Why is it so hard to learn a correct organ technique for some people? It's not rocket science. It's not like you have to measure your finger movements to a hundredth part of a millimeter and if you're off just a little bit, the sound of your piece will blow off the windows of the church.
And then your priest has to call the team of window repair men and he would apologize to them saying, "I'm so sorry guys to call you on such a short notice again. It's the third time my organist miscalculated his finger movements." And the window repair man would reply, "Oh, no problem, there's a new model of windows on the market now. It's organist-proof. It's easier to replace some windows than an organist!"
Today's question was sent by Mouton, our Total Organist student, in response of AskVidasAndAusra 5 - Is It Possible To Learn To Play The Organ When You Are 56 Years Old?
Here's what he writes: Hi Guys - This made me think. I am 54 years old and only had some basic piano lessons for about 1 year when I was 10. I always had a great passion for pipe organ music but never had chance to do anything about it due to availability/access and above all - focusing on my work as an engineer. In 2012 I discovered Hauptwerk and experimented a bit with the technical side. I managed to build up a workable setup with a four manual console and pedals I built myself in 2013 (the engineering side took over). I started playing completely by ear and watching youtube videos of dutch organists. (I am South African, and we have a Dutch Reformed culture) I also stumbled across your material 2 years ago and subscribed/taking down a lot of your courses - but time was always the issue. I have now decided that I need to focus on this passion of mine in earnest, having created a personal instrument (with 12 different organs loaded) available to me at any time of day or night. So am starting this week with the basics - I can play by ear, have the basic knowledge of chords and the like..but am concerned that this is taking me on the wrong path. I also started singing in the cantory as well as a 400 strong mass choir performing quarterly here in Pretoria to help me get into the swing of things.. My personal challenge is to sight-read and learn the correct technique. So by the age of 60 - I want to be able to lead congregations - a whole new world for me in the next 30 years!!! Here is a pic of my setup… [see above] Keep up the great work of motivation. Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Hello, guys, this is Vidas. Ausra: And Ausra. Vidas: And today is episode 14 of #AskVidasAndAusra Podcast. Today's question was sent by Mouton, our total organist student in response of the 5h episode of #AskVidasAndAusra Podcast. Is it possible to learn to play the organ when you are 56 years old? Remember this episode that we talked about, basically, approaching senior age and we gave advice. Of course, we were enthusiastic about it, and we think that age is not the limit. Motivation is the limit. Your belief is the limit. Ausra what do you think? Should people be afraid to learn the organ when you are at an older age? Ausra: I don't think so. I don't think you have to be afraid. Vidas: It comes slower but still, you can make progress. So here is this question by Mouton. “Hi, guys this made me think. I am 54 years old and only had some basic piano lessons for about one year and when I was 10.” A big gap. “I always had a great passion for pipe organ music but never had the chance to do anything about it due to availability and access and above all focusing on my work as an engineer. In 2012, I discovered Hauptwerk, and experimented a bit with the technical side. I managed to build up a workable set up a four manual console and pedals I built myself in 2013. Because the engineering side took over. I started playing completely by ear and watching YouTube videos of Dutch organists because I'm South African and we have a Dutch reformed culture there. I also stumbled across your materials two years ago and subscribed and downloaded a lot of your courses but time was always the issue. I have now decided that I need to focus on this passion of mine in earnest in having created a person instrument with 12 different organs loaded available to me at any time of day or night. So I'm starting this week with the basics. I can play by air, I have the basic knowledge, of course, and alike. But I am concerned that this is taking me on the wrong path. I also started singing in the cantory as well as a 400 strong mass choir performing quarterly here in Pretoria to help me get into the swing of things. My personal challenge is to sight-read and learn the correct technique. So by the age of 60, I want to be able to lead congregations. A whole new world for me in the next 30 years. Here is a picture of my setup, and keep up with the great work of motivation.” Look, he has four manuals built into it. Ausra: Yeah, that's amazing. Vidas: In his home Hauptwerk on his laptop system. Wonderful and pedalboard; a lot of switches, a lot of pedals. It looks very comprehensive, right? Ausra: Yes, that's amazing. Vidas: Make sure you look at the photo which is a illustration of this post as well. This is really extremely impressive if he built this himself as an engineer. Wonderful. So Mouton’s question is, of course, how to learn the correct technique, right? It's a broad question. Ausra: Yeah, it is. It's a very broad question but- Vidas: What would you suggest for him for starting? Ausra: What I understood from what he is doing that he is playing a lot from his ear. And well I don't think this is the best way to do it. If you want to become a professional organist, you have to read music. You have to do it. At the beginning, maybe result will not be as fast as it would be with playing by air. But after a while definitely, you will start to make much faster progress because like in our Unda Maris studio we have actually on student who actually mostly improvises and for two years now and he refuses to learn music and he is not making a progress at all in my opinion. Vidas: In my view, to improvise is wonderful. Improvisation frees you up and it extremely valuable. But we should never neglect reading the notes and the earlier we do this, the earlier we learn to at least treble clefs and the bass clef, the easier it will get later on. Ausra: Yes, and here’s another thing about correct technique. When I started to play organ, I started to play organ after playing for like piano from the age of five. So that's a pretty early age to play and I started to learn organ when I was 17. So I had pretty good piano technique, and for me, for example, the early music technique was very hard to comprehend and to learn. But when I found out later that for people who haven't played much and did not have good piano technique actually that early technique of early repertoire is actually easier to manage. For Mouton, I will suggest maybe to work on the early technique first and then to go to the modern technique. Vidas: Because it's a lot of difference. You have to learn legato for later technique and articulate legato for early music, right? Ausra: Yes, because for the Baroque music basically, you don't have to play legato so you don't use like finger substitution which is much easier for a beginner, and for pedaling, you don't use your heel, only toes. Vidas: Mostly mostly. Ausra: Mostly toes so it's also easier for a beginner. I would think so. Vidas: Alternate toes is very simple basically. Ausra: And you know for a beginner, we have to choose pieces to know that we have so much pedaling maybe not pedal at all for a while and then add music where only few pedals like pedal points like some Italian music like Zipoli. So that should be a good way to start, and I would suggest that you would do like practicing schedule, what would you want to do every day? How much time, for example, you will be sight-reading and how time you will spend on like exercises; manual exercises, pedal exercises and then how much time you will spend on learning repertoire? Vidas: And maybe playing hymns too. Ausra: Yeah sure definitely. Hymns are very good way to learn to play organ. Vidas: Maybe playing some cadences and chord progressions, sequences, later on modulations. because it will maybe set you on the path to improvisation as well. Good advice Ausra, I think people can benefit from this. Not only people like Mouton but a lot of subscribers are basically wondering the same thing, the same question, what is the correct technique? And they can do things by ear, and this gives them the most pleasure right now. But they cannot really challenge themselves too much because it's difficult and start learning the notes from sheet music because it's like foreign language, for example, right? Ausra: Yes. Vidas: But you have to persevere, I think. It's a must. If you're serious enough. If you want to do this at least for five years or 10 years or 15 years or 20. Basically, it's a lifetime pursuit of perfection, so why not start right way the correct way? Because later on you will have to correct things, and it's always easier to learn the right way at the beginning. Ausra: It's like when you learn a new piece of music if you learned it in wrong way, it's much easier to learn the new piece when you know how to correct that old one. Vidas: So, guys, I hope you will start practicing the right way starting today, and if you want more advice and inspiration, of course, subscribe to our blog at www.organduo.lt where you will you also get our free 10-day mini-course on learning to play and mastering any organ composition. So we teach you the basics there in 10 days at www.organduo.lt. And, of course, send your questions to us. That's fun, right? Ausra: Yes. It is. Vidas: Answering questions. Ausra: It is. Vidas: Good questions. Ausra: It's very interesting because it makes you to think about things. Vidas: It's very practical. People are struggling. And this advice might really set them on the right efficient practice schedule perhaps and hopefully, help them solve their problems. Ausra: Yes, and it gives actually a lot to us as well. I think we benefit from this too very much. Vidas: Yeah, because we have to think about it and whenever we give somebody advice, we have to keep this advice to yourself as well to apply in our practice. Ausra: Just to be honest with ourselves. Vidas: Well, sometimes advice might be understood in several levels. In beginners level maybe is different and in advance level is another story how you practice. So keep in mind this because of your own current situation too. Wonderful. So send guys your questions to us we will be glad to try to answer. We won't promise we know everything but we'll try. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember when you practice... Ausra: Miracles happen.
