Welcome to #AskVidasAndAusra 34!
Some people suggested that audio only episodes of the blog aren't as powerful as having a text accompany our voices. We understand that our accents aren't always easily recognizable to some organists from other countries. If you've been our subscriber for a while, you probably know how committed we are to helping you grow as an organist and providing as much value as possible. In order to do just that, right now we are trying out the Rev transcription service (thank you James for your recommendation). We've used it before on some other projects and were impressed with their work. Please let us know, if having a transcript of the audio is helpful because we presume some people like to read while others - to listen (and now you can do both, actually). Anyway, here's our answer to today's question about how to quickly change stops by hands. Listen to the audio or read the transcript bellow.
TRANSCRIPT
Vidas: Hi guys this is Vidas. Ausra: And Ausra. Vidas: And let's start episode 34 of #AskVidasAndAusra podcast. Today's question was sent by John. And he writes, „I have an Allen protégé L10 organ at home, a three manual help worked midi works set up in our church with only an 8 gigabyte memory computer and I play once a month on a two manual organ at Freemantle's Wesley church and a three manual organ at St John's Lutheran in Perth which has recently been fitted with a Peterson computer system. Sadly the wooden frame under the lower positive manual of that organ is slightly too low, so I have problems with playing the pedals properly on that organ. It wasn't built to AGO standards. Before I read this question further Ausra, do you think that he can adjust the height of the bench a little bit? Ausra: Yes, that might be a possibility, but it's always fascinating that you never expect to know that the organ will fit you well. You need to know to adapt to an organ, and that's the most fascinating thing of being an organist. Vidas: A challenge, but also a benefit, right? On the piano, you know exactly that your instrument will be more or less familiar, right? Familiar environment and mechanics will be more or less similar, although the touch is different, but not as drastically different as the organ. So, advice probably would be to adjust, right? Ausra: Yes. Vidas: To just in your mind that probably the ideal situation when the bench would be at the normal height, is ideal right, but ideal circumstances are not always found. Ausra: Sure and he says that it's not up to AGO standards, the pedal board, but if he will travel to Europe, I don't think he will find organ in usual standards at all. It is rare in Europe actually. Vidas: Yeah, you can find maybe at Paris Cathedral right, Notre Dame and many other famous places which were fitted specifically to AGO standards, and GDO standards German system is a little bit different too and a lot of European organs have this German system too. So, you need to adjust, I think. The more organs you play the better you will feel in any situation, I think. Ausra: That's true. Vidas: So let's continue, right. John writes further, „now that I am getting weekly lessons as compared to the occasional lesson once every so often on the pipe organ that didn't have a swell box, like many Dutch organs as I found out during the recent Dutch organ tour visiting Zutphen, Arnhem, Doesburg, Helmond, Roermond and others, all except for Doesburg organs are without swell boxes and no registration helps like thumb and pedal pistons. He writes, „I am beginning to use the swell pedal more often and operating the swell pedal as it is not hidden in the music score as often is a problem, but I am slowly getting there I think.“ So Ausra, about swell pedals a little bit. When we don't have for example in our house we don't have a swell box, how do you practice pieces with swell box at home? Ausra: Well I just imagine that I have a pedal and I am imitating that I am operating that pedal; opening it or closing it according to the score. And actually it helps. Vidas: Yeah, you need to mentally visualize the swell box and place the right foot in approximate place. Ausra: Yes, because even the swell pedal, you never know how it will be, because for example, like in our Philharmonic hall yes, on the Schucke organ, we have swell pedal which is far on the right side and it's really tricky to use it. So you just need to mentally adjust. Vidas: Did you mention that the swell box operates in the opposite direction too? Ausra: Yes. So it's kind of tricky. Vidas: Yeah, but you need to adjust in your mind. Ausra: Yes because if you are practicing the organ without the swell box and you will not imagine it, then you will get to the real organ with a swell pedal it will be a problem. Vidas: So he writes further, „quickly changing stops, or even operating some pistons according to the score, isn't always easy either. There are often so many things to think of together, but it keeps you on your toes and it‘s an interesting hobby. So, John's main concern is as I understand, changing stops quickly right? By hand or by pistons, or toe pedals. How could he make this technique easier? Ausra: Well, I think it will come with practice. The more he practices, the easier it will get. But for the beginning, for starters, you could use, maybe less registration changes if it bothers him a lot, and then he will get more comfortable with it, he can change as much as he needs. Vidas: Do you remember the first time you had to change stops by hand, a long time ago probably, at the Academy of Music, right, or later? In Academy of Music we didn't practice that much with registrations. Ausra: Well, in Lithuania it's funny, because you always just have assistants, even two of them on each side of the organ. But, and it's funny, like in the Academy of Music we had an organ with what 12 stops. Vidas: Twelve or thirteen stops. Ausra: Yes and still had at least one assistant. Vidas: And sometimes two. Ausra: Yes and sometimes two, but everything changed when we went to study to the States and we had to change registration by ourselves. It was a challenge for us at first, but I found out that its actually easier in some way to change registration for myself because I know exact spot where I have to change it. It makes actually my playing more musical. Vidas: You slow down at this place. Ausra: Yes, a little bit and it makes it good. Vidas: You're prepared mentally. Ausra: And then other assistants help me with registrations sometimes, we play things too early or too late. So I think it's better to do it yourself. Vidas: Unless it is really, really too complicated. Ausra: I know, yes. There is some type of music where it is probably impossible to assist yourself. Vidas: Right. Remember at Music Academy we were in awe of one organist from abroad, but I don't remember, from Germany I think, he played Reger also on this Schucke little studio organ and he did everything by hand, and he operated swell pedal with his right foot you can say if you remember his name. Ausra: Weinberger? Vidas: Weinberger yeah! Weinberger was so virtuoso with his right foot on the imaginable swell pedal. And he did all kinds of virtuoso pedaling changes in order to accommodate swell pedal and also changed stops by hand. So, I think it comes with practice obviously. It's not an overnight adventure. Okay, then John, then later writes, „there are so many things to think of together when you play the organ but it keeps you on your toes and its an interesting hobby. Getting time to practice is also a problem and even more so that now I am retired.“ You see, people when the work right, during the day time, they have the day job and later in the evening perhaps they can practice the organ. But now, in John's case, he is retired and still he gets difficulty in finding time for practice. What would you suggest for him? Ausra: Well I don't know. What would you suggest? Vidas: Good question. Probably priorities right? You have to set your priorities straight. If I were in John's shoes, I would do a list of things I want to do. 25 most interesting things in my life I want to do. 25. Maybe every day, right, if I have that many. Then, cross out lower 20 and leave only the top five. And never think of the lower 20 again and you will find time for the top five things easy. Ausra: That's a good suggestion. Vidas: Because its just too much, life is short and you only live once and you have to concentrate on the most crucial things, the most things that make your life matter, right? Ausra: Yes. Vidas: And not all the passions are important I think, right? Your maybe top five. Concentrate on that and you will find you have enough time, I think. Excellent. So he continues to write, „we are running a members for members concert this Saturday afternoon at the Scotch College Chapel which has an Allen Bravura L10, similar to mine. But then we have a Wurlitzer instead of an English organ selection. The other organs on that organ Baroque, French and American classics, are the same. Except for one or two stops it is a similar organ, so that means I can practice for my pieces at home. I am playing Largo by Gianbattista Martini, manuals-only piece and Louis Vierne's Communion on Opus 8 which needs some stop changes and swell pedal action. We normally have real pipe organs for our Organ Society of western Australia functions, but haven't had a digital organ for some time, hence the decision for a recent Allen installation. Keep up the good work! I like your emails and appreciate your efforts. Kind regards. John.“ So Ausra, do you think that it is a benefit to have a similar organ at home and a similar organ in the recital? Ausra: Well definitely. It saves some time and it makes you feel better. Vidas: Right. It's a rare coincidence I think right, to have two similar organs at your disposal. So guys, I hope this episode was useful to you. Please send more questions to us and the easiest way to do this is by becoming a subscriber to our blog at www.organduo.lt. You can receive the updates to our latest podcast episodes and you can reply to our messages via email and we can answer your questions on this podcast very easily then. But please be patient because right now we have quite a number of future episodes lined up because people are really responding and sending us their questions. But make sure you wait, and if we don't respond right away with our answers, please know that they are on our radar and we will respond in the future ... in time, because other people are also sending many questions to us too. Wonderful! This was Vidas... Ausra: And Ausra Vidas: And remember, when you practice ... Ausra: Miracles happen.
