ausra: I hope so, yes--I think so, yes. Vidas: So what’s the first step, in your opinion, to get better at sight-reading? Ausra: Well, to do it regularly, to do it on a daily basis--I think that’s the best way. Vidas: How much music should you sight-read regularly, on a daily basis? Ausra: I would say one piece is enough, but you must do it every day. Vidas: Depending on the length, it could be even an episode of one piece. Ausra: Yes, that’s true. And telling that it’s one piece, I thought it’s about a 1- or 2-page-long piece. Vidas: But of course, if you have a sonata or a symphony, so it’s maybe half an hour long; so one part would be more than enough. Ausra: Yes. Yes, that’s true. Vidas: What’s the biggest mistake people make in sight-reading efforts? Ausra: I think most of them just pick too fast a tempo at the beginning. And that’s a mistake. You need to be a genius to sight-read a difficult piece at concert tempo. Vidas: Remember, even Bach couldn’t sight-read everything. When he visited his friends, he had this tradition of getting to the harpsichord and picking some music, and sight-reading right away. And one time, he stopped and got stuck in the middle of one page… Ausra: Yes? Vidas: And repeated that page 3 times! Finally, he decided that it’s not possible to sight-read everything. Ausra: Yes. Vidas: So... don’t despair, right? Ausra: Yes, that’s right! Vidas: Because even Bach couldn’t sight-read everything perfectly. Ausra: I don’t think there is a magic trick that could help you to sight-read everything in a fast tempo without any mistakes. Vidas: Is it ok to sight-read not all parts together, but just one line, let’s say, with one hand? Ausra: Well, yes; if you have trouble playing a few voices, then just play one or maybe two voices. Maybe sight-read RH first and then LH, and then pedal part. Vidas: Of the same piece? Ausra: Yes. Vidas: That still works. Ausra: Yes. Vidas: In the long run, you’ll get better… Ausra: Yes, yes. Sure. Vidas: And you can do combinations of two voices later on. Ausra: That’s right. Vidas: So, I hope our students can take this advice, and apply it to practice. But it’s not very easy to apply to practice, because if it would have been easy, a lot of people would be doing this already. Remember in our school, I suggested our students to sight-read one voice of a Bach 2-part Invention per day--RH and then LH, in the same day. Ausra: I remember that, yes. Vidas: And basically no one did it. Ausra: Mhm. Vidas: For a few weeks--it was a challenge, a 30-day challenge--because there are 15 2-part Inventions, and I suggested to do this for 30 days. One day RH, second day LH; and then from the beginning, the second invention; and so on. But they couldn’t keep up with this. Somebody tried it for a few days, but they stopped. Ausra: Yes, people don’t have enough motivation and patience. Vidas: Do you think that’s the case? Ausra: I think so, yes. Vidas: So, how could we motivate people to try this really, for real--for a longer period of time, until they get to see the results? Ausra: Well, you need to take it just step by step, and trust that at the end of that long way, you will see the result. There is no such thing as immediate gratification. Vidas: For example, I have a habit now, that whenever I sit down on the organ bench, I first try to sight-read or improvise, or vice versa. Ausra: Hmm. Vidas: Maybe sight-read first, because the improvisation could based on that piece which I previously sight-read. So what I do is, I open up a collection of music, and I sight-read one piece. If it’s a long piece, I sight-read several pages, or a section of it. And then it becomes a habit; I don’t even have to think about it. I even sort of miss it if I don’t do it regularly. Ausra: That’s a good way to do it--to make it your habit. Let’s say instead of warming up, just sight-read something and then learn your music, work on your music, or on your hymns. Vidas: So for example, when you will be playing organ music of preparing for our recital (which will be in November today), what piece or which collection will you choose to sight-read today? Ausra: Well I don’t know, I have to think about it. Vidas: Let’s say, early music or Romantic or modern music. Which is more dear to your heart? Ausra: Well basically any music, definitely. Vidas: Mhm. But you don’t have to stick with just one style, right? Ausra: That’s true. Vidas: You can alternate. Ausra: I like to sight-read piano music, too Vidas: Mhm. that counts, of course. Ausra: That way I can expand the repertoire that I know, from inside out. Vidas: Yeah. So guys, you see it’s really possible to develop a