Comments
Today's question was posted by Sandra, our Total Organist student. She writes:
"Thank you so much for the wonderful first podcast about keeping a steady tempo! It was wonderful! I enjoyed the walk in the woods with you and loved hearing your beautiful voices and the birds singing. Also, to count out loud in a loud voice was wonderful advice and I am using it with my bell choir (who object to it more loudly than they will count out loud haha!) but I will tell them about your podcast! Again, MANY THANKS!!!!!" The head pastor told me he thinks I "perform" rather than simply "present" the accompaniments to the hymns. What should I do? " Listen to our full answer at #AskVidasAndAusra If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. TRANSCRIPT Vidas: Hello, guys. This is Vidas … Ausra: And Ausra. Vidas: We're starting our #AskVidasAndAusra Podcast 13. Today's question was posted by Sandra, our Total Organist student. She writes, "Thank you so much for the wonderful first podcast about keeping a steady tempo. It was wonderful. I enjoyed the walk in the woods with you, and loved hearing your beautiful voices and the birds singing. Also, to count out loud in a loud voice was wonderful advice, and I am using it with my bell choir, who object to it more loudly than they will count out loud. But I will tell them about your podcast. Again, many thanks. The question is this. The head pastor told me he thinks I perform rather than simply present the accompaniments to the hymns. Perform or present?" What's the difference, Ausra? What do you think this pastor means? Ausra: Well, maybe by the word perform he means Sandra exhibits herself, and maybe he wants her to just simply accompany and don't add anything. But I would say don't be afraid of performing. If you would just have to present hymns, we could use the recorder to play it. But because you are a living musician, they have to learn to appreciate you. Vidas: Because you are an organist and human being, basically an artist, and artists usually do the things differently every time. As Ausra is saying, playing it simpler, just presenting, not always is a good idea. If you can do this in more advanced fashion, it's always better. Of course, there are some caveats, some disadvantages, because then you might look like concertizing to the congregation sometimes, who are not inclined to not listen to concerts, who want to pray, for example. Ausra: Yes. Vidas: Did you yourself, Ausra, ever have received such a comment, feedback, about your playing of hymns, for example? Ausra: Not exactly in the same way as Sandra said, but, yes, I had that thing, especially when I was working at the Lutheran church in United States. I felt that pastor sometimes is unhappy. I think he felt a little bit envious to the organ, because it was such a crucial part of the liturgy, and I was sort of stealing attention from the altar. But I think that's the way it should be. Vidas: You alternate attention. Ausra: Yes, I alternate attention with the pastor. Vidas: Yeah. Sometimes in Catholic churches, they especially dislike organists who can do more than asked, more than the bare minimal, just playing the hymns four-part harmony and using two or three cords, that's it. That's what they need, usually. But if you add the fourth cord or the fifth cord, oh, that's the concert, that's too much, you're showing off. Ausra: I think if you want to serve in church and to do good things for congregation and for God, so you need to do your best. Vidas: You present the best of your abilities to the congregation, to the Transcendent, to everything. You give your best, as you say, right? Ausra: Yes. Vidas: That's important. What would your skill be and artistic ability be if you only give just mediocre work, and if everybody around you knew you could do maybe five times better? Of course, you would be unhappy with yourself, if you just went through the motions, right? Ausra: Yes. I think you need to talk, probably, more with your clergy and to explain your point of view. Vidas: To connect, basically? Ausra: Yes. Vidas: Communicate in a diplomatic, of course, fashion. Ausra: Sure. Vidas: Because they have their own point of view, right? Ausra: Yes. Vidas: Which we not always understand. It's the liturgical and theological point of view, which church musicians aren't always even aware of. So if you could speak their language, in theological terms, then you will obviously find some common ground. Ausra: Sure. Vidas: Guys, I hope this advice was useful for you. Send us more questions, of course, either by email or use hashtag #AskVidasAndAusra and in the comments. Also, please subscribe to our blog at www.organduo.lt, because you will also get 10-day mini-course, which is free for this initial period. You will get 10 lessons on how to master any organ composition. This is extremely rare advice that we are giving, and the feedback was wonderful so far from people who already applied it in practice. Okay. This was Vidas … Ausra: And Ausra. Vidas: And remember, when you practice ... Ausra: Miracles happen.
Today's question was posted by Sandra, our Total Organist student. She's wandering if she can modulate from one key to another for the last verse of some hymns. Is this an acceptable practice?
