#AskVidasAndAusra 52 - Would you recommend Ritchie/Stauffer organ technique book for a beginner?8/21/2017
Vidas: Let’s start Episode 52 of #AskVidasAndAusra podcast. Today’s question was sent by David, and he writes, “Hello Vidas and Ausra. In the podcast with Paulius Grigonis, the book by George Ritchie was discussed. Would you recommend this book for a beginner? If you do, how about I use this book as part of my daily practice? My daily practice now consists entirely of learning a single piece. Thank you for your help.” So, Ausra, do you like this method book that George Ritchie and George Stauffer wrote a number of years ago (it’s called, “Organ Technique: Modern and Early”)?
Ausra: Yes, actually, I think this is a great book and a great help for a beginner student. Vidas: When did you first discover this book? Ausra: Well, when I started my doctoral program, actually. Vidas: You were not a beginner! Ausra: Yes, I was not a beginner, but George Ritchie had that sort of thing--and I don’t know if Quentin Faulkner had it too--but at the beginning you had to do like, all the exercises of that book! Vidas: Not too many, with Quentin. Ausra: But yes, and I did not do all of them with George Ritchie, but he made sure that I had already managed those techniques described in that book. And it took for us, probably, like a couple weeks to go through all that book, and then I just could play my repertoire. Vidas: You mentioned that you were not a beginner organ student anymore, but you were a beginner teacher, perhaps? Ausra: Sure, and that’s a great book for beginner teachers as well, because as the title says of that book, it has both modern and early techniques; and that’s kind of a rare thing in organ pedagogy. Vidas: Plus, this method book has sections devoted to organ registration-- Ausra: Yes. Vidas: And construction... Ausra: And history of organs of each country, a little bit-- Vidas: Hymn playing... Ausra: Yes. Vidas: And even avant garde organ techniques. Ausra: Yes. So it’s actually very useful, and in this case, you could actually combine, as David said, he practiced like, he learns one piece a day, yes? That’s right, of repertoire. So he could do more combinations, to play a little bit of exercises and playing repertoire, learning one single piece. And this book also consists of having a number of different repertoire, modern and early. Very nicely done, with fingering, pedaling, with a description of the piece--so it’s a great resource. Vidas: It’s probably the best organ technique book that we know of on the market today. Ausra: Yes, I would say so. At least this book is what I can suggest to everybody, and I feel comfortable about it, trying it myself; and knowing, actually, you know, George Ritchie, who was one of the co-authors of this book. Vidas: It would not be enough to practice from this book entirely, right? Ausra: Sure, sure. Vidas: You have to supplement with something. Well, for example, if you are interested in a particular historical period or country, you could use books from Wayne Leupold editions--it has many books in this series of historical schools of organ composition, and you can pick and choose whichever you like the most. Ausra: Yes, they are very nice books, except they are very costly, I would say. Vidas: That’s the case with most of his books, yes. Ausra: But yes, if you want to have scholarly editions, that costs you extra. But they are good. Maybe you don’t have to get them all, but if you are interested in a particular style and period, that’s a good way, good source. Vidas: Definitely. Or, as David writes, he chooses to practice organ pieces--just from organ repertory; he maybe finds the scores or YouTube videos online, likes the music, and then either finds the score for free online, or purchases from publishers. That’s possible, and I think it’s one of the best ways to do this, because you supplement the method book (let’s say George Ritchie), and then you look at your needs. Maybe you are preparing for a recital, or church service, right? And you will finish organ book technique by Ritchie-Stauffer pretty soon, if you’re very serious and practicing regularly. But then you need to look what’s next-- maybe more hymns, maybe more pieces like this. Ausra: And of course, this book might help you to discover your favorite author, composer, or a country, because it has various types of musical examples. Vidas: David also remembers Paulius Grigonis, our friend and colleague--he started entirely from Ritchie-Stauffer organ book, and he never regretted it, right? He went online, he bought the book and studied--I think he even bought a couple of copies of this book to have, one clean copy and one working practice copy--and it really benefited him a lot, because he now has solid organ technique. Ausra: Yes, and you can hear it when he’s playing. Vidas: Even though he’s an amateur organist, really, and never finished formal organ training in conservatory, or university; never got a degree, but you can do many things in private or online today. Ausra: Sure, I wish everybody in Lithuania who actually has a degree from the academy of music would play as good as Paulius does! Vidas: That’s true. So, we wish that Paulius would not stop practicing and continue to get better. And for David, yes, we do recommend wholeheartedly the Ritchie-Stauffer organ method book. And for everyone else who’s listening, please send us more of your questions. We will be very glad to help you out and help you grow as an organist, and the best way to do this is through our blog at www.organduo.lt. If you subscribe (if you haven’t done so already), then you simply reply to any of our blog posts that you receive. And by the way, you can specify how often you would like to receive our messages: daily or weekly, right? If you don’t like to receive too many messages per week, you could choose one week in email, and it will go out on, I think, Wednesdays. And you will still get everything from us, but just once a week. If you are already a subscriber and want to switch from daily to weekly or vice versa, open any of our messages, scroll to the bottom and click “Update your preferences”. Then you can change your email address or sending frequency very easily. Okay guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
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Vidas: We’re starting Episode 51 of #AskVidasAndAusra podcast. And today’s question was sent by Liesel, and she asks this question: “How do I cancel Total Organist if it’s not for me? I want to do the trial version. Is there a cancellation page to go to?” So, this is a question about Total Organist, right, Ausra?