habit of sight-reading unfamiliar organ music, and gradually get better at this. Ausra: Yes. Vidas: It’s a very valuable skill. Ausra: And also, while sight-reading, maybe you will enjoy some piece so much that you will finally decide to learn it. Vidas: Yeah. Ausra: So that’s a good way to build up your repertoire. Vidas: And broaden your musical horizons, too. Ausra: Yes. Vidas: So, please apply our tips in your practice. It really works when we apply it--it works on us, and we know that our students who apply this in their practice, of course, get better and better every time. And send us more of your questions; we love helping you grow. So, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
First, the news:
Would you like to learn the famous Carillon by Leon Boellmann (1862-1897) from his 12 Pieces, Op. 16 (1891)? If so, save yourself many hours and check out my new PDF score (5 pages) with fingering and pedaling for efficient practice to achieve ideal legato articulation. 50 % discount is valid until November 1. Free for Total Organist students. And now let's go to the podcast for today. Vidas: Let’s start Episode 97 of #AskVidasAndAusra podcast. And today’s question was sent by Rivadavia, from Brazil. And she has a problem that she doesn’t have enough time to practice. So Ausra, what do you do when you don’t have time to practice? Ausra: Well, I try to find time to practice. But whatever you do, if you know that you have a performance coming up, prepare in advance. Vidas: Imagine you work at school from 8 o’clock until 6 o’clock--or at least 4 o’clock, right? And after school’s over, you’re very tired. But you know your recital’s coming up. Will you be able to practice that day? Ausra: Well, sometimes yes and sometimes no. Vidas: Do you beat yourself up when you don’t practice that day? Ausra: Actually no, because sometimes you just have to rest, in order to practice well the next day. Because if you are too tired to practice, then it will not be a good practice. Vidas: That’s right. Ausra: And if it’s not a good practice, then I think it’s better to not practice at all. Vidas: You don’t have this inner feeling of frustration with yourself, like “Oh, you skipped practice, you’re a bad person and you will go to hell!”? Ausar: Hahaha! Sometimes I do get that feeling, but not always. At least when I cannot practice because I’m just too tired, then no, I don’t have that feeling that I will go to hell. But if I don’t practice because I am too lazy that day, then yes. Vidas: For example, today--are you lazy or are you tired? Ausra: Well, actually I have a cold right now, so… Vidas: You’re sick? Ausra: Yes. Vidas: Me too. So our voices are not in the best condition today. But still we can give you some pointers and tips and advice on how to behave in this situation, when you feel you don’t have enough time. For the most part, Ausra, do people really not have enough time, or do they say they don’t have time? Ausra: Hmm, could be both ways. Vidas: Both, right. You see, when a person skips practice, he gives a reason, right? And the reason for everybody to know is that, for example, Rivadavia doesn’t have enough time to practice. But the real reason might be something else, right? Ausra: Yes, that’s true. Vidas: I’m not saying that it is like this, but it often happens that we keep our most private thoughts and reasonings and excuses to ourselves, right? And what happens is, we want to look good in front of other people; and we say we don’t have time. Ausra: That’s true. I remember one show that we had in Lithuania a few years ago. There was one person from the bank who would teach families actually how to save money. And what she would do is, she would come to the family, and at the end of the week, all members of the family must supply her with receipts and checks and all those things that they had spent money on. And then she would make sure if all those purchases were necessary. And she would teach people how to save money--how to not get unnecessary things, and…save! So that’s what I think would happen with each of our schedules: if we would write down what we’ve spent time on, I’m sure we would find unnecessary things that we do. Vidas: There is an app--or a few apps, now--online, where you can check your online activities, what you’re working on on your laptop or even on your phone. And when people say, “Oh, I’m just checking my Facebook for a second,” or just text or email, or look at a YouTube video for 3 minutes--what happens sometimes is that we don’t notice. We become so captivated by that activity, immersed, that we simply forget the passing of time. Ausra: That’s