Listen to the full answer at #AskVidasAndAusra If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts here) TRANSCRIPT Vidas: Hello, guys. This is Vidas ... Ausra: And Ausra. Vidas: We are starting the 12th episode of #AskVidasAndAusra Podcast. Today's question was sent by Sandra. She wants to know, "Is it okay to change the key in some of the last verses in some hymns." Basically, can you modulate, can you change the key? What do you think, Ausra? Would that be okay? Ausra: You could do that, but maybe not too often, maybe just on special occasion, but if you do it to every hymn, then each of the hymn will sound like pop music, because if you listen to pop songs, that's what they do, in the last verse, they just go a step higher. You can do that, time after time, but maybe not very often. Vidas: On special occasions, like festivities, right? Ausra: Sure. Vidas: When the hymn tune probably is well-known. Ausra: Yes. Vidas: Let's say, in Resurrection, "Jesus Christ is Risen Today", for example, and of course everybody knows the hymn very well, and the organist could play then the last verse maybe a whole step or a half step higher. What would you prefer? Half step or a whole step higher? Ausra: I would prefer a whole step, actually, higher. Vidas: Could you explain to our listeners why? Ausra: It sounds much better that way. If you go only half a step, it will give you sort of sense of chromatic scale that wouldn't sound so well. Vidas: Because let's say the original key is C major, and then you go to C sharp major. Ausra: It's not so good. Vidas: Right. Ausra: But from C major to D major, that's better. Vidas: Right. Because C major and D major are more closely related, right? They have more common notes than C sharp major and C major. Ausra: Sure. Yeah, more common notes. Vidas: What about the idea of having a modulating interlude between those two verses? Ausra: Well, you could actually do that, but usually these kinds of modulations by whole step just go pretty straight forward without any actual intermediary episode. Vidas: Some of the hymn settings, in some of the solemn occasions, they have those instrumental interludes, like brass would play and modulate, right? Or the organ. Ausra: If it's a hymn festival, then definitely you could do that. Vidas: But we are talking about the special occasion, not every Sunday? Ausra: Sure. Yes. Even it depends on what kind of hymn you have, because if it's an ancient hymn written in Dorian or Phrygian mode and you do this kind of modulation, I think it would sound too foreign. So it really depends on the music. Vidas: Yeah. Modulation has to be organic. What kind of modulation would you use if you go from C major to D major, let's say? Ausra: If you are doing interlude, maybe you could go to a key that is related to C-major and D-major, and then apply middle key. Vidas: Intermediate key? Ausra: Yes, intermediate key. That's right. Vidas: What would that key be? A minor, maybe? Ausra: I would probably go maybe to G major. Vidas: G major, right? Ausra: Yes. That would be easy way to do. Vidas: I see, because G major is just one sharp apart from both C major and D major. Ausra: Sure. Yes. Vidas: Right. Ausra: G major is a dominant of C major and it's a subdominant of D major, so it should work fairly well. Vidas: Right. What if you went from C major to D minor and then to D major? Would that be okay? Ausra: That's also a possibility. Vidas: You can just switch modes, then? Ausra: Sure, yes. Vidas: Okay. What about from C major to C sharp major? With harmonic modulation probably? Ausra: Yes. You should have harmonic modulation maybe through dominant seventh chord or diminished seventh chord. Vidas: Right. So you play a dominant seventh chord in one of the keys, which is related to C major, right? Ausra: Yes. Vidas: But the bottom note should be the lower sixth scale degree of C sharp major, right? Ausra: That's right, yes. Vidas: So you play A natural in the bass, right? Ausra: Yes. Vidas: Then you probably would need to play dominant seventh chord to D minor, right? A C sharp E G? Ausra: You have to change it harmonically and it will lead to you to the cadence of a new key. Vidas: You see, guys, how advanced this stuff can be, if you are using different and very distant keys like C major and C sharp major, and C sharp minor, too, by the way. Ausra: Yes. Vidas: It's a possibility, if you want to modulate a half step apart. This way, your modulation could be quite natural and colorful, too. Ausra, what are you practicing today? Ausra: I am working on the Mendelssohn Variations in D Major, and I continue learning Piece d'Orgue by Bach. Vidas: How is that going for you? Ausra: Actually, well. I think already launching over the manual part since I don't have pedals right now. Vidas: You are playing on the piano, right? Ausra: Yes. Vidas: Are you imagining the pedalboard and playing on the floor? Ausra: Not yet, but I will do that, eventually. Yes. Vidas: Sort of pretend that you do have a pedalboard and imagine you do pedalboard? Ausra: Yes. Vidas: That's good. I think the motor motion of the muscles are very important to get used to. Then when you have the chance to play the real organ, your feet will pick up very easily. Ausra: Sure. Vidas: Right. I'm sitting in the middle of the graduation ceremonies here in my church, and Ausra is in our summer cottage. We are talking on the phone now, and I am now practicing the long choral fantasia by Dietrich Buxtehude, “Nun freut euch, lieber Christen g’mein”. I'm kind of getting better with this piece, although it's a long piece and has a lot of echo passages. I think it's getting there. Wonderful, Ausra. You are spending your vacation very creatively. Ausra: Yes, I hope so. Vidas: Yeah. Guys, I hope this answer was useful for you. If you want to ask more questions, please send us either by email or write in comments. Any way is fine. Ausra, would they benefit from subscribing to our daily blog? Ausra: Sure. I think so. Vidas: That's the best way to contact us, right? Ausra: Yes, it is. Vidas: When they enter their email address and first name at www.organduo.lt, they become subscribers, and our post gets delivered automatically to them. Then they can reply and ask us questions even more, right? Ausra: Yes. Vidas: We'll be glad to answer. Wonderful. This was Vidas ... Ausra: And Ausra. Vidas: Remember, when you practice ... Ausra: Miracles happen.
Today's question was posted by Sandra, our Total Organist student. She's wandering if you always have to play an entire verse when you introduce the hymn to the congregation.
Listen to the full answer at #AskVidasAndAusra If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. TRANSCRIPT Vidas: Hello, guys. This is Vidas. Ausra: And Ausra. Vidas: And we're starting episode 11 of #AskVidasAndAusra podcast. And today's question was sent by Sandra. And she asks about playing the introduction of the hymns. So, she writes, "Do you always play a whole verse for the introduction of hymns?" Interesting question, right, Ausra? Ausra: Oh, yes, it is an interesting question. Vidas: How would you do this yourself, personally? Ausra: Well, actually, I probably have never had to play an entire hymn as an introduction because I believe that introduction must be something short and what I often did was that I often played last line of the hymn or sometimes even just a phrase. And just to play a long introduction I would suggest, if you know, if you have a composition based on that hymn tune, then you could play it all and then it would be a longer introduction, maybe for some special occasion. But for a regular service, I think you have to think what is the purpose of your introduction is, and basically its real purpose is just to give congregation the tune so it can start on the right pitch. And for that reason, intro can be only like four bars long. Maybe even two bars long. Maybe two is too short, but one line of the hymn should be plenty. What do you think about it, Vidas? Vidas: You know, what I would do, I would probably play eight measures of introduction because eight measures is usually one complete musical idea. And probably, four measures is also okay if the hymn is very, very familiar. You could play the first four measures or the last four measures, right. But you could also make it into a complete musical idea by creating a period. The smallest musical form. Ausra: Sure. Vidas: Basically, you take four measure phrase, let's say the opening of the hymn- Ausra: Yes. Vidas: And then maybe create a similar phrase, but with different ending, with different cadence, ending maybe on the dominant key, because right? We need to propel the motion forward, and if we end on the tonic, it's not something to continue, it's like an ending. But we want like a question, right? So, dominant would be