Comments
Today's question was sent by Paulius. He's is preparing for an organ recital where he will play Praeludium in C, BuxWV 137 by D. Buxtehude, Prelude, Fugue and Variation by C. Franck and my own Op. 39 - Festive Processional. This piece gives him the most trouble and Paulius wants to know how to learn to read complex modern organ music easier.
Listen to our full answer at #AskVidasAndAusra TRANSCRIPT (please tell us if reading the text of these podcasts would be helpful to you): Vidas: Hello guys, this is Vidas. Ausra: And Ausra. Vidas: And we're starting episode 33 of #AskVidasAndAusra podcast, and today's question was sent by Paulius, and he asked, "How can I read complex modern music easier?" You see, the situation, Ausra, you remember he is preparing for a recital in Vilnius Cathedral, and he is playing my Opus 39, Festive Processional, and there are a lot of complex notes and rhythms there. He is struggling to read those notes and rhythms correctly. So what would you suggest for him to do first? Ausra: First of all, I think he must analyze how that piece is put together, how it's composed. Because if you will find the key from the composition, how it was set up, I think you will be able to learn it easier. Otherwise if you would just sight-read it, it might not make sense for you. Vidas: Yes, you have to basically deconstruct the piece, right? Ausra: Sure. Vidas: And think about how the piece was put together before in my mind, right? Ausra: Yes. Vidas: So of course, it's not easy because he's not the composer, right? He has to look deep into what's happening, into the music. Do you think that finding out the different modes would help him? Ausra: Sure, I think so, if it's a modal piece, you know. If it's based on a mode, then definitely it would help. Vidas: This music has lots of improvisatory rhythms, because it was improvised first, and then written down, and it's sometimes difficult to play those syncopations, and the complex ties and dotted notes. Ausra: There is only one way to learn it correctly. You must count the smallest rhythmic value and you must count in those values. Vidas: That will help, right? Ausra: Yes that will help. You wouldn't have to do it for the rest of your life, only while you are learning this piece. Vidas: This applies not only for this particular composition but many other modern pieces, right? Ausra: Definitely. Vidas: That people are playing regardless of nationality or style. Ausra: Because, in my opinion, most modern music has very mathematical approach to composing it. If you crack that formula down it will be easy to learn. The hardest thing to find is what formula it is. Vidas: You have to think deep into the chordal structure and keys. Sometimes those difficult looking accidentals and rhythms only mean that there is a hidden key to unlocking this process, right? Ausra: Yes. Vidas: Do you think that doing just once is enough or you have to repeat this process over and over again? Ausra: I think you have to repeat it. Maybe sometimes in order to write in the score in which keys, in which mode in that particular episode. Just like, remember we are learning now. That piece written by you also, which you wrote originally for flute and organ. Now we are playing it with organ duo. Vidas: Again. It seems like music written by me is complicated to play for other people. Ausra: Well it's not that complicated. You just have to know to switch to different key very quickly. Vidas: Yes it's good that sometimes I write the number of accidentals next to the clef for that episode. So you know in that episode how many accidental there are right away. Ausra: Yes, it's very helpful. Vidas: Sometimes I don't write it. Sometimes I write it next to the note. Ausra: If it's easier for you, for example, this episode has three sharps and they are not added to the clef, you can do it yourself. Maybe, on top of that line you just write three sharps or four flats and so on and so forth. Vidas: But you have to do this yourself then. Ausra: The best thing about modern music is, if you will not play it, one hundred percent is written, nobody will notice it. I'm quite sure, so don't panic if you will hit a few wrong notes. Vidas: By the way, what was the last challenging piece for you from the modern period that you cracked down and really learned to play, but it was difficult for you? Ausra: This piece by you, Fantasia on the Themes by M.K. Ciurlionis, Op. 11a, for example, wasn't so easy in the beginning. I had to crack it down. Vidas: And before that? Ausra: Let me think, probably learning Messiaen. Vidas: A lot of people love Messiaen, and it seems like an equal number of people hate Messiaen. Ausra: Well, with Messiaen is a strange thing. I studied his compositional techniques quite a lot and in depth. The better I know his compositions, the less I like them. I don't know why, especially those late ones. Including piano and organ. If I had to choose, I would probably choose his early pieces, like Nativité du Seigneur. Vidas: Do you remember you played Laudes by Petr Eben, Czech composer. Ausra: Yes. Vidas: Was it challenging for you to learn it? Ausra: Well not as much as I expected at first because in the Lithuania we have this big thing him and Laudes. It seems like because professor Digrys started playing this cycle and it seemed like a very big deal. After learning, it myself I didn't find it so hard. It's sort of a mathematical piece too. Of course rhythms give problems. Vidas: You applied your own advice. Ausra: Yes. Petr Eben played organ himself. He knew the instrument very well - it fits into your hands, your feet. It's not like some crazy stuff that you are trying to adapt to your organ. It's actually all very natural. Vidas: It's quite musically easy to guess what's happening once you know the system. Sometimes those polytonal things are difficult to guess but easy to decipher. Ausra: I think the rhythm is probably the most difficult problem in the that organ cycle. Vidas: How about music by Jean Alain. The 2nd Fantasie Was it difficult for you? Ausra: No. Vidas: It's not that easy to play. Ausra: Yes it's not very easy but it's manageable. The most interesting thing I took the 2nd Fantasie after many years of playing it. Now I think the last time I played was way back in the Omaha Cathedral, where I played for the masterclass for Olivier Latry. Now I picked it up and I can almost play it in the right tempo. Vidas: You practiced this piece so many times back then, when myself tried to sight-read this piece a few days ago, it seemed like it was coming back to me too. Ausra: Yes, overall Jean Alain was not my most favorite French composer. I just feel so sorry but his life was so short. Vidas: Right. Second world war. Ausra: It ended so abruptly and so tragically. He would have been such a great composer. Definitely no less famous and good as Messiaen. Vidas: I hope people can apply your tips and really decide for the piece first before practicing any organ piece but specifically challenging complex modern music. Ausra: Sure. Vidas: So guys, please send us more questions. We're really happy help you grow and the best way to do this is through our newsletter. If you subscribe to our blog at www.organduo.lt. You enter your name and e-mail address and you become our subscribers. You can read our blog and you can really communicate with us much easier and send us your questions. We will be happy to discuss them during the show. Also please tell us about the sound quality. We recently purchased a new double lapel microphone and we are sitting in our living right now and chatting. Two lapel microphones are plugged into one smart phone. I hope the sound quality is okay for you. We are testing. Please give us your feedback too. Wonderful. This was Vidas. Ausra: And Ausra. Vidas: Remember when you practice- Ausra: Miracles happen.
