Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 388 of Secrets of Organ Playing Podcast. This question was sent by May and she asks: “Hi Vidas, by deconstructing the mode, do you mean improvising?” V: May is our Total Organist student and this was part of the discussion I think when she wrote something about the things that she is struggling with. I think the modern contemporary hymn setting and she couldn’t understand the texture in the course and I suggested to deconstruct the mode and then she wrote back what does it mean. Obviously improvising is something different than deconstruction. A: Oh, yes, I guess that it’s very different. V: It’s maybe the next step after deconstruction. A: I never used this term deconstruction but I think that’s quite a good term. It’s like analyzing it basically, understanding the mode. V: She uses terms construction, deconstruction, and reconstruction. Construction as a composer uses, he or she creates the music, the music is being constructed. Then what you do is take this music apart, you deconstruct it and then when you want to improvise in the style of that composer you reconstruct it. A: Yes, all these terms sound very much like in a building, in the building process, building a house, you construct it. V: So, yeah, the process of deconstructing the mode is simply taking maybe an excerpt of a couple of measures long and putting the notes one to each other in an ascending manner without skipping any notes and you will find a scale or a mode this way. Sometimes it’s a seven note mode, sometimes five note mode, sometimes six note mode, sometimes more, eight, nine, or ten, right? Mode or scale is sometimes used interchangeably in this meaning. Ausra, why do I say you need you need a short fragment, not one page long episode. A: I think it easier to analyze when you have a short segment of something because I don’t think you be able at the beginning to take things as long as a page long. V: I would presume that in a page a composer might use several modes already. Several maybe transpositions of the same mode. A: Unless you are a minimalist. V: Yes, but if you are a minimalist then your entire mode will be apparent in the first few measures I think. A: Probably, yes. V: That’s what I mean and what to do then when you discover the mode. For example you even don’t know the name maybe of the mode but you see that it is C, D, E, F#, G, A, and B flat. It has a special term by the way. It is Lydian/Mixolydian but May might not even know the name. What is the point of knowing this disposition of notes? What do you think Ausra? Would that help for her to understand the structure of the hymn and learn it faster? A: Of course, definitely because if you don’t know how a piece is constructed then it’s much harder for you to play it, to learn to play it without mistakes because some things especially when we are talking about modes they don’t make sense to us because we are much more used to that major/minor system. V: Umm-hmm. A: And let’s say natural major and melodic or harmonic minor I guess. But when we are talking about modes then some of the things might not make sense if you don’t understand them so it’s really nice to analyze them. V: And in general when people play a hymn or a piece of music without knowing what they are really playing, they are just looking at the page and in their mind they don’t understand what’s in that page, they just press the keys at the right time in the right space and it sounds this way, they don’t know why. I can always probably compare it with learning a poem in Japanese. You can probably learn special characters and how it’s written in Japanese, sometimes it could be transcribed into Latin alphabet and you would even read it and Japanese person could even understand I would say but you wouldn’t understand what you are saying in that poem. That’s the problem. A: That’s right. V: So that’s why we need to translate the poem into your native language or to the language that you understand and then once you understand what this poem is about the words in Japanese will suddenly start to make sense and you can memorize this poem much easier this way. A: That’s right. V: Is it a good comparison with organ music then? A: I think it’s a very good comparison because it might not make sense and you will not understand why are these accidentals are here and there and because you do not understand them it’s much more possible that you will make mistakes. V: Right. So what’s the first step that May should take? A: Well, since you are the master of improvisation I think you need to… V: But I’m not talking about improvisation here. She is playing a difficult contemporary hymn setting I think. What would you do in her situation? A: I would find out which mode it’s written in and then I would play probably just a single mode just a few times. V: What do mean single mode? A: Like a scale. V: Ah, notes up and down with one hand. A: Yes, I would sing them too and then I would find out if it’s a composer that uses transposition or not because if he uses transposition then I would play the same mode in other keys as well. V: What happens this way if you practice for a number of weeks, sometimes months, then you will start to pick up interesting fragments in your other pieces? I remember John from Australia told me quite early in his organ playing journey that suddenly he can pick up the dominant chord in a hymn, suddenly, or a sub-dominant chord in his organ piece. A: Sure. V: Or any other like short modulation here and there. Other things that are still difficult to understand for him but he would get a glimpse into what’s written from time to time at the beginning but then later on his understanding will broaden and broaden and he will be much better at this with time. A: And the same with the mode if you will internalize it really well then maybe if you will need to add a little introduction or to do some kind of postlude after this hymn if will be easier for you to do it. V: Umm-hmm. So May and the others who are struggling with this please try our method and write back if this works or not. It’s very interesting to share your experience with organists around the world. And keep sending us your wonderful questions, we love helping you grow. And remember when you practice… A: Miracles happen.