a good way to end. What do you think about this? Ausra: Well, but I'm sure that the congregation will start on the right tune if you end your intro on a dominant, I wouldn't be so sure. Vidas: Why doesn't Sandra try both versions, right? Ending on the tonic and ending on the dominant and see which one is more appropriate and more understandable to people. Ausra: From my experience, the last line of the hymn is the most appropriate for an intro. Vidas: The last, right? Ausra: Yes. Ends on the tonic. Vidas: Oh, we could do a sort of in-between version. Take a first line of the hymn and the last line of the hymn. Ausra: Yes, that works too. I have done such many times too. Vidas: That's understandable. Ausra: So, you can do both ways. But of course, you don't leave the whole hymn as an introduction. It might sound boring. Vidas: So, what about if the tune is very unfamiliar, new, completely new? Ausra: Well, then yes, then you can do it, you know, for a teaching purpose for the congregation to get more familiar with the tune, yes then it would be a great idea. But no, most of the hymns, they just sang them for generations over and over again, and they are well known. So, don’t play those familiar hymns throughout as an introduction. Vidas: Right. Ausra: Because some of them are already very long, and have a few versions and if you add one more at the very beginning it will just last forever. Vidas: Right. And save entire verse of the hymn for special occasions, right? Maybe for a solemn occasions- Ausra: Sure. Vidas: Festivities. Just like Orgelbüchlein, right? Chorale preludes were created maybe like introductions for the hymns in mind, in addition to teaching students to play the organ with pedal obbligato and also composition, right? How to compose and improvise the chorale harmonizations and preludes like this, but yes, they, for our times, are probably too long in most cases, right? Ausra: Yes. Vidas: But, on special occasions, Easter, Christmas, they might work, I think. Ausra: And of course for new hymns you've never heard before. Vidas: Good. So, I think people can get those ideas and try them in practice, don't you think? Next Sunday. Ausra: Sure. Vidas: And I think people could send more questions to us, right? Ausra: Yes. Vidas: And which way would you prefer? Email or comment as a post? Ausra: I would prefer probably an email. Vidas: Email, right? But if they want to just comment on the post that would be fine too, right? Ausra: Yes, that's OK. Both ways are fine, actually. Vidas: Yeah, we will find them. And you could also add a hashtag, right? #AskVidasAndAusra and we will definitely know that you are intending this question for our podcast. Wonderful. So, Ausra, do you think people could benefit from subscribing to our daily newsletter and updates of this blog at organduo.lt? Ausra: Yes, I'm sure they can find various ideas for their organ playing or how to improve it. Vidas: That's actually the best way to stay in touch with us, right? Ausra: Sure. Vidas: Because they will get the daily dose of organ playing inspiration and advice and they can really reply to an email and ask questions. And that would be the easiest way. Right? Ausra: Sure. Vidas: Wonderful, guys. This was Vidas. Ausra: And Ausra. Vidas: And remember, "When you practice-" Ausra: "Miracles happen."
Today's question was posted by Sandra, our Total Organist student and she asks if all verses of the hymn must be played at the same tempo.
Listen to the full answer at #AskVidasAndAusra
Welcome to Oksana, who is starting her free trial of Total Organist! When you login with your email and password to the Total Organist member area, you will see all the trainings listed. Click on any of them to get started.
Congratulations to Robert who has downloaded "The Jig" Fugue in G Major, BWV 577 by J.S. Bach! Complete fingering and pedaling provided will set him straight on the road to success in learning this masterpiece. Let me know next week or sooner how your practice goes. What's the most pressing challenge to you right now and what would you like to achieve in the next 3 to 6 months in organ playing? Please send us your questions. And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts here) TRANSCRIPT Vidas: Hello guys, this is Vidas. Ausra: And Ausra. Vidas: Welcome to #AskVidasAndAusra podcast, number 9. Today's question is posted by Sandra, and she asks whether all the verses of the hymns have to be played at the same tempo. Basically, can you play a verse or two in a different tempo, like slower or faster. What do you think Ausra? Ausra: You know, I would play it all in the same tempo. Vidas: Why? Ausra: I think that's the way it should be. Vidas: Do you think that congregation would be confused if you changed the tempos? Ausra: Yes. And I see why she would want to do it, in order to change tempo. Maybe because of the text. But still, I think you have to keep everything tempo. Vidas: Remember when we were studying, let's say choir conducting, right? Ausra: Yes. Vidas: In the early days, sometimes we would conduct maybe folk songs. Harmonized folk songs. Lithuanian harmonized folk songs, and they would have like several verses. Like three, four, or five verses. And I remember, and I don't know if you had the same experience. My teacher once told that, "Well you could conduct one particular verse slower". Did you do that with your teacher? Ausra: No, I didn't do it, but I remember, let's say when going from loud verse to a soft verse. Sometimes I would slow down myself. But when I remember what my teacher would tell me, that it's wrong way to do it, because piano doesn't mean that it should be slower. Vidas: Yeah, that's probably the most appropriate thing, unless ... Here is the exception. I think in Sandra's case could apply to the situation. I think the congregation should remain silent during this particular verse. For example, if Sandra would play an interlude. Interlude between the two different verses, and this interlude would be in minor key. You could change the key of the mode, right? The mode from major to minor when you play interludes. Do you think that in this situation, the tempo might be slower? Ausra: We're still keeping though to my opinion that you need to keep a steady tempo during hymn, because it's based on the congregation singing, and I think you need to keep the same tempo. That's my opinion. Vidas: But you know why I'm telling this, it’s because you know they have, sometimes, in the Baroque times those Chorale Partitas and some of the verses of the partitas, some of the variation, like by Johann Pachelbel, for example, or Brahms. Some of them are in minor key and they have chromatic movements downward, for example, or upwards sometimes. Ausra: But still, I think we have to keep the same tempo. At the beginning you have to take tempo which will be steady throughout the piece in all the variations. That's my opinion. Vidas: What about if the meter changes? Ausra: Well that's an interesting question. Vidas: Meter changes and then the verse also has in a different mode. Ausra: You know, I think you could write a doctoral dissertation about this topic, like meter changing and keeping tempo. Vidas: So all of these are very advanced situations, right? Very unlikely that anybody will try, right? Chromatic variation in the middle of the congregational singing. Changing the mode, and then maybe changing the meter. Ausra: And you know JS Bach got fired because of his accompanying congregational singing, doing probably too many interludes between verses. So be careful, you know. Vidas: Right. Not all the pastors want and like artistically interesting performances. Ausra: Sure. Vidas: Mm-hmm (affirmative). Well we will talk about that in a later episode. What does it mean to perform, and what does it mean to simply present a hymn. That's for another day I think. Okay, so guys I hope that this was useful to you. If you want to send us your questions, Ausra, how should they post it? Should they use hashtag? Ausra: Maybe not necessarily. Vidas: You could just simply send an email to us, right? I think we will find it. It's not like we will get a million emails a day. A little less I think. Ausra: Sure, definitely. Yes. Less than a million. Vidas: So far. Good. So send us your emails, or just comments. If you want you can use hashtag. It's easier to organize this way. And if you want more advice, if people want more advice and inspiration, where should they go Ausra? Ausra: Just to visit our website. Vidas: www.organduo.lt. And you could subscribe to get daily doze of organ playing inspiration, and practical advice. And you can get notified anytime we post new advice and answers. This way this will come to your email inbox. Okay, guys this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice ... Ausra: Miracles happen.