Swallows breakfasting
Above my head while I write Chords above the staves.
Today's question was sent by Robert. Here's what he writes:
I'm practicing the last section of BWV 572 and wondering if at that fast tempo it's best to just write down the chords above the staves. What do you and Ausra think about that? Thanks again! Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Today is the 32nd part of #AskVidasAndAusra podcast. Please send us more questions. Today's question was send us by Robert. He is practicing Piece d'Orgue BWV 572 by Bach. He writes, "I wonder if in that fast 32nd note tempo it’s best to just write down the chords above the staves. What do you and Ausra think about that? Thanks again." So, Ausra, I think he struggles with the ending part, right? Ausra: Yes. Vidas: Très vitement, Gravement, and Lentement. The last one, Lentement. The last part where you have 32nd note passages. And he suggests, maybe would it be helpful to write down the chords above the staves in order to grasp the meaning of the chords and master this passage easier. Ausra: Yes. That's a good idea, if you know what those chords mean. It depends on how advanced you are in keyboard harmony, because for some people to realize what the written chord is might take longer than actually to read actual music. So, it all depends on that. But you know, if you are advanced with harmony, then yes, go ahead and write the chords down. It might be very helpful. Vidas: But you have to know the meaning. I remember also, when practicing this piece a number of years ago, you see you have to understand how the chords move in this passage, right? So, not every note in this passage is a chord or a note. Ausra: Sure. Vidas: I think five notes in the hands, total, and one is in the pedal. So you have to skip, in your mind, every other note, I think. Right? And they then constantly change note by note every half of the measure. Ausra: Yes. I think, you know, the best way would be probably just to memorize those couple of pages in the last section. This would be the very easiest way to do it. Because, I think when you will be playing in performing tempo, final performance tempo, you will not have time, neither to look at the score, nor to look at the chords. So maybe just follow the pedal part and memorize the hand part. Vidas: But, this part is not too fast. It should not be very fast. Ausra: Well, yes, because with 32nds the tempo is not that fast. It's not like Prestissimo, you know, on 32nds. Vidas: The first part, Très vitement, is very fast. Ausra: Right. Vidas: You have to be careful and play with good articulation. Ausra: Sure. Vidas: Sometimes people miss that by playing everything legato. And the second movement is Gravement, and it's so slow, right? So that everything is, again, legato. And it's a mistake, actually. You have to play all those intricate syncopations and difficult rhythms in the middle voices, as well as in outer voices with good articulation. But in the last part, it's not too fast. So, as Ausra says, slow down and memorize. Memorize one passage at a time, right? Ausra: Yeah. And I'm still thinking about that middle section, that it shouldn't be so slow, because actually the metre is cut time. So you have to have only one accent, one strong beat per measure. So this will give the feeling of a flow, of a general flow. Vidas: Exactly. But this is for later stage of practicing. For now, still keep counting in four and practice a little slowler. Ausra: Yes. Especially that last section. And actually opening section, too, because it's very easy to overwork on those spots if you are playing fast, and then you will never be able to correct them. Vidas: Yeah. That's a common problem with fast passages. Your fingers can play faster than your ear can grasp the meaning of the passage. Every time you practice, every time you play, you have to hear what you're playing. Listen exactly. Ausra: Yeah. And in that last section, just listen to all those beautiful dissonant chords. They are so important. Vidas: Okay. And perhaps, yes, try to write the chords down above the staves. Maybe, write down abbreviations of chords, not entire chord, but the meaning of the chord itself. Ausra: Sure. Vidas: Right. And that will be helpful, too. So guys, please send us more questions. We will love helping you grow. What's the best way to connect with us, Ausra? Ausra: To subscribe to our blog at www.organduo.lt. Viads: You enter your email, and become a reader of our blog, and you get those daily messages with current podcast episode, and later advice, and you can reply easily, and we can help you go. That's great. So, thanks guys. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice ... Ausra: ... miracles happen.
I woke up trying
While someone was watching To play the first bar.
Today's question was sent by Albert. Here's what he writes:
I'm a newbie. I play piano and I started organ practice / classes a few months ago. At the moment working in BWV 553 to 560 and trying to absorb everything I can about this universe. Now I'm going to listen to all your podcasts :-) Thanks for you great job.. As former pianist I find them pretty easy. :-) But, the most frustrating thing is the little independence of the feet that I have with respect the hands. Specifically when the feet and the left hand decide to go together, independently of what is written in the score :-D. Typical beginners problem, isn't' it? Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Today we're starting Episode 31 of #AskVidasAndAusra Podcast. This question was sent by Albert. He writes, "I'm a newbie. I play piano, and I started organ practice and classes a few months ago, at the moment working in BWV 553 to 560, and trying to absorb everything I can about this universe. Now I'm going to listen to all of your podcasts. Thanks for your great job. As a former pianist, I find them pretty easy, but the most frustrating thing is the little independence of the feet that I have with respect to the hands, specifically when the feet and the left hand decide to go together independently of what is written in the score. Difficult beginner's problem, isn't it?" Ausra, Albert is practicing eight little preludes and fugues, right? Ausra: Yes. Vidas: He's having a problem with hands and feet independence. Ausra: Sure. Vidas: Do you remember the time when you had the same problem? Ausra: Yes, I remember that, during my freshman year at the Lithuanian Academy of Music. Vidas: What was the first piece you played? Do you remember? Ausra: It was G-minor prelude and fugue. The little one. Vidas: First the prelude, and then fugue right away or not? Ausra: Yes, and then C major prelude and fugue. Vidas: So the fugues are, in this collection, usually much more difficult. Ausra: Yes. But the during a spring exam, I played the prelude and fugue by Bach, in G major. Actually, it's very rarely played. I don't think I've ever heard it played after that. Vidas: I just sight-read it last week. Ausra: Yes. The last line of the fugue is very demanding for a beginner, because the hands are playing up and pedals are going down. I remember that spot just killed my brain during that time. It was very hard to do it. Vidas: Right. Ausra: Especially, as Albert said, playing feet playing downwards and left hand - upwards. Vidas: There is this place at the end of G-major of fugue. How did you overcome this problem? Ausra: By practicing voices separately, just pedal and then pedal and right hand, and then pedal and left hand, working in combinations, and playing slowly at the beginning. Vidas: Small fragments or entire fugue? Ausra: Only that last line. Vidas: Last line. So, Albert, if you are having a problem like Ausra had many years ago, probably it's best to slow down significantly, like 50% of the concert tempo, at least, and then repeatedly, many, many times, play a problematic spot, starting on the down beat and ending on the down beat, too. Because it will help you connect two fragments. And play in combinations, as Ausra says. Ausra: That's the most helpful way to help yourself. Vidas: Ausra, when a person cannot really play two voices together, left hand and pedals, does it mean that they should go back to solo part playing, left hand alone or pedal alone? Ausra: Yes, I think so. Do single voice, first of all, and then add the second one. Vidas: Exactly, because step adds significantly greater burdens. It actually