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode episode 322, of Secrets of Organ Playing Podcast. This question was sent by Rob. He writes: Hello Ausra and Vidas, Today, I have a few things to share with you that relate to subjects that both of you discussed in recent SOPPs. Please feel free to use it as “ammo” to elaborate on as you see fit. 1) Accompanying the congregation in singing This is something that I’ve been doing for almost 45 years now. When I accompany a choir, I’ll have to “obey” the SATB setting of the songs. When I accompany the people, I can basically make up my own harmonies. What I do is this: one of my ears listens to the organ, the other ear listens to the singing of the congregation. Now, in the middle of my head, I bring the two together: I always make sure, that I am just a fraction of a beat “ahead” so I can give them the next note, the next tone that they need to sing. This way, you can also control the pace of the song, because congregations are inclined to slow down in singing and it is best not to allow this. So, “split-listening” and being just ahead of the people is key in accompanying. And, of course, make sure that the melody of the song can be heard clearly. 2) On improvisation I discovered, that there is a part in my brain that always creates music. All I need to do, is tune into it and listen to what’s “playing” in my head at that moment. Can be a melody, can be a harmonized piece of music. When I listen to it, I can get my right hand to immediately produce the melody that I hear. I am not yet good enough to immediately produce the harmonics that I hear with both hands. So, I must take it “slow”. That is, play the melody (and often harmonizing it as well) bringing it out in the right hand and find supporting harmony (chords etc.) in the left hand and pedal. I change between playing on 2 manuals and playing on 1 manual where I get to bring the two hands together while developing on the keyboard what I hear in my head. This works wonderfully well. And I do make it a habit of improvising 10-15 minutes every time I play the organ. Also before service, I make time to improvise for about 5 minutes. Makes sense to you guys? Enjoy the weekend. Kind regards, Rob V: So, Ausra, these two questions, one is about accompanying congregation and about improvisation. I think it’s really on track what he’s suggesting about accompanying the congregation. A: I think it’s very much on track. Actually that’s what I would do if I was accompanying congregation. But of course, one part of this part of question, reminded me, or actually, we were kicked off the church. Because you didn’t want to play slower for congregational accompaniment. V: I was split second ahead, or more than split second ahead. A: True, and we received so many complaints, especially Vidas. And people would ask me to play service more often because I played slower and listened to them more. But Vidas just didn’t want to give up and wanted to keep his own tempo. And well, at that time we were very young, and probably not as wise as we are now, yes? V: Yes. Today we would play in lento tempo. A: So, this was, I guess, probably twenty or even more years ago. V: Yes. Today we would play everything like Albert Schweitzer did. A: Well, now I guess, if this would be in nowadays, I probably even wouldn’t take such a job. V: Wow. That’s even better. A: True. But actually, yes, the congregation tries to slow things down. V: But, Ausra, if it’s not a job, if somebody just asks you to fill in, you know, like a friend, substitute, just once, and would you slow down, or would you lead ahead? A; Well, that’s a good question. I would probably lead ahead. What would you do? V: I would lead ahead, yes. You see, at that time, we didn’t have our doctorate degrees. Now we have doctorate degrees. And to anybody who is complaining, we can,,, A: Show our diploma, yes. V: Yes. Yes. Complain to the director of University of Nebraska, Lincoln. A: Yes. V: (Laughs) A: That’s funny. That’s really funny. But actually, you just need to be reasonable. If you’re tempo and congregation tempo is very different, you need to think about it—why this happens. Because maybe you choose too fast tempo for that particular hymn. And you need to think if this happens all the time, and maybe you need to listen yourself from a side, make a recording of it, because that tempo might defer slightly bu it cannot be very different. V: Mmm-hmm. A: And when you’re accompanying congregation, always try to sing too. That way you will get the right feeling of the tempo. V: And sing energetically, because some congregations, like the one we were talking about, were singing like at the funeral, always. A: I know. We were dragging each note. If you, let’s say the hymn is written in quarter note values, yes? And we would make a whole note from a quarter note, and it was just impossible to survive. V: They would breathe with every word. A: True. With every note. V: Or every note. Maybe that’s original historically correct way of singing. A: I don’t know but it was just a nightmare. V: Because remember what Pamela Ruiter-Feenstra told us, a little bit about her research with, I think, singing psalms, in the, back in the day, that they were singing them really, really, extremely slow. A: Well, but that was what, a few hundred years ago. V: Right. A: But we are in the 21st Century now. V: We drive fast cars. A: Well, we cannot take service that is longer than one hour. V: We eat fast food. A: True. V: Everything is fast. A: Well, and fast death awaits us, yes? V: And the mass is no longer three hours long, like it was before Tridentine time. A: True. So I don’t know, for me, seems that everything needs to be balanced. So, and everybody needs to be reasonable. So, and I’m talking about tempo too. It cannot be too fast and it cannot be too slow. And I think you need to take a breath after each phrase, but not after each note (laughs). V: Mmm-hmm. If you can sing a phrase in one breath, then,,, A: Then I think your tempo is fine. V: Mmm-hmm. Excellent. Let’s go to the second part of the question about improvisation. Rob seems to have constant creative flow in his head, right, and whenever he wants to tune in to it and catch those melodies. This reminds me of a saying, or a quote by David Lynch. Remember the director of the movie, or the T.V. series, called... A: Twin Peaks. V: Twin Peaks, yes. He says that ‘we don’t create ideas, we catch ideas’. They are out there someplace floating in the ether, or someplace, I don’t know where. But when we are in the right state of mind, we can tune in and those ideas will come to us. A: But do you think those ideas will help you to make a good harmonic accompaniment to the melody that just came to your mind? Or you need specific knowledge and skills? V: Oh, that’s your harmony part, theory part, saying, right? A: Yes. V: I know what you’re leaning to, but I believe some people can play intuitively, with both hands, and even pedals, but it takes completely different state of mind constantly observing in everyday life, I think. If you, for example, would observe people who meditate, that could be like playing or sounding meditation. If people could to that, then they could play with both hands also, without real understanding what they play, but intuitively. But that’s a different mentality, Ausra. We are talking about the logical procedures, right? A: True. And I’m just wondering, because you are improvising so much. Do you think that all that history, your history, personal history, of learning, learning harmony, learning theory, is it helping you or harming you, when you improvising? V: You see, I also taught at the Čiurlionis National School of Art for twelve years, until this year, and all those years I taught, either solfege, which is ear training, or music theory. So basically those terms and procedures, modes, chords, were part of my daily routine with kids. And therefore they were ingrained in my memory too. When I first started teaching, I had to think consciously—what is this mode, how it’s constructed, what is this inversion of the chord—I was not that fluent. But now, I don’t have to think any more of course, and it’s part of my, part of my nature, probably. And when I’m playing intuitively on the organ, like improvising spontaneously, this former background or training comes in, into the forefront too, without even me noticing. So for other people probably, they do need to study theory and harmony for many years, until this is spontaneous for them enough. A: What would you tell for people who don’t want to learn theory? V: Maybe they’re not committed enough. Maybe organ playing or improvising on the organ is not important, that important to them. Maybe they don’t want to improve that much. A: Because, in my daily life, as teaching these harmony, theory and solfege for various instrumentalists and choir conductors, and piano performers and now teaching in that organ school, I always get this big, big confrontation. So basically I’m in a war, in a constant war, and it’s getting tiresome. V: I know how you feel. It’s difficult when you’re the only soldier on the battlefield, right? A: I know. V: And nobody’s really supporting you. Even your colleagues, they support you, on certain conditions, because, yes they need to teach theory and think that theory is important, harmony is important, but they’re not performers, they’re not creators, and they don’t apply them, these concepts in practice. And they really can’t really make a good argument to the kids—why do they need this? A: Well, yes, but I’m a performer too, but... V: You can because you use it every day. A: But still nobody listens so it seems like a hopeless business. V: I think people always listen to the authority, right? Whoever is authority to you, Olivier Latry or George Ritchie, if they tell you something important, you listen, right? But if your colleague says to you something which you disagree with, then you kind of are critical and this is understandable—everybody does this. So your kids would probably need to find authority from their circle, maybe their friends. A: But, actually it didn’t happen last year or a year before, but right from this school year when they come to school earlier, like a half an hour before first class, 7:30 am, I hear that kids are listen from their smart phones to music, and dancing and making fun, and it’s usually pop music. So I guess I’m not the right authority because I think their authorities [are] maybe Lady Gaga or whatever else. V: Then, we should invite Lady Gaga to visit our schools, right? A: (Laughs). Yes. Do you think she would tell that we need to study harmony and solfege? V: No, but she would tell them that they need to create songs. Remember we just watched a movie, ‘A Star is Born’, and we were really moved. A: True. But actually these songs that she composed for this movie, were not in the style that she created on her daily basis for her pop performances. V: Uh-huh. But this was still the same person, you see. A: True. V: So, I dunno. But sure, it’s, maybe we will not be able to invite Lady Gaga to the school tonight, just yet, but how about this; are you keeping in touch with your former students, on Facebook, let’s say? A: Yes, for some, I am. V: Some. Some students who were good at school, good in theory and harmony. A: Do you think they believe that the harmony helped them in somebody else? I’m even afraid of asking that, because I might get depressed. V: But that would be the truth, and the truth liberates you, right? Always. A: And then I would have to quit school as well, as you did, yes? V: I quit... A: And I would find out that nobody actually needs harmony. V: No, no, no. What I really think, those few students who graduated, and now are continuing their education or are already professional musicians, I think some of them really understands now, what you did for them, in early years. And if you invited them to come back to talk to their former peers, and like give a speech, like motivational speech, they would probably inspire current students even better than you could. Because our young people of today, would suddenly understand that these graduates were in sitting in their pews. A: True. I’ll think about it. V: Think about it and just ask on Facebook a few people and see what they come up with. Alright, guys, lots of ideas for the future. Not only for us but hopefully for you too, because we love helping you grow. So please keep sending us your lovely questions and feedback. And remember, when you practice... A: Miracles happen!