Ausra: That’s right, yes, and I think you might answer it very well. Vidas: Okay, since I’m kind of more familiar with dashboards and the inside layout of this membership program, I'll go first. A lot of people sometimes want to do a trial version first. For 30 days they can try out any of our programs, and then only after that decide if they’re ready to commit, to stay and practice longer. In general, Ausra, how do you think is it convenient for people to have a trial version? Ausra: Sure, I think so too. That way, you can be sure if you really need it. Vidas: Yeah, and sometimes you don’t know if this program is for you or not, you just have to try. And not even for one week, it might be short for a few days to really get a grasp and feeling of the benefits, right? How long does it take to feel the benefits, when you start practicing? Ausra: Well I think at least 2 weeks. Vidas: 2 weeks? Ausra: Or even more. Vidas: Or even more, right? So, when people start practicing and signing up for different programs inside of Total Organist, here’s what happens: So, when you sign in, you see the dashboard, with all the different practice courses and training programs listed. And if it’s a normal practice score with pedaling and fingering written in, you simply click and download the score and start practicing--that’s it. There’s nothing else to do. But if it’s like a long-term program, where you get weekly trainings, then you need to sometimes sign up to get emails from us every week. And when clicking on this link of a particular program that you like, you enter your name and email address, and our newsletter subscription service MailChimp will deliver the emails automatically to you. So that’s another side of this subscription. You either download scores automatically right now, or you get emails later, week by week. So another thing to worry about is, how do you cancel, right? Ausra: Yes, that was the question about… Vidas: That was the original question. And you can cancel very simply. There are 2 ways to cancel. One way, you simply write an email to us, and we can do this for you; but make sure you write this email before the month ends. Ausra: Yes. Vidas: So that, you know, you won’t be charged. Or, the second way, is you have to go to your PayPal account, and find the recurring payments section. The recurring payments section means that’s the place where your subscriptions--monthly or weekly subscriptions--are managed from. And if you subscribe to several online services, you will see several of them listed. If Total Organist is the only subscription you’re currently subscribed to, then click on Total Organist and then you can simply click “Cancel”...and then you have to confirm, I think, and then you click “OK” and that’s it. You won’t be charged. Do you think, Ausra, that it’s an easy enough way for people to understand how to try out our membership program Total Organist, without committing to it first? Ausra: Well I hope so. It’s, I think, comfortable enough way to try out. Vidas: You know, sometimes people cancel in advance--and this is really, you know, very simple to do--and sometimes people write several reasons why they do this. (You don’t have to do that, by the way, you don’t have to explain, you simply write to us, “I want to cancel,” and that’s it, no strings attached.) But sometimes they feel the need to explain, and sometimes they say that...it’s so much information, right? There are hundreds of programs and thousands of exercises in this Total Organist membership program, and it’s really the most comprehensive online organ training program that we know of, currently. And the problem with this, Ausra, is obviously, information overload. Ausra: It could be. Some people are scared of that. Vidas: Right? That’s why I usually advise students, right away when they log in to their member area, they would read the welcome paragraph. And I really advise not signing up for more programs than they could handle, because there is no benefit of just simply downloading materials or signing up for longer programs, if you never intend to finish them, right? Ausra: Yes, so just be reasonable Vidas: Yeah. Ausra: Know what you are able to do. Vidas: Our experience tells us that people usually can manage a couple of courses at a time. Ausra: Sure. Vidas: So you’re free to do everything you want; there is no limitation. But make sure you don’t bite more than you can chew. Ausra: Definitely. Vidas: Because we want you to succeed with this. We want you to reap multiple benefits, right? What’s the point of taking those courses if you don’t practice them, if you don’t apply them to your practice? It’s in your best interest and in our best interest, too; it’s a win-win situation, because when people succeed, they write nice emails to us, right? Ausra: Yes. Vidas: And that’s extremely rewarding. And sometimes people who cancel Total Organist program, they write nice emails to us at that time, too. So at this point, a few weeks ago, one student cancelled; she wanted to cancel the Total Organist membership program; but she felt so grateful to us that she even asked us to give her a way to donate. To make a “donate” button or something. She felt so grateful because of the benefits that she received from our trainings and of course daily podcasts as well. Here's a simple way to donate to us, by the way, if you want to. Ausra: Yes, that was very nice of her to send us this kind letter. Vidas: Even though she would not be continuing Total Organist. Wonderful. So please be responsible, but if you want just to try out, you can do this very easily, and cancel ahead of time before the month ends--either in your PayPal profile when you find your recurring payments dashboard, or simply writing a message to us, and we can do this for you very easily. Thanks, guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: We’re starting Episode 50 of #AskVidasAndAusra podcast. And today’s question was sent by Anna, and she writes that she tries to sit correctly on the organ bench, but she doesn’t seem to be able to find her position--her convenient position. Ausra, is it a common problem for beginner organists?
Ausra: Well, that’s a very common problem; and, knowing that you have to play on different organs, that also might be a problem; because when you’re playing at your home or a church, you’re used to the instrument. But when you go to another instrument, you have to adjust. So the problem depends on how tall you are you, the high person, or not, and how long your legs are, and what kind of instruments you are playing--can you adjust the organ bench easily or not?