Vidas: Let’s start Episode 93 of #AskVidasAndAusra podcast. Today’s question was sent by Simon, and he writes:
“Hello Ausra and Vidas, what are some tips for building up speed, and expectations for how long this should take – weeks, months? Learning a faster piece e.g Gigout Toccata, I can play the last section accurately at about 2/3 speed, but much faster and it starts to unravel. Playing same section over and over again I lose concentration, and probably just re-inforce mistakes. Greetings from Germany, and thanks to you both for your inspiration. Simon.” It’s nice that people from Germany are playing French music, right? Ausra: Yes, it’s very nice. Vidas: And getting feedback and help from us, and applying our tips in their practice, and getting better--even slowly, right? Talking about speed, Ausra: in your experience, does it come naturally to you, or do you have to force yourself to do something--tricks or tips? Ausra: Well, most of the time it comes naturally, but not always. It depends on the piece. Vidas: Well, you have to really remember that we have extensive piano training. From 7 or 6 years old we started playing piano. Ausra: Yes. Yes, that’s true. Vidas: And started playing professionally. Maybe we were not pianists, as in majoring in piano; but nevertheless we played piano every day. Ausra: That’s true, yes. Vidas: For many years before playing the organ. And when we started playing the organ, our finger technique was fairly developed, by that time. Ausra: Yes. But now, as talking about the speed, especially when you are practicing such pieces as Gigout Toccata, or basically any either Romantic or modern pieces (toccatas especially--Boellmann, Widor etc.), it’s a good idea to do half of your practice on the piano and half on the organ. It would be, I think, an excellent way to build up your speed--the tempo of the piece, too, while playing piano. Vidas: Your piece...on the piano? Ausra: Yes, that’s right! Vidas: But never forget that it’s an organ piece, right? Ausra: That’s true. Vidas: Don’t play with pianistic gestures and motions from elbows, and lift off your hands from the keyboard, and lift even your fingers so much--right? It’s not necessarily valuable for organists. Ausra: Yes, that’s true; but in some cases, especially if you have, let’s say, an early electronic organ, but you have a mechanical piano, too, then I think it would be very beneficial to practice on the piano. Vidas: A lot of people have pianos at home, right? Ausra: Yes. Because it has a mechanical action and it is good for your fingers--for developing your technique, and for building up the right speed. Vidas: I think in our community you will find plenty of people who have a digital organ, without pipes… Ausra: Yes. Vidas: And a normal, mechanical piano at home. Ausra: Then I would say, it’s better to practice on the piano; and maybe half and half, do half and half. Vidas: And by “piano” I don’t mean a Steinway, concert, full-size piano--but just an upright piano is perfectly fine. Ausra: That’s right. That’s right, yes. And with speeding up while playing, don’t be hasty. And don’t push yourself too hard to play in the right tempo right away. It will come in time. Just practice at the slow tempo first; and when you will be comfortable with that tempo, I think you may be able to speed up, little by little. Vidas: What helps me in these situations is when I have a difficult and challenging piece, and I know the music fairly well by now, I can play it in a moderate tempo, but it’s not yet concert tempo, and I want to speed up--I do the following trick: I play the piece from the beginning until the end several times, maybe 3 times, but stopping at every beat; and when I stop, I really look ahead, just one beat ahead; and I prepare my fingers in my mind, and then I play very very quickly just those 4 sixteenth notes, and not anything else. And then I stop and think ahead, and wait until I’m ready, and then play again four notes, very fast--I mean, in concert tempo, perhaps. Would you think that it’s helpful, Ausra? Ausra: Well, yes, I think it does help you. Vidas: Because it’s just the first step. Once you’re comfortable with this trick, you can double the fragment--maybe play half of the measure without stopping, in concert tempo; and then stop! and wait, and think ahead, and prepare yourself; and then play very fast again until the next fragment of 2 beats. Right? Ausra: Yes, that’s right. And when practicing, what might happen is if you push yourself too early to a fast tempo, you might lose your piece, because it might begin to get sort of dirty. Vidas: Exactly. Ausra: And then it will be very hard to correct it. Actually, I think sometimes it’s easier to learn a new piece of music than to correct a piece that is already muddy because you wanted to play too fast too soon. Vidas: I think the key is listening. You have to listen to what’s happening, even in a fast tempo; and if you can’t hear, that means it’s too fast for you, for your hearing. Ausra: Yes; and what you’re hearing, your listener will hear the same. So if you cannot hear what you