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 290 of Secrets of Organ Playing Podcast. This question was sent by Danielle. She writes: Dear Vidas and Ausra, I was an organ major as an undergraduate but had no background in harmony or scales. So even though I could learn organ literature, play for church services, and accompany choirs on organ, I could never improvise. Because I had no mental shortcuts (ie knowing what key the piece had modulated to, etc) the learning process was extremely arduous, and I stopped playing as soon as I could and switched to choral conducting. The stress of preparing for weekly church services was just too great. Fast forward 25 years, and now I am subbing on organ for Catholic masses, and sometimes cantoring simultaneously! Thanks to some Dalcroze training, I can now entertain the possibility of improvising. But I’m finding it to be more challenging to improvise on organ vs improvising on piano for children’s music classes. So my dreams are to be able to improvise postludes and to be able to re-harmonize the final verse of congregational hymns to add a few juicy twists. I see these goals as interrelated. The three things most holding me back are a lack of understanding of harmony, a lack of handy chord progressions to lean upon, and a lack of an organized approach to tackle these tasks. Thank you so much for your daily emails! They are very encouraging. Danielle in New York V: That’s a lofty goal, right Ausra? A: Yes, it is. V: But well worth pursuing, I would say. A: Yes, especially if you want to learn to improvise, you have to know something about music theory and harmony, of course. V: And I can imagine that if you are limited to just a few chords that you know, and basically playing from sheet music, you get quite frustrated if you can’t really prepare in advance those hymns and preludes on time for church services. And if you’re not good for sight reading, then it’s so challenging that people might quit, and she did, I think, many years ago. A: But it’s that Danielle came back to the organ after so many years. V: Mhm! Maybe she had this inner desire regardless of her limitations, which is nice. So, this desire, this inner motivation will keep her moving forward, even though the practice might not be as pleasant as it seems. A: Yes, and sometimes I think how much my students at school are ungrateful for what they are getting there. Because, they don’t have that understanding of what other people around the world are missing. That is so important for a musician to receive early training in music theory—harmony. V: The reason your kids are not grateful, I think, some of them shouldn’t even be there, right? They’re not planning to be musicians, I think, some of them. Or, they just want to play their instrument and they don’t even realize what kind of life is ahead of them. A: True, but some who later become professional musicians, they feel, I think, grateful for what they learned. V: Mhm A: It’s just too bad that sometimes in our school that theory is so much unrelated to the practice. V: Yeah, those 8 measure exercises are very good, and they’re limited in scope. Each exercise has their own chords and limitations, and the students will know what to put inside of those 8 measures or 2 sentences where the cadence is, right, at the end of four measures and at the end of the 8 measures, too. Sometimes you have an extension, right, maybe 10 or 12 measures, but that’s about it. A: Yes. And now when thinking about Danielle, I think she should learn or take a look at our course of harmony for beginners. V: Mhm, basically to look at the variety of courses we offer under the category of harmony and music theory, as well, because before attempting to learn harmony, you should know chords—basic chords… A: Yes, and of course keys, as Danielle wrote “scales,” I think she probably meant keys… V: Circle of Fifths A: Circle of Fifths V: With all accidentals. A: It’s sort of a cornerstone for music theory. V: So that’s why we created this Basic Chord Workshop, which tackles the main three note or four note chords, and even five note 9th chord as well, at the end, but in closed position. So, if it’s a tonic chord in C major, it would be C-E-G, in three notes, not in soprano, alto, tenor and bass layout, as harmony would be. But that’s another step. After this first course, then, Danielle would be ready to go to “Harmony for Organists Level 1”, I think. A: Yes, and then after that, I think it will be time for her to play some sequences and some cadences and some modulations from my YouTube videos. V: But before that, she would play the same sequences, but in closed position with one hand. Not with two hands, but basically internalize the chords “Basic Chord Workshop,” and that would help her to really get to know those chords, and get to know all the keys through those chords. A: Yes, and of course, in addition to this, then she would master those courses, she would have to analyze some pieces of music that she is playing, or that she has played in the past. And then, she would get a notion how a piece is put together. V: Right! So, basically, pick a favorite piece that you are playing, either right now, or in the past, or maybe in the future you are planning to do, and then look for those chords that you know. At first, maybe, simple chords—Tonic, Subdominant, Dominant—and their inversions—first inversion, second inversion—and once in a while, you will notice them. Not always, but sometimes the keys will be simple enough that you will start noticing those things. A: Yes, and analyze the hymns that you are playing for church. V: Oh, that would be even better. A: And then you could start by doing simple improvisation on a hymn tune, on those chords that are given to you. V: Right. A: Add some figurations. V: So, you don’t need to master an entire course about harmony before starting to improvise, right? A: True! I think it should come together, side by side. V: Yes. If we just think about it for a second, playing sequences is already sort of limited improvisation, right? Because you only have one chord with maybe a resolution, and then you have some rules, how to go about in ascending motion or descending motion, and then you improvise the rest of the sequence, too. This is basically the easiest way, and sort of applying those chords in practice. A: That’s right. V: And then, you can expand a little bit, right? Try to harmonize your hymns, but that’s a little bit later, probably. A: Yes, I think so. V: Or, if you want to do it earlier, you could play with two voices, not with four voices, adding the bass to the soprano line. Would that work? A: Yes, I think so. It should work. V: Okay, so I think we have laid out a plan for you for the next about three months or so, could be longer, but if you practice everyday diligently, after a few weeks, you will start noticing real decent progress, and that will keep you moving! A: Yes. V: Thank you guys for listening, for sending those thoughtful questions. Please continue to do so, we love helping you grow. And remember, when you practice, A: Miracles happen.
