Vidas: And let’s start Episode 63 of #AskVidasAndAusra podcast. And today’s question was sent by Kae, who is helping, actually, to transcribe our podcasts for us. And she’s very helpful, and a very accurate transcriber. So thank you so much, Kae, for doing this.
And now, back to her question. She asks, “When do you usually register a piece: before or after you learn to play all the notes? I think registering a piece can be the most fun part of preparing a performance, but maybe it should be saved for last? If my piece is very loud, I will usually practice using softer registration, but this means I get used to the quieter sound and start to prefer it. I don't know. What is your opinion? Thank you for all your work, it's wonderful to read all of your posts. I especially like your new podcast feature with text instead of just audio.” She’s wonderful, right? Because without her help, it wouldn’t be possible! Ausra: Yes, and an excellent question, actually, a very interesting question. Vidas: Let’s start with how we do it. It’s not necessarily the only way, because some people advise to analyze the piece, and know how the piece is put together right away, and even to figure out the registration just before you learn the notes. And some of them do the notes first, and decide on the registration later. So how do you do it, Ausra? Ausra: Well, usually, I learn the music first, actually. Vidas: But while learning notes, don’t you sometimes think, “Oh, in my upcoming performance on this particular instrument, I’m going to use this combination. Or that combination. Or manual change--I will go the third manual instead of the fourth manual or eighth manual instead of the ninth manual:).” Ausra: Of course. I always keep that in mind, because otherwise I would not know how to play. But for example, as Kae mentioned, if it’s a loud piece and she practiced it on soft stops, and she will get used to that sound and she will prefer it--I would still suggest to play Organo Pleno pieces on softer stops during just regular practice. Not always, not all the time, but most of the time. Because otherwise, you could just hurt your ears, and that wouldn’t be good. But while playing even on the 8’ flute, you can still imagine you’re playing Organo Pleno. Because then even your touch will be different--a little bit different. Vidas: Absolutely. Ausra: But I often register the final version of the piece when I’m on the actual organ on which I will be performing that piece. Vidas: Do you sometimes register on the table in your head? Ausra: Yes, I do that sometimes. Vidas: To save time? Ausra: Yes, and then I just have to adjust some things when I get to a real organ. Because you are in sort of a luxury situation if you know the instrument on which you’re performing in advance, and I mean, in a practical way, that you have played it. But most often--for concert organists--you can only imagine what you will get! Of course, you see the specification lists, but you still cannot hear the actual sound until you get to the organ; and most of the time, you have one or two rehearsals, sometimes even almost no rehearsal before your actual performance. Life is life. So, you sort of do your imaginary registration; and then you do the real one, when you get to the real instrument. Vidas: And the more experience you have with pipe organs, then the more closer to reality your mental preparation will be. Ausra: Yes. Vidas: Although there are exceptions, right? You discover that, let’s say, this principal is not loud enough; or this flute is not making sound that you want. Ausra: Yes. Vidas: So you need another combination. Or when the reed is out of tune... Ausra: Yes, sure. And especially when you are learning pieces where you have to use two manuals at the same time, try various combinations when you practice on your home organ or your school organ. Because otherwise, it might be very hard for you to switch--to change the manuals, for example. Imagine you’re playing a Trio Sonata by Bach. And you always play the right hand on the second manual and the left hand on the first manual. And when you go to the real organ where you will be performing this piece, you see that it has to be the other way around--left on the top manual, and the right on the lower manual. It might be a problem for you to do that. Vidas: Absolutely. Ausra: So practice all these combinations. And of course, if you have access, regular access, to the organ where you will be performing that repertoire, then it might be a good idea to register pieces right away, and to practice in that way. Vidas: And talking about trio sonatas, and this kind of texture--make sure you practice also dropping one octave lower one part… Ausra: Yes, because you might need that, too, and register. Vidas: Dropping probably the left hand part an octave lower, because otherwise you get Cross-relations between hands. But 8’ stop sometimes is not as beautiful as 4’ stop; so you should choose 4’ registration...but then you need to drop one octave lower, your lower voice. Ausra: But as Kae mentioned in her question, registration--registering her piece is really the most fun part of organ playing, because each time you can explore and find new colors. And it’s sort of strange for me, but some organists keep the registration. For example, they perform a recital in one place, and they write down that registration and try to keep it for the rest of their life! I don’t like doing that, because if I will come back to that instrument, let’s say after 10 years, it doesn’t mean that I will register it in the same way; because maybe my taste will have changed in that time… Vidas: Or your level might have grown, too. Ausra: Yes. So I would suggest each time you would do your own new registration. Vidas: For example, right now as we’re recording this, we’re mentally preparing for our upcoming performance in Paslek, Poland on the Andreas Hildebrand organ from 1717. So that was Bach’s day and age--a Baroque organ. And we’re practicing sometimes at home, sometimes at St. John’s church here in Vilnius...but always mentally thinking about Poland, now. Ausra: Yes. Vidas: That’s how we save time; that’s how we save energy and prepare for the real situation. It doesn’t mean that we will be 100% right, but we will have a starting point from which to begin practicing and rehearsing in Poland. Ausra: Yes. And another important thing is that you always have to choose your repertoire for a particular organ. It just amazes me how sometimes organists try to play all kinds of repertoire on one instrument. I mean it’s good if you are in the United States, and you have sort of “universal organ” on which you can play any kind of music; but in that type of instrument I don’t think that any music will sound equally well. But still it’s possible to register and to play it. And otherwise if you’re playing on a historical organ, or a replica of a historical organ, you have to choose your repertoire right. Because you cannot play any piece of music on any instrument; that’s just impossible. Vidas: Nevertheless, for example, a lot of organizations prefer to have an eclectic instrument, and I just read the guidelines for AGO composers’ competition (you can compose organ music and receive a prize if you’re selected). So they want this music to be performed on any type of instrument. Mechanical, electromechanical, Baroque, Romantic. They’re saying, “You should write a piece which will fit any type of organ.” That’s kind of silly, right? Ausra: Yes, I could not agree more. Vidas: But that’s life, right? That’s their requirement. So sometimes, you have to make those hard decisions, if you want to have the most opportunities in life (at least at first, when you don’t have so many opportunities). But always think about the target organ when you will be performing in public, and that way your registration work will become very efficient. Ausra: Yes. Vidas: Thanks, guys! I hope this was useful to you. And please send us more of your questions; we love helping you grow. Okay! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Comments
Vidas: Let’s start Episode 62 of #AskVidasAndAusra podcast. And today’s question was sent by Adeniyi, and he writes that he has no organ to use. And that’s his challenge, right Ausra? Can you practice organ without an organ?