are playing, your listener cannot hear it either. Vidas: Yeah, so spend some considerable time on these shorter fragments: one beat, two beats; one measure, two measures, four measures; one line, two lines; one page, two pages--making the fragments longer and longer by doubling them, but be very careful to go to the next beat very patiently. Ausra: Yes, because you still have to hear each note that you’re playing, and you have to be able to control yourself. Because if you will to pick up too fast a tempo, you might lose control. Vidas: Excellent. Do you think that people should play piano exercises or etudes from pianistic repertoire--once in awhile, for this case? Ausra: Yes, I think it would be good. Vidas: Chopin, Liszt? Czerny? Ausra: Well, Czerny, actually, is an excellent resource for building up technique. If you have trouble with some kind of technical problem, definitely you can find an etude by Czerny in which that problem will be solved. Vidas: Mhmm. Ausra: Because it’s an excellent source. People often rush to etudes like Chopin’s, and Liszt’s, and other virtuosos’... Vidas: They’re too advanced. Ausra: Yes, but sometimes they are too advanced, and sometimes I just think that for developing that necessary techniques, the Czerny etudes are the best. Vidas: Especially Op. 299--the “School of Velocity,” I think it’s called. So you will find any type of keyboard technique there. And just start from the beginning. Ausra: Yes. Vidas: Learn the first etude. Ausra: And I think it will help you later on, to play Romantic and modern music on the organ well. Vidas: Yeah, and your fingers will thank you for that. Ausra: Yes. You definitely will strengthen them. Vidas: Thanks guys, please send us more of your questions; we love helping you grow. And you can do that by subscribing to our blog at organduo.lt and simply replying to any of our messages that you will get. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Comments
Vidas: Let’s start Episode 89 of #AskVidasAndAusra podcast. Today’s question was sent by Anne, and she writes:
“Hi, I really enjoy watching your videos and have found them very instructive. I am an organist/pianist/violinist. However, I've recently been diagnosed with an ulnar compression which is affecting the sensation and dexterity of my ring finger and little finger on my left hand. It is also causing me issues in using the pedals because I am finding that, when playing the organ, I cannot move or sit in an optimum position. I have been told by my physio that this is from wear and tear from playing and practicing, and I was wondering if you know of other musicians who have had a similar problem? Although I am doing exercises to try and relieve the compressed nerve I have been told that to resolve it I will probably require surgery. The only other choice would be to stop playing, which obviously I cannot do. Do you have any suggestions? I'd be very grateful to hear your thoughts. Thank you, best regards, Anne.” So: nerves, sensation in her ring finger and little finger in her left hand, affecting her dexterity of the fingers. This might be a serious problem, right? Ausra: Yes. Vidas: Have you ever had problems with fingers and wrists, and things like that? Maybe ankles? Ausra: Yes, with wrist I have had problems, way back in the Academy of Music when I was playing very much, and doing hard music such as Reger. Vidas: And...did you go to a doctor? Ausra: Yes. Vidas: And what did he recommend? Ausra: Well, there were discussions between doctors: one advised me to do surgery, and one did not. So I did not do that surgery--wrist surgery. And I’m still playing! I’m still feeling all my fingers. Vidas: Uh-huh. So basically you had to somehow adjust your practice procedures. Ausra: Well, yes; and I realized that for me, swimming is very beneficial to relax all my muscles. Vidas: Do you think that Anne could also try swimming? Ausra: Could be; or some other physical therapy exercises. But everything is individual for each person. Vidas: She has to try out a lot of things and then discover what works for her, basically. Ausra: Yes. But if that’s a problem of nerves, she might have to have real surgery. Vidas: Depending on how far advanced this ailment is. Ausra: Yes. Vidas: I see. In high school, I also had problems with my little finger--I think with the right hand--because of playing Scriabin etudes, I think. So at this time, my teacher gave me to play left hand etudes, and I didn’t practice with my right hand for three months, maybe. And after that, of course, the pain stopped. But I had to be much more careful with my playing. Ausra: And I often tell my students at Čiurlionis Art School, that the most important class for them is actually physical exercise class. And they laugh at me! They just think, “Oh, she’s crazy haha, she tells us in a school of music that the most important class is physical exercise.” But I seriously mean it. Because if you don’t exercise enough, you will not strengthen your muscles, and just practice for long hours. And Anne told us that she plays three different instruments. Vidas: Yeah. Ausra: Including violin. It means that your body has to adjust to all these instruments. And if you don’t exercise enough, in time you might encounter various health problems. Vidas: You’re absolutely right, Ausra. Ausra: Because even while living healthy and exercising enough, it’s hard to prevent your body from damages. That’s what happens when you practice for long hours. Vidas: When was the time when you first understood that physical training is important for musicians? Ausra: Actually, it was in America. Vidas: Me too. I had all kinds of exercise equipment in my home, but I never really took advantage of those. And I never really developed a habit of exercising. Maybe I could do some sporadic exercises; but it didn’t count, basically. But what you’re saying is I think very common for musicians-- Ausra: Yes. Vidas: Because all they want to do all day long, really, is play! Ausra: Yes, yes. And I mentioned swimming, earlier; I think it’s very beneficial for a musician to swim; because, well, you cannot hurt yourself while swimming. It really makes your body relax and release all the tension, and you will not hurt your fingers while swimming. Vidas: Even people with older age, with joint problems, knee problems… Ausra: Yes, and maybe not to swim, but do some exercises in the water. That’s very beneficial, too. Of course, you have to consult a professional, in order to learn those exercises. Vidas: And as I was saying, even people with joint problems or knee problems, they cannot really take a walk or run, or do other kinds of exercises that other people can, but they normally can swim. Ausra: Yes, and our host family--the mom of our host family--she had knee issues, way back in Michigan (we were living with an elderly couple for 2 years). And she had both her knees replaced. And actually, at quite an early age; she was still young when she had that surgery. And after that, she never felt good in her life. And she could hardly walk. She would be walking, but it would give her a lot of pain; so she could not take long walks, or run, or do other exercises. But she could swim; and that’s what she did every day. Vidas: True. I hope that people in our Secrets of Organ Playing community--they are from all backgrounds, not only professional musicians; and a lot of them are from different professions-- Ausra: Yes. Vidas: And hopefully they do understand the importance of moving. Ausra: Yes. Vidas: And stretching, and things like that. Ausra: And as for a physician, it would be definitely good to find a physician who specializes in people with special needs--people like musicians. Because when I consulted doctors, way back when I was young, they could not help me much, because they just kept complaining that, “Oh, you musicians, you have everything developed so strangely in your arms…” Vidas: Mhm. Ausra: So...they are like a different world. But if you live in a larger country, you have more physicians, and more choices. So try to search for a good one, for somebody who specializes… Vidas: To sum up, of course, our recommendation: not only do you have to consult a physician, and of course do some exercises that they recommend, but you have to practice in a different way now. So look at your feeling… Ausra: Listen to your body, basically. Vidas: Yeah. Do you really feel pain all the time, or just when practicing for a longer period of time? If that’s the case, then maybe you could stop practicing before the pain arrives. Ausra: Yes. Because what Anne wrote about...I think it might be because of the violin. Vidas: Left hand, you’re right. Ausra: Yes, I get that feeling, that it’s because of playing violin. Vidas: You might be onto something here. So maybe violin is not very healthy for her in the way that she’s currently practicing. Maybe she can practice for shorter amounts of time and take longer breaks, relaxing her arm. Ausra: I remember I once had a student who was a violinist, and she had to graduate in a couple years. And she started to have hand problems; and she went to doctors, and she was diagnosed with--overuse syndrome, sort of she already overused her arms. Vidas: So that’s what Anne is talking about--wear and tear. Ausra: And actually, she had to switch her major, and I think she graduated as a composer from our school. Vidas: I see. Ausra: And I think she didn’t go to the Academy of Music later on. Vidas: She didn’t pursue a professional musician career? Ausra: Yes. Yes yes yes, because of that. Vidas: I see. Well, as Ausra says, listen to your body and consult your physician. That’s the best we can advise, right? Excellent. Please, guys, send more of your questions; we love helping you grow in any way we can. We don’t always know all the answers; but we maybe help you understand some of the problems, and maybe direct you to real professional help. Excellent. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
First, the news: If you would like to learn the famous Toccata from Suite Gothique by Leon Boellmann, I have prepared this PDF score with complete fingering and pedaling which will be helpful in your practice process.