Today's question was posted by Paul:
" ICH RUF ZU DIR, HERR JESU CHRIST - When you play this, it is very musical (the most musical I've ever heard) but I've heard this played very mechanical in most recordings. How do you know when to speed up and slow down in this piece (or any other Bach piece) to make it musical? Is there a formula? I love this new series of yours (except sometimes it's difficult to hear you in the car). Thank you for all your help! You two are inspiring!" What Paul is referring to here is agogic. It's the principle that let's you to fluctuate the tempo very gently. Basically, we slow down when something new or interesting is happening - key change, new section, new theme etc. Then we can pick up the tempo slightly. Listen to the full answer at #AskVidasAndAusra If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts here) TRANSCRIPT Vidas: Hello guys, this is Vidas. Ausra: And Ausra. Vidas: Welcome to episode number 8 of #AskVidasAndAusra podcast. This question was posted by Paul. He writes about the piece “Ich ruf zu dir, Herr Jesu Christ” by Johann Sebastian Bach from the Orgelbuchlein. He writes, "When you play this it is very musical, the most musical I've ever heard, but I've heard this played very mechanical in most recordings. How do you know when to speed up and slow down in this piece, or any other Bach piece, to make it musical? Is there a formula? I love this new series of yours, except sometimes it is difficult to hear you in the car. Thank you for all your help. You two are inspiring". Interesting, right? What do you think, Ausra? Ausra: It's a very hard question. Definitely there can not be one formula for every piece and, in fact, I would not say that you have to slow down or speed up in some places. What do you think about it? Vidas: I think Paul is referring to a technique called agogic. It's a principle that lets you fluctuate the tempo very gently. You have to keep in mind the structure of the piece and then you can slow down when something new or interesting is happening. For example, key change, new section, new theme, things like that. After that you can pick up the tempo very slightly. Ausra: Yes, but everything must be very gentle. Vidas: Gentle and probably very slight, right? Not too over-exaggerate. Ausra: Yes, because if you over-exaggerate it might sound comic. Vidas: Right. So I think what you have to keep in mind still, the basic pulse of the piece. Always keep counting in beats. Then if something interesting is happening and you observe it, and you have to always listen and follow the score very precisely. Follow the score not like performer but maybe like listener. Ausra: Sure. This is why it is good to know your piece throughout, how it's put together, to know its form, to know its harmony. This might help you to use your agogic right. For example, I would suggest not to lean more on the dissonances because they are so important. Maybe you can slow down a little bit in each cadence, because cadence is like the end of the musical thought. Sometimes it's a final thought at the end of the piece, sometimes it's just in the middle. Vidas: Does this refer only to Bach’s pieces or to everyone? Ausra: I think it refers to any other pieces as well. And by speeding up, I think this rule might be applied to sequences. Sequential motives. Vidas: You start slower, then you can speed up, and then slow down at the end. Ausra: But only a little bit, not too much. Vidas: It's sort of similar to reciting poetry. If you ever heard people recite poetry automatically. You know, automatically meaning they keep the rhythm: Tah TAH tah tah TAH tah tah TAH tah tah TAH, Tah TAH tah tah TAH tah tah TAH. Tah TAH tah tah TAH tah tah TAH tah tah TAH, Tah TAH tah tah TAH tah tah TAH. Very automatically. And it's boring. But the best, probably, speakers, make it sound very natural and spontaneous. Ausra: Sure. Vidas: So that's what we're talking about it music too. Ausra: I never think how to play musically, not to play it automatically. Also you must to overcome, all the technical difficulties first, and then just to focus on music itself. How to play it nice. Very musically. Vidas: So I hope this will explain and help Paul, and others who are trying to play pieces musically. Not automatically. And that's one of the main things you can do. Gentle, agogical fluctuations. If you want to send us your questions, feel free to do this by posting them as comments to this post, and make sure you use hashtag #AskVidasAndAusra so that we can find them. And if you want to get more advice and inspiration about organ playing, then make sure you subscribe to our blog at www.organduo.lt and you will get everything we post for free. Also deliver it in your email inbox. Wonderful. I hope this was useful, and see you next time. This was Vidas. Ausra: And Ausra. Vidas: And remember when you practice ... Ausra: Miracles happen.
Today's question was posted by Paul:
"I've been given the opportunity to be organist at First Baptist Church in Boise and have been playing every other week a prelude and postlude, but I get very nervous and have a very hard time focusing on the music. I started with a very easy piece, prelude #1 from Bach's Preludes and Fugues, book 1 and the postlude was Christ Lag in Todesbanden BWV 625. (learned a long time ago when taking lessons) Both went well but very hard to focus. The last prelude I played was Bach's Sleepers Awake, but both my hands were trembling and it was easy to lose my place in the music. At one point I stopped, backed up a little and started again - something that is not supposed to happen. I've played it perfectly at home. Suggestions? I won't play that again until I stop getting nervous." (Paul) To be able to focus during a public performance is a critical skill for any organist. We think that it's not really possible to avoid fear. The aim is to learn to control it. Focusing on breathing helps here a lot because your mind will be occupied on something useful. The more you do it in public, the calmer you will feel. Listen to our answer at #AskVidasAndAusra If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts here) TRANSCRIPT Vidas: Hello, this is Vidas. Ausra: And Ausra. Vidas: And let's start today, Episode number 7 of #AskVidasAndAusra podcast. Today's question was posted by Paul, and he writes: "I've been given the opportunity to be organist at First Baptist Church in Boise. And have been playing every other week at prelude and postlude, but get very nervous and have a very hard time focusing on the music. I started with a very easy piece - Prelude Number One from Bach's Preludes and Fugues, Book One - and the postlude was 'Christ lag in Todesbanden' BWV 625. I learned it a long time ago when taking lessons. Both pieces went well, but very hard to focus. The last prelude I played was Bach's 'Sleepers Awake,' so that's 'Wachet auf, ruft uns die Stimme'; but both my hands were trembling, it was easy to lose my place in the music. At one point, I stopped, backed up a little and started again, something that is not supposed to happen. I played it perfectly at home. Suggestions? I won't play that again until I stop getting nervous." So that was ideas and challenges from Paul. What do you think, Ausra? Is it a common challenge people face when playing organ in public? Ausra: I think it's very common challenge to do anything publicly; even like some people are terrified of public speaking. So here is the same, so if I would be Paul, I would not say that last sentence, because you might not never get rid of your nerves during performance. The most important thing is to learn to control it. Vidas: So Paul writes, "I won't play that again until I stop getting nervous." It will not happen, right? Anytime soon. Ausra: Yes, yes. And you know, I would suggest that you need to play as often publicly as you can. This is probably the best way to be able to control your nerves. Vidas: To be able to face your fears, right? To get stronger. Remember the saying, "Whatever doesn't kill me, makes me stronger", right? Ausra: Yes. And if same thing happens in some spot, never try to play it again during public performance. Just go ahead. Maybe you can mark in your score, places where it's comfortable for you to start, and then pick up the closest part that's connected. Vidas: And make sure you also keep the pulse moving, keep counting and pick up the new fragment if you have to. Pick up the new fragment exactly at the next beat so you don't miss a beat, and nobody will notice that. Ausra: Yes and another important thing is just don't forget to breathe. It's such