Ausra: Well, you can do a lot of work not on the organ. But later you still have to apply it on the organ. Because you can do mental preparation, to work with a score without any musical instrument; then you can practice on the piano and do a lot of things, too; but finally, you still have to get access to an organ. What do you think about it? Vidas: You’re right, mental practice, keyboard practice, all are very useful things, especially when you have to save time, if you travel, if you are in a room without an organ. But then let’s talk, Ausra, about getting access to a church organ someplace in your area. You don’t have to have an organ in your house or in your home? Ausra: Yes. Vidas: So obviously, there are churches nearby--maybe five miles around you, or ten miles around you, in your neighborhood, in your city, maybe in your region. If you live in a remote area, you can practice, let’s say, just once a week-- Ausra: Yes. Vidas: And do all your work on the keyboard, and get better this way; but then, get access to a real organ with pedals, let’s say just once a week. So Ausra, how would you imagine the situation: You have no organ at home; you have a piano, for example; you want to practice organ playing; and you have a church in mind in our neighborhood. And pretend you are not a university organist! So you have to go someplace and ask. What’s your first step? Ausra: Maybe I would just go to the nearest church, and just ask them if I could use the organ, time after time; and I would suggest something in exchange, maybe a volunteer program. And not necessarily to play during the service, at the beginning; if I would be just a beginner organist, maybe I would suggest to be an usher or to do some other kind of work. Vidas: Yeah, especially if you have no organ playing skills at the beginning, it would be too strenuous for you--too stressful--to volunteer liturgical organ playing once a week, or do some other, professional work, right? But then of course later on, maybe in a few months, or even half a year, or the next year, you can definitely volunteer to play for them in the church service, in exchange of letting you practice in their room. Ausra: Yes. Vidas: Do you think the church administration would be willing to do this kind of exchange? Ausra: I hope so. Maybe not each church would agree on that; but I think most of them, yes. Vidas: Because most of the churches need volunteers, right? They are not too packed with volunteers; there may be some work they could offer you to do in exchange of your services. Or maybe they would need some kind of other help. Maybe you know how to do computer work or maybe you can do some manual work, too. Ausra: Yes. There are all kinds of possibilities. Vidas: So, the church is one possibility. Do you know of any other possibilities to get access to the instrument in your area? Ausra: Well, there might be some neighbor who has an instrument… Vidas: For example, if you have a group of friends who are interested in organ playing, and one of them has an organ at home, so let’s say three of them or five of them could get together and play recitals for one another, and also get regular exchange practice on that instrument. Maybe make a donation for the maintenance of the instrument, and the use of their time. That’s possible, if you live around organists. So usually that happens in a city situation, not in a remote area. Ausra: Not so much. Vidas: Okay, but what if you have this access once in a while to the church organ, but you want to practice regularly on a keyboard without pedals organ music which has a pedal part. Can you do that, Ausra? Ausra: Well, you can do that. You can just draw yourself a pedalboard, and imagine that you’re playing it. Vidas: Or print out a pedalboard from the internet. Ausra: Sure. Vidas: Glue the parts together to make the paper sheets larger, and a real-size pedalboard can be assembled in six or twelve sheets of paper; and you can put them on the floor, right? Ausra: And if you will be able to play on such a pedalboard, then definitely you will be able to play a real one. Because this way is much harder! Vidas: Do you remember, Ausra, in our Unda Maris organ studio, we have a number of keyboards and pedalboards printed out. Ausra: Yes. Vidas: And some people do use them. And sometimes we even do coordinated, simultaneous practice, when one person plays on the real organ, and the rest of them play on the silent keyboards or paper sheets. Right? Ausra: Yes, it works very well. Vidas: They hear in their head what is sounding, but they all practice together at the same time, the same piece. Very very slowly, of course. Maybe not all of them are at the same level; maybe one is beginner level, another is intermediate level, so intermediate level organist would play all parts together, and beginner would play just one part alone, right? Ausra: Yes. So there are various solutions, actually, for a situation like this. You just have to explore your area and to check all the possibilities. And I hope that you will find a right solution for you. Vidas: And we hope to help you grow as an organist further; so please send us more of your questions, and simply reply to our messages that you are getting from this blog at www.organduo.lt as a subscriber. And remember, when you practice… Ausra: Miracles happen.
Another message went straight to our Love Letters folder. It was sent by our former professor Pamela Ruiter-Feenstra, an exceptional expert on early music, generous teacher and brilliant improviser and creator, in response to #AskVidasAndAusra 55:
Dear Vidas and Ausra, The two of you are beautiful, generous, and brilliant! Thanks for making the world a better place. With love, Pamela Vidas: Let’s start Episode 61 of #AskVidasAndAusra podcast. And today’s question was sent by Adeniyi, who says that he has no organ mentor--that’s his challenge. And today we we’re going to try to help him out, right, Ausra? Ausra: Yes. Vidas: Can you practice organ and get better as an organist over time, if you have no teacher? Ausra: I think actually that you can. Maybe the progress will not be as fast as if you will have an organ mentor, but still it’s possible to achieve progress. Vidas: We have to make some difference between mentor and teacher, right? Ausra: Yes. Vidas: A mentor is a person who helps you without any financial reward/payment, and a teacher is, of course, a person who can do this for money. So as I understand, he might live in a country where there are neither teachers nor mentors at all--basically he’s on his own, right? Ausra: Well but today the world is so global, and it’s so easy to get access to the best mentors, actually, and best teachers; you just have to get online. YouTube is full of excellent recordings; you can get all kinds of resource books. So that’s a big help. It’s not like twenty years ago. Vidas: Even our little blog, www.organduo.lt, has thousands resources, right? And trainings, and coaching programs; and this blog is very extensive. I just looked--we started, when--at the end of 2011? So...And, we write every day. Ausra: Sure. Vidas: And that means that for more than 5 years in a row, we’ve published some kind of thing every day, written or audio or video. So that’s really thousands of great materials and useful exercises and advice and tips.. You just have to apply those tips in practice--that’s more important, right? Ausra: I think nowadays it’s not hard to find information as it is hard to select which of that information is useful and is the best. To limit your resources. Because otherwise you can just spend all your time just researching things and not doing actual work. Vidas: Do you think, Ausra, it’s better to randomly pick one training or resource and start applying it in your practice, or do you have to look deep at your needs first? Ausra: I think first of all you need to find out what you really need, what is your biggest problem or your largest concern, and then choose. Vidas: True. So Ausra, what’s the first step in order to discover your needs? Ausra: Well, it depends on what your goal actually is. Vidas: For example, if you want to play in church