--and all that kind of stuff; so basically, you have to experiment. Because you must sit not too far from the organ and not too close to it. You have to be able to reach the upper manual, and to play comfortably on the lowest manual; and of course, be able to reach the pedal board. Vidas: Mhmm. So let’s subdivide this question into some parts, some elements that we could discuss in greater detail. For example, height of the organ bench, this is number 1; the distance of the organ bench from the keyboards, this is number 2; and perhaps even number 3 would be, how you sit on the organ bench--further, or deeper, or not so deep on the bench compared to the keyboards. So how would you position the bench in terms of height, for yourself? Ausra: Well, I make the height of the bench depending on the pedal board, because I must be able to play the pedals comfortably. And because I don’t have very long legs, so I need to adjust the organ bench according to that. And the important thing is that the weight of my body, when I’m sitting on the organ bench, I must feel it basically on the middle of my hip; so you don’t press your tush hard, but you press your hips hard to the organ bench...I don’t know if it makes any sense. That way, I’m able to move easily on the organ bench when I have to turn, for example. Vidas: Do your abdominal muscles have to be tense or not, when you play the pedals? Ausra: Well, actually, yes, they have to be. Vidas: And the lower you sit the more you tense, right? Ausra: Definitely. Vidas:That’s why we don’t use a normal chair, it would be too low, right? Ausra: Sure. Vidas: And we would really need to tense our legs and the abdominal muscles--too much, probably, in this way. So for me, I tend to sit on the bench, and position the bench so that my feet, when fully extended, they would be touching the pedals, gently--touching but not depressing. Ausra: And your toes should be touching the black keys. Vidas: So that’s another thing: if you position the bench so that your feet are touching when relaxed, when fully extended and relaxed--but not depressing, right? That’s good. And then--now you can investigate if the bench is close enough, or not close enough, in relation to the keyboards. So the thing is, your toes should be touching the sharps. Ausra: That’s right. Vidas: When relaxed. Ausra: Yes, sure. And of course, everything depends on what kind of instrument you’re playing, too, because sometimes you have to make exceptions. For example, if I’m playing on a Baroque instrument, sometimes I have to sit a little bit higher than I’m used to, because I use only my toes in Baroque pieces. So I don’t have to use my heels, so I can sit a little bit higher on the bench; and then it is more comfortable for me to reach, let’s say, the third manual or the upper keyboard. Vidas: Exactly. And then, going forward with the last section of this question, is how deep, or how on-the-edge you can sit, right? So the lower the bench, the deeper you can sit... Ausra: Sure. Vidas: ...And vice versa. The higher the bench, actually, the closer to the edge you must sit. But then there is a danger of slipping. Ausra: Well, yes, that’s very often the case with organists, especially when you’re wearing something very slippery! But I don’t think that’s often the case with the male organists, but quite often the case with the women, because sometimes we like to dress nice and fancy and...slippery sort of clothes, and that might cause a problem, that you might end up on the pedal--falling down on the pedal board! Have you experienced something similar to this? Vidas: Yeah, when I have this suit, my organ clothes on special festive occasions, then sometimes it’s slippery to sit on the bench. It’s not really comfortable. But when I use jeans, for example, my regular, everyday jeans, also sometimes the sweat might be another issue. The jeans might stick to the bench; it’s also not very nice. Ausra: Well, I haven’t experienced this kind of stuff that you’re talking about jeans, but I definitely have slipped from the organ bench. Luckily, that happened not during a performance! And this usually happens when I have to play on the upper keyboard. Vidas: Well, talking about the upper keyboard--people might have seen my pictures from my concert trip to Liepaja in Latvia in recent years. This organ has four manuals; and this fourth manual is so deep and so high--it’s so uncomfortable to reach and to play the pedals at the same time. The bench is kind of low, and positioned so that you could not really move it. So when you play the two lower manuals, it’s kind of okay; you can adjust, even though it’s not the best feeling. But the top manual is extremely strenuous work for you; and then, if you play, for example, with the pedals at the same time, then you begin to slip very soon. Ausra: Well, I would suggest that in that case, you might want to do your registration differently, and maybe not use that upper manual. Vidas: That’s exactly what the Latvian organ builder and our friend Janis Kalnins said. He knows this organ inside out. Ausra: Yes, because sometimes also when I tried to reach the upper manual in some kinds of instruments, and I would put the organ bench very high up, and the lowest manual then would be next to my stomach; and I would feel that I’m playing not with my fingers but with my stomach on that lowest manual. Vidas: Mhmm. Ausra: So it’s always a challenge to adjust to a new instrument. Vidas: So, when the bench is too low, you can put some wooden blocks underneath the bench, and it raises the height; it’s kind of easier. Or you put thick hymnals-- Ausra: Sure, like old hymnals. Many churches have hymnals that they don’t use any longer, so you can use those. Vidas: Or old tax books. Ausra: Hahaha yes, that would be nice. Vidas: But when the bench is too high, and you cannot really adjust, then it’s a problem. Ausra: Oh yes, that’s true. Vidas: What can you do then? Ausra: Well, if you know that in advance, then maybe adjust your repertoire. I would suggest for you then, just to play Baroque music. Then you will not have to use your heels. That’s probably the best suggestion. Because if you would play big Romantic pieces on an instrument like this, then you would not be able to reach the pedals very well--it will not be good. You cannot play legato. Vidas: Or...If you have organ shoes with high heels, it helps, then. Ausra: Well, yes, it helps, to some extent. And usually if the bench is too high for me, then I try to sit closer to the manuals; then usually it helps a little bit. Vidas: To find this right balance-- Ausra: Sure. Vidas: --between not slipping, but also reaching the pedals. Ausra: Sure. Vidas: What about a situation when the organ console is movable, and you could actually put some wooden blocks or planks or something underneath the entire organ console to elevate it? Is it possible? Ausra: Well, I think it’s possible, nowadays. I have never done it myself; I have never had the need to do it. But I think that’s possible. Vida: So, when you can’t adjust the bench height, you can maybe adjust the organ console height. Ausra: I’m just thinking how to lift it. It might be hard. Very heavy. Vidas: Anyways, the organist profession requires us to adjust to hundreds of thousands of different instruments. And that’s the beauty of it, right? Ausra: Yes, it is. It’s very exciting. Each time it’s like a little adventure. Vidas: And never boring. Ausra: Sure. Vidas: You never know what will happen. Even though you sort of know the situation--you are prepared in advance, and you have seen the pictures, and you practiced the right way--when you sit down on that organ… Ausra: Yes. Vidas: ...your plan goes out the window! Ausra: That’s true. Vidas: Wonderful, guys. Please practice more on unfamiliar organs; this is the only way you’ll get more comfortable with tricky situations. Ausra: And then you’ll go back to your home, and your organ will be so easy to adjust to! Vidas: And please send us more of your questions; and the best way to contact us is through email; 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 that you will get with our tips and advice about the art of playing the organ. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: And let’s start Episode 49 of #AskVidasAndAusra podcast. And today’s question was sent by Anna, and she asks about the pain she experiences in her knees when she plays the pedals. Probably, she feels that when she turns--when playing pedal passages--when she turns, it’s kind of painful to her. Maybe she’s doing something wrong. What do you think, Ausra?