Here's what other people are saying:
As a retired physician (starting organ) I enjoy your daily missives immensely. Your joy, humor and wisdom shine through. You should be an online psychiatrist – and multiply your profits (and headaches)! I am thinking of renaming my 6 month old labradoodle pinky in honor of your work. Your artwork today is a Picasso in the making ?. Terry By Vidas Pinkevicius (get free updates of new posts here) Here is an exercise from Guiem, my student from Palma de Mallorca (Spain) in Prelude Improvisation Formula course. I wanted to share them because they are too good. This week's exercise was taken from E minor prelude by J.S.Bach. This is an early version from the Clavierbuchlein for Wilhelm Friedemann Bach which was later incorporated into Well-Tempered Clavier Part I. In the later version, Bach adds an upper ornamented solo voice to the right hand part but here, the texture is strictly limited to the chords in the right hand and the running sixteenths in the left hand, making our improvisation less complicated but nevertheless very beautiful. In the picture above you can see the figure that this prelude is based upon. And here's what Guiem wrote to me: Hello Vidas Two small questions; In relation to the material supplied so far basic is intended an improvisation as for example the one written by me and photographed that I attach to this e-mail ?. And without pretending a correction of the errors, which has them, it would be interesting to comment on the length of the sequences or, in any case, to have a model already made for their contrast. I like your course, it is a pleasure to practice the exercises. Guiem Ferrà from Palma de Mallorca (Spain) Below are the 3 pages that Guiem sent to me. You can actually see how beautiful this prelude is when you play it. In Prelude Improvisation Formula course the students would improvise something like this on the keyboard. I think it's great that Guiem wrote out his improvisation. And we have to remember that every student would improvise such prelude a little differently.
If you ever try your hand at improvisation, at the beginning stages it always helps to write down your ideas. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 244, of #AskVidasAndAusra Podcast. This question was sent by John. And he wrote: Dear Vidas, I improvise at every service. I often improvise before the start of Solemn Mass (generally an improvised prelude on the first hymn) and always at the Offertory - during the censing of the altar. The only times I do not improvise at the Offertory are during the seasons of Advent and Lent. On Palm Sunday, I improvise on Stations of the Cross at the evening service. [On Maundy Thursday, the organ is silent after the solemn procession until the Gloria at the Easter Vigil.] Best wishes, John V: So, Ausra, this seems to be a comment about when to improvise during a service, right? A: Yes, yes. V: Or when to play the organ. Because, yes, you can play repertoire, you don’t have to improvise. A: True, true. V: But you can. So John improvises quite often, right? At every service. Why do you think on seasons on Advent and Lent, it’s not really appropriate to improvise for the offertory? A: Well, because in general, Catholic Church does not allow or does not recommend to use pure instrumental music during mass, at Advent and at Lent. And of course during the Holy Week, starting from Maundy Thursday, the organ is shut down until the Easter Sunday, or Easter Vigil. V: I think that this tradition is still alive in some places, even in Lithuania, in smaller churches. But it’s not really, I think, required to keep silent, and not to play anything instrumental. A: Well, you can play instrumental but it can be only accompaniment of the human voice. So usually during Advent and Lent in Catholic Churches you sing more, than at other times. V: Do you think that it would be a problem if one would improvise during that time? A: I think it might be a problem in some churches with some conservative congregation and priests. V: Mmm-hmm. So then, of course, communicate better, if you want to do that during Lent and Advent in a conversation congregation. A: And I remember those times while working inside Catholic Churches, and I remember that Advent and Lent was, and especially Lent, because it’s longer than Advent, was a real challenge for organists because in Lithuania often an organist has to sing himself. So he’s sort of like double man, both organist and cantor. And all these seven weeks before Easter when you have to play and sing yourself at the same time, is just, you know, exhausting. V: Yes, and today, if anybody asks me to play for the service in church, I would generally improvise. And I would only sing Sanctus part and Agnes Dei part because they have to be sung. Sometimes Kyria too. A: And Psalm of course, yes. V: Psalm, Alleluia too, yes. But not Introit and Offertory and Communion hymns. I would improvise during that time. And people in our congregation at St. Johns Church, they start to appreciate it. And at the last time when I played it, it was on June 24, when the feast of St. John the Baptist was. I was invited to play there and improvised all the time. And at the end I played the fiery Sortie or a postlude you know. And people started applauding like crazy afterwards. A: So it means that there is need for organ music. V: Right. Because at that church we only work as university organist, not church organist, and we generally don’t play at services, unless they ask us in advance, in addition to other things. So they have they have their own ensembles maybe, guitars and synthesizers, but they don’t use pipe organ too often. A: Yes, interesting. V: So that’s of course the case with many Catholic Churches. A: True, but you know, I find it’s sort of peculiar because like this for example; law of Advent and Lent, not having instrumental music, is sort of very puritan like, yes? V: Mmm-hmm. A: But on the other hand, you have so many Catholic Churches have, you know, pop music sounding all the time during mass. And guitars playing and people almost dancing near the altar. And I think it’s sort of a big controversy, in my opinion. V: Yeah, liturgically speaking, it’s nonsense. A: I know. I know. Because if you want to be conservative in everything, then you have to be conservative and consistent about everything. So I don’t know how this sort of strict rules apply to modern pop music. V: They don’t think about that relationship, about this dichotomy too often, I think. They play and sing what is pleasing to their ears, right? Especially for the youth. They think that if they play a lot of pop music, then more youth would come to the church. That’s their argument. And if you would play traditional hymns, let’s say, and accompany those hymns with pipe organs and play organ music in addition to that, of course people will leave the church. A: Yes. Gregorian chant might kill you. I’m just joking, but… V: But then, don’t you attract the wrong kind of people to the church? A: That’s right. If the music is the only thing that attracts you, then it’s probably not your place in that church. V: On the other hand, we would probably go to the church which has high quality musical tradition, right? A: True, true. That’s a hard thing to find in Lithuania, in Catholic Church. V: Yes. But when we travel, for example to other countries, it’a always a pleasure to go to a church where is a high standard of music. A: But you know, in America in Catholic Churches, in some of that we attended, the music was very bad, actually. V: In protestant churches, it’s much better tradition. A: True. True. That’s true. Anglicans and you know, Lutherans, Presbyterians, Methodists. V: Right. So I think for everyone is different, you know, their tastes, and everything. Those young people also deserve to have their own music in church somewhere. But not necessarily in the main service, you know. Maybe you have to have youth service, someplace in the morning or in the evening. That could be a solution, don’t you think? A: Yes, it could be. V: And leave the main service, the main mass for the choir and organ. That’s for catholics. A: That’s right. V: For other denominations it’s also different. So guys, don’t be afraid to improvise at the service. Of course, don’t go crazy on Advent and Lent, at least at first, when you,,, A: Unless you want that you would get kicked out of the church and lose your position. V: Right, but if you are improvising just let’s say once during the service, during the postlude, let’s say, or a prelude, when just people are gathering or leaving, they are not really paying attention actually, to the music. Then they are talking and communicating with each other and greeting and chatting, then you are free to do what you want. That’s a big relief, don’t you think, Ausra? A: Yes. That’s a good way to learn to improvise publicly. V: Without too much stress. A: True. True.. V: Okay, guys. This was Vidas. A: And Ausra. V: Please send us more of questions. We love helping you grow. And remember, when you practice,,, A: Miracles happen! Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 243 of Ask Vidas and Ausra podcast. This question was sent by Luciano and he writes: Dear Mr Vidas, Thanks for your reply. Apart the mini course I have a question /big doubt and hope you can clarify. -I found your article "Steps in Composing Organ Sonata " of 13/09/2012 and found it very interesting and clear: it is a kind of Template which I'm using with satisfaction (I'm Composer Amateur and write music only for my satisfaction). - Many years ago I studied the Book of Marcel Dupré :Cours Complet d'Improvisation à l'Orgue" and find something similar but not the same : it is a Binary form exposition I'm sure you know this book and -my questions are 1)are these Templates (yours and the one of Dupré the same thing or not ? 2) Dupré explanation does not mention a secondary theme (is he referring to a monothematic exposition?) 3) In the Dupré Book 1 Page 59 there is a General Plan of "his" Form But now I'm confused since there are substantial differences if compared with your Steps Thanks in advance if you will have time to clarify Luciano V: So what Luciano is studying Ausra I think is from from the first volume of Dupre’s Improvisation Method Book on the organ. It’s a free form. It’s not sonata form but improvisation on the free theme. Basically improvisation on one theme because sonata form has two themes. A: Yes, it’s especially necessary. If there aren’t two themes it means that the piece is not written in a sonata form. V: Yes, so what he sees in Dupre’s first volume the form is used mostly in french conservatory settings for examinations for prizes for contests they have at the end of the year for improvisation. This is a good method to follow if you want to improvise in a strict way to have a binary or ternary exposition. It’s a good starting point I would say. A: True. In general I would think that there is no need to compare these two different materials because they are completely different. Because you are discussing different forms. V: Yes, Luciano probably read my article about improvising or composing organ sonata which is of course based on real life works and they must have two themes or even more. A: Yes. Two at least, you have to have two but you also could have another two themes actually in exposition plus introduction. V: Right. So I think Luciano is in a good way to advance his compositional or improvisation steps and techniques. Do you think that composing and improvising techniques are similar Ausra? A: True. I think that one is based on the other. V: You are absolutely correct and right now I’m currently composing every day first thing in the morning on my Sibelius software and I have a midi keyboard connected to my computer and Sibelius has the function called flexi-time input. You can play on the keyboard while metronome is beating and the music will be notated on the screen right away. It can be done with as many as two adjacent staves. So what I’m doing is first I’m recording right-hand and left-hand parts then later pedal parts, improvising basically them. So of course in earlier times it wasn’t very perfect, this type of method of inputting notes because lots of syncopations, lots of strange ties and rhythmical discrepancies were always present because human hands don’t play very rhythmically. Right? But now with later upgrades Sibelius has various plugins you can clarify and update your score automatically afterwards. Sort of clean up. A: Yes it’s good that technology advances so fast. V: And so yes you have to do some manual work and editing but not nearly as much as before. So that’s how I am able to create quite fast those pieces in the morning and dedicate to my friend organists. So I hope guys you also are creating right, Ausra? We are also recording this conversation. It’s a form of creativity don’t you think Ausra? A: Yes. Some sort of form, yes. V: Because you can have various ways of expressing yourself. In texts, in pictures, in audio like we are doing, or in sounds, maybe you are playing some kind of instrument, or in video, you are videotaping yourself. Or doing it even live. Now you could do many kinds of streaming online, on Facebook, on YouTube. It’s all there after your done and your listeners will start to enjoy afterwards right away. A: That’s right, so just keep creating something. V: Ausra what would be your suggestion or ratio between consuming and creating. Let’s say organ music. Sightreading and creating. A: I don’t think it could be a ratio that would work for everybody. I think everybody has to find his own way. V: For Luciano, OK. A: I don’t know. He didn’t tell us so much about himself except that he is an amatuer composer. I don’t know if he intends to play his own works or not. V: But when you play other works of other composers of past or present or both, your knowledge increases, your musical taste increases, right? A: That’s true. V: Then you can express your ideas in a richer way. A: That’s right. But you know as I found out in the United States while studying that usually during your study years you try to play as much repertoire as possible, to study as much different various repertoire as possible. But after that you sort of narrow yourself down into one particular subject or one particular area. Do you think that’s a good thing? V: Well that’s the system we have now. Creativity is not a big part of our educational system currently but it doesn’t mean it has to be that way for everyone. If the school or institution or conservatory or university gives you some things to study it doesn’t mean that that’s the end of your education, right? You could study additional works and you could create your own things in your spare time in the mornings or evenings. Because yes, it needs to be supplemented because it’s not complete. Creativity is just beginning to be incorporated into the normal academic curriculum. A: Yes and now things are changing so fast and life, new technologies coming out every day, new discoveries. I think that creativity will be the basis to survive. V: Yes because machines will replace everything. A: True. V: And even creativity too, eventually, but not as fast as a year or two. A: Let’s hope for that. V: Yes. We all know there are videos of for example fake videos with President Obama saying something which he even didn’t say. Artificial Intelligence created that video based on the speeches that President Obama made in earlier times. A: Yes, that’s a scary thing, that somebody can analyze your speeches and then to create something out of those speeches. V: So the ratio, I intentionally asked Ausra about that because I read in one article online or even I’ve heard on the podcasts, I like to listen to educational podcasts while I’m doing some kind of other activity because it doesn’t take my time. So on one podcast, the podcast was called The Solopreneur Hour podcast and they told that the ratio between reading and writing had to be 3:1. If you write for one hour, you read for three hours. So it could be less or it could be more. Don’t you think Ausra that it could apply to organ? A: True. Three hours of playing repertoire and one hour of creating, improvising or composing. V: That it doesn’t have to be three hours, it can be maybe one hour of playing repertoire and twenty minutes of creating something. A: Seems fair. V: And then don’t forget to share, right? Because what’s the point of creating if you’re not sharing, if you’re hiding under the table. Thank you guys, this was Vidas. A: And Ausra. V: We hope this was useful to you. Please send us more of your questions. We love helping you grow. And remember when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 221 of #AskVidasAndAusra podcast. This question was sent by Ron. He writes: Hi Vidas, I signed up for Steemit 15 days ago; they verified my email but haven’t sent me a password yet, so I couldn’t get into the contest site to upload on Dsound. Anyway, for what it’s worth, here is my recording. It is very simple, but I learned a lot, having forced myself to stick within the FGAC theme. A very interesting