liturgical organ music. Obviously the first place to start would be the hymns. Ausra: The hymns,the hymn playing, yes definitely; if you’re a church organist that’s the most important thing, for a beginner. Later on you can get more into the repertoire, and to increase your knowledge in stylistic details; but the hymn playing is sort of the cornerstone of church organist. Vidas: And I’ve seen people progress through the ranks of organists just by playing hymns, because they can master the coordination between hands and feet at the basic level first with hymns, and then they can advance to the repertoire easily this way, too. Ausra: Sure. Vidas: And hymns are very fun to practice. Ausra: They are! And they are very good for sight-reading; it’s a very excellent source. Vidas: Exactly. If you, for example, choose 100 hymns and sight-read one hymn a day, in 100 days you will be a better sightreader. Ausra: Definitely, yes. Vidas: Great. So I guess, people should not despair if they have no teachers or mentors in their country available to them. They just have to look online: for example, start with our resources. And more important than a teacher is regular practice. Ausra: Yes, definitely, because even the best mentor or teacher will not play instead of you--you will still have to do all these steps yourself, to take them and to practice everyday. Nobody else can do it. Vidas: Have you had that experience in your teaching career, Ausra, where you had a student, and you give everything to that student, but they don’t do anything with that information? Ausra: Yes, I’ve had such disappointments, that’s true. But I had one excellent example when I was teaching for two semesters, one person. And actually she had a pretty good foundation--she was not majoring in organ, she was minoring in organ. And the first semester she would never listen what I was telling her to do, she would never do it. And you could not reach any result, or any result that I was expecting, from her. But later on, she somehow started, to follow what I’m saying, and started to do those steps, taking those steps, and practicing in that way as I suggested her to do; and the result was just fantastic. Vidas: So even though at first, she sort of, declined to apply your tips in her practice, later she started to trust you, more. So it’s important to trust your teacher if you have one. Because otherwise you’re wasting your time and your teacher’s time, too. Ausra: Yes, definitely. Vidas: Remember Ausra, sometimes people write to us messages that their current teacher tells them to do something differently than we advise, right? They have their own opinions, and the teacher is recommending to do one thing, and they are sort of hesitant to apply our tips in their practice because they trust their teacher first. Ausra: Well that’s okay, everybody has to decide for themselves what to do. Just always listen to what you’re doing because you ear is the best advisor. Vidas: And if you choose your teacher, please trust him or her and do what they tell you to do because otherwise, you’re not progressing into the right direction--and basically wasting your resources and your energy. Ausra: Sure. Vidas: Okay Ausra! I hope people will apply our tips in their practice--I hope people will trust our advice! And if, guys, you want more help, please subscribe to our blog at www.organduo.lt (if you haven’t done so already) and send us more of your questions. We love helping you grow as an organist. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Before we recorded yesterday's portion of our podcast conversation, Ausra and I had a big smile on our faces - Minori wrote a kind note to us:
Thank you for #AskVidasAndAusra 58! I do appreciate your advice, which, I am sure, suggest the best solution and help me to tackle my struggle! What is most enlightening (and what I have failed to pay attention to so far) is the fact that you cannot play everything on every single instrument and that you need to pick the right music for the right instrument. Organ playing begins when you select the repertoire for the instrument, not when you sit on the organ bench... I will keep your advice in mind so that I feel more comfortable and confident when I encounter a new instrument. And thank you for another great advice, "Every tenth instrument" principle, which encourages me to keep trying overcome my struggle. I will take every opportunity to play on as many instrument as possible in Japan (to begin with) and overseas (if conditions permit)!" These type of messages go into our special Love Letters folder because it shows that we are helping real people. So anyway, now let's go to the podcast for the day. Vidas: We’re starting Episode No. 60 of #AskVidasAndAusra podcast. And today’s question was sent by Minori. He writes that he has a small physique: “My height is 155 cm; small hands (I reach an octave, but not beyond); I have difficulty in maintaining postural stability while playing organ works with pedal part (perhaps because of poor muscle strength). I am always wondering what kind of exercise would improve my postural stability while playing the organ.” So Ausra, you are well-equipped to answer this question, because you are a little bit taller, I would say, but not too tall. Ausra: Well, yes, I’m 162 cm high, so just a little bit higher than Minori is, but still not as high as I wish to be. But actually, at first I can suggest what he could do about strengthening his muscles. So, I just found a year ago the so-called Pilates system of exercise, and actually it helped me a lot, to strengthen the whole body, to strengthen my muscles. And since I started to do Pilates, I have never had any trouble with my back anymore. And I can sit and practice on the organ very easily. Vidas: Yes, it’s very good for recovery after illnesses, after stress, after injuries, and it’s a low-stress exercise, basically. You can have muscle fatigue after that, but not necessarily--sometimes you even feel refreshed. Like after yoga, but the difference between yoga and Pilates is that you move quicker in Pilates. Ausra: Yes, and you know, for me, for example, it’s hard to do yoga because I don’t have such a slow character. It’s hard for me to focus while doing yoga; but in Pilates, you just keep moving all the time. But it’s not like a very fast movement as it is in some other kinds of sports; but it’s sort of well-balanced between motion and breathing. So it’s very good. I suggest, really, every organist to try it. Maybe you will not like it, you never know, but I have learned a lot from these exercises. Vidas: Somehow it’s not very popular with men, right? In Lithuania... Ausra: Well, it’s actually too bad. I think it would be very good for both genders. It’s very useful. Vidas: What about breathing? Is Pilates helpful for developing your breathing, and focusing too? Ausra: Sure, you have to learn how to breathe correctly in order to do those exercises; breathing is very important. So then, it helps you too, because knowing how to breathe well, you can use that while sitting on the organ bench, especially during performances, or before performances. And that short height… I know, it might be a problem when you have to reach for example the fourth manual and reach pedals at the same time, but you can get used to it. Sometimes maybe you have to adjust the height of the bench; sometimes maybe don’t use the upper keyboard; but still, you can do it. I think it might be even easier to adjust while being just, 155 cm high, than to be 2 meters and 20 cm high! Vidas: Exactly. To reach with your short legs the extreme edges on the pedalboard is easier than being extremely tall, and trying to tense your leg muscles and abdominal muscles all the time when you sit on a lower organ bench. Ausra: And also, you have to choose your repertoire wisely; because definitely there is some kind of music that I would not suggest Minoru to play. It might be too hard; because he reaches only an octave with his hands, so that means that some pieces by César Franck, or some pieces by Max Reger would be unreachable. Vidas: Late Romantic… Ausra: Late Romantic, yes. When