true. I think probably the worst time killer is a smartphone nowadays, with all its Facebooks and Twitters and all those internet sources. And of course TV too, for some people... Vidas: Mhmm, but I think online activities are getting more prominent. Ausra: ...Yes. Vidas: So you really have to be very strict with yourself, because only you can control yourself. No app can really change your habits, actually. It’s just a game with yourself, right? Ausra: Yes. Vidas: It’s a game. For some people it might be necessary to do this extraneous checking that you’re on the right task. But really what it comes down to is your inner motivation for each day--are you living fully each day, or are you not? Ausra: Yes. Vidas: With each moment, we have a choice, right Ausra? Ausra: That’s true. Vidas: For example, today: what we’re doing now, we could be doing with a thousand different things, right? But we chose to record this teaching video. Ausra: Yes. Vidas: Ausra, is it a wise choice? Ausra: I hope so! Vidas: Why? Ausra: I think it’s right to help somebody. Vidas: That’s right; we really hope our teachings can help you grow as an organist--and as a person, too, because it’s a total personality development, I think. So what you can do with the passing of time is to have a stricter look at yourself, with your activities first, right? Where your time goes. Ausra: Yes, that’s right. Vidas: What else, Ausra? Ausra: Well, I don’t know, there might be different possibilities how you could have extra practice time. Maybe get up half an hour earlier in the morning and do your practice, or do it during lunchtime. Vidas: Mhm. Those hours, or minutes, where nobody’s disturbing you with some tasks or activities, are very precious, right? Set some boundaries, because sometimes your coworkers will come up to you and ask you for something, or a friend might call you and ask for your attention. But if you turn off your phone at that time, or turn off notifications on your phone, then you’re free to do whatever you set out to do. And then you can focus for at least 15 minutes, and that’s good for starters, right? Ausra: Mhm. Vidas: If anything happens, you know that that day you already practiced and fully accomplished something of value for 15 minutes. Ausra: And of course, if you don’t have much time to practice, you must know in advance what you will be working on that day. Just pick 1 piece, or maybe even one spot--one page or half a page of that piece, and practice only that spot. Vidas: Right. Ausra, do you think that people should learn how to say “no”? Ausra: Yes, that’s true. Some of us just have too many activities. Vidas: Too many. Ausra: Yes. Vidas: Too many things to do... Ausra: Yes I know. Vidas: During the day. And not all of them are of equal value. Ausra: I know, I’m already panicking about my November schedule. Because I agreed to teach sort of a course, a seminar, for church organists, on harmonizing hymns. And then I have to play a joint recital together with you... Vidas: Mhm! Ausra: On November 18th. And then I also agreed to lead a concert, actually, as a musicologist, and to speak about keys--about different keys, and what they mean in music. Vidas: Interesting topic. Ausra: So yes, that’s a very interesting topic; but on top of that I have to teach twenty-seven hours each week, and to grade papers, and do all that stuff. So that will be a challenging thing to do. Vidas: Well, at least you know that these activities are worth your time, right? Those harmony courses for community organists. Ausra: Yes. Vidas: For church organists. It’s worth doing, probably. Ausra: Well, I hope so. Vidas: We hope so. What else? I think when you say “no” to something, you can earn the privilege to say “yes” to something that is of value to your goals, to your vision. And you have to have as strong vision for the future--what you want to accomplish in 3, 5, 10 years, as an organist, as a person. And each day, take those simple steps, and maybe get better at one particular area at least 1%; because it compounds over time. Ausra: That’s true. Vidas: Every day. So, this is our daily advice. And now of course, we will go to practice later in the day, because to give you advice and to not take that advice ourselves would be counterproductive. That would be lying to ourselves, right? Ausra: Yes. Vidas: So we will definitely practice for our upcoming recital today, too. And 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 96 of #AskVidasAndAusra podcast. And today’s question was sent by Rivadavia, and she writes that she struggles with lack of memory. Ausra, is it a common problem for people, do you think?