exercise. I actually did another one, for 6 minutes, and made no note mistakes (!) but didn’t want to force anyone to listen to something that long. What I tried to do with this one was 1) stick to the notes 2) keep fair time 3) allow myself to play with resolution and not 4) allow my fingers to play fairly disciplined, and then more-or-less spasmodically—which gave me a feel for that “other” side of playing and what we fear to do… Anyway, you don’t have to listen to this or upload it—but you can if you would like; the site won’t let me yet. I do intend to enter these contests, I haven’t “forced” myself to do anything quite like this an a long time! I especially wanted to let you know that I did a recording, and that it was a big step forward for me. I appreciate what you are doing! You and Ausra are going to have WAY too much to do in your 100s, heh, heh. Cheers, Ron A: That’s a sweet letter. V: Ausra we hope that Steemit will facilitate registration process for new users and send passwords quicker, right? A: Yes, we hope so because now it’s quite annoying when you have to wait for a password for a week or even longer. V: For longer. He wrote that he signed up for Steemit 15 days ago. A: Wow, that’s more than two weeks. V: And some people never get their passwords with this system but I heard that a new hard fork is coming when the registrations will be automatic so maybe then it will be all easy to sign up and fast. A: Let’s hope for it. V: Because all those benefits that Steemit platform provides it’s all for nothing if legitimate users cannot sign up. A: True, true. V: They will never come back. A: That’s true. So, what is your impression about his improvisation. V: We listened to it, yes, just a moment ago. First, let me congratulate Ron for being brave and submitting his playing. It feels like he hasn’t been doing this for many years, right. He’s just experimenting and finding for himself what is possible. A: True. V: I think the theme, four notes, F, G, A, and C is simple enough for anyone, even a beginner, really, who never ever played the organ experiment with those pitches in any order, in any rhythm, in any octave, in any meter, in any texture and registration. And even form you can mix up things to do interesting stuff back and forth, right Ausra? A: True, yes. That’s quite a nice motive you know to improvise. V: Um-hmm. And this week, for week second, I also chose four pitches but they are different. D, E, F#, and G#. Like lydian, lydian tetrachord. A: I think this improvisation will sound more modal. V: The first week with F, G, A, and C is like pentatonic almost. A: That’s why it sounds so calm and down. It has no tension. V: No tension, exactly. I think Ron did a good job of doing this for the first time and the second week even if he doesn’t enter the competition if he records himself and let’s say sent this recording to us or uploads it online for anyone to listen he will discover something new about himself, about this music, and about this instrument that he is playing probably at home. A: Yes, sure and you know you could use like more varied dynamics you know because varied can be really from the pianissimo to fortissimo and try to explore different registrations, and you know to play not only one octave but keep range varied from the lowest notes to the highest notes. V: Let me tell everyone a little secret how it’s so easy to make a fantastic improvisation on those four pitches. I will tell you the secret in a moment and you will think how didn’t you think about this before. And once you apply my tips in your next improvisation you will not reach level 2 but you will reach level 10 I think right away. A: Wow, tell us about it. V: (Laughs). I’m curious myself now. A: I know. It sounds so unrealistic so. V: It is. A: I’m wondering what you are talking about. V: For everyone it will be different because everyone’s passions is different. For example take you favorite organ piece that you are practicing right now. It could be, I don’t know, Orgelbuchlein chorale prelude by Bach, or some romantic work, or some fugal work. Any type of composition that you enjoy today playing. And you know the intricate textures and details well enough. OK? And then second step would be to analyze a little bit what is happening in terms of texture, rhythm, dynamics, registration, where the melody goes up or goes down, what does the pedals do, OK? So that composer, let’s pretend the composer was Bach and he created chorale prelude from Orgelbuchlein. And he does all kinds of wonderful things and the theme is in the soprano perhaps or in the alto sometimes. It doesn’t matter. What matters is you now know the secrets behind this composition well enough so you put the music in front of you just like you would be playing it on the organ, but instead of playing this piece you’re using only four pitches, right? Either F, G, A, C like in Ron’s case or D, E, F#, G# like for week 2. Imagine that. But you are keeping your model intact. Your basically doing everything that your master did three centuries ago but with four pitches, you know? You could do that on paper first of all. Just write down similar things you know to see if this works well enough. But if you are brave enough you can actually play it. Four pitches is not too much in both hands and pedals and in various octaves. And because Bach made the music interesting enough you could also do interesting stuff too keeping similar procedures. What do you think about it? A: Very interesting. Now I’m working you know I’m repeating the Chorale in B Minor No. 2 by Cesar Franck and I’m thinking how it would work with it. V: B Minor, OK. A: Because it has that you know sort of not passacaglia theme but something similar to passacaglia style a little bit. V: You keep everything similar, not the same though but similar in your own imagination. But you only use those thematic pitches. A: But what to do with those modulations, no? Because like Franck used so many of them, and sudden changes of the keys to extreme you know to foreign keys, and enharmonic modulations. V: Let me ask you this question. If Franck wrote everything in one key, just in one B Minor key with two sharps right? And he only used what, seven notes, not four notes but seven notes. Do you think this music would be absolutely boring? Not really, right? A: Oh yes, but somehow it’s hard to imagine Franck not using modulations. V: No, no, no. Of course he will use modulations and of course it’s normal. But, if we just omit those modulations and key changes for a second in our mind there are plenty of other musical elements which are being varied at the same time as modulations. Rhythms are changing, right? Perhaps texture is changing, dynamics are changing too, registration is changing too. So those four at least things could be used as in Franck’s model but with your own theme. A: Yes, could be very interesting. V: Yeah, and it could be done not only with Franck but with Buxtehude, with Sweelinck, with Tournemire you could you know open any score that you like and experiment with what you can extract out of that score and make it your own. And of course if you are you know more experienced with this you can add a second section with another set of four pitches and then a third section where you come back to the first set of four pitches then you will have ABA form. A: Yes, with a nice simple few parts piece. V: Maybe it’s not for that contest, not for this competition but it’s a principle that you could easily follow. Anyone can do this actually just I’m especially certain that now if Ron is listening to this and taking this tip seriously his next improvisation will be in level 10 and not in level 2. A: That’s true. And I think it’s very nice to take a set of like four notes and to improvise something for the church especially when you don’t have much time to prepare for it. You know and to learn some difficult organ music. I think it would work quite well for communion, let’s say. V: Exactly, like a meditation. A: Yes. V: By the way, here is Ron's entry for the contest the following week. Listen to it here. Thank you guys. I really hope this was useful, don’t you think Ausra? A: Let’s hope for it. V: And let us know if this helped and please send us your recordings maybe next time we could listen to it and discuss your feedback as well with your questions. This was Vidas. A: And Ausra. V: And remember when you practice and share your art… A: Miracles happen. Can you guess what gives this organ improvisation a Middle-Eastern flavor? Can you smell the camels? Can you feel the hot sand?