This score is available here with 50 % discount which is valid until October 11. It's free for our Total Organist students. And now let's go on to the podcast conversation for today. Vidas: Let’s start Episode 82 of #AskVidasAndAusra podcast. Today’s question was sent by Peter, and he writes, “Dear Vidas and Ausra, I recently learned a new and ugly concept: Convenience rubato. Meaning slowing down, when it gets difficult. It hit me by my heart, because it is, what I do during rehearsal. But how do I avoid it during a performance e.g. a service (especially during preludes or postludes, since the hymns normally stick to the the tempo)? Thanks for your continuous work teaching and inspiring me. Regards, Peter.’ Remember, we also had a similar experience while playing piano. One of our former professors said, “Oh, when it gets difficult, just expand the tempo and slow down!” Ausra: Yes, I remember that! It was funny. Vidas: Of course, he didn’t mean we should do this all the time, but he tried to make us feel better about difficult spots, basically. Ausra: Sure. Vidas: Did you, for example--while working, remember, with our organ studio, Unda Maris people--did you ever hear somebody slow down when it gets difficult? Ausra: Oh, definitely. There are some students that change tempo--like in the two beginning opening lines, they change tempo a few times! Vidas: Or speed up when it gets easier. Ausra: Yes. And that’s especially obvious in fugues, because one subject enters alone, and it’s easy to play it, so you can take a fast tempo. And then, each subsequent subject would just slow down the tempo a little bit; and finally maybe after a few lines you establish the right tempo. It just means that you have to pick your opening tempo according to the hardest spot of the piece, from the beginning. Vidas: The densest texture. Ausra: Yeah. Vidas: Just look at your piece of music that you’re currently playing, and find the spot which has the most difficult rhythmic values--maybe syncopations, maybe four or five parts--and then try to play all the parts together. If you cannot really play at the concert tempo without mistakes, all parts together, at that spot, slow down until you can. And that’s your current practice tempo, basically. Ausra: And I think what creates this problem that you cannot keep a steady tempo in the hard spots and just slow down--It’s very hard for us to push ourselves, for example, while practicing, to start to work on those hard spots first, and then only after practicing those hard spots, to play everything right from the beginning until the end. Because, that’s what kids do at school. They always try to play from the beginning to the end. And in that case, you will never be comfortable with those really hard spots, because they need your additional attention--extra practice. Vidas: Or kids even do other things, like playing pieces which are easy... Ausra: That’s true. Vidas: And not practicing pieces which are difficult at all, for some time, until it is too late. Ausra: Because always, if you don’t keep a steady tempo, it means that you either have some technical difficulties in some spots, or you are not listening to what you are playing. But I think in this case, this is the first scenario: you still have trouble playing some difficult spots. Vidas: Would recording yourself help? Ausra: Yes, that would help, definitely. Vidas: Because then you would find out how much your tempo fluctuates. Ausra: Yes. Vidas: And in which places. It’s pure math, I think. As Ausra mentioned, for example: fugues. And fugues sometimes have four voices--but not at the beginning. So at the beginning, you have just one voice, a single line. Then a second voice enters: you have two voices. Then three voices, and then four-voice texture; that’s the hardest part, perhaps. And there are several of them during the entire piece. So what happens? At the second entrance of the fugue, you have two voices. But you have not two problems here, but three: because you have to solve the first voice separately, second voice separately, and both voices together--that’s three problems. When you have three voices...you have seven problems! Right? Because each voice is separate, and then two-voice combinations are three, and plus additional three-part texture--all parts together. And when you have four parts, you have fifteen problems to solve! That’s why it is fifteen times harder to play the middle of the fugue than the beginning of the fugue--right, Ausra? Ausra: Yes, that’s true. Vidas: So, I hope, guys, you can practice more of those combinations in difficult spots. Ausra, are there any other exercises that people could do, which would help them stick to the tempo? Or would just mastering the challenging parts help? Ausra: You could exercise, but I think it’s good to master those hard spots in a specific piece of music, for keeping a steady tempo. Vidas: Because like Peter writes, about hymns--it doesn’t happen with hymn playing, right? He sticks to the tempo in hymns, normally. But preludes and postludes give him more trouble. So normal organ music would be a good place to look at-- Ausra: Yes. Vidas: And to practice difficult spots. Considerably more times than the easy spots. Ausra: Definitely. Vidas: Okay guys, please send us more of your questions. We really enjoy helping you grow. And...this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 64: How not to find multiple keyboards of the organ to be a bit intimidating?9/7/2017
Vidas: Let’s start now Episode 64 of #AskVidasAndAusra podcast. And today’s question was sent by Dan. And he asks, “How not to find multiple keyboards of the organ to be a bit intimidating? Take care, and keep up the good work with the podcasts and stuff. Dan, a loyal listener from here in Ontario Canada.’