Ausra: Well, she might be doing something wrong, but another thing is that she might have weak knees, basically, like a medical condition. So at the beginning, I would suggest to her to contact her doctor, and do some tests on her knees, because the problem might be just a medical issue--not her playing. And another thing that I would suggest for her to do, or to try to do: to exercise before practicing the organ. Because you have to warm up if you have bad knees, in general; it will help you to reduce your pain. Vidas: So like, stretching, you mean? Ausra: Sure. Some physical therapy, I think, also would help her to improve things. I’m not sure if it would help like 100%, but at least it might lessen her pain. Vidas: Right, when your body feels warmer, and the blood circulation is normal, then you can start playing full speed, especially with your feet. Ausra: Yes, and of course I would wish to see how she’s sitting on the organ bench, and how is she moving, when she has to shift her legs; because another thing that might cause this knee pain is, maybe she shifts too suddenly; and the sudden motion might cause pain, too. What do you think? Vidas: When you are shifting pedal positions--when you’re sitting facing straight and the pedal passages continue to go upward or downward--you need to change positions. And the correct way to do this is by pushing off of the opposite foot. So for example, if you are going upward, you push off with the left foot; and your lower body, your knees, continue to face the direction that you’re playing (basically upward), right? But your upper body must always face straight, to the music rack. Does it make sense, Ausra? Ausra: Well yes...yes and no. It might be very hard to do, especially when you have pain. Vidas: So when people have pain like this, in their knees and sometimes in their backs, too, is because they don’t push off with the opposite foot and their lower bodies continue to face straight even though they are moving to a new position with their feet. So for example, they’re playing extreme bass passages--extremely low passages--but the knee is facing the center. So it’s kind of breaking their knee. That’s why it might be painful. I don’t know if it’s the case with Anna, but it’s worth investigating further if she is changing position correctly. Ausra: Yes, and I think she definitely needs to contact a doctor, and to see, if it’s not like arthritis or something medical. And then if everything is just fine, then just exercise and try to find new ways to move on the organ. Vidas: Have you ever had a similar situation, Ausra--pain in your knees when playing pedals? Ausra: Actually no. I had knee problem when I played piano, way back in my high school time. Because when playing piano, you only use two pedals, and not always you have to (especially the left one). So when practicing a few hours you would get a sort of stiffness in your whole body, especially in your knees. And it would be hard for me to get up from the chair after playing for two or three hours. So that was very painful. But this pain disappeared when I started to practice organ; because my knees kept moving all the time, and actually helped me to avoid pain. Vidas: Hmm, interesting. For me, I had some pain issues when I first started playing the organ in the 10th grade; and later on, too, in the first years of music academy in Vilnius. Really, nobody taught us this correct way of changing position in Lithuania, right? Ausra: True. Vidas: So people kept playing in whatever way they found easier, but that doesn’t necessarily mean it was the correct way, or a healthy way. Ausra: Yes, that was the method in Lithuania, actually. I remember when I asked my teacher how I could play a right note in the pedal...She just told me, “Oh, whatever, play it with your nose! Just hit the right key.” That was her answer! Vidas: Half-jokingly, she said that? Ausra: Well...I don’t really think so. It was a very ironic joke. Not very nice, to talk with your students in that manner! Vidas: So instead of explaining to you how you could depress the pedals with your foot, and make the sound with your feet correctly--instead she chose to deflect your question with ironic humor, and because she actually didn’t know, herself! Ausra: Probably. She did not know, probably, about pedal preparation, so that was the easiest way for her to get rid of my questioning. Vidas: So guys, please, please, please pay attention to how you shift positions when playing the organ, and pedals--it’s really, really sometimes damaging to your knees if you don’t pay attention, if you continue to play facing the center with your knees and your lower feet continue to play, in the lower range or the upper range. So your knees should always face the note that you’re playing with the pedal--that’s the general rule. And you push off to the new position with the opposite foot. Ausra: Yes, please do that. And let us know how things are going. Vidas: Yes, please reply to our messages when you subscribe to our blog at www.organduo.lt. And we will be very glad to help you out and answer any other questions that you might have in the future of this podcast. Thanks for listening! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. PS Would you like to save yourself weeks or even months of tedious work when writing the most stylistically appropriate fingering and pedaling yourself for efficient practice of Piece d'Orgue, BWV 572? If so, check it out here. 50% discount is valid until August 23.
Vidas: We’re starting Episode 48 of #AskVidasAndAusra podcast. And today’s question was sent by Nadine, who writes, “What does it take to become a concert organist?” That’s a very broad question, probably.
Ausra: Yes, so let’s try to maybe narrow it down, to see the basics. First of all, I think you should be very good at the instrument. You must play very well. Vidas: Let’s be specific. Let’s look at our lives. Can we describe ourselves, or consider ourselves, as concert organists? Ausra: Well, yes, I think so. Vidas: We do many things, of course. We teach, we perform...sometimes we even play for liturgy (when they ask us, but that’s not often). But definitely, concert playing is a significant part of our activities. So Ausra, what did it take for you to reach this level, that you are today in? Ausra: Well, practicing for very many years. And, of course, knowing different styles; understanding different instruments; knowing how to make a registration...Having a degree, I would say, too. Vidas: Is having a degree in organ playing and performance a must today, or not? Ausra: Probably not so much today, now; but it was in previous times, definitely. Vidas: Of course it helps if you have a degree, because you have formalized instruction, and hopefully, quality instruction, right? Because not in every college, not in every university or conservatory, do you have the best instruction, right? You might have a degree, but you don’t have skills! Ausra: Yes. Vidas: You definitely must have skills. And what Ausra is mentioning, that you gain those skills from constant practice, and then putting these skills into public performance situations, sometimes big, sometimes small. Maybe start small. Ausra: Yes, definitely you will not start performing at Notre Dame in Paris! Start at your church, a local church. Vidas: Exactly. Ausra: Put some of your videos on YouTube. Vida: Now, nobody’s stopping you, right? Everyone has, probably, quality video editing equipment in your pocket--in every pocket! So just share what you can record with the world, and this will motivate you to practice even further, to get better, and to even deal with performance anxiety a little bit--because you know that somebody else is recording you, and will be listening to you in the future. Ausra: Yes, and of course, never say no to any opportunities to perform, at first. Then later on maybe you can select what you want to do and what you do not want to do; but at the beginning take every possibility that is offered to you, because knowing new organists, new instruments, might open another door. Vidas: You’re absolutely correct, Ausra. But at first, when you are nobody in the organ world, when you just practice-practice-practice, and you suddenly discover, “Oh, i have a few pieces of music that I want to play in public, but nobody has really heard of me...I have no platform,” right? So...do you have to wait for the phone call, or can you be more proactive? Ausra: No, I think you should be proactive, because if you will wait, you might wait all your life, and opportunity will not come. Vidas: Exactly, you have to find those opportunities. Of course not by spamming people, that’s rude. And people will flee from you. Ausra: It’s like fishing. Vidas: It’s like fishing! It’s no good, right? People even don’t look at those messages anymore, because the inbox is so crowded. But what you could do is