doesn't have to be this way. The process has to be very gradual. So only progress with the next step when you can do previous step at least three times in a row without mistakes. Ausra: But don't give up. This type of problem is one of the most common for most beginners. Because for most of us, if you write with your right hand, that means your left side is less developed, and it gets in trouble while playing left hand and foot pedal. Vidas: Yeah. I remember that you pick up things with your right hand most of the time, not with the left, if you're right handed, of course. Ausra: Yes. Vidas: So then left hand needs to do more work grabbing some keyboard exercises and keyboard episode. You know what you could do? You could sight-read more pieces, not only from eight preludes and fugues, but pick any other collection that you love, and sight-read one piece a day, and not all the voices, because you will be struggling significantly, but maybe one line at a time. Maybe the left hand, maybe the pedals, maybe all parts separately, and take one piece a day. Ausra, would you think this help in the long run? Ausra: Yes, definitely it would. Vidas: When you were studying at the Academy of Music during the freshman year, did you sight-read new music regularly? Ausra: Not so much, because overall, I had so much music to learn that all my music was like sight-reading. I remember looking, at that big stack of music on my piano and I was just overwhelmed. We had to do organ playing, We had to do piano playing. We had to do choir conducting. A whole bunch of pieces. Then, of course, chamber music and so on. Vidas: Organ music was like 45 minutes per semester, right? Ausra: Well, at least. I think it was almost an hour. Vidas: Yes. Two recitals per year you had to prepare? Piano music, at least 20 minutes per semester, right? Ausra: Yes. Vidas: Choir music also about the same amount. Ausra: We had like six pieces of choir music to prepare for semester. Vidas: And chamber music also maybe 15 minutes. Ausra: Yes. A whole sonata for one semester. Vidas: Imagine every week you are playing for one hour, two, three hours of new music, preparing for three recitals at the same time. Ausra: Yeah. Vidas: It's always new things, basically. First couple of months is hell, right? Ausra: Yeah. Vidas: But then you get better and better, and you sight-read things more easily, right? Ausra: Sure. Vidas: We really recommend sight-reading, sight-reading many more pieces than you would ever play and practice and polish. That's the best strategy that you could take in the long run. Of course, don't forget that we have fingered scores and complete fingering and pedaling prepared for you of 8 little preludes and fugues. How many hours do you think that would save for people, writing it for themselves? How many hours would it take? Ausra: Actually many, because writing down fingering is very time-consuming. Vidas: Did you like writing it down? Ausra: No. Vidas: I didn't myself. But it's so helpful to have a score with fingering and pedaling, because it saves so much time. Well, if you know what you're doing, it's still at least one hour per page. If you're just writing it down very quickly, one hour per page. If you're practicing three page prelude and fugue from this collection, and you know exactly what you're doing, you would save at least three hours. But obviously people don't know how to write fingering and pedaling, right, Ausra? Ausra: Yes. Vidas: So it's a big help, maybe, 10, 20, 30 hours of saving time. It would help if you had these scores, so check them out. We really recommend it. Of course, if you sign up now for our Total Organist program, you can have all of them for free for 30 days, for the trial period. If you like it, keep it, and then keep subscribing as long as you want. But if you don't like it, you can just cancel before the month ends. You can do that at www.organduo.lt/total-organist. Of course, send us more questions. We love helping you grow. Okay, this was Vidas ... Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen.
As long as skylark
Sings every day, he will stay A world-class singer.
Today's question was sent by Robert. He wants to know how to become a world-class organist.
Listen to our full answer at #AskVidasAndAusra TRANSCRIPT: Vidas: Let's start Episode 30 of #AskVidasAndAusra Podcast. Today's question was sent by Robert. He would like to become a world-class organist. Can we help him, Ausra? Ausra: Well, I think we can, but he needs to help himself, as well. Vidas: Right. What's the first step in order to get on track of becoming a world-class organist? Ausra: Definitely, you have to play very well. Vidas: Let's clarify. What does he mean, world-class? What is world-class? Ausra: Probably touring the world with organ recitals, I assume. Vidas: Circling the globe twice per year, like Guy Bovet. Ausra: Or Olivier Latry. Vidas: Or Cameron Carpenter. Ausra: Sure. Definitely, I think you have to have international reputation, and in order to build it, you probably have to get a degree. Vidas: Win some competitions. Ausra: Yes, and definitely, play very, very well. I remember, Robert asked earlier that he cannot find time to practice, and how is it possible to find time to practice. Definitely, if you want to become a world-class organist, you must practice every day. Vidas: It's given, right? Ausra: Sure. Vidas: It's not even a question, practice today or not practice today. Ausra: Yes. Vidas: Even if you don't have time today to practice, you practice, if you have this goal, to become a world-class organist. But this is very audacious goal, sort of "I want to go to the moon," right? Ausra: Yes. Vidas: It reminds of this. Or "I want to fly across the sun." That's great. I want to do this, too. But, you see, every great journey starts with one step, the first step. Ausra: Yes. Vidas: What would be that first step be, Ausra, today, for him? Ausra: I don't know what level he is already, so it would be hard to tell. But, actually, for me, it's more important what I think about myself as an organist and not what the world thinks about me. Because if I feel confident about myself, I feel good about it and I don't need the world to acknowledge me. Vidas: Exactly. Sometimes people have this goal to be world famous and tour the world and play in multiple different famous recital halls and cathedrals. I don't know why it's such a goal they have to have. Maybe they would be happy to just play well and to have exposure to play different organs, at first, right? Ausra: Sure. Vidas: Not necessarily like to play at Notre Dame in Paris, or Saint Paul's Cathedral in London, or tour the world. Because, for starters, it has to have a meaning for you, this type of goal, and not necessarily you have to be famous. It sounds like Robert wants to be famous, right? Ausra: Yes. Vidas: World-class organist, to be on the cover of every organ magazine. That's a great goal. I'm not criticizing this, but maybe for starters, maybe it's not for him right now. Ausra: Well, I don't know how good he is as a performer, but it's really hard to tell. Anyway, I think when I think about life, these famous organists, I think this is such a hard way, actually, to live. Vidas: It is. Ausra: To give performances all over the place. It's so time- and energy-consuming. Vidas: Exactly. Ausra: It's really very hard way to live. Vidas: For example, if you want to live like a world-class organist touring the world, every week you would have to play at least one recital or even two. Ausra: Sure. Vidas: Could you imagine yourself doing two recitals per week, every year? Ausra: Yes, and think about your personal life. If you have a family, for example, what do they say about it? Vidas: Yes. Traveling the globe, could they travel with you? Maybe sometimes, of course, but definitely not always. Ausra: Sure. Vidas: Right. In order to know that this goal is exactly for you or not, for other people, you have to feel the taste of this life. So maybe, first of all, you have to be really good, in order to be invited to play someplace. But it's not too difficult to get a recital today. You have so many friends on social media who are organists, and you can develop great relationships with them and help them first and then send them samples of your performances. If they like them, you might ask them to invite you to their place to play. Or you could do an exchange, you