Wonderful! Ausra, isn’t it fun, that people from Canada listen to us? Ausra: Yes, I think it’s very exciting! Vidas: And they’re having various challenges, and we’re trying to help them! Ausra: Sure! Vidas: It’s really fun. So, when you have multiple keyboards on the organ--two, three, four, sometimes even five; the largest pipe organ in the world has seven keyboards!--it’s incredibly intimidating, right? What was your first experience when you tried to play a three-manual instrument, Ausra? Ausra: It was difficult, actually, because, I don’t have such long legs and long arms, so it’s always a challenge for me to play on the upper keyboard. So I just have to register my piece in a clever manner, and to choose my manuals correctly. Because otherwise I might be in big trouble! And I don’t think I ever would go playing higher than the fourth keyboard. I would never play on the fifth. It would be just, physically for me, impossible. And it’s okay; there are still many ways, how to register and to play well even not using all of the keyboards. But now, I’m pretty comfortable with using the fourth manual. Vidas: Here is the exercise I think people can apply in their practice, if they have three manuals (or four!) at home or in church, but they’re not used to this. They’re struggling with changing manuals and adapting. How about this: you play your piece on multiple manuals (even though stylistically it would be incorrect (it doesn’t matter). But let’s take a piece and play a phrase or a sentence or a musical idea (a complete, probably, musical idea) on one manual, and then you start another musical idea on another manual. And so on: you go through multiple manuals, sometimes like in an echo manner. Like if the manuals are registered loud-softer-softer-softer; or soft-louder-louder-louder; you could do different kinds of dynamic effects this way. But that’s not the point. The point is to get used to the multiple keyboard changes. Would that help, Ausra? Ausra: I think that’s a good exercise. And in general, the more pieces you will practice while changing manuals, the more comfortable you will get in time. Vidas: Try to improvise on that unfamiliar organ more. Try to explore different sounds and manuals yourself, maybe playing with one hand on one manual, and drawing the stop by hand on another manual, preparing; and after a short break, trying to play it with the left hand on another manual, and then transferring your right hand on another manual, then looking at another registration on a third manual with right hand, and then probably jumping from keyboard to keyboard this way. Ausra: And even if you practice on the piano, or on a small organ that has only one keyboard or two keyboards, just in those spots where you know that you will have to change manuals, imagine that you’re changing manuals, and do it physically; basically, maybe by taking a longer pause, and making that extra motion with your hand. This will help you when you will have to do it for real. Vidas: As Professor Pieter van Dijk says, it’s all mental, right? Ausra: Yes. Vidas: All kinds of physical things all begin in your head. So even though you don’t have three manuals, four manuals, or five manuals, you might have just one manual, but you can pretend to be jumping from manual to manual. Ausra: Definitely it will help you. I do that a lot, myself, and it really helps. Vidas: Yeah. Otherwise you get used to this one-keyboard layout; and when the time comes to go to perform in public in a different situation, with a different keyboard layout...as Dan says, it’s really intimidating. Ausra: Yes, but it will get easier with time. The more experience you will get, the easier it will be. Vidas: The more experience with different organs, right? Ausra: Yes. Vidas: And playing different kinds of music, too. Ausra: Sure. Vidas: Okay guys, we hope this advice was useful to you. Please send us more of your questions; we love helping you grow. And you can do this by simply replying to our messages that you get as a subscriber to our blog at www.organduo.lt. So, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
A few days ago David wrote me the following message:
Hello Vidas, If you have time, would you please make an audio recording of Handel's Largo on your home organ for me. I am very interested in hearing what the articulate legato and the correct tempo of the piece sound like. I have been listening to the various performances on the internet, but I don't think many of them are played correctly. So yesterday Ausra and I went to our church to practice my draft arrangement of the 1st movement of Bach's cantata "Wachet auf, ruft uns die Stimme", BWV 140 for organ duet. It was unplayable - the voices were crossing each other too much. But now I had an idea what might work. Incidentally I also had Handel's Largo with fingering and pedaling printed out which David was practicing from. In order to demonstrate him the tempo and articulation, I asked Ausra to play with me on our church organ this piece as a duet. We did and later recorded this video. Hope you enjoy it. And now let's go to the podcast for today. Vidas: Let’s start Episode 58 of #AskVidasAndAusra podcast. And this question was sent by Minori, and he writes that he is having difficulty in adjusting his organ playing to the individuality of every organ he meets. He writes: “Every organ is unique with its own touch of the keyboards and pedal. It often happens that I can play well on my practice organ but not on other organs, especially when I play on them for the first time. I am a Roman catholic (a religious minority in Japan as a Buddhist country), an ex-amateur pianist (intermediate level), now a small parish church organist with only four years of experience of organ playing. So many challenges to tackle ahead, but I am enjoying and improving gradually. I am learning a lot from your Secrets of Organ Playing. When I practice, miracles do happen. Thank you, Vidas and Ausra. Minori “ Ausra: That’s very nice to hear! Vidas: Right! So his challenge for today is adjusting to other organs, right? He can practice successfully on his own instrument, but individual organs that he encounters in different occasions are tricky for him. Ausra: Well, it will come