a simple thing, it seems like a very simple thing to do; but actually it's not that simple during actual performance when you get nervous, then it start for you to get hard to breathe. Many people even forget about it. Vidas: You know what happens when we panic, right? This was a panic attack for Paul, probably. A small one maybe, because he managed to control it by playing fragment again, right? Backing up and playing it again. And finishing the piece anyway. But what happens when you panic is basically you are short of oxygen. Your brain doesn't get enough oxygen, so you have to constantly remind yourself of breathing, deeply slowly. And the slower you breathe, the calmer you will feel, right. That's the rule. Ausra, have you been breathing while playing organ? And did it help you at that point where you were nervous? Ausra: Yes, definitely. It did help me, a lot. Vidas: I remember my last recital for Bach's birthday, remember we played it together this year. And I played this E minor long prelude and fugue, BWV 538. And yes it was a strenuous piece, and there were a few episodes that I was particularly shaking. And I kept breathing, actually that saved me. Saved me somehow from stopping, from panicking and from losing my place in the music. So I hope Paul and other people who struggle with playing organ in public, and struggling from being nervous, too nervous perhaps ... might get some help and apply these tips and practice. Ausra: Yes, and sometimes know that fear also comes from not being prepared well enough. I'm not telling that Paul's case was like this, but sometimes there are things where you are not prepared well enough, and you are starting panicking during performance. So you have to be really well-prepared; that might make you feel more relaxed, too. Vidas: Can you be more precise? What do you mean, "well-prepared" here? Ausra: Well, as George Ritchie, former professor did... he would not let us to play at recital or any of his students to play recital if a month before actual performance, we could not play throughout run-through. Without stopping, without obvious mistakes, and so on and so forth. And I think it's very helpful. Vidas: Well yes, it's really a month before, it's just a bare minimum. I remember in one of the previous episodes, we talked about Ana Marija. She was asking how to master a lot of pieces during a short period of time. Basically she wrote me later that she's planning to be ready at least three months before the recital. So that's a healthy amount of time, right? To be prepared. In our Unda Maris student recital, whoever could play the piece three months before the recital was very secure and very calm during performance. So for Paul and others who are struggling with focusing and panicking - this is a key too. Ausra: Sure. Vidas: Make sure you get enough time, plenty of time, for practice. Great, guys. If you want to ask us more questions, send them by posting them as comments to this post, but make sure you add hashtag, right? #AskVidasAndAusra so that we would be able to see them. Wonderful. So I think this is a comprehensive answer, and we'll see you again next time. This was Vidas- Ausra: And Ausra. Vidas: And remember: when you practice, Ausra: Miracles happen.
Today's question was posted by Ana Marija, our Total Organist student:
"Do you listen to "other" genres of music too? Well, I have some pianist friends, and it seems typical that they generally listen to piano music. I do not know many organists personally, and I was wondering if you like choral music, orchestral music, piano music... Do you go for a walk and listen to Beethoven Symphony? What is your opinion on jazz, rock..." (Ana Marija) Listen to our answer at #AskVidasAndAusra If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts here) TRANSCRIPT Vidas: Hello guys, this is Vidas. Ausra: And Ausra. Vidas: And we are broadcasting now from our car, driving to our school. And today's question for #AskVidasAndAusra podcast, episode 6, was sent by Ana Marija. She is curious basically, "Is it okay to focus just on organ music for organist? "Or should you really be interested in other styles and genres, like symphonic music, chamber music, piano music, choir music?" Or even jazz? Other styles, basically. Because, she noticed that a lot of pianists are only interested in piano music. So, how about for organists? Interesting question. Ausra: Well, it is an interesting question and I don't know, but there must be no one correct answer to it. Because it depends on what the interest of the person is, but in general I think that if you are professional, you must know other music as well, other music of a common period. Symphonic, piano music, chamber music, choir music, opera, and so on and so forth. Vidas: The broader your musical horizon is, the more experience you will get, and it will also broaden your musical abilities too. Because with every new piece, new style, you discover something new about yourself also or ultimately about your music. Even if you just, for example, listen to organ music you'll become a little bit one-sided. I'm not sure if it's a bad thing. For some people it's great to be one-sided and very, very focused, like a specialist, but others like to be generalists. Right, Ausra? Ausra: Yes, and especially, you know, if you teach other people you must have a broader perspective of music in general. Because for example, when I teach at school and I hear somebody next door are playing something, and my students ask, "Oh, teacher, what is this?" And if I will not be able to answer them, my authority will just go down. Vidas: Yeah, I think they’re testing us. Ausra: Yeah, sure. So, I would say you have to listen to other music as well, because even if you dig Bach: If you just know organ music it's okay, but there are so many beautiful pieces written to other instruments, and multiple instruments, and to listen to cantata or to his passions. Vidas: Or even, do you know Widor, right? Widor is primarily known for his organ works, but there is one beautiful suite for piano and flute. Ausra has played, right? Ausra: Yes. Vidas: A long time ago. It's a wonderful piece. Why not study it? Not necessarily play it, but study, listen, and enjoy, too. Ausra: Or, you know, what kind of musician can you be if you haven't listened to Beethoven's symphonies? Vidas: Yes. It's a basic education, I think. For every cultured person, probably. And on top of that you would expand to organ. To add specialist repertoire from the main historical schools of organ composition and national styles, like Italy, France, Germany, Spain, Portugal, England, Netherlands, America. All of those things. But, it's good to have a broad cultural perspective. Then you can be engaged with other people who are not organists, and communicate their language about organ, too. Ausra: And even music like jazz can be also very useful to listen to. Vidas: And one of our best professors, George Ritchie... Ausra: Yes, he is a big fan of jazz music. Vidas: Yeah, he always listens to jazz in his free time. Wonderful. So, feel free to watch and listen and play any kinds of music. Even sight-reading, for example orchestral scores is wonderful. If you have a friend, playing four-hand piano transcriptions by orchestral scores, and even operatic works, it's a wonderful way to really spend time with your friend. That's for sure. But also, to get better at sight-reading and also expand your musical horizons. Wonderful. So, Ausra, I've noticed you had this wonderful collection of Alain and other pieces on your music rack. Did you have time to practice yesterday? Ausra: Well, actually, yes, I practiced a little bit yesterday. I am preparing for that recital next week so I just played that Canzona in G Major by Scheidemann. Vidas: And I actually played four graduation ceremonies yesterday at university. And today I'm also playing for an economics department. And I know you have an exam, right? What kind of exam? Ausra: It's a musicology exam, the second to the last part of musicology for my students who graduate school this year. The exam itself lasts for a few hours, because we have to write a musical dictation down, and then we have the history test to do, and then to harmonize four-part exercise, and then to analyze a piece for musical analysis. Vidas: It's a comprehensive test, right? Ausra: Yes. Vidas: All your music theory and even music history is part of it. Ausra: Yes. Vidas: Right? Of course, there is another part of the exam for music history. And you are the creator, right, of all this? Ausra: Yes. Vidas: You create the test. And, why