invite them to your church and they will invite you to their place. Ausra: Sure. That's probably one of the easiest. Vidas: The easiest, yeah. It's a win-win situation. In order to feel a taste of this life, if it's really for you, just schedule five or 10 recitals this way, and see if you're not really tired of this, if it's really for you. Because, yes, you could get a lot of recitals playing different churches and many countries, but remember, they're not always lucrative, they're not always paid recitals. Ausra: Sure. That's often the problem nowadays. Vidas: In some countries, in some countries, I'm mostly never paid. You just play for the exposure on interesting organs. If you are okay with this, you have to ask yourself if you can afford it. So you have to have another stream of income to do this, to play for fun. Ausra: I don't think that even one organist in the world lives only from making recitals. So you have to have either position in charge, or you have to teach, or do other kinds of work. Vidas: Or you have to sell merchandise in addition to your own performances. You're selling yourself when you perform. You sell CDs and DVDs of your performances. You sell t-shirts. You sell different types of things in order to support yourself. Because otherwise the fees for organ recitals are not always great, to be worth the trouble of traveling and staying overnight, and doing all of this. Ausra: Yes. Vidas: Okay. So Robert, first of all, think about if you really, really need this, if it's for you, this type of goal. You will maybe benefit from just trying to have a few recitals scheduled this way, and then you will find out if it's for you. But, first, remember you have to be really, really good. You have to be flawless in order for people to invite you. It all starts with today. If you can practice today and become better today than yesterday, then probably you're on the right track. Can we help people like Robert even further with our Total Organist program? Ausra: Yes, I hope so. Vidas: We have a lot of trainings, which help them to achieve their dreams in any area of organ playing, and with technique, with pedal technique, improvisation. Now we have a one month free trial of this membership program. Ausra: Yes. Vidas: So people who join this, say that it's so comprehensive, and they find what they need, and we're glad to be able to help them grow as an organist every day. Please send us your questions, and of course check out Total Organist at www.organduo.lt/total-organist. This was Vidas ... Ausra: And Ausra. Vidas: Remember, when you practice ... Ausra: Miracles happen.
No time to practice
For swallow his loops but he Does it anyway.
Today's question was sent by Robert. He's struggling to find time for practice.
Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Today is Part 29 of #Ask#VidasAndAusra podcast. Today's question was sent by Robert. His challenge in organ practice is really finding time. Like a lot of people, once you sit down on the organ bench, you can do a lot of things. But sitting down at the organ bench is the most difficult thing and the most challenging part is probably finding the time. Ausra how did you find time recently for practice? Is it easy for you or do you have to really dig deep into your schedule? Ausra: Well right now it's actually easy because I'm on vacation. I'm not teaching at school right now but in general yes it's very hard, while teaching full time and working at the university as an organist, leading Unda Maris organ studio and doing just the domestic stuff. So it's always very hard to find time but I think it's a common problem for many people. Vidas: You cannot really escape this. Ausra: Sure. We just know that that's how important for you it is. Vidas: How badly do you want to learn? Ausra: Yes. How bad you want to learn to play or to practice or to learn new stuff. I think if it's important for you, you will be able to find some time to practice. Maybe not a lot time every day but still you’ll sit down and play. Vidas: Ausra, when you schedule and you decide on a public performance of some sort, solo or together with me, is it easier for you then to force yourself to find time? Ausra: Sure, of course, because I have a deadline waiting. It's like a sword hanging over my head and know then I have to practice anyway. Vidas: It's a public accountability, right? Ausra: Sure. Vidas: People depend on you. Even just one person you don't want to let him down, right? Ausra: Sure. Vidas: And your listeners, your fans also will be waiting and probably planning already to come to your recital. If you're not practicing, you're letting them down too. Ausra: Sure. Of course, when you practice and then you find time to practice, make your practices as efficient as you can. That's another thing that can save you time and compensate the lack of practice time. Vidas: Do you think most people could find at least 15 to 30 minutes a day to practice? Ausra: I'm sure they could. Vidas: Because we waste time with our phone, with social media, right? Ausra: TV. Vidas: Sometimes people don't even watch TV they just look at the screen nowadays. YouTube, right? Ausra: Yes. Vidas: That's a big thing. During those idle moments you could really practice. Even if you're not at the instrument itself, you can practice at the table, right? Ausra: Sure. Vidas: It still counts. It still is organ practice if you are getting closer to your goals. Ausra: Yes, and if you are thinking about music which you will be performing, singing in your head adds a lot too. I remember when studying at The Academy of Music I would have to go by public transportation for at least half an hour to 40 minutes so I would just keep singing in my mind, going through my organ music. Vidas: When commuting. Ausra: Yes, it would help actually. Vidas: Yeah. What we do with our time when we sit and wait in line, for example, at the supermarket. Or what we do in our mind when we sit on the bus or the train when we commute. When we don't have to do something really with our hands or mental activity, then we can really jump in and start mental practice. Ausra: Sure. Vidas: Mm-hmm (affirmative). That's sometimes all it takes, right? But probably the most important takeaway is probably finding this public accountability, right? Ausra: Sure. Vidas: If you're just practicing for yourself, chances are that you will not stick with it. You have to stick with organ playing at least for 67 days in order to form a habit. That's a scientifically proven number of days. After that it becomes a little bit easier each day if you stick with it for 67 days. But it's a still long period of time, right Ausra? Ausra: Yes it is. Vidas: Some people can prepare for recital in 67 days, right? Ausra: Yeah definitely. Vidas: Right. That's the most critical part of your plan to stick for 67 days. The best way is to really announce that you are going to play in public. I'm not saying you have to play entire recital, right? Maybe just one piece for church service. Ausra: Yes. Vidas: That would be great for starters. Even if you are not a church organist, maybe you have friends who are, right? And announce to them, "Hey I want to come to your church in a couple of months and play this piece for communion or postlude." Ausra: Definitely. Vidas: If they are your friends, they will definitely let you and you will have, of course, public accountability this way. And you will force yourself to find time. Ausra: Sure. Vidas: Okay do we have some trainings that we could offer to people that would be helpful about finding time? Ausra: I think so. I think we did that course about finding time to practice. Vidas: Right. It's really very comprehensive. We sat down and recorded and brainstormed all the ideas. Not like in 7 or 10 minutes like today but for a long time we sat down and gave examples from our life and other things how we really manage to find time and more ideas than today. So if you are struggling with this I think this course, Finding Practice Time, would be- Ausra: Helpful. Vidas: Yeah people say that. Right now, of course, you can take advantage of 30 day free trial of Total Organist and of course you would be free of to take Finding Practice Time together with any other courses that you would like during that time. So go ahead and check this out at www.organduo.lt/total-organist. Okay this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen.