you choose new music, maybe just sight-read it and look if the intervals are not too wide in the hands. For example, such pieces as Franck’s “Prière”--which is a beautiful piece--I would never play it myself, because I might hurt my hands, not being able to reach those intervals. And when I looked at pictures of Franck, actually I saw that his hands were just enormous! So that’s why he composed pieces like this. Vidas: He could reach a tenth, probably. Ausra: I think easily, if not more. Vidas: So guys, if you are struggling with adjusting to the organ because of small physique, I think yes, you could strengthen your muscles and tone your muscles with some kind of exercise system. Do you think, Ausra, that martial arts would help Minori? Ausra: I don’t know how he feels about martial arts. It might help but I think it’s more for focusing your mind, maybe. But I practiced karate for one year, back in the States. And it was good, but I find Pilates much more useful, at least for my nature. And also, you need to find, the pieces which will be your strength; for example, mine is with trio texture, which is the best texture where I feel very comfortable, where I have three different voices and they are all on an equal difficulty. And that way, because I am sort of small, I can move very easily on the organ and feel comfortable with it; I don’t hurt my hands, and my feet while playing, for example, a trio sonata by J.S. Bach. Vidas: You mentioned earlier karate and martial arts, how they helped focusing and mind strength; it’s the same with Pilates too. Pilates also develops your focus, too, because you can focus on your breath. Ausra: Yes, and Pilates is very good for your back. I know organists very often have back pain. Vidas: Because of slipping? Ausra: Yes. Because of slipping, and because of playing pedals. It’s not that easy, but it’s very good for your back. Vidas: Okay, so Pilates would help; playing pieces with thinner textures, like trio textures, or early music, probably? Ausra: Yes. Vidas: What about improvisation, Ausra? You would think that when a person improvises, he or she could really play whatever is comfortable for his or her physique, right? Ausra: Yes, that’s true, but it’s actually your strength, improvisation; so maybe you can tell us more about it. Vidas: Well, it’s very simple. Because when I improvise, I never play something I cannot play, right? I play something which I can do. Of course there are challenges, and things I’ve never tried; and I push myself a little bit further each time. But those things that Ausra was talking about--reaching an interval of a tenth or more, or playing in extreme edges of the pedalboard--it’s not really necessary when you improvise. You can do all kinds of things without that. Ausra: Yeah. Vidas: Wonderful. Please, guys, send us your questions; we love helping you grow. And you can do this by subscribing to our blog at www.organduo.lt if you haven’t done so already, and simply replying to any of our messages. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: And we’re starting Episode 59 of #AskVidasAndAusra podcast. Today’s question was sent by Minori, and he has a challenge with articulation and phrasing in the pedal part. He writes, “while playing the organ, I just can manage to coordinate my hands and feet but it is not easy for me to care about articulation and phrasing in the pedal part.”
That’s a very common problem with beginners, right? Ausra: Yes, definitely. Vidas: Not beginners in general playing the instrument, but beginners at the organ. Because organ articulation is very different from other types of instruments, I would say; that when people first try to articulate on the piano, they manage to play everything legato, I would say, rather easy. But then, when they transfer to the organ, somehow they forget that you can do all kinds of articulation with the organ. Ausra: Yes. Vidas: What’s your experience with this, Ausra? Ausra: Yes, the same, actually. Organ is quite a tricky instrument to play well, to articulate well. Because the principles of its mechanics are so different from the piano, because it’s a wind instrument, you must not forget it. And also you have such a different way articulating notes when you are playing early music and when you are playing later music. And also when you play piano, you just have to think about how you press the key down, but not so much how you release it; but in organ, playing organ and articulating organ, it’s very important, both the beginning of the sound, and the end of it. So you have to be very careful about it. Vidas: Good idea, Ausra. Beginners tend to forget the ending of the chord a lot, and sometimes even the beginning. They tend to depress three or four notes not necessarily together, at the same time. Precisely. But I would say there’s another issue with Minori here, I can read between the lines, because he is having difficulty with coordinating hands and feet, and then articulation and phrasing becomes a challenge, right? It’s sort of like he first thinks about the notes, and about articulation afterwards only. Ausra: Well, when you are learning a new piece, you have to start with the right articulation right away. Maybe the process will be a little bit slower at the beginning, but it will give you a much better result at the end. So just work slowly, think about articulation right away, work in combinations. Play just a single pedal line first; then do right hand and pedals, then left hand and pedals; and only when you are comfortable by playing all these combinations, only then put everything together. Vidas: Hey Ausra, what was your first piece that you played on the organ? Ausra: Well, that was G minor Prelude and Fugue from the Eight Little Preludes and Fugues. Vidas: So you had like, twelve years of experience of playing piano, before that? And now, you’re starting to play the organ, right, and your teacher assigned you this g minor Prelude and Fugue from the Eight Little-cycle...And did you try to coordinate your hands and feet, or you thought about articulations right away? Ausra: Well, I had so many challenges at that time: everything was so new, with all the articulation business, and pedaling business, but I don’t think I learned in a good manner right away. Nobody talked with me what I had to do first and what I had to do later. So I just tried to play all together and do everything at the same time--and it wasn’t easy, and I think I wasn’t successful. The biggest challenge for me in this piece was to go in the pedal from a low G to C, to connect those two beginning notes of the prelude. It seemed like an impossible thing! Vidas: And for me, my first piece--it was a little bit earlier than yours--I started playing a couple of years earlier in my school in Klaipėda, and it was “Jesu, meine Freude” by Bach from the Orgelbüchlein. And my teacher, gave me to choose any chorale prelude from this collection that I wanted. I wasn’t a very good sightreader, and I didn’t have recordings then, there was no YouTube to listen to. So I just flipped the pages through and maybe chose the most understandable one that I could comprehend at the time. And as yourself, I tried to play everything at once, and everything legato! So when September came, I think I had a couple of weeks of practice at home; and then in my first lesson, I came to my teacher, and she was so angry with me! She said it’s better not to practice this prelude at all, than to practice it incorrectly, with legato touch. Now I had to redo it, and relearn it the right way. Ausra: Well, how could you know about articulations at that time? Vidas: Yeah, she wasn’t very specific about how to make spaces between each and every note (and I wasn't as motivated to learn and think back then as later). Plus, of course, as yourself, I also didn’t know that the best way to manage four-part texture is actually to practice each line separately, and then two-part combinations only after I can do each line separately, you know, without mistakes. Ausra: Yes, that’s the best way to do it. Vidas: And three-part combinations comes only after two-part combinations. And so