do people need this test when they graduate? Ausra: Well, because if you want to go to apply for academy of music, this exam is required, actually. Vidas: It's like an entrance examination, right? Ausra: Yes. If you want to get diploma from our school, you have to have this exam, too. Vidas: So, I hope you will have a wonderful day, and not too stressful, because it's not your exam. Ausra: Well, it's a long day. Actually it would be easier for me to do this exam myself, you know, than to see my students taking this ... Vidas: Ah, you are basically worrying about them. Ausra: Sure. Vidas: Well, yeah, of course. You always want for them to be better than they are, maybe, sometimes. Wonderful. So, remember, right now we have 30 days free trial of our organ membership program called Total Organist. And Ana Marija posted the question for today's podcast episode is also a student of this program, taking advantage of the free trial. So, if you decide that this program is not for you, just try it out. Download fingerings and pedalings, and coaching programs. Study them and you can cancel before the month ends and you will not be charged. But the majority of people actually stay, because we have no doubt of the quality. It's so helpful. It's so comprehensive. Actually the most comprehensive organ training program online. So, and right now it's for 30 days free. Wonderful. I hope you will have all a great practice today. I hope I also practice in my short between the graduation ceremonies for those economy students. And we'll see you next time, right? Ausra: Yeah. Vidas: This was Vidas ... Ausra: And Ausra. Vidas: And remember, when you practice ... Ausra: Miracles happen. #AskVidasAndAusra 5 - Is It Possible To Learn To Play The Organ When You Are 56 Years Old?6/21/2017
#AskVidasAndAusra question posted by Joanna, our Total Organist student:
"Dear Vidas and Ausra, I am 56 years old and I have been playing organ for three years. I used to play the violin and piano before but not to an advanced level so I am finding the organ playing very hard. I practice for 1 ½ hours a day or more and I am improving but very slowly. Do you think it is possible for me to study organ at my age or is it too difficult for me? Sometimes I wish to study longer when I have the time but either my neck is hurting or my back is hurting etc. It is not easy when you get older. Sometimes I just feel like giving up. I am studying on my own as there is a big shortage of organ teachers in Malta so I find your emails and videos very useful. I downloaded some pieces a few days ago with fingering from your website. I find fingering very difficult as I do not have enough experience so these edited pieces with fingering written in are a blessing for me. Thank you for your videos and emails." Listen to our answer at #AskVidasAndAusra 5 If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts here) TRANSCRIPT Vidas: Hello guys this is Vidas Ausra: and Ausra Vidas: and today is episode number 5 of #AskVidasAndAusra podcast; and today's question was posted by Joanna. Joanna is 56 years old and she asks, "Is it not too late for her to start learning the organ?" Because she noticed how difficult sometimes it is for her to play. Her neck and her back hurts. So, this was her question. What do you think, Ausra? Ausra: Well, I remember she mentioned that she plays some musical instruments, yes? So, I think, piano, yes? And flute, am I right? Vidas: It could be yeah. Could be. Ausra: Yeah, so you know, because she had played piano in her life, I don't think it would be so hard for her to play the organ because still it's a keyboard. Vidas: Yeah! Do you remember we have a few students who are above 50 and even 60, right? Ausra: Yes. Vidas: For example, one is Regina in our Unda Maris studio. How old is she, by the way? Ausra: Well, she's about to retire, so she's about 60 years old. Vidas: Uh huh. 60 years old, and even more. So when she started playing was maybe six years ago, right? Ausra: Yes. Vidas: About in her mid-50s I would say. Ausra: And she also had some experience playing piano before, like during her childhood. Vidas: Yeah, and she had a great dream to master those eight little preludes and fugues. And by now she can play six of them. Ausra: Yes. Vidas: I think only two of them are left: G Major, right? Ausra: Yes. Vidas: And what, A Minor? Ausra: A Minor, yes. Vidas: Uh huh. And she makes constant progress. She might have a few problems and challenges like everyone else, but she never stops progressing and practicing. Ausra: Of course you have to take care of herself while practicing, you don't have to play for a very long time and have to exercise, to relax her muscles. Because yes otherwise your back will hurt. Vidas: Yeah. So it's better to take frequent breaks, right? Ausra: Yes. Vidas: One technique I found very useful was Pomodoro Technique, where you practice for 25 minutes, and then take five minute break. And again you can practice later for 25 minutes and then five minute break. And if you do this, you can even practice for a few hours without getting tired. Ausra: Yes. And you know, it's not because of your age. I think you can hurt yourself, your muscles, your back, even at very young age if you practice without thinking what you are doing, actually. Because they have many students at my school where I teach, they suddenly do something with for example their arms, and they cannot play anymore. Sometimes they even have to quit school, because they overuse the arms. So I think sometimes age can be actually, in her advantage, can help you because the more mature you get, the more intelligent your practice becomes. Because you can control yourself better than at a very young age. Vidas: Right. Because kids, the kids usually don't have that focus level of maturation; well, some of them do, but not many of them. Ausra: Because for example, you tell your students all the time, "Don't practice your piece throughout; don't play from the beginning to end, just take, pick up a few hard spots and practice those parts. And then you play it throughout." But they never listen, they just keep playing from the beginning to the end. And those parts that are easy, are becoming even easier, and those hard spots don't make enough progress with them. But if you are more mature and you know what you're doing, then it’s for you to understand what you have to do first. And don't waste time. Vidas: Yes. So if you are in a situation like Joanna today, I hope you will not give up. Because just yesterday I wrote an email answer to a beginner organist who was in his 90s. 90 years old. And a few weeks ago, I also wrote and answered him to another 90s old, over 90 years old organist. So we have students like that. The most important thing is probably for you to be better than yourself yesterday. Today better than yesterday. That's all we need to think about, that's all we need to compare ourselves to. Ausra: And I think all that learning experience, it should give you joy and excitement. And it's a very good therapy, I would say. Vidas: Yeah, at this age playing organ also prevents many diseases, illnesses like Alzheimer's, it helps with other things ... because your brain is constantly working and exercising. Brain is like a muscle in a way, right? You need to work out. Ausra: And you know, I guess that your final goal is not to be virtuoso like Mozart. It’s OK. Vidas: Just enjoy the privilege of practicing. Wonderful. So this episode was brought to you by our Total Organist program, and Joanna is also taking a free trial of this program and downloading many fingering and pedaling scores we provide. Because at this age, people are eager to learn new things; but if you don't have experience at writing fingering and pedaling, it will take ages for you to learn something, right? Because you even don't know if you are on the right track. Ausra: Sure. Vidas: So that's why we are dumping all our scores and all our training into Total Organist now. Whatever we create, we are putting and publishing in the Total Organist section so that people who are most eager to learn, and our most loyal subscribers - because that's what it is, Total Organist, they can really take advantage of them, and get better faster than they would do on their own. So 30 days for free, you can try it out right now. It’s very good deal. It's the most comprehensive organ training program online. Thanks for listening, guys. This was Vidas. Ausra: And Ausra. Vidas: And remember: when you practice, Ausra: Miracles happen.
Today's question was posted by Sandra, our Total Organist student.