with more experience; but I would say, just don’t give up. For now, I would suggest to him maybe to choose an easy repertoire when he knows he will be playing on a different instrument. And also, you need to select your repertoire wisely; I mean, to be able to pick the right music for the right instrument. Because sometimes you cannot play everything on every instrument. What do you think, Vidas, about it? Vidas: Well, obviously, sometimes people do this mistake: they learn some kind of baggage of organ repertoire, let’s say thirty minutes of repertoire--or one hour of repertoire; and they want to travel their country, or even different countries, touring the world, by playing this in public concerts. Ausra: Actually, in Lithuania, I even heard this joke about an organist: “Tell me an organ piece, and I will tell you who’s playing it!” And this joke means, that some organists, they learned like twenty organ pieces; and they played them during their whole lifetime, and never have learned anything new! And for such organists it might be a problem to go to a different instrument. Vidas: Exactly. Ausra: I don’t think it’s probably an issue with Minori, but you definitely need to know that you cannot play every piece on every single instrument. Vidas: Well, in his country, Japan, he might not have too many historical instruments… Ausra: But I think that they might have nice replicas of historical instruments, don’t you think so? Because I think that interest in organ music, and organ as an instrument--especially in Asia in the late years--is increasing. Vidas: That is true. Of course, then, what do you think, Ausra: how many instruments do you have to try first, so that you would feel more or less comfortable later? Ausra: I think the more you try, the better you will feel. Vidas: Well, right now, for example, tomorrow (as we’re recording this)--tomorrow we will go to play a joint concert with our friend and colleague Paulius Grigonis, to a town in the southwestern part of Lithuania, Vilkaviškis. And this organ has 3 manuals; it’s mechanical; it might have some electric stop action, I think. I played it some years ago, but Ausra hasn’t. Ausra: Yes. Vidas: So...are you worried about adjusting to this instrument? Ausra: Actually, no. I’m used to it. I have performed many times without any rehearsals at all, on various instruments. Well, you just have to know what you want from that instrument, and to have some sort of conception about registering it. So then it should work just fine. Vidas: So, in your case, Ausra, when did you notice that it’s no longer a challenge for you to adjust to a new instrument? Ausra: Well, it probably took me about eight, nine years of practice. Vidas: So it was already in America? Ausra: Yes, definitely. Vidas: In later years in America, or early years? Ausra: I would say about the middle. Vidas: So, at the beginning of our doctoral studies, in Nebraska? Ausra: I would say so, yes. Vidas: What was the first instrument in Nebraska that you felt pretty comfortable to trying out? Ausra: Well probably that beautiful organ at Cornerstone chapel. Vidas: Which is no longer there… Ausra: Yes. Vidas: It was moved to St. Thomas Aquinas Catholic Church: the Newman Center. This organ was built by Gene Bedient. Ausra: Yes. Vidas: It’s a landmark instrument. And I think I’ve heard people say that it’s the oldest-sounding instrument in the United States. Although it’s a modern instrument, but it’s in the style of 17th-century Dutch organs. Ausra: And it’s very beautiful, really. Vidas: So we have to comfort Minori a little bit by saying that the more organs he tries, the easier it will be to adjust, right? Ausra: Yes; just don’t pick up, repertoire which is too difficult for the beginning. Because iif you will choose a piece that you feel really comfortable--maybe with less pedalwork, not very difficult technically--it will be easier for you to adjust to, anyways. And you will get more comfortable in time, I hope so. Vidas: And for closing, I would say that for me, I started noticing my challenges diminishing with every tenth instrument I visited. About ten. So every tenth new instrument is like a new landmark for me; and maybe Minori could have a list of instruments he tries out, right? And maybe count them--count the number of the organs that he has to try, and see if Organ No. 10 makes a little bit different approach: maybe he discovered something new about the instrument, about himself, about the music; and adjustment becomes a little bit easier. Maybe Instrument No. 20 will become another landmark for him, too, you see. Ausra: Yes, and another suggestion probably might be costly, but if you will have an opportunity in the future, you might go on an organ tour. Because there are actually a number of organ tours going in the world, especially in Europe or organ academy, where in a brief time you can visit and try out many instruments. That might help, too. Vidas: Just a few weeks ago, our student Victoria returned from Bach Organ World Tour. Basically they have this tour every...two years, I think? Ausra: I think so, yes. Vidas: In central Germany. And people have a chance to try out instruments from Bach’s day and region. That’s extremely valuable. Ausra: Or like, summer organ academies. This week, for example, in Alkmaar every single day, we would visit different organs in the Netherlands. We just took a train--it’s a very simple travel form, very comfortable in that country--and every day we tried new instruments. And so, in maybe less than 2 weeks, we had tried many new instruments. It was very nice. Vidas: Okay guys, we hope this was useful to you. 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. Just a quick announcement that our 3rd e-book is finally ready:
"I Have Forgotten the Basics" (And Other Answers From #AskVidasAndAusra Podcast, Vol. 3) We dedicate it to all our students who have forgotten the basics but still continue to practice. It's free for Total Organist students and everyone else can get it for a low introductory price of $4.99 until August 30. When you read it, please let us know what is #1 advice you will apply in your organ practice this week. PS If you find this e-book helpful, you might enjoy our other e-books here.