If I learn to play
The organ well, will the frogs Stop running from me?
Today's question was posted by Huu. He wants to play the organ well. It's such a broad question, isn't it? We all want that. And what does "well" mean exactly?
But we did offer some steps you can take. Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: We're starting 28th episode of #AskVidasAndAusra podcast. Today's question was sent by Huu and he wants to know how to play the organ well. That's a very broad question, right Ausra? Ausra: It is. Vidas: It's like basically everything about the organ, right? Ausra: Sure. We also want to play organ well, actually. Vidas: Yeah. We can't really say that we have achieved this goal. We constantly need to practice and strive for perfection. Ausra: It's a lifelong goal. Vidas: Pursuit, right? Ausra: Pursuit, yes. Vidas: What, do you think, would be this first step in order to become better at playing the organ? Ausra: Practice every day. And then to practice in the correct manner. Vidas: What if you don't have a teacher? Let's say, imagine you're self taught. Can you become a better organist than yesterday? Ausra: Sure. You can do that. Nowadays, you have all kind of new materials, but I think the main teacher is your ear, so always listen to what you are doing. Record yourself. Vidas: And play it back. Ausra: Yes. Vidas: Right, because when you record yourself, it's so much different than what you hear, how you're playing. You might be thinking, your articulation is okay. Your rhythm is okay. Everything might be quite okay for you, but you don't know how other people hear you from the side when they listen. When you record and you become the listener of yourself when playing back, then probably that's, this recording will tell you the truth. Ausra: Sure. Vidas: Recordings never lie. Ausra: Yes and you might not like your recording at that time but don't give up. Just keep practicing. Vidas: Have you ever recorded yourself, Ausra? Ausra: Sure. Of course. Many times. Vidas: Did you like it, how it sounded? Ausra: Most of the times, no, I did not like it. Vidas: What did you do then? Did you break the recorder or throw away this recording or stop playing or start crying or what? Ausra: No. I just kept practicing. Vidas: You didn't say, "Oh, I will never play the organ again?" Ausra: No, I did not. Vidas: Good for you. Ausra: What about you? Vidas: I remember recording myself and I really thought that it sounds well. Like a performance suitable for CD, but then when I recorded myself, I think it might have been C Major Toccata, Adagio and Fugue by Bach. It was so much worse than I thought. The tempo was not equal. The articulation was sort of off. Everything was sloppy, I would say. I was preparing for a competition then, so I went back and practiced really slowly and the results were a little bit better each time. Ausra: Yes. Vidas: Ausra says the first step is practice every day. Ausra: Sure. Vidas: Try to be better than yesterday. Today try to be better than yesterday. Tomorrow try to be better than today, right? Ausra: Sure. Vidas: This is what's called deliberate practice, by the way. You are not just practicing, you are striving to become better. You have a goal, what to do with your time today. Ausra: You've got to set your short-term goals and then long-term goals. Vidas: That would be like step number two, probably. Ausra: Yes. Vidas: What an example of short term goal for you would be? Ausra: For example, to learn a new piece. Vidas: A completely new composition. Ausra: Yes. Vidas: Master it to be ready for a performance in front of public. Ausra: Sure. Long-term goals could be like full-length recital. Vidas: A short-term goal would be like what, a week from now or a month from now, probably? Ausra: Sure, something like that. Vidas: Long-term would be several months at least, right? Ausra: Yes. Maybe half a year. Vidas: Do you think, Ausra, that the people would need a third step, too? Ausra: Yes. Vidas: What be the step number three? Ausra: What do you think yourself about the third step? Vidas: Imagine just starting from the beginning. You you're practicing every day, right? In 67 days, you'll have a new habit of practicing. You’ll develop a new habit. You will not want to skip after 67 days. This is scientifically proven that you have to stick with your new skill for 66 or 67 days but then, afterwards, it will become easier and easier. Then, of course, you have goals, right? Ausra: Sure. Vidas: Like Ausra says, short-term and long-term goals and that's, obviously quite enough for starters, right? Ausra: Yes. Vidas: It will set you on the right path. Ausra: In step number three, later on, try new instruments, new organs, because the organ can be a very good teacher and it can tell you how to play actually, how to improve your technique, how to adjust to a certain instrument. Actually, that's a very good way to learn. To try new instruments. Vidas: Yeah. It's like driving a car. The more cars you have tried, the more advanced and more experienced you will become and the easier you will adjust to that car. Ausra: Sure. Vidas: The same is with organ playing. The more organs you have tried, different organs, right? Mechanical, pneumatical, electric, digital organs, anything you encounter, then the easier it will become in real life when you really have to play in public. Ausra: Sure. Vidas: Let's give, Ausra, people a bonus step, okay? Ausra: Okay. Vidas: I think the same applies to music. The more variety of organ repertoire can you learn and practice, the better you will be, right? Ausra: Yes. Vidas: The closer you will be to the ultimate total organist concept. The person who can play any type of organ piece well and can understand how it's constructed and even can recreate its model and improvise based on the model and basically spontaneously create its own music, is invincible. Try out all kinds of repertoires. Ausra: Sure and listen to other people performing. This also will give you an idea of how to play. Vidas: Right, because when you take a new piece, maybe sometimes it's good just to sight-read a new piece, but sometimes you want to be able to listen to the recording of other people's playing, right? Ausra: Sure. Vidas: Do you think that people could also sight-read every day? Is this helpful? Ausra: Yes. This is very helpful. Vidas: Right, like step number five. Ausra: Yes. Vidas: Without sight-reading, you sort of miss something very important. You see, you repeat, repeat, repeat the old material. Maybe learn something new each day, like four measures at a time. Maybe eight measures. Maybe one line depending on the time available, but if you sight-read every day, one piece a day, then it's like reading a new book, right? In one hundred books you will become a completely different person if you read that many. Ausra: So guys, this was Ausra. Vidas: And Vidas and remember ... Ausra: When you practice ... Vidas: ... miracles happen. And send us more questions. Remember, that you can find us at www.organduo.lt. You can subscribe to our blog if you haven't done this already and then you can reply to any of our messages. Okay. Have fun practicing and becoming a better organist.
I can improvise
At sight but ants will still eat Half of my cabbage.
Today's question was posted by Ugochukwu. He wants to learn how to improvise at sight or with some practice.
Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Hi, guys. This is Vidas. Ausra: And Ausra. Vidas: And we're starting Episode 27 of #AskVidasAndAusra Podcast. Today's question was sent by Ugochukwu. He writes, "Hello, Vidas. I want to be able to play and improvise at sight or practice before performance what to improvise. I don't know how to go about it." Basically, Ausra, he wants to be able to improvise, right? Ausra: Yes. Vidas: Either at sight, spontaneously, or practice beforehand and then be able to improvise, as I understand. Ausra: Well, I think to be able to improvise spontaneously doesn't happen very often for beginners. Vidas: But any person can improvise spontaneously, right? Ausra: Well, yes, but the results might not be as you wish them to be. Vidas: Yes, because our ideas, how we hear them in the head, are different from what we can play, right? Ausra: Sure. Vidas: We are fluent, perhaps more fluent with our thoughts than with our playing. Ausra: That's true. In the beginning, I would suggest not to practice what you're going to improvise, not necessarily to know it by heart, but still maybe to have some sort of blueprint. Vidas: Good idea, Ausra. About blueprint. Let's suggest for people to do it in step-by-step system. The first step would be to write everything down, the entire piece, for example. Ausra: Maybe not entire piece. Vidas: That would be later to omit something. Right now, it's very good to exercise writing down things. This way you don't have to think about what to play. Then step two would be to start omitting measures. The second step would be to write down, but not everything. Maybe the soprano line and the bass line. Or the themes only, themes with some contrapoints in it, so that you can improvise a little bit more this way. The next step would be just to write down the theme and add something else, right? Ausra: Yes. Vidas: And what the ultimate step would look like? Ausra: Maybe just write down tonal plan. Vidas: The blueprint, outline, without notes. Ausra: Sure. Vidas: I think that would be possible to achieve. Ausra, do you think that people could benefit from analyzing pieces that they already play? Ausra: Of course. Vidas: And use those pieces as models, right? Ausra: Yes, especially we have to talk about musical form, because what I think some improvisers do wrong, in my opinion, they don't put exact form of musical piece into what we are improvising, and then it just sounds whatever, like no beginning, no end, no culmination. So you need to think about musical form. Vidas: It's an advanced question, but you could think about the form in just one way. The way people understand beginning, middle and end is if you introduce repetitions. Ausra: Sure. Vidas: If you play something new every time, every measure, it's like a dish has all kinds of ingredients, you don't know what it is. It's a mix of all kinds of things, and you can't really discover the ingredients. But if you repeat something, start repeating maybe one, two, three times, maybe not necessarily note-by-note repetition but with variation, your listeners will start to recognize. Ausra: I think for beginners variations is a very good genre to improvise, because you have a theme which repeats all the time, and then you just mix something a little bit. Vidas: When I improvise, for example, free type of composition. I create as I go. It's not based on preexisting material. I still need to think about the form, right? Ausra: Sure. Vidas: Obviously. So the way I do this is I try to remember what I played before, and then I play something new, and then I gradually repeat, introduce the old material also. So you interchange new material into old material, new material and old material. This way you can basically create very long and advanced forms which last 10, 20 or even more minutes. Ausra: Yes, because if you will think about classical forms, it's so common still nowadays, #1 would probably be the sonata form and it has all those repetitions, firm repetitions. Vidas: Sonata form has to have at least two themes. But most of the time it has four, right? Ausra: Yes. Vidas: If we count those additional secondary themes, like closing theme and the theme which connects the main theme and the secondary theme. They all have to be repeated in one way or another. Ausra: Of course, for beginner improviser this form would be definitely too complex, too difficult. So what you could do is you could just improvise an ABA form, just do eight bars A section, then middle section B, also eight bars, and then ending section eight bars. It could be an exact repetition of the A section, but it could be a little bit different. Vidas: Right. That's all you need to play for the entire prelude, before the service, usually, or interlude, a nice 24 measure interlude. Ausra: Yes. Vidas: That's what we call verset, right? Ausra: Sure. Vidas: In reality, it's a ternary exposition. There is binary exposition, also, which only has 16 measures, about 16 measures, where you have one idea and then you have another idea, but the binary exposition can have a recapitulation, too, like one phrase, one sentence taking from theme A, and that completes the introduction exposition. Ausra, do you think this is useful for people? Ausra: I hope so. Vidas: They could try this and practice, right? Ausra: Yes, and tell us how it's went. Vidas: Yes, give us your feedback. We are giving you all kinds of advice and ideas to try and practice, but they might work for us but they might not work for you. So please try them and practice them and let us know how it went. Ausra: Sure. Vidas: And send us more questions. The best way to connect with us is, of course, through email at www.organduo.lt. You can subscribe to our blog, and then you reply to any of our messages. Okay. Don't forget that right now we have a 30-day free trial of Total Organist program. If you want to advance, let's say, in improvisation, we have quite a few programs there, and you can take advantage for entire month. Try them out. If you like them, keep them. If you don't like, then cancel. It doesn't matter. The most important thing is that you really do something with this information and apply it in practice. People who do that say that it really helps. Okay. This was Vidas … Ausra: And Ausra. Vidas: Remember, when you practice ... Ausra: Miracles happen. #AskVidasAndAusra 26 - What to do with the pedals in songs that don't have pedals like most hymns?7/15/2017
Adding pedal part
To songs comes easier, if You'll have strawberries.
Today's question was posted by Ugochukwu. Here's what he writes:
Currently I play on keyboard, I was privileged to play an electronic pipe organ during my undergraduate days, then I only played the manuals (3), not knowing exactly what to do with the pedals. I sometimes try to play the pedal during "unserious" music like Benediction, Amen and Doxology with left foot. I want to know what to do with the pedals, in songs that don't have pedals like most hymns. Listen to the full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Let's start Episode 26 of #AskVidasAndAusra Podcast. Today's question was sent by Ugochukwu, and here is what he writes. "Currently, I play on the keyboard. I was privileged to play an electronic pipe organ during my undergraduate days, then I only played the manuals, three manuals, not knowing exactly what to do with the pedals. I sometimes try to play the pedal during "unserious" music, like Benediction, Amen and Doxology with the left foot. So I want to know what to do with the pedals, in songs that don't have pedals like most hymns.” Okay, so basically Ausra, as I understand, Ugochukwu deals with him playing, right? Ausra: Yes. Vidas: But sometimes he is struggling with adding pedal part. Ausra: Yes. Vidas: Well, this should be simple, because if you play from four-part harmony, you could play the bass line. Ausra: Sure, if you're doing that, but I don't know what his hymnal looks like. Vidas: Maybe just one line. Ausra: And a guitar based chord progression with signs. Vidas: A lot of hymn notes do that. In this case, Ausra, What's the best way to think about adding the bass part from having just the soprano line. Ausra: Then you will have to know how to harmonize. And maybe to write down for yourself a bass line and to play it with the pedal. Vidas: Like on a separate music sheet notation, you add two voices, soprano voice and in the bass clef you add the pedal part. Ausra: Or you could harmonize in four voices, as it’s common. Vidas: How many notes do you absolutely need to have for the bare minimum in the bass? Ausra: 3, I would say. Vidas: 2 or 3? Ausra: Probably 3. Vidas: 3 better than 2, right? Ausra: Yes. Vidas: Because when we think about 2 then it would be tonic and the dominant. Ausra: But for hymns, you definitely would have to add a sub-dominant. Vidas: So 1st scale degree for the tonic, sub-dominant would be 4th scale degree. Ausra: And dominant would be 5th scale degree. Vidas: And then of course in the right hand you would play the soprano part. What would the left hand do? Ausra: Well, if you're harmonizing for four voices when you will have to add alto-voice to the soprano voice in the right hand, and you would play tenor voice with your left hand. Vidas: That's a little bit advanced technique, right? Ausra: Yes, it is. Well, what could you do? If you are just a beginner, you could harmonize everything in a closed position so that you could play 3 top voices, soprano, alto and tenor with your right hand, and then you would just have to play bass with the pedal. This would be very easy. Vidas: For example, in C major chord you would play C with your pedal- Ausra: Yes. Vidas: -In the bass line. And then E, G, and C with your right hand. Ausra: Sure. Vidas: Left hand would be silent. Ausra: Yes. Vidas: For now. Ausra: Yes. Because in a closed position, it's very comfortable to play 3 voices with one hand. Vidas: It's like basso continuo notation. Ausra: Sure. Vidas: Then your actually left hand is free to add any type of variations, figurations, even solo part in a separate manual if you know what you're doing. So guys, try like this if you need to add an extra pedal line in your hymns and you don't know what to play, if your hymn notes are not in 4-part notations. That might be an easy way out. Ausra: Sure. Vidas: Okay guys, so please send us your questions. We would really like to help you grow as an organist, and remember to practice today, right? Will you be practicing today, Ausra? Ausra: Sure, I will. Vidas: What will you play today? Ausra: Sonatas by Franz Seydelmann. Vidas: Oh, with me? Ausra: Sure. Vidas: For four hands, it’s fun, but it's not very simple, actually, we play a lot of these sonatas but today we're practicing for our upcoming recital in Stockholm, a German church where the organ is a reconstruction of the 17th century instrument and it has short octave and split semitones and basically very antique looking keyboard. So a lot of our repertoire will fit nicely. But Seydelmann’s sonatas were not created for this type of instrument specifically. It was Mozart's time, not 17th century. So what we did- Ausra: We have to adjust a little bit. Vidas: What did you do for the treble range sitting on the right side of the bench? Ausra: Well, I have to play some things an octave lower. Vidas: Because the range of this keyboard is until C. Ausra: And I have D in many places, so I have to rearrange it. But I think it will work nicely. Vidas: And I circled some bass notes, which also have to be readjusted because of the short octave in the bass, right? And those additional accidentals in the bass. So there are C, D, E and there are no C sharp and D sharp in the bass octave, you have to adjust this in my part too. So that's what we’re working on today. And this will be fun. Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember when you practice ... Ausra: ... Miracles happen.