simply network with other organists. Be friendly, be helpful--be helpful to other organists in your country, too, and be helpful to organists on Facebook and other social media sites. And when you share your work constantly, they start to remember who you are! Ausra: Yes, I think these times there are many small opportunities to organists-- Vidas: Exactly. Ausra: --To advertise themselves. Vidas: It’s of course a lot of competition… Ausra: Yeah, that’s true. Vidas: ...because everyone can do this, now. Everyone can post on Facebook and YouTube. But you can stand out. You can do things that nobody else is doing. Ausra: Yes, maybe, you are playing specific repertoire, and you are interested in a specific country, let’s say, or composer. Vidas: Become an authority on a specific angle of organ repertoire. Ausra: This might help you to stand out. Vidas: Like a brand. Become a brand, and your name will be associated with the thing that you do. If you do everything moderately well, you will be like everybody else, which is nothing, really--no good, because you will have to compete. But if you avoid competition and do something entirely different--let’s say, you play your own compositions. Of course, then you have to make sure your compositions have high quality, and people want to hear them; but, you know what I’m talking about, Ausra, right? Ausra: Yes. Vidas: Do something else that nobody else is doing. And that will lead you to the success of getting more recital engagements. At first you have to ask, right? Sending a lot of messages to other people, to concert organizers. Ausra: And be prepared to hear a lot of no, and probably to play for free... Vidas: And of course you’ll get rejected maybe a hundred times, but maybe one hundred and one will be successful. Never give up on this. As we say, don’t spam people; basically, format your message in a way that it would be foolish to refuse. That’s not spamming, that’s actually a favor; you’re doing them a favor by providing them a proposal that they would be actually foolish to refuse, because the entire community of their organ concert opportunities and congregation will benefit from this proposal. Ausra: That’s a very good idea. Vidas: Just turn around and think about what kind of benefits you can propose to the concert organizer. Don’t be selfish this way. Don’t just simply write, “Oh, I want to play in your church, I want to do this,” right? Ausra: Yes. Vidas: Think what’s in it for them? Ausra: But I think the more you’re willing to give to people, the more you’ll get back, for yourself. Vidas: For example, one idea would be: How about you collect donations, and give those donations to the church, or to the organ which needs restoration, right? And you think of a larger-than-yourself goal. Or maybe give to charity. Maybe you donate to some charitable organization, maybe an organization who tries to raise funds to get clean water for Africa; or food for starving children; or maybe invent some medicine for people who are having diseases today. Think bigger goals, and those will actually differentiate yourself from other organists who are simply selfish. Ausra: Yes, and let us know how things are going for you--have you succeeded or not? And we wish you well! Vidas: And of course don’t forget to share your work. And one of the best ways we’ve found to share your work is by writing a regular blog. Maybe a podcast, maybe a YouTube channel, those things that will help you create your own platform, and build authority over time. Not over one week, but maybe over several years. Ausra: Yes. Vidas: It takes seven years to be an overnight success, they say. Do you agree with this Ausra? Ausra: Yes, I agree. Vidas: Wonderful. Thanks, guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: We’re starting Episode 47 of #AskVidasAndAusra podcast. And today’s question was sent by Pat, and he writes that he has a challenge that’s holding him back, which is: in general, he has forgotten the basics of organ playing through all those years of not touching the instrument (I think 15 years of not touching the instrument). And not only the basics, but both hands facilitating technique, and also the theoretical knowledge of flats and sharps and other things about music theory. Do you think, Ausra, that people often come to organ practice after a long period of time of not touching the instrument?
Ausra: Yes, that could be the case, of course, but I think he should not lose his hope, because I think refreshing memory and regaining all those skills is probably easier than to build those skills at the beginning. Vidas: Mhmm. Now that he is really taking advantage of the situation, and really thinks that, “Oh, I must regain those skills and must start to practice the efficient way,” it will come to him, slowly but definitely. Ausra: Yes, if he will be, you know, regular at his work, and will practice regularly. Vidas: It’s like our friend John from Australia. He learned some music in school when he was little, but he was not very serious about that; and then later in life, he did many other things, and forgot, of course, a lot of musical training that he had in his youth. And only now after decades of not touching an instrument, he started to develop this organ playing habit. And we see over time how he progresses, and it’s fascinating. Ausra: Yes, he is definitely fascinating. He’s such a hardworking man, and also good to his family, and still finds time to practice. It amazes me every time, when I think about him. Vidas: He has so many responsibilities, of course. His job is 8 to 5 probably, and-- Ausra: Two small kids at home... Vidas: Two small kids! Ausra: ...And just moved to another location in Australia. So all these domestic problems--And it works… Vidas: But what motivates him is probably those internal and external deadlines he sets up, because he sometimes plays hymns and organ music for his church; and he knows that people depend on him, week by week, so he better get ready! Ausra: So maybe Pat could find like, a small position, maybe--you know, just to play once a month, let’s see-- Vidas: Volunteer, or…? Ausra: Volunteer, yes. Vidas: In exchange for an instrument? Ausra: Sure. Vidas: Or getting access to an instrument. Ausra: And it will keep him going, refreshing his memory faster. To regain his skills. Vidas: It would be like a practicum, like a practice. It’s not a job, but it’s something like getting experience of public playing. At first it will be terrifying, of course; but you have to know that taking those risky, uncontrollable situations at first very small--when the risk is small; but raising the stakes a little bit...That you know somebody else is listening in the room is very healthy, actually, in the long run. Ausra: I think so, too. Vidas: And little by little, Pat will regain those skills that he lost over 15 years of not touching the instrument. Ausra, how long does it take, do you think, for a person who didn’t play the organ over this time, to get back to this previous level? Ausra: I would say probably about a year. Vidas: A year? Ausra: Yes. Vidas: That’s not a very long time. Ausra: Yes, that’s not a very long time. Of course, if you practice more, maybe you’ll regain your shape faster, maybe in half a year. Vidas: Yeah, if you’re a professional at this, and you dedicate 2, 3, or more hours a day, that’s possible to do this in a few months… But slowly, I think; don’t overextend yourself, because it’s a long-term activity, and you have to first of all enjoy it. Ausra: Yes, definitely. It will be your motivation, if you will enjoy what you are doing. Because if you are only struggling, that might give you a big disappointment, and you will drop practicing at all. Vidas: And Ausra, when you say that a person like Pat might regain his skills in one year, right-- Ausra: Yes. Vidas: --Hopefully. Ausra: I hope so. Vidas: More or less. It doesn’t mean that in a month, or two, or three months from now, he will be in the same situation as he is now. He definitely will start seeing progress down the road. Ausra: True. Vidas: Soon enough. Ausra: That’s true, yeah. And seeing that development, that improvement, it will give him extra motivation to improve even further. Vidas: Yes. Basically, keep working on this challenging episode, and sooner or later you will overcome this challenge - and you will move on to the next challenge, of course! Ausra: Yes! Vidas: Thanks, guys, for listening to this. We sincerely hope we can help you grow as an organist. And of course, the best way is to send more of your questions. Maybe you have different questions than Pat; so please send us your questions, and remember to subscribe to our blog and then reply to our messages at www.organduo.lt. And remember, when you practice… Ausra: Miracles happen. It's been a week since we released our 1st e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old".