Vidas: Let’s start Episode 53 of #AskVidasAndAusra podcast. And today’s question was sent by Morton, and he writes that he’s struggling with playing pieces which have many sharps. He writes, “My struggle is with playing pieces in many sharps. I don't have trouble with playing pieces written in many flats - don't ask me why... For example, David German's Trumpet Tune changes keys in the latter portion... If he had written that portion in flats I would be able to manage, but I haven't been able to manage that portion which he wrote in sharps... I have put that aside for now...
I'm also working on polishing up an arrangement of Brahms' How Lovely is Thy Dwelling Place - I was elated when I came across this arrangement in Choral Classics Arranged for the Organ published by Morning Star. To me this would be a very suitable selection to play either before, during, or after a funeral… Thank you very much for being willing to include transcripts of your future podcasts.” So this is an interesting question, Ausra, that Morton has trouble with sharps, not with flats. Ausra: Well, that’s a strange thing, actually, to hear, because usually people struggle the more accidentals the piece has. But here, my best guess would be that probably back in time, he had practiced more pieces written in flats, not in sharps, and that might cause the problem. Vidas: I don’t know if this is the case, but sometimes, players of wind instruments feel more comfortable with the pieces in flats, because trumpet is in flats, and clarinet is in flats, and saxophone is tuned in flats...So maybe, Morton has experience with some wind instruments. Ausra: Could be. Definitely not with the violin and other string instruments, because I know that string instruments prefer sharps. Vidas: Exactly. So, as you say, whatever the case might be, probably Morton has played more pieces written in flats than in sharps, right? Ausra: That’s my guess. And in general, I would suggest him to practice more of keyboard harmony. To play more sequences. That might help, too--to be able to play very easily and to feel comfortable in any key, in any given key, never mind it’s flats or sharps. Vidas: I think it’s self-explanatory why he’s struggling with sharps, because if he’s challenged by sharps, he obviously tends to lean more on flats, and practices what is easier for him, most of the time, I would guess. So after a while, the skills of playing sharps will deteriorate, and flats will become easier and easier for him. Ausra: Yes, I think so. Vidas: So he has to overcompensate now, and go back to sharps. Ausra: I think yes, he has to try to play at the beginning easy keys, like one or two or three sharps, and then later just make it harder. Start with G Major and D Major; later go to A Major, and so on and so forth; until you will finish up maybe playing in C-Sharp Major! Vidas: A good exercise is to transpose, right? Ausra: Yes. Vidas: For example, take a piece or excerpt of a piece in C Major or a minor (either way, it has zero accidentals). And then, as Ausra says, go through the circle of fifths. First it will be through the sharp side of the circle of fifths, and then going back to the flat side of the circle of fifths. That may help, right? Ausra: Sure. Vidas: Or, another system is like, transposing to the key which has one sharp, and then one flat; and then again, two sharps--two flats. Three sharps--three flats. And so on, until you reach six or seven flats or sharps. Ausra: Definitely that will help, I think. Anyway, I believe it’s just a matter of time and practice. Then he will get more experience, then he will stop avoiding sharps, and everything will be just fine. Vidas: Another suggestion would be for him to sight-read. Ausra: Sure. Vidas: Because when he sight-reads pieces that he doesn’t know, probably he will encounter a lot of pieces with flats and a lot of pieces with sharps, too. Ausra: Well, you can take, also, a hymnal, for example, and let’s say, practice all the hymns written in the sharp keys. That’s a possibility, too. Vidas: Exactly. So I hope this advice has been useful to you--to Morton and to others as well, because this is a rather common problem, right? For people to be challenged by accidentals in general, right? Ausra: Yes. Vidas: Other people might feel uncomfortable with flats, too. Ausra: Sure. Vidas: D-flat Major, or b-flat minor, or even G-flat Major--it’s a tricky key. Ausra: Or C-flat Major! Vidas: Oh, yes, C-flat Major! Ausra: That’s a horrible key! Vidas: Don’t even start here! Okay guys. Practice, sight-read, transpose: these are the best solutions you have. Wonderful. And send us more of your questions, and you can do that by subscribing to our blog at www.organduo.lt, if you haven’t done so already, and then simply by replying to any of our messages that you will get, as a subscriber. We will be very glad to help you out to grow as an organist. Thanks, guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Deceptive Piece d'Orgue
Will mess up inner voices, If you're not careful.