Ausra: Yes, I think so. Vidas: Did you have any students, when teaching, who complain that they can’t really memorize things and pieces? Ausra: Well, not so much; but performance anxiety--I get more of that. Being afraid that during a performance they will forget the music, and they will stop. What about you? Vidas: Myself, I struggled a lot with memorization, and that was actually probably one of the frustrations I had with my piano playing, back in school. Because normally, we had to play recitals and concerts and exams from memory, several pieces. Ausra: Sure. Vidas: And I just wasn’t good with that. I could sight-read rather well; but when my teacher told me to memorize a piece of music in a week or so, I just didn’t know how to do this. Ausra: Yes. And I remember that I always started to memorize pieces too late, and then I would be worrying so much when an actual performance would come. And I still have nightmares at nighttime, that I’m playing a recital or exams, and suddenly I forgot my music! Vidas: You’re not alone in this. I think just a couple of days ago, I had this lesson with my piano student at school, and for I think four weeks in a row, I’ve been nagging him to memorize his piano pieces. And one of the pieces is 3-part Sinfonia in d minor by Johann Sebastian Bach. And he just can’t seem to force himself to do this. The easier pieces that he’s playing, yes, he’s getting ready, and can at least play episodes from memory; but the tricky polyphonic texture, I think he delays it, postpones it; it’s a procrastination thing for him. Ausra: Well, that’s just too bad. Vidas: But kids, small kids, they don’t have problems with memory. I have a second grader who cannot read music, but can play everything from memory just fine. Ausra: Haha! Vidas: So that’s the opposite! Ausra: Yes, that way it’s easier for him just to memorize pieces for him--so that he won’t have to look at the music score! Vidas: He looks at his fingers, at the keyboard, and he memorizes the positions at the keyboard. Of course, he doesn’t understand anything about what he is playing! That’s another problem. Ausra: Hahaha. That’s true; but that’s what kids and beginners do. Vidas: Yeah. So guys, if you struggle with this, know that you’re not alone. I haven’t met a person who in some way, shape or form, doesn’t struggle with memorization. And I think the problem might have something to do with a theoretical understanding of what’s happening in the score. Ausra: And I guess some people are just more gifted than others, because the types of memory that human beings have are so different. For example, you could have very good visual memory. And I envy those people. Because I have heard such stories: for example, one pianist, he would perform a recital, and he would turn imaginary pages for himself, because he could just see the score in front of him. So that’s just unbelievable. Vidas: Or Marcel Dupré, who’s famous for having played I think 10 recitals in a row from memory, at the Paris Conservatory--the cycle of the entire organ works of Bach. And each recital was paced every 2 weeks. So basically, he had to know a gigantic amount of repertoire under his fingers from memory. Usually pianists and organists can play from memory maybe an hour’s worth of repertoire; maybe 2 hours, right (if it’s a long recital). Maybe if they are touring, maybe 3 hours at the most, if they have 2 recitals of 90min each, you see. That’s the most they can do. But Marcel Dupré managed to play everything from memory, 10 recitals in a row. That’s kind of unbelievable. Ausra: It is unbelievable. Vidas: And he did that I think 3 times, one in Paris and then I think twice in America. But he didn’t enjoy that--I’ve read that he didn’t want to repeat it that many times. Ausra: Yes, I think that’s just too much. Vidas: It’s torture! Ausra: Yes, even for him, that’s too much. Vidas: But it’s like a marathon, right? A very long race. Do you know who enjoys marathons? Professor James Kibbie. I’ve had a wonderful podcast conversation with him about his Bach project: he also recorded the complete works of Bach, and I think also from memory. But not in a marathon session like Dupré; but over a period of time, maybe over a period of one year, when it was Bach’s anniversary. He went to Germany, to the famous historical organs, and recorded. So he writes that he likes to run marathons, right? Ausra: Mhm. Vidas: And this strenuous, continuous running practice helps him to focus for long-term commitment to long cycles, such as recording all the music of Bach over one year, you see. Ausra: That’s amazing. Vidas: It is amazing. So guys, if you’re struggling, remember that everybody else is also struggling; but some people find something that works for them, running a marathon, or something else. So keep looking for that golden bullet, and keep looking for things that work for you specifically. Right? But I think you have to understand--we have to explain to people, Ausra--do you think that they should mimic their masters and try to copy them? To be like Marcel Dupré or James Kibbie? Ausra: I don’t think so. I think everybody has to find their own way, because we are all so different. Vidas: Yes. So guys, please be yourself; that’s the only thing that matters. And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 95 of #AskVidasAndAusra podcast. And today’s question was sent by Rivadavia. And she has a struggle with patience, and she writes that she lacks patience and even perhaps lack of memory, when she practices. So Ausra, do you think that people often lack patience when they encounter difficult spots in organ playing?