The Three Wise Men
Vidas: Let’s start Episode 103 of #AskVidasAndAusra podcast. Today’s question was sent by Victoria, and she wants to know if fingering is important in improvisation. That’s a question that she sent me after hearing my livestreaming on Facebook, when I improvised for 2 parts (I think note-against-note) some of the Genevan Psalm settings, like a counterpoint exercise. Sometimes the tune was in the soprano and sometimes it was in the bass. So she probably thought she might try it at home, this kind of approach; but first, of course, she wanted to figure out if she has to choose the fingering wisely. What would you say, Ausra?
Ausra: Well, yes, you always have to choose the fingering wisely; but it’s sort of...not as easy when you are improvising things. But you could write fingering for an original Psalm. Vidas: For a chant? Ausra: Yes, for a chant, yes, a Psalm tune. Vidas: Exactly. It’s like a theme. The theme is given to you; you can notate the fingering ahead of time, and add one additional voice (or two, three, four voices) in addition to the chant for yourself at the time you’re playing in improvisation, spontaneously. And as Ausra says, it’s difficult to do this with perfect fingering if you don’t have experience. Ausra: That’s true. Vidas: But in my case, for example, it wasn’t difficult, because I use some basic principles: I avoided using thumbs on the sharp keys, I avoided finger substitution and finger glissandos...and that’s about it, I think. Those 3 principles allowed me to create a nice, articulate legato, because the style, of course, was early style. Ausra: Did you have to think about fingering while improvising these Psalms, or not? Vidas: Uh...That’s a great question, because I had to think about other things! If you have to think about fingering when you improvise, of course, you are doing something wrong. Because in improvisation, fingering has to come naturally. It’s a byproduct, right? You play your music, and you figure out how the music will go--the flow of the music--ahead of time, when you’re playing; but your fingering principles should be set, basically, in your mind, well ahead of time, with your practice. So Victoria has, of course, a long way to go in this; and she needs to work on many many pieces of organ repertoire first, to get familiar with this foundation of fingering--and even pedaling, too, if she wants to play with pedals. Ausra: Yes, I couldn’t agree more--you build up your technique while you are learning organ repertoire, and then later on you can apply the same things, the same rules, to your improvisations. Vidas: Some people also like exercises, like scales and arpeggios with hands and feet and chords; that’s also part of any musical composition, and they basically isolated specific technical ideas into one exercise. And some people like to practice that, too, and it gives good results. Some people don’t, because they are bored with mechanical stuff, so they jump into music right away; but there’s a danger of straining your hands, because your hands will be cold at first--you have to warm up. So what I like to do is to warm up with improvisation. Slowly at first, gently, maybe, for a few minutes; maybe for 10, 15 minutes, whatever I like to do; and then I continue practicing repertoire--with, of course, correct fingering. Ausra: Yes. So correct fingering is definitely important, but don’t try to learn the correct fingering while improvising. You have to do it with your repertoire. Vidas: Maybe just keep the basic principles in mind, right? Ausra: Yes. Vidas: If you know the style that you will be improvising in--let’s say, Baroque style, right-- the basic principles which help you to achieve the desired articulate legato, and the 3 principles we adhere here to, are simply: avoid using the thumb on the sharp keys, avoid using finger substitution, and avoid using finger glissandos (because that leads to legato articulation). If you are improvising in Romantic style or modern style, what kind of fingering could you use, Ausra? Ausra: Then, of course, you would have to do all the things that you would be avoiding in the Baroque music: glissandos, finger substitutions...play as much legato as possible, especially if it’s Romantic style. Vidas: So first of all, you are free to use the thumb on the sharp keys. Ausra: Yes, definitely Vidas: But it’s not that convenient--it’s not that comfortable. Ausra: But you cannot avoid that. Vidas: If your key or the mode has many sharps or flats, then you are stuck with sort of modern fingering. Can you avoid finger substitutions and glissandos in modern music, too? Sometimes? Ausra: Well, very rarely. Usually you have to substitute. Vidas: Because...why? Because of course, the texture is thicker. Ausra: Yes, yes. Vidas: But if you are improvising in 2 parts--I’m not sure if there are a lot of Romantic pieces for 2 parts. That’s a little bit different style, right? Ausra: Yes. Usually you have thicker texture and more chords. Vidas: At least 3 parts-- Ausra: Yes, that you have to play legato. Vidas: So whenever 1 hand plays 2 voices, or even more voices, you have to almost always use finger substitutions and glissandos. Ausra: That’s right. Vidas: But in 3-part texture, if your RH, let’s say, plays just 1 solo line, you could get away without finger substitutions and glissandos, right? Basically, don’t use finger substitutions and glissandos as a crutch instead of right fingering. Because sometimes people don’t even bother to think about fingering, and they use all kinds of basically incorrect versions--accidental fingerings. Right? This is not healthy, don’t you think? Ausra: Yes, that’s right. Vidas: Why? Ausra: Well, I think I mentioned this thing before--that if you’re playing with accidental fingering, it means that you’re playing the same thing over and over again with different fingering, so you will never get comfortable with that piece, or your process of learning will be very slow. Vidas: True. So figure out your fingering ahead of time. Write it down, especially the difficult spots. And that’s why we also like to help you practice with correct fingering, by providing you our choices of fingered and pedaled scores. That’s why they are so helpful for people. So basically, in modern music, you can get away without finger substitutions and glissandos only when the texture is rather thin. So in 2-part texture in modern music, there are some biciniums, right? You can do well with simple fingering, right? But then if you have chords and progressions when 2 voices are playing with 1 hand--it’s another story; you have to do all kinds of things. But prepared things in advance, right, Ausra? Ausra: Yes, that’s right. Vidas: So, for example, next time we will be playing a recital only of Baroque music, right? Ausra: Yes. Vidas: So we will not use any of those finger substitutions and glissandos in the November recital. Ausra: Well, I’m playing Mendelssohn… Vidas: Oh, you’re playing Mendelssohn. Are you using finger substitutions there? Ausra: All the time! Vidas: Right. It’s too thick. Ausra: Yes. Vidas: It’s a different story. So yes, we are also applying our own tips in our practice, you see guys. And whenever we play Baroque music (which of course we do regularly), we avoid finger substitutions and glissandos. And when improvising, also, keep the same fingering principles in mind. Ausra: Yes. Vidas: Thanks, guys! Please send us more of your questions; we love helping you grow. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 43 - What practice methods do you suggest for simple fugal improvisation?8/4/2017
Vidas: Let's start episode 43 of #AskVidasAndAusra podcast. And this question was sent by Lilla, and she writes, “Dear Vidas, if you could accept my question, here it is. What practice methods do you suggest for simple fugal improvisation? It might be a good idea to practice it in your writing as well. A good source material method would be tremendous help and would be greatly appreciated. Thank you for all your work. Sincerely, Lilla.”