She writes: "The assistant pastor at the Lutheran church where I am the organist bellows fiercely and drags all the hymns. Every verse is the same volume, regardless of the meaning of the words. He holds all final notes of every phrase. It is quite horrible. The head pastor will not tell him to stop. Help!!!!!!!" Listen to #AskVidasAndAusra 4 If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them. And remember... When you practice, miracles happen. Vidas and Ausra (Get free updates of new posts here) TRANSCRIPT Vidas: Okay guys, this is Vidas. Ausra: And Ausra. Vidas: And we're starting our episode number 4 of #AskVidasAndAusra podcast and we're doing this while driving in the car to our school and today's question was posted by Sandra, our Total Organist student, and she asks, "The assistant pastor at the Lutheran church, where I am the organist bellows fiercely and wrecks all the hymns, every verse is the same volume, regardless of the meanings of the words. He holds all the final notes of every phrase. It's quite horrible, the head pastor will not tell him to stop, please help." So, it's an interesting situation, right? Where the pastor really sings quite loudly and I think entire congregation can really hear this, don't you think Ausra? Ausra: Oh, yes, but actually that's not the such a rare case. Vidas: That the pastor sings loudly? Ausra: Yes. Vidas: Loud and slowly, right? I see. Is this real problem or it's a minor detail? What do you think? Ausra: Well, you know it might get real annoying for, you know, the organist especially. But I think for congregation too, especially for a musical one. Vidas: Right. So, this assistant pastor, of course, will not listen to anyone. The head pastor also will not tell him to stop. So the acting and singing fiercely, right? Basically, he acts like a soloist, I think, right? From what I hear from Sandra's question. Ausra: Maybe, Sandra should offer him to do some solo. Vidas: Solo, yeah. Or we could come from Lithuania and help him understand, right? To Sandra's church. Anyway, that's really funny. Ausra: No, speaking seriously. I think one of the things she could do, actually, she could talk with him herself, and try to see how he will respond. If he will not respond and still keep singing loudly, as a soloist, she could probably just to play the organ to accompany organ louder. And to push him to sing faster and and I'm sure if she will start the next stanza to play right away, he will not, you know, on that last note forever. Vidas: Yeah. Of course, the organ will play further. Remember, Ausra, we had a similar situation when we were working a number of years back at Holy Cross church. Ausra: Yes, in Vilnius. Vidas: And not pastor was the problem, but entire congregation was singing extremely slowly. Ausra: Yes. There was some elderly ladies who would just drag everything. Actually, once one of them just caught me on the street, like a half a kilometer away from church already. She was just running behind me, trying to catch me. Then she told me, “oh, just play more often in our church. Don't let Vidas do it so often because he plays so fast and we are old people, we like to sing very slowly. Vidas: Yeah. That was really funny. But not at the moment, right? Ausra: Yes. Vidas: From the hindsight. It's funny. But, of course, when Sandra faces this challenge, it's not funny for her, because it ruins the entire feeling of congregational singing. If one person drags all the notes or sings like a soloist, right? But as Ausra says, it's really, really good to play the organ louder, in this case, right? Make the organ lead. I'm not sure what stops Sandra is using, but Ausra, what stops could you suggest she would use? Ausra: I would say probably a principal chorus for softer verses, and, you know, Pleno for the louder verses. Vidas: Principals, you mean, without mixtures, right? Ausra: Yes. 8’, 4’ and 2’ principals. Vidas: And then if you want the culmination versions, the last verse, for example, you can have the mixture. Ausra: Sure. Vidas: It's not too soft, it's not too loud because people who have a urge to sing louder. Ausra: Sure. Pastor, too. Assistant pastor. Vidas: Assistant pastor. Yeah. It might be that it will be like competition. A race, who will be louder? Who will win? Ausra: But I hope it will help, you know, eventually. Vidas: Yeah. I think the best thing to do is to keep a healthy perspective and to have a humor about it, a little bit. To laugh at the situation, not at the pastor, but at the situation. It's really like an anecdote, right, like a joke that it's very traditional and a lot of cases, a lot of parishes and congregations do that, sing too slow, Sandra. And it's annoying, but you can be quite funny about that, right? Not too frustrated I think. Keeping a healthy mind in that situation. Because it's not Sandra's fault, right? Ausra: Sure. You know as an old saying says, "you cannot teach old dog new tricks", so that might be the case of that assistant pastor. I don't know. But let's be hopeful that even he can change. Vidas: Of course, Sandra could play more organ music, right? Instead of just hymns. Ausra: Well but still, there are, a few hymns appropriate to have in your service, you cannot avoid it, so. But you really need to ask him to do some solo work for you. Vidas: Yeah, if his voice is so strong and he can sing in tune, hold the pitch, why not? Ask. Maybe he can even read music. I can suspect, because usually people who cannot read music, they are shy, and will not sing loud enough. Or not? What do you say? Ausra: Not all of them. Not necessarily. You know some people are singing out of tune and we don't realize that they are singing out of tune, so it's a tricky question. Vidas: So then Sandra could really approach the assistant pastor and talk to him. That would be number one thing. Ausra: Sure. Vidas: Very politely, very gently, or even better, record him for you, and let him listen to the recording? And ask if he likes his solo in the congregational singing, like this, right? Put a microphone someplace. Or a recorder in the middle of the church, or just from the organ balcony. Anywhere, right? The closer to the pastor, the better, actually. Ausra: Sure. Vidas: Then, he might understand without Sandra's actually words what's happening. Ausra: Or maybe not. Vidas: Maybe not. Ausra: It depends on how big his ego is. Vidas: Oh yeah. Ego is sometimes as big as western hemisphere, for some people. So, Ausra, I’ve seen, when we came back from our birthday party yesterday, on the music rack on our organ, you had some great organ music collections. Even the organ music by Jehan Alain… Ausra: Yes. Vidas: Did you practice that yourself? Ausra: Yes, I practiced myself. Vidas: What kind of piece? Ausra: The second fantasy. Vidas: Second fantasy? Oh, yeah, you played this long time ago. Ausra: Yes. Vidas: Did you like it? Yesterday. Ausra: Oh, very much, yes. Vidas: Yes? Was it difficult for you to refresh this piece after, how many, ten years of not playing or eleven years? Ausra: Actually, I think ten years. Vidas: Ten. Ausra: It actually was not. Vidas: It wasn't? Ausra: No. Vidas: It wasn't. Wow. Hey guys listen, it's really, good news. When you, once you master something really well and play it in public a few times, right, then you can forget about it and do something else and master other pieces. And then come back in ten years and this piece, which you haven't touched for ten years, will not be like a new piece. Of course it will be not mastered enough, not ready for public performance tomorrow, but it will be quite familiar, right, Ausra? Ausra: Yes, sure. Vidas: Wonderful. So I think we can practice today also later on, after school. I have four graduation ceremonies to play at the church, and also a podcast conversation to record with the organist from, I think, Argentina. So, wonderful, guys. I think Sandra's question will apply to a lot of congregations, to a lot of people, and I hope you will find it valuable too. So, this was Vidas ... Ausra: And Ausra. Vidas: 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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