Today's question was sent by Robert. Here's what he writes:
Hi Vidas, I'm studying the BWV 577 Fugue I purchased last week, although easy reading not so easy to execute smoothly! Wow! What a great piece though. So now then I turn to BWV 572. It looks easy to play but it's still pretty tough for me. Now the last movement "Lentement"! Any pointers on these measures of 32nd notes? One almost has to memorize these 3 pages to get anywhere I think. Whats the best approach? Or is it just determined, "stick to it -ish"? 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: Let's start Episode 19 of #AskVidasAndAusra Podcast. Today's question was sent by Robert. He is studying Piece d'Orgue, right now, BWV 572. His question is about the last episode, “Lentement” where there are a number of 32nd notes, and for him it's almost like he has to memorize these three pages. He asks, "What's the best approach to learn it." Ausra, you are practicing this piece right now. Ausra: Yes. Vidas: What's your experience with this section? Ausra: Actually, it's quite comfortable for me, because you play three notes in the left hand and then three in right throughout all those ending pages, so it's not that hard for me. Vidas: What would be the tricky part for an average person to play this correctly? Why Robert is stuck here? What do you think? Ausra: The problem might be, if you are practicing in faster tempo than you should, the texture might get muddy, you might lose some of the notes. Vidas: So your suggestion is to really slow down considerably? Ausra: Yes, to slow down, especially if it's the case you are practicing on non-mechanical organ, because if you are practicing it on the piano or on the mechanical organ, then it should be fine because it gives you sort of a gravity on the key. Vidas: And the resistance. Ausra: Yes, the resistance. You know you cannot play as fast, and things will not get muddy. And you should not lose the beat, strong beat, because the meter here is 12/8, so I would suggest that you have perhaps two strong beats in each measure. Vidas: One and three? Basically the down beat and the middle of the measure, right? Ausra: Yes, and the middle of the measure. Yes. If you would look at the harmony, this is also the point on the strong beat and then on the middle of the measure when the harmony actually changes. Vidas: Would Robert benefit from playing just one line at a time, one system at a time, and then stopping and repeating? Ausra: That might work, too. Actually, if things get muddy, you can work probably with different rhythmical combinations. For example, not playing all the equal notes, but maybe make them with the dots. Vidas: Right. But, actually, you can also reverse the data rhythms, right? Ausra: Yes. Vidas: You can do the first long and the second short. But then you reverse short, long, short, long. That's also helpful. Ausra, the middle movement for me, when I played it, was more difficult, the five part texture. Ausra: Yes, because that texture was so thick, and you have to be very careful about what you do in the middle section. Vidas: Yeah. Although it's slow, but lots of things are going on there. Ausra: Yes. Vidas: Yeah, and you need to learn in separate voices and voice combinations, and there are not four voices by five there. So you have to multiply the combinations considerably. Ausra: And sometimes even six voices. Vidas: Six, right, at the end. Exactly. What do you think would be your suggestion for the beginning section, “Tres vitement”. Ausra: For me, the beginning actually is trickier than the end. Because sometimes my tempo's changing in that section. At the beginning you have those 16th notes, but then also the 8th note at the end of the passage and you those places when there are all 16ths running and two 32nds after that. Vidas: Yes. Ausra: This sort of gives me probably the most trouble, because I get rhythmic spasms on those shorter sections. But actually what works for me is that I subdivide the notes with my tongue right from the beginning. Vidas: You have to hear it, listen to the subdivisions? Ausra: Yes. Vidas: If you succeed in listening, then you will succeed in playing? Ausra: Sure. Vidas: Then it will be not too fast and not too rushed. Ausra: Sure. Vidas: Good advice. I hope people will benefit