Interesting question right? Ausra: Yes. Vidas: Not many people ask us question about the improvising fugues. Ausra: Sure, because not many organists improvise them. Vidas: Not many people are brave enough even to try. Ausra: Yes, sure. But as Lilla mentions in her question, that's a good way would be to write it down first of all, or basically start to analyzing other composer's fugues, just to know how they are constructed, then try to write some of them down, and then just go to the practical work. Vidas: Yeah, exactly. What Ausra is mentioning is, before you had any treatises, before you had any method books, and exercise books, what did composers do? They studied other works, they studied a compositions of previous masters, who lived before them. And they, of course, analyzed them and copied them note by note, and maybe arranged them for organ, for other instruments. Like, Johann Sebastian Bach arranged for harpsichord, I think Hortus Musicus by Johann Adam Reincken, these were for string quartets, also contrapuntal works and Bach studied this way. So, before somebody even wrote a treatise on the fugue, or even on contrapuntal imitation, improvisation, they worked practically, analyzing things and writing them down. Ausra: Sure, and you know later you could take Weimar Tabulature by Johann Pachelbel, (not to be confused with Weimar Organ Tabulature) that's an excellent source for improvising. Easy fugues, fuguettes I would say. And then the next step would be, probably to take the Handel's book. Vidas: Exactly, Continuo Exercises According to George Frideric Handel. Ausra: At the beginning, he gives the number to exercises of basso continuo, and later on he gets to the fugues, to improvising fugues based on the basso continuo. Vidas: What do you mean probably is like partimento fugue. Ausra: Yes. Vidas: Where you only have the bass line, and the entrance of the subject notated in the bass clef. Sometimes the clefs change, but they also notate which voice has to enter and according to the principals of polyphonic imitation you add other voices, based on intervals. Ausra: Actually, yes. And after Handel you could proceed to the Langloz Manuscript. And actually this is much harder, much more complex than Handel's book. But after Handel you definitely can try to do it. Vidas: It's a very interesting collection of contrapuntal fugues, which are also simplified in notation, just like Buxtehude would write in his organ praeludiums and toccatas. Those intricate fugal sections, but you could write them in one line, in bass line, they're very lively, fast moving instrumental type of fugues, just like Buxtehude and his friends. Therefore, they're more difficult to play than Handel's. Ausra: Definitely. I remember doing them and that's very hard. Vidas: Yeah. Ausra: Very hard. Vidas: But if you practice them diligently (it's a big collection), if you do all of them, one by one, it gets easier. Ausra: Yes, definitely, just don't practice them all in a given row. You just pick up the easiest first. Vidas: Yeah, with slower note values. Ausra: Yes, definitely. Vidas: And also, these are primary sources, right? Ausra: Yes. Vidas: Composer's at the day, in the 18th century wrote them as exercises for their students. What about a little bit later collections and exercises that people could practice? You know there's a student of Bach, Friedrich Wilhelm Marpurg I think wrote- Ausra: A big treatise, yes, I remember that. Vidas: Treatise on the Fugue. Ausra: Yes. Vidas: That’s in English and in German it's Abhandlung von die Fuge. It is like an analysis of many, many, Bach's fugues, basically Well Tempered Clavier and even Art of Fugue contrapuntal pieces, it's like a predecessor of modern Treatise on the Fugue, and many modern Treatises on the Fugue method books, are based on this, right? Ausra: They are based on Marpurg. And because Bach hasn't left any written sources, Marpurg's book is actually about Bach's legacy. Vidas: Now based on Marpurg is a collection of exercises, which were practiced at the Paris Conservatory in the 19th Century and into 20th century too by Andre Gedalge. It's called Treatise on the Fugue, it has 11 or 12 chapters, and each chapter is based on one particular aspect of the fugue. Like the theme, the counter subject, an answer, episodes, stretto, things like that. It's indispensable for any serious student of fugal improvisation. Ausra: Yes, and good luck with that. Vidas: Now, do you think that people could benefit from practicing Marcel Dupre's Treatise on Improvisation Vol. 2, where he has an entire chapter on the Fugue? Ausra: Definitely, yes. Vidas: But it's for later, because Marcel Dupre himself advises people to go back to Andre Gedalge’s Treatise on the Fugue first, and write down exercises, on the paper with pencil first, and only then try to improvise on the organ from Dupre's treatise. Ausra: So basically, there are three steps. Analyze other composer's work, then try to write Fuges down by yourself. You can compose your own subject or you can pick up some subjects from real fugues and then try to improvise it. Vidas: Three steps. Very good, Ausra, I hope people can take advantage of this, and let us know what specific step is your favorite from this podcast conversation, what would you apply this week, and let us know how it works. And please send us more of your questions, and you can do this easily by subscribing to our blog at www.organduo.lt and replying to any of our messages, we'll be glad to help you out. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen. PS Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until August 9. If you have already read it, please leave a rating and review. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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