Here's what some people are saying about it: Gordon Mallitt This book could have been written with me in mind. I am 96 years old and I did start learning when 56 years old. I bought a 2nd.hand electronic organ, but could not afford lessons -so I am largely self taught. After a couple of years I was invited to try out on a large pipe organ and caught the 'bug.' Even with my very limited knowledge of music theory, I have benefitted immensely from Vidas' free organ course. Thank you Vidas & Ausra! I still play regularly for at least 3 meetings per month and enjoy every minute of it. Mike Scruggs I found this book easy to read and full of good advice and encouragement. Practicing pieces in fragments has been a way I can focus on getting results quickly since I have to fit practices into a busy schedule. I enjoyed the discussions on hymn playing and techniques as well. There is plenty of information for readers having any skill level. Thank you! And now we're very excited to announce that our 2nd e-book is finally ready! I Don't Have Time to Practice Organ Playing (And Other Answers from #AskVidasAndAusra Podcast) Right now it has a low introductory price of $2.99 until August 16. It's dedicated to all our students who don't have enough time in their days and still continue to practice. If you love reading the transcripts of our podcast, we hope you'll enjoy it. Let us know what you think and share this message with your friends or enemies. Thanks for caring, Vidas and Ausra
Vidas: We’re starting Episode 46 of #AskVidasAndAusra podcast. Today’s question was sent by Pat and he writes that he needs to follow our plan each day. And this is a difficult thing for him - sticking to the plan, sticking to the predesigned practice procedures that probably he thinks are helpful that we recommend.
So Ausra do you think that a lot of people struggle with this? They know some things that are useful for them but they just can’t really follow through with this plan. Ausra: I think it’s in human nature. We are not robots. We seek pleasure first and want to take responsibilities only after that. Vidas: Right. We simply make up a plan. Maybe it’s a good plan or somebody else devises this plan and recommends it to you and maybe you follow this plan for 3 days. And then what happens? Ausra: And then you just lose patience and that’s it. Vidas: Why do you think this happens after 3 days? Ausra: Well, I don’t know. What do you think about it? Vidas: It’s a tricky question, really. For everyone it’s different. As you say, we seek pleasure and after 3 days it’s not pleasure anymore. It’s work. Ausra: Definitely. Vidas: It’s a tricky situation that Pat and everyone else is facing but there is no other way probably - just developing this habit of constant practice. You have to stick to your simple practice procedures for a number of days, for a number of weeks. Talking about yourself, Ausra, what does it take for you to develop a habit? How many days of constant practice do you need? Ausra: Well, actually, I think what keeps me moving is a final deadline, a due date. Vidas: Do you love this word? Ausra: No, I hate it. I simply hate it. And during my studies, especially at Eastern Michigan University I just started to hate these words, “Due Date”. It sounded like a death sentence to me, all these due dates, papers, recitals and other stuff. Vidas: But due dates are actually the things that gets you moving, helps you accomplish something. Without the due date it’s like a constant holiday. Ausra: Oh, yes. And our studies there were so intense. I remember once I had a half an hour free time and I didn’t know what to do with it because simply my entire day was always planned. Vidas: That’s true about summers, right? Sometimes when we have vacations, we have a different type of schedule. We don’t have to go to school and work. Every day starting from 8 AM. And we make up a schedule as we go and sometimes the schedule at the summertime is not the best time. Ausra: Definitely. But you have to have leisure time. Just doing nothing. Vidas: “Don’t underestimate the value of doing nothing”. Do you know who said that? Ausra: No, but I’ve heard this sentence. It’s very famous. Vidas: I just looked it up. It appears to be by Winnie the Pooh. Ausra: Oh, he was a very smart bear. Vidas: Yeah, just sitting and relaxing. Maybe looking at nature, enjoying an evening, listening to birds sing. Connecting to a person you love. This is very valuable because then your right side of the brain actually develops ideas and sets you on the path of actually taking action later. You basically feel refreshed after that. Ausra: It’s like recharging a battery, I think. And going back to the question I think it would be very good to Pat and all of us to set up a goal what would you like to achieve. Maybe not a final goal but something like what do you want to achieve in a month or in two months? Vidas: In the foreseeable future? Ausra: Sure. It could help you stick to your plan. Vidas: Exactly, if you say, “I want to become the best organist in my country?”, for example, or in the world. Sometimes people send us messages like this. It’s silly. Ausra: Or in your house, if you have two. Vidas: Yeah, you just kill one and you’re the best. That’s easy. Ausra: Oh, thank you. Now I will be afraid of you. Vidas: Exactly. Or I will be afraid of you. It’s a silly goal. So audacious and so without limits. Like you want to conquer the world and be the best in the world. Basically you have to want something achievable. Maybe have a goal for 6 months or 1 year or maybe 5 years from now - what would you like to do? Ausra: Well, if you have a final goal, or some important goal, then you will know that playing everyday and sticking to your plan will help you to achieve your final goal. Vidas: And that would be the motivation for you to practice every day. So why do you think people fail at motivating themselves to stick to the plan? It’s not a rocket-science of what we’re talking about. It’s common sense. Why do you think this human nature forces us to stop doing what we love doing actually and do something else? Ausra: Maybe laziness? Vidas: What do you mean? Ausra: Well, maybe we are too lazy in our nature, I don’t know. But people who want for example to lose weight - some of them just stick their picture on the refrigerator door that they could see if they will keep eating what would happen to them. Vidas: Oh, naked picture? Ausra: Well, half-naked or naked, I don’t know. Vidas: It’s a reminder, yes? Ausra: Maybe you could do something similar to the organ? Vidas: Record yourself. With mistakes. Ausra: Maybe at the beginning you could record yourself and after a month later record again and compare it. Vidas: And this joy that you get from seeing little bit of progress every month will get you propelled forward. You will probably get endless motivation because now you’ll know what is possible to achieve in a month. Ausra: Yes. Vidas: And you’ll think what about 6 months from now or 12 months from now or 48 months from now. You could multiply. And it compounds. Because we progress slower at the beginning and it accumulates faster down the road. Ausra: That’s true. That’s like a snowball. Vidas: So guys, we wish you to become those snowballs in organ practice and then you have this endless motivation and endless energy. Because you want it so badly and you can achieve this little by little step by step every day. Ausra: Yes. Vidas: And send us more questions. We love helping you grow as an organist. And the best way to do this (if you haven’t done so already) is subscribing to our blog at www.organduo.lt and replying to our messages and you will also get this 10 day free organ playing mini course with video on how to master any organ composition. This will gets you rolling on the correct path of efficient organ practice. Thanks guys. This was Vidas... Ausra: ...and Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen. PS Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until tomorrow, August 9. If you have already read it, we would appreciate if you left a rating and review.