on. So, Ausra, do you think that Minori should despair, or is it an easy problem for him to overcome? Ausra: I think he will overcome it in time. It might be hard at the beginning, but I think he will make progress in time. Just don’t give up. Vidas: When you learn new music today, Ausra--Baroque music, let’s say, which has all kinds of articulation, and even Romantic music, which also has legato nuances and you have to coordinate legatos in various voices which are not necessarily together at the same time--remember in modern music, in legato, we have to shorten certain notes exactly, and make them exactly half as short. Ausra: Yes, repeated notes. That’s the most challenging thing. Vidas: Or staccato. Ausra: Yes, in Romantic music, when you have a few voices, and let’s say two voices in one hand or even three voices in one hand, but you have to play like two voices legato and one voice has repeated notes that you have to shorten by half, so that’s a challenge. Vidas: So today, when you practice new music or when you sight-read new music--is it difficult for you to articulate? Ausra: Well, not anymore, but now I know what to do. Vidas: When did you first discover that it’s not a challenge anymore--that you have different challenges now? Ausra: Well, it was maybe thirteen years ago. Vidas: Also in America? Ausra: Yeah. Vidas: So how many years by that time you were playing? In Lithuania, you played maybe six years? Ausra: Yeah. Vidas: In Michigan, you played two years with Pamela Ruiter-Feenstra? Ausra: Two, yes. Vidas: But then, in Lithuania we had one more year. Ausra: So, about ten years. Vidas: About ten years, guys. After ten years it becomes easy. Ausra: Yeah. Vidas: So, Minori and others who are listening to this, please be patient. Please be patient at least for ten years. Ausra: Yes! Vidas: If you can do this, then everything becomes easier after that. Ausra: Well, but of course, you have to practice hard during those ten years. Vidas: Exactly. And enjoy the process, because each day you will notice some improvement. And that is the most important thing: to be better today than yesterday. Not to compare yourself with the masters; but compare yourself to yourself, of yesterday. Okay guys, this was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. And you can do this by subscribing to our blog at www.organduo.lt and replying to any of our messages. And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 57 of #AskVidasAndAusra podcast. Today’s question was sent by Christa, and she writes:
“Hello Ausra and Vidas, Thank you very much for your podcast. It is easier for me to follow the written version, so thanks a lot for it too. My question is: How can I avoid hitting two keys in the pedals at once? It happens easily, when I have to turn a bit over the middle and play lower notes with my right foot and higher ones with my left foot. Best wishes, Christa” So basically, this question involves accuracy in playing pedals, right, Ausra? Ausra: That’s right, yes. Vidas: Do you notice yourself sometimes playing wrong notes, with your feet? Ausra: Well, yes, definitely, sometimes I hit the wrong note; but actually, I don’t hit two keys at the same time with my feet. And since your feet are larger than mine are, maybe you encounter that problem. Vidas: I guess the reason for this is simply an inability to adjust to the pedal part easily. And I don’t know if Christa is practicing on different kinds of pedalboards all the time, or just if she is used to one specific pedalboard; but it would help her, probably, to practice pedal preparation, don’t you think? Ausra: Yes, I think that would be helpful; also, I’m not sure what kind of shoes she uses--if they’re suitable shoes for organ then it shouldn’t be so hard to hit only one key at a time. Because special organ shoes have narrow tips. Vidas: And the heels are reasonably medium-high, and they are not very wide, too; so basically if you have ordinary organist shoes, you are in good shape. Ausra: I think she might not turn, shift her body position fast enough, when she changes the position, going from the low pedaling to the high. Vidas: What’s the easiest way to shift positions? Ausra: Well, sometimes it’s very good to note especially if there must be a sudden shift, to add it in your score--maybe with some kind of sign. Vidas: Maybe an arrow, right? Ausra: Yes. Vidas: Going upwards or downwards. Ausra: Because I think the main reason she is unprepared for that shift in advance, and it takes too long; and then she just moves at the wrong time and hits two keys instead of one. Vidas: That would help, obviously. And another thing that I mentioned earlier is pedal preparation, where you basically practice, multiple times, a short segment of pedal passage, and you aim to move your foot to the next pedal note, and let it rest there. Ausra: Yes, and I’m thinking of another thing: her pedaling is maybe not correct; Maybe she tries to play too high with the left foot and too low with the right foot. Maybe she should revise her pedaling, to check it. Vidas: But that depends also if you can shift your body comfortably. Ausra: Sure. Vidas: Because for me, earlier I thought I could play extremely low passages with my right foot, too, or extremely high passages with my left foot. But today I avoid that, and everything below bass G goes with my left foot, and everything above maybe A--like an interval of a perfect fifth in the tenor range, I would play with my right foot. Ausra: Well that’s an easy way to do it in Baroque music; but if you’re playing later music, you cannot avoid playing with both feet all over the pedalboard. But anyway, I would sugget Christa to revise her pedaling. To see if it’s really good written. Vidas: Exactly, and focus on practicing separate pedal lines and segments repeatedly. Ausra: In a slow tempo, first. Vidas: When you say slow tempo, how slow should it be? Ausra: Well, I would say very slow, but, the tempo that you feel comfortable to playing right, in a correct manner. Vidas: Basically, you play without mistakes, in this tempo. Ausra: Sure. Vidas: You avoid mistakes. So, fifty percent of concert tempo? Ausra: I would say so, yes. Vidas: If the tempo when you are ready to perform it in public is, let’s say, eighty beats per minute… Ausra: Yes? Vidas: Maybe it could be like forty beats per minute, when you practice. Ausra: And also another suggestion would be, if the spots--a particular spot is very hard for you to hit one note at a time, maybe you just take a fast look down to the pedal. Maybe It’s not the best thing to do; but if you will do that twice, or three times throughout the entire piece, I don’t think it will be a crime. And it might help you. Vidas: We look at pedals anyway. Ausra: Yes, sure. Vidas: Sometimes. Ausra: Sure. Vidas: We don’t recommend looking at the pedals; but involuntarily...sometimes we manage to get a glimpse or two. Ausra: So sometimes it’s better just to take a quick look, than to make a mistake. Vidas: And then, if you do have to look, then mark that particular place in your score: draw a sign of your eye, for example. Ausra: Yes. Or eyeglasses. Vidas: Okay guys, we hope this was useful to you. Don’t forget to send us more of your questions, and you can do that by subscribing to our blog at www.organduo.lt and simply replying to our messages. We will be very glad to help you out to grow as an organist. So--this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 56 of #AskVidasAndAusra podcast. This question was sent by Morton, and he writes:
“Greetings, Vidas, I really as so happy that you are able to send transcripts of your podcasts. I feel that these transcripts make all the difference in the world for your subscribers. In this transcript, you mention the phrase "easier toccatas." In a future podcast, would you please introduce us to some of the *easier* toccatas? In my case, I learned to play the Toccata from Suite Gothique by Boellmann when I was about 16 - and when I practiced after school five days a week and also played most of our church's 9:30 AM services (except for the offertory anthem). A few years ago I was able to bring that Toccata back to life... I'm looking forward to a podcast transcript in which you mention some of the easier toccatas. Best wishes, Morton” Okay, so this question is about toccatas. What would you recommend, for starters, Ausra? Ausra: Well, I think that the Toccata, Boëllmann’s Toccata from Suite Gothique is a fairly good example of easy toccatas. Vidas: Usually people start with Boëllmann, I would say. Ausra: Well, yes, I know so many cases where people started with this toccata. Because it really fits hands comfortably and it’s not too complicated. Vidas: It has maybe these famous double-pedal passages at the end, but it’s not too difficult. Ausra: Well, it’s not so hard, I think. Vidas: Because it’s in parallel octave motion. Ausra: Yes. What would you suggest as other easy toccatas? Vidas: Obviously Gigout Toccata. It’s also not too complex. You don’t have to play it too fast. You can choose your comfortable speed. And the pedal line is not too complex; usually in French toccatas, coordination between hands and feet is not too difficult because there is not too many things going on together at the same time. Ausra: Sure. Vidas: In French toccatas, often there is this famous toccata motion in the hands, motoric motion in the fingers; and then there is one melodic line, either in the pedals or in the soprano (which you play with your little pinky or the ring finger in the right hand), or sometimes in the tenor on the separate manual. So it alternates. Do you think that sometimes composers write counterpoint, like a parallel contrasting melody with the theme, like a dialogue between the theme and the countersubject? Ausra: Yes I think so, that’s often the case. Vidas: So that’s more complex, then. Ausra: Yes, definitely, and while we are comparing different toccatas, I would say Bach’s toccatas are very hard, or at least much harder than those toccatas which you talked about. Vidas: Yes. The term toccata is very old. It’s not originated with the French symphonic repertoire, of course, but it comes from Italian word called... Ausra: Toccare. Vidas: Toccare. And it means… Ausra: To touch. Vidas: So it is a term which describes a piece specifically for keyboard instruments. “To touch the keyboard,” basically. So, in early Baroque times, Gabrieli, Merula, and Frescobaldi and others--they all wrote toccatas. So sometimes, they were improvisation-based pieces; but later on, they started to add imitative sections, like in the fugue, but there were no fugues in that time. So they would call them differently. What was the precursor of the fugue in those days? Ausra: Ricercar, and canzona, of course. Vidas: Mhm. So, those sections between the free improvisatory toccata passages were like ricercars. Ausra: Sure. And what is the easiest and the hardest toccata that you have played, Vidas? Vidas: The easiest was probably by Boëllmann. Or maybe by myself. I wrote a few toccatas, too. I wrote a toccata on themes by Mikalojus Konstantinas Čiurlionis back in 2011. I first improvised this piece in the concert during a live performance at the Philharmonic hall in Vilnius, Lithuania, and later came back and wrote down and expanded and polished the written-out version. So it’s not a difficult piece, but it has this toccata-like figurations and a nice chorale section in the middle. (I don’t have to say nice, right? Other people have to say nice.) Ausra: Yes, and what is the hardest toccata? Vidas: And the hardest toccata probably is by Maurice Duruflé. Ausra: Oh, I’ve thought about it, too. Vidas: Maurice Duruflé, from the Suite op. 5. Ausra: Yes, I think it’s the op. 5. Vidas: Yes, so the prelude for the suite is not too difficult, dark mood, and long, prelude in slow motion; and then the sicilienne, the second movement, is like a dance, rocking rhythm, back and forth, but not too difficult, too. But then the toccata comes, and that’s a challenging piece. What about “Dieu Parmi Nous” by Messiaen? Is it difficult? Ausra: Well, it is difficult… Vidas: But easier than Duruflé. Ausra: Yes, I think so, it’s easier than Duruflé. Vidas: So, other French composers also have wrote other toccatas. Ausra: Like the most famous, probably, one by Widor. Vidas: Widor toccata...Like every symphony by the French composers must end in a finale; and finales, a lot of times have toccata-like motoric motion, right? Ausra: Sure, like the last movement of Vierne’s First Symphony or the Third, I had played finale; I actually played the whole symphony, the Third Symphony by Louis Vierne; and it wasn’t so hard, but it always sounds very nice and grand. Vidas: What about, what was your least difficult--the easiest toccata, for you? Ausra: Hmm...Maybe by Frescobaldi. And actually, the easiest toccatas to play are toccatas per l’elevatione. But of course, it’s a different genre than the regular toccata. Vidas: Yeah, no fast motion, no virtuoso passages at all. That was another occasion for elevation section of the mass. So you would not play very fast there. Ausra: Yes. Vidas: And what about the most challenging toccata for you? Ausra: Well, let me think about it. Vidas: You asked me this question, so I give it back to you! Ausra: I don’t know, at one point it probably was Toccata, Adagio and Fugue in C-Major by J. S. Bach. Vidas: Right. Ausra: It’s quite challenging, not because it’s technically so difficult, but it has all those various episodes, and to put them together like, grand opening of the hands, and then you have pedal solo, and then all things together...That’s a nice piece but it has its hard things. Vidas: Exactly. To play toccata alone is not too difficult, but when you play it with the fugue--Toccata Adagio and Fugue--as a cycle, then it’s challenging enough. Ausra: Yes, because that fugue has that fast tempo, and it’s a dance fugue, so it’s not easy. Vidas: So guys, start with Boëllmann, I would say, then go to Gigout; Dubois, it’s probably also doable, too. So three toccatas, right? For starters. Easy toccatas. And then, if you like more French stuff, then you can… Ausra: Play Widor! Vidas: Play Widor, yeah. But then you need a good manual technique for that. Ausra: But it’s also nice thing about practicing French toccatas--that you can do much of your work on the piano, if you have a piano at home; because it fits so nice to piano keyboard. And that’s a very good way to practice, as you know; and then later you will add the pedals when you will have access to the organ. Vidas: So guys, I hope this was useful to you; and remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 55 - My struggle is bringing pieces I learned many years ago back to life again8/25/2017
Vidas: Let’s start Episode 55 of #AskVidasAndAusra podcast. This question was sent by Morton, and he writes:
“Dear Vidas, recently more people have wanted to practice on the organ in the chapel that I practice on. It is a 3 manual Johannus, and it is just fine for me. We are asked to sign up in advance for no more than four hours a week - I usually sign for two hours on two separate days. Naturally if no one has signed up, I guess anyone can practice during that time. During the first semester a number of sections of a university required class have to visit the chapel during one week. That means that the time available to those of us who want to practice is more limited. We don't have that problem the second semester, - at least so far.” And here is the question that Morton is writing about: “My struggle is bringing pieces I learned many years ago back to life again. Why didn't I keep them up? Because previously I didn't have a 32-note pedalboard for a number of years at my disposal - and I had no opportunity to play JSB's Prelude and Fugue in D (which I've brought back to life somewhat), his Prelude and Fugue in G Minor (which is not played often) and the first Chorale Prelude from the 18 Great Chorale Preludes.” This is a sophisticated piece-- Ausra: Yes! Vidas: On a chorale fantasia called, “Komm, heiliger Geist” by Bach, from the Leipzig collection, right? Anyway, he writes further: “I was able, however, to bring back to life, for example, the Toccata from Boellmann's Suite Gothique. I was able to bring back a JSB