Ausra: I think so. Not everybody, maybe; but yes, I think that might be a problem for some people. So are you patient, when you practice? Vidas: Usually I’m patient enough to overcome difficult spots; but sometimes, yeah, I get into the trap of feeling frustrated, and then switch to something else. Do you think that people have to stick to the practice no matter what, or is it ok to take a break--take a drink, walk, stretch--and then come back? Ausra: Yes, I think it’s good to take a break, but I think it’s bad to quit practicing a particular piece; because a lack of patience might mean that when you find out that this piece will be hard for you to learn, you discover some hard spots, sometimes you just quit, because you don’t have enough patience. Vidas: Have you ever quit a piece in your life? Ausra: Well, let me think about it. Yes, I think that I did, way back. I think I quit one choral fantasia by Max Reger. Vidas: Oh! Ausra: But I think it was probably the trouble or a bad decision of my former teacher, because I think I was still too young and not experienced enough to learn such a hard piece. Vidas: That’s right. And I think I quit some piano pieces back in high school, because they were simply too virtuosic for me. So...when people like Rivadavia, for example, encounter a difficult spot, right, and they want to quit--what should they do first? How should they motivate themselves? Ausra: Well, that’s a good question. Very hard one. Vidas: What about simplifying the problem? Instead of climbing a big mountain, right--like you say, mastering a Chorale Fantasia by Reger--maybe mastering a smaller episode first? Ausra: Yes, that could be; but you need patience for that, too. Vidas: Or not even an entire episode, but a solo line, of RH or pedal line, of that episode. Ausra: That might be a good idea. Vidas: You see guys, I think a step-by-step approach is slow, but it’s very firm, and a very positive way to reinforce yourself in your goals. If you’re taking this step, and the next step, and the next, you’re surely moving towards your goal. Would you agree, Ausra? Ausra: Yes. The slow process guarantees you a good result at the end of it. Vidas: So why do people quit, if the slow, step-by-step approach works? Ausra: Because you need patience to work slowly, and not everybody has it. But it’s not necessarily related to organ practicing. If you have patience in one site of your life, you will have patience throughout your life, too. Vidas: Do you think that people quit when they don’t see results? Ausra: Could be, too, yes. Vidas: Because if they feel results--some kind of results, even basic results--they feel compelled to take action even further. But if they just keep spinning their wheels, then they think inside their head that it’s not worth it. Right? Ausra: Might be, yes. Vidas: They’re not getting anywhere. Ausra: So I think it’s a good thing not to pick up too hard pieces at first, and not to expect too much from yourself in a very short time. Vidas: And celebrate small victories. Ausra: That’s true. Enjoy small things. Vidas: Give yourself a treat, whatever a treat might mean for you. Celebrate every small step, because each small step will lead you to success, whatever success means for you. Wonderful. So, another part of this question is of course, lack of memory. So Rivadavia is struggling not only with patience, but with memory. What do you think is happening, Ausra, for her? Is she trying to memorize some passages and struggling? Ausra: Sounds like that. Yes, then just play from the music. You don’t have to memorize it, necessarily, if you are practicing organ. Vidas: True, because memory is not everything, I think. You have to read music... Ausra: That’s true. Vidas: And memorize only the pieces that you want to keep for a long time. Ausra: Yes, that’s right. Vidas: Wonderful. We will discuss the problem of lack of memory in the next episode. And for now, just keep up your practice. 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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