Picking red currants
From wet branches helps you with Playing with your feet.
Today's question was posted by Ugochukwu. He wants to know how to improvise with organ pedals.
Listen to the full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Hi guys, this is Vidas … Ausra: And Ausra. Vidas: And let's start part 25 of our #AskVidasAndAusra podcast. Today's question was sent by Ugochukwu, and he wants to know how to improvise with pedals. Well, that's an interesting question Ausra, right? Ausra: Yes. Vidas: Do we usually improvise with pedals? How do you think, does he think you should improvise on solo pedals or in addition to manuals? Ausra: I think he means in addition to manuals, and if I would have to improvise and use the pedal, I would probably just do most of the time, pedal point. Vidas: For starters … Ausra: Yes, for starters, either on the dominant or the tonic. Vidas: Or subdominant? Ausra: Subdominant, yes, but it's less useful. Vidas: Two long sustained notes in the pedal. Ausra: Tonic and dominant. Vidas: First scale degree of the scale or the fifth scale degree. Ausra: But because you are an expert in this field so maybe you could explore a little bit more? Vidas: So, I think you could imagine that it's okay to be very simple at the beginning. As Ausra says, two notes total, maybe three notes if you need variety. And if you think about it, if you know tonic subdominant and the dominant chords, you can do a lot. You can even improvise, you can harmonize most of the tunes you find in any hymnal. So, the same thing applies in pedal improvisation, you could be very simple with this. If you want to be more advanced, you could play a tune in your pedals. That would be like a nice variety. Ausra: That's a good suggestion, I think. Vidas: What would hands be doing at that moment, Ausra, what do you think? Ausra: Probably playing fast notes, fast note motion. You could do like toccata, in your hands play sixteenth notes, and then slower notes in the pedal with the melody. Vidas: Or you can reverse, you could play faster notes with the pedal, not really fast, but quarter notes, like a tune, a hymn tune, but placed in the feet, and then your hands could be quite slow then. Accompaniment feature of exchanging a couple of times per measure. Ausra: Sure. Vidas: Maybe one voice in each hand. If you don't know any tonal harmony, there are some model techniques you could use. You could just check what kind of mode this tune is in, and play only in your hands, the notes of the mode. No accidentals, no additional sharps or flats. That means, that anything you play with your hands, will sound well with the pedals. Ausra: Yes, if it's only white notes, you cannot miss them. Vidas: So, Ausra do you think that people should always improvise with pedals? Or not necessarily? Ausra: Well, not necessarily, but if they are good, and they have advanced organ technique, then why not? It depends on your level. Vidas: And also, you need variety because when you look at any organ composition, you always see some measures, some episodes where pedals are not playing, resting. Not only you need to rest your feet, that's one thing, but you also need to think about the lowest voice, the pedal voice, the bass. Let's say, it’s as the double-bass part in the orchestra. Ausra: Sure. Vidas: They not always play, sometimes they do double the cello part, usually they do, but sometimes even the cellos are silent. Ausra: Yes. Vidas: And the higher instruments are playing, and that's because on the organ, always add 16’ in the bass, playing one of the lower sounds, you feel this sort of gravity. This is very nice. Ausra: Yes, that's right. Vidas: But it might be too much if you do this all the time, right? Ausra: Yes. Vidas: So you need to rest. Ausra: Another probably helpful idea would be to improvise a chaconne or passacaglia. Then you could have the same melody over and over again in the pedal and just add new stuff in the manual. This would make life easier too. What do think with this? Vidas: Those passacaglias or chaconnes are extremely helpful in improvisation because your theme is set, you don't have to think about it. Ausra: Sure. Vidas: Four or eight measures are already set in advance, you just play and repeat them. Well, you could transpose them, right? To have more variety. Let's say, eight variations, or four variations, in the tonic. Then, let's say, eight or four variations in the dominant, and then coming back to the tonic, that's fine. Or relative minor, or subdominant, or any other related key works well. But you see, it's still set, you don't have to improvise really with the feet. What you need to do then, you have configurations of the manuals. Ausra: Sure. Vidas: Keeping the same harmonies probably. Ausra: But of course if you are advanced in pedal technique, you could add probably even pedal solo, that would be very impressive during your improvisation. Vidas: Pedal solo, what do yo mean? Oh, simple solo line where the hands are not playing? Ausra: Yes, exactly. Vidas: An example would be the F major toccata by Bach. Ausra: Well, yes, and C major toccata. Vidas: Those episodes for virtuoso pedal part. That's nice. Ausra: Or even like Buxtehude’s that famous preludium in C major the opening is pedal solo. Vidas: Or Bohm’s C major. Ausra: Sure. Vidas: That was really very often seen feature in North German Baroque music, solo pedal lines, to establish the key, and to either to end in the tonic, or to go to the dominant, to modulate and then start in another key, with the hands. So, that's a nice idea, Ausra. Ausra: Thank you. Vidas: So guys, we hope that this has been helpful to you. Ausra: Yes. Vidas: And please send more of your questions to us, we love helping you grow. And remember, when you practice ... Ausra: Miracles happen. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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