Good news first:
We've installed Product Reviews app in our Shopify store. If you have purchased any products from us or practiced some training programs and scores through the Total Organist program, we would greatly appreciate you leaving a rating and an honest review. They would help decide future customers if this training is right for them or not. When you go to this page, either scroll down to the score or training that you have or enter the keyword in the "Search" bar above. Thanks for caring. And now let's jump in and get started with the question. Vidas: Let's start Episode 45 of #AskVidasAndAusra Podcast. And today's question was sent by Pat. He writes, that the thing that is holding him back from achieving his organ playing goal is basically time, finding time without interruptions the lack of which causes him to be discouraged by his inability to regain his skill. And he also writes that our lessons are what is giving him exactly what he needs. "Any extra help for a rusty student would be most appreciated. Thank you." So this means that our suggestion to part are helpful, right? Ausra: I hope so. Vidas: And this is good news to the people who are taking action and applying our tips in their practice and if we only talk about those intricate details and nobody pays attention and do those things in their practice, it's a waste of time. Ausra: Sure. And I think about finding practice time - this is a lifelong struggle for everybody. Vidas: I think what it comes down to is developing a habit, developing a small and good habit one at a time. Over a long period of time, finding time, making time. Do you agree with this, Ausra? Aura: Yes, I couldn't agree more. Vidas: Well, for example, regular practice is just like any other activity that we do every day, hopefully every day. And when you make the time every day, just a little bit, maybe 10 minutes, 15 minutes, 30 minutes or whatever you find in your day, it becomes easier and easier. Ausra: Definitely. And it should be a part of your routine, just like brushing your teeth or taking a shower or eating 3 times a day. So should your organ practice. Sometimes it might be a problem when you don't have an instrument at home. Then if you have to go somewhere to play to perform or practice, it might be an extra trouble. What do you think about it? Vidas: I agree with you, of course and also think it takes about 2 months or maybe a little bit more to develop a habit. I've read it takes 67 days to build any type of habit you want, good or bad habit. Definitely you want to build a good habit. Ausra: Well, definitely to build a bad habit takes a shorter time than a good habit. Vidas: So for Pat and everyone else listening and struggling with finding time it's good news because you only have to persevere for only 2 months or 67 days. And after that it's just downhill. Ausra: And I think that at the beginning you might practice for a shorter period of time, if it's hard for you to find time or you're too lazy to play for a long time. For example, start with 20 minutes or half an hour and later on you will add more time. Vidas: Exactly. It's like with exercising. Like with running, for example. Some people want to run a marathon. But you never start with marathon. You start with maybe 15 minutes or 10 minutes or maybe just walking around your block. And that would be enough for starters, don't you think? Ausra: And you also should find out what type of person you are, morning person or a night person. The best thing would be to practice when you are the most productive. Because some people are like owls - they can stay up very late at night and work and do things and some are only working in the mornings. Vidas: For example, I feel very much refreshed in the morning. I can practice starting from 8 AM and I can do a quality work until around maybe noon. With frequent breaks, of course. But these 4 hours every day is like my golden time. What about you, Ausra? Ausra: I would say, it's probably the same with me. But I can’t work very hard in the morning because it's difficult for me to get up very early. For example, 6 AM is a nightmare for me to get up but that's what I have to do. 7:30 AM is the best time for me to get up. Vidas: It's always light at 7:30 AM. Winter or summer and you feel refreshed. Ausra: But of course, if you have to work late hours, I realize that physical exercises help me a lot. Going to a gym or a swimming pool gives me extra energy and prolongs my day. Vidas: That's I think very good idea to advice for people to do some form of exercise every day in addition to your hobby or professional activity, like organ playing. Do some kind of physical activity that gets you sweaty, elevates your heart-beat. It doesn't have to last very long, does it, Ausra? Ausra: Sure, especially at the beginning. Vidas: Maybe 15 minutes or even if you like doing push-ups, do a set of push-ups to gets you exhausted and you’ll feel much better after that. But of course you have to warm up and cool down and do some stretching to not hurt yourself. Ausra: Sure, we don't want you to hurt yourself. Vidas: Great. Back to this question of finding time for organ playing. Pat is also struggling with time without interruptions. I can guess that family obligations or his job activities also tend to interrupt him. When he gets back from work, maybe he thinks that "Oh, I have lots of things to do." He faced lot of stressful situations over the day and these thoughts interrupt his quality practice. Ausra: Well, then just try to do your organ practice as some sort of meditation which would calm you down and you could relax during your practice. Don't make it another job, make it a pleasure. Vidas: What do you mean when you contrast a job and pleasure? How are they different? Ausra: Oh, they are very different. Vidas: Let's take organ playing, of course. How would you imagine work or job in terms of organ playing? Ausra: Well, when you do routine work. For example, you work in church when you have to play this service stuff, maybe hymns that you don't like all the time. And to play them over and over again. This might be a routine. And when you're learning new music - it's exciting. This could be like a pleasure. Vidas: You have responsibilities. Ausra: Sure. Vidas: And you don't necessarily love those responsibilities. Maybe you know you need to do them to fulfill your duties but they're not your sweet spot. Ausra: Sure. Vidas: And for pleasure, as organist you would love to do other things. Like what? Ausra: Maybe improvise or learn new music that is not so suitable for liturgy. Vidas: Good advice, I think. You have to alternate. If you are serious about your organ playing future and your goals, you definitely need to think about deadlines, maybe set yourself a deadline and learn a piece or two and perform in public. Ausra: Yes. Vidas: But that's a responsibility. And for the pleasure part, it would mean like Ausra says, to improvise a little, play what you definitely love. Maybe your favorite organ piece that helps you relax. Ausra: Yes and I hope these tips will help you to find time to practice and enjoy it. Vidas: And of course, guys, let us know how you apply those tips in practice this week. And send us more questions. And the best way to do this is by subscribing to our blog at www.organduo.lt (if you haven't done so) and simply replying to our messages. Wonderful. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen. PS Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until August 9. If you have already read it, we would appreciate if you left a rating and review.