Prelude and Fugue in C that is never played but which is not too difficult. I was able to bring back a JSB Prelude in G Major (there is no fugue with it - it is found in a Concordia Wedding Book collection)” So, Ausra, Morton is struggling with bringing pieces up to speed from many years ago. Ausra: Well, that’s a common struggle. He told in his letter that actually, some of his pieces, he was able to manage quite well, to recollect quite easily, because they were easier pieces. With other pieces, of course, it’s much harder to regain the skills. Vidas: Ausra, have you played--recently, maybe, from recent years--a piece from your early days, from your student life, which you maybe mastered in the Academy of Music in Lithuania or even in America? Ausra: Well, yes, definitely. Vidas: What was the piece? Ausra: Well, the last piece, I think, was E-flat Major Prelude and Fugue by J.S. Bach from Clavierubung III. Vidas: And you played it many years ago? Ausra: Well, not too many years ago, but yes, that was my piece from my last doctoral recital. So it was some eleven years ago. Vidas: In Nebraska. Ausra: Yeah. Vidas: So I remember this moment, when you first opened this piece here at home, and you were rather worried, how it would come out, the first time. Ausra: Well because, it’s a long piece--this was my biggest worry. Vidas: And how it turned out? How long did it take you to get back to the previous skills, with this piece? Ausra: Well, about a month, actually. Vidas: How long did it take for you to learn, to master this piece eleven years ago? Ausra: Haha, I think I learned it faster than I had repeated it! Vidas: Yeah, it was like, like a marathon. Ausra: Because I know that I learned the text of all that part of Clavierubung in a month. But that time I was young and diligent. Vidas: And now, you are not young anymore, but still diligent? Ausra: Well, I don’t have so much time to practice as I did in those days. Vidas: So for Morton, it’s the same situation as for you, right? It will take probably a month for him to get back to this previous skills--with one piece, not with a lot of pieces, just one. Ausra: Sure. I would suggest, in general for all the organists: when you learn your piece, and you like it, and you know that in the future you might want to repeat it and perform it again. So time after time, just play it through, sometimes. That way, you will keep in shape and when you will want to perform it again, it will be much easier for you to do it. Vidas: Occasionally. Once a month. Ausra: Maybe once a month, or every other month. Vidas: It’s like sight-reading, basically, but an old piece. Ausra: Sure. Vidas: Just play it once, and put it away for a number of months. And practice something else, and then come back--and this piece will be there, waiting. Ausra: Yes, definitely. Vidas: But I’m practicing now, a few pieces, also, from my previous years; and for the fall semester, it will be also a challenge to regain my skills, with maybe D Major Prelude and Fugue by Bach, BWV 532. And I’m not still positive about that. Ausra: Hahaha. Vidas: But it’s one of the options. So yes, I will also take about a month to refresh my skills. Ausra: That’s a funny piece, especially the opening of it. Very fun to play the pedal part. Vidas: Yes. Ausra: Have fun and good luck with it! Vidas: I would say the fugue is more complicated than the prelude. For me. Ausra: It is, but--I don’t know if I have ever played that opening nicely. It would just give me some sort of spasms. I don’t know why! Vidas: Maybe the pedaling sometimes is complicated--if you try to play legato, and you play heel-toe, heel-toe, this way, then it is complicated; but if you use the alternate toe, pedaling is no problem. Ausra: Well, I don’t really know. I practiced this piece while I was studying with Pamela Ruiter-Feenstra at EMU, and definitely I only used my toes, because, Pamela is such a great specialist of early music. But it still was not so easy, probably because the tempo was too fast. Vidas: Mhmm. So wish me luck in repeating this piece! Ausra: Yes, good luck. Vidas: And for other people who are repeating any other pieces in your repertoire, from a decade ago, or maybe more years ago, try to spend some quality time with this piece--maybe thirty minutes a day for a month, and you will soon enough discover that your skills will come back in this piece, too. Ausra: Yes. Vidas: Thanks guys, and send us more of your questions, because we love helping you grow as an organist. And don’t forget to subscribe to our blog, and reply to our messages. When you come back--when you reply to us, we will be glad to help you out. So the blog is at www.organduo.lt, and you simply enter your name and email address (and you can specify the delivery, when you would like to get those messages delivered: every day, or once a week, you can choose). Okay! Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
First, good news - our 3rd e-book is finally ready:
"I Have Forgotten the Basics" (And Other Answers From #AskVidasAndAusra Podcast, Vol. 3) It's free for Total Organist students and everyone else can get it for a low introductory price of $4.99 until August 30. When you read it, please let us know what is #1 advice you will apply in your organ practice this week. And now let's go to the podcast. Vidas: Let’s start now Episode 54 of #AskVidasAndAusra podcast. And today’s question was sent by Morton, and he is struggling with Guilmant’s prelude based on the hymn “Thine is the Glory,” which is the paraphrase of a chorus in Judas Maccabeus. He writes: “I really hope to get that up to standard by Eastertide of 2018. My "struggle" is with certain places where I have to coordinate my hands and feet together... The good news is that I have brought the following up to performance level for Eastertide, in case I'm asked to play a few selections at the chapel's Spring musicale: Charles Callahan. An Easter Site II. An Easter Meditation. Martin Gaskell - The Strife is Oe'r. Prof. Gaskell has a youtube web site, and you may get in touch with him there and also listen/view recordings of some of his compositions. I'm working on JSB's - arrangement by Virgil Fox Now Thank We All Our God. Still a long way to go, but at least it is coming together. I would like to learn Jose Lidon's Sonata on the First Tone but the problem is with fingering, and perhaps trying to learn too much too fast! I found one free edition on line with some fingering. Some fingering for me is better than no fingering but it would have been nice to have a bit more fingering.” So, an interesting question, right, Ausra? Long, but basically we can subdivide it into two parts. Morton is struggling with coordination of hands and feet, and the second part is with fingering. Ausra: Sure. Very common problem, shared by many organists. So, when talking about coordination, I think the best way to improve it would be to practice in different combinations, and not trying to put all things together at once. It will save you time eventually. It might not seem like this when you will start to practice, but definitely it will save you time. What do you think about that, Vidas? Vidas: I agree with you, and I also think that from the pieces--list of pieces that Morton has listed here, he is practicing quite a few compositions, maybe too many at the moment. Ausra: Could be, this could be a problem, too. Vidas: How many pieces can a person comfortably practice during one practice session--what’s your opinion? Ausra: Well, it depends on what kind of pieces, basically; but if it’s a long piece, I would suggest to practice it alone, during one practice session. Otherwise, I’m not imagining it is a productive practice time. What do you think about it? Vidas: So you’re basically suggesting to practice one episode of one piece and then having a break. Ausra: Yes. Vidas: And then coming back and doing something else. Ausra: Yes, sure. Vidas: With another piece. So, exactly. And since we always recommend having a break, every thirty minutes or so, so then you should maybe divide your practice time accordingly: if you have two hours a day, so maybe you can practice four pieces --maybe spend thirty minutes on each piece. Or, if you have just one hour, maybe two pieces will be enough. Is that a good idea, Ausra? Ausra: I think it is a good idea. Because, especially when we’re young, we can practice for many hours, and don’t take breaks at all; but later, it will injure you, your health--your body, actually, for practicing so many hours without a break! Vidas: Right. Ausra: So you better, exercise in between your practice. Vidas: So, this famous Pomodoro Technique, where you practice or do something very focused for twenty-five minutes, and then have a five-minute break, is very useful, right? You can simply exercise, drink a glass of water, take a walk, stretch, during this break; and then come back to practice for twenty-five minutes more on another fragment, in another piece, maybe. Ausra: I think that’s a good idea. Vidas: So, going back to Morton’s question about coordination: as you suggest, it’s really wise to spend a considerable amount of time with combinations in separate voices. Ausra: Yes. Vidas: Don’t go to another combination unless you can play--without mistakes, fluently, three times in a row--the current one. Ausra: Sure, because, for example, if you are playing, you know, a hard spot only with your left hand and feet, and you still struggle with it, definitely if you will add the right hand, you will not be able to play it correctly. So just be honest with yourself. Vidas: And don’t try to rush; there’s no point of rushing. I think you have to enjoy the process and not necessarily the result. Don’t be anxious to get the result too fast. Ausra: Well, if you will practice right, the results will be good, I believe. Vidas: Every day you will get better--you will notice that. Ausra: Yes. Vidas: And that’s the biggest joy, I think. Ausra: Sure. Vidas: Wonderful. And going back to fingering portion of the question--Ausra, is there a way for him to get the fingering easier, if the piece is not fingered enough? For example, if he’s practicing José Lidón‘s “Sonata on the First Tone”--so, he would like to have some fingering, right? Maybe we could do a score with fingering for him, too. But if there is no score with fingering, what should he do? Ausra: Well, he could write down his own fingering, actually, I think, especially the hard spots. Maybe not the entire piece, but those hard episodes. Vidas: Exactly. Ausra: This would help. Otherwise, also writing down fingering will save you a lot of time. Because if you practice without any fingering written down, it means that every time you will play the same spot with different fingering, and it will slow down your process of learning. Vidas: Exactly. So guys, we hope that this has been useful to you, and please send more of your questions, and you can do that by subscribing to our blog at www.organduo.lt (if you haven’t done so already) and simply by replying to any of our messages. We would love to help you grow as an organist. Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 53 of #AskVidasAndAusra podcast. And today’s question was sent by Morton, and he writes that he’s struggling with playing pieces which have many sharps. He writes, “My struggle is with playing pieces in many sharps. I don't have trouble with playing pieces written in many flats - don't ask me why... For example, David German's Trumpet Tune changes keys in the latter portion... If he had written that portion in flats I would be able to manage, but I haven't been able to manage that portion which he wrote in sharps... I have put that aside for now...
I'm also working on polishing up an arrangement of Brahms' How Lovely is Thy Dwelling Place - I was elated when I came across this arrangement in Choral Classics Arranged for the Organ published by Morning Star. To me this would be a very suitable selection to play either before, during, or after a funeral… Thank you very much for being willing to include transcripts of your future podcasts.” So this is an interesting question, Ausra, that Morton has trouble with sharps, not with flats. Ausra: Well, that’s a strange thing, actually, to hear, because usually people struggle the more accidentals the piece has. But here, my best guess would be that probably back in time, he had practiced more pieces written in flats, not in sharps, and that might cause the problem. Vidas: I don’t know if this is the case, but sometimes, players of wind instruments feel more comfortable with the pieces in flats, because trumpet is in flats, and clarinet is in flats, and saxophone is tuned in flats...So maybe, Morton has experience with some wind instruments. Ausra: Could be. Definitely not with the violin and other string instruments, because I know that string instruments prefer sharps. Vidas: Exactly. So, as you say, whatever the case might be, probably Morton has played more pieces written in flats than in sharps, right? Ausra: That’s my guess. And in general, I would suggest him to practice more of keyboard harmony. To play more sequences. That might help, too--to be able to play very easily and to feel comfortable in any key, in any given key, never mind it’s flats or sharps. Vidas: I think it’s self-explanatory why he’s struggling with sharps, because if he’s challenged by sharps, he obviously tends to lean more on flats, and practices what is easier for him, most of the time, I would guess. So after a while, the skills of playing sharps will deteriorate, and flats will become easier and easier for him. Ausra: Yes, I think so. Vidas: So he has to overcompensate now, and go back to sharps. Ausra: I think yes, he has to try to play at the beginning easy keys, like one or two or three sharps, and then later just make it harder. Start with G Major and D Major; later go to A Major, and so on and so forth; until you will finish up maybe playing in C-Sharp Major! Vidas: A good exercise is to transpose, right? Ausra: Yes. Vidas: For example, take a piece or excerpt of a piece in C Major or a minor (either way, it has zero accidentals). And then, as Ausra says, go through the circle of fifths. First it will be through the sharp side of the circle of fifths, and then going back to the flat side of the circle of fifths. That may help, right? Ausra: Sure. Vidas: Or, another system is like, transposing to the key which has one sharp, and then one flat; and then again, two sharps--two flats. Three sharps--three flats. And so on, until you reach six or seven flats or sharps. Ausra: Definitely that will help, I think. Anyway, I believe it’s just a matter of time and practice. Then he will get more experience, then he will stop avoiding sharps, and everything will be just fine. Vidas: Another suggestion would be for him to sight-read. Ausra: Sure. Vidas: Because when he sight-reads pieces that he doesn’t know, probably he will encounter a lot of pieces with flats and a lot of pieces with sharps, too. Ausra: Well, you can take, also, a hymnal, for example, and let’s say, practice all the hymns written in the sharp keys. That’s a possibility, too. Vidas: Exactly. So I hope this advice has been useful to you--to Morton and to others as well, because this is a rather common problem, right? For people to be challenged by accidentals in general, right? Ausra: Yes. Vidas: Other people might feel uncomfortable with flats, too. Ausra: Sure. Vidas: D-flat Major, or b-flat minor, or even G-flat Major--it’s a tricky key. Ausra: Or C-flat Major! Vidas: Oh, yes, C-flat Major! Ausra: That’s a horrible key! Vidas: Don’t even start here! Okay guys. Practice, sight-read, transpose: these are the best solutions you have. Wonderful. And send us more of your questions, and you can do that by subscribing to our blog at www.organduo.lt, if you haven’t done so already, and then simply by replying to any of our messages that you will get, as a subscriber. We will be very glad to help you out to grow as an organist. Thanks, guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. |
DON'T MISS A THING! FREE UPDATES BY EMAIL.Thank you!You have successfully joined our subscriber list. ![]() Authors
Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
Categories
All
Archives
July 2024
|