Vidas: Let's start episode 44 of #AskVidasAndAusra podcast. Today's question was sent by Annunziato.
He writes, "Hello Vidas and Ausra Motuzaite. I hope that this email finds you both well. First of all, I would like to thank you for the mails you are sending me. There is a lot to learn. I wish you every success in all your dealings. The podcasts are very interesting. Thanks for giving us the opportunity to ask you questions. Currently, from the end of last May, I am playing a Sicilian pipe organ, builder Santucci, period 1775. We having one manual, 53 keys, 17 pedal notes, 15 manual stops, three pedal stops and two accessories. At the right column stop list among covers are interesting markings as individual stops. Like in Roman numerals, XXVI and XXIX, XXII and XIX. Can you please tell me what they are? Perhaps they have names like Flauto XXII in soprani and when can I use them? Until I receive your reply, wishing you my very best regards, Annunziato." So wonderful, Ausra, this is Italian organ tradition, to write stops as intervals, basically. Not like German, French or other traditions. Well, maybe English have something like this too, when they write 12th for example or 15th as an organ stop. Ausra: I know since you were in Italy, not so long ago, maybe you could now explain for our friends how to understand it? Vidas: Yeah, it's basically if you take the lowest note, let's say C, right, in the base octave. It is the basis of the principal. They would write "Principale", right, for the principal 8’, but later they would write "Ottava". Ottava means octave, above this principal. So this is like a 4’ stop. Later, instead of adding one of them more, they would write an interval. You have to count interval from the bass note. So what comes next is like 15th and that would be like Roman numeral XV. This means like a 5th, 2 ⅔’. In Italian, Decimaquinta. Then you have another Roman numeral denoting maybe 2’ principal, right? They would not write, "Super-octave", they would write something like XIX. Then maybe a XXII and XXVI. You have to count intervals, basically, back to the bass note. That's how Italians wrote their stops. It's may be confusing, but it's very logical. Ausra: Yes, if you get used to Italian instrument. But if encounter it for the first time, it might be a little tricky. Then just try each stop separately and listen to it. Vidas: Listen to it, which octave are you playing? Ausra: Yes. Vidas: Sometimes you will get an octave sound, but sometimes you get a 5th sound, too. Ausra: Yes, and then you figure it out. You just make yourself like a dictionary in your notebook. Vidas: But if it's an old organ, and it is, right? From 1775. Ausra: It looks like it's very Italian, because it has only three pedal stops. That's so common for Catholic countries, like Italy, or France. Vidas: Yes, it has maybe three pedal stops and maybe the coupler, perhaps I hope, to have a longer sustained pedal point. Or sometimes they don't even have pedal couplers. Ausra: No, you don't use so much pedals in Catholic liturgy. Especially in those times, in those days. Vidas: You only have 17 pedal notes, this means that you have incomplete pedal compass, like 1-1/2 octave perhaps, right? So you don't play a lot of Reger. Ausra: Oh, definitely not. Probably some Frescobaldi, Fiori Musicali. Vidas: Or improvisation, improvisations could sound really well on these type of instruments. He told me he has one manual, right? Some stops might be divided as he writes. "Flauto in Vigessima Seconda" means flute in twenty second, but only in soprano, which means that only the right hand starting from C can play this. So in the tenor range, it doesn't sound. Only in the soprano range with the right hand you can place the flauto. Vigessima Seconda. Now let's calculate 26 from the bass. 26, 24, 26, 7, 8, 8, 16, 8, two octaves, right? It's a 5th. It's a 5th, I think, but not 2 ⅔’ but 1 ⅓’. It looks like this. Very high-pitched flute. Ausra: High-pitched flute, yeah. Vidas: But as a flute, not a principal. So it doesn't fit with any Ripieno sound at least, I think. The Ripieno is another tool entirely in Italian organs. It's a handle. You take out this handle and entire row of principal stops like a plenum sounds are present and could be sounding. It's like a mixture, organ Ripieno. Full principal chorus if you use this piano handle. But remember in Italian, organs they don't have a mixture sound per se, you have to assemble mixtures. Ausra: Yes, you have to pull it out from the organ, yes. Vidas: Pull everything together. Sometimes everything together if you want a big sound, and sometimes just a handful of stops. Ausra: Yes, because sometimes they have full Ripieno, and sometimes you have just smalller Ripieno. Vidas: Yes. Maybe it's for a later conversation because it's a long subject but every mode in this tradition have different type of registrations. Sometimes one principal would be enough for one particular mode, sometimes a flute, sometimes principals 8’ and 4’ for another mode. We will discuss it another time, I think. Wonderful guys, please send us more questions. This was very interesting. We hope this is useful to you and you can do this by subscribing to our blog at www.organduo.lt and reply to any of our messages. And remember, when you practice - Ausra: Miracles happen. PS Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until August 9. If you have already read it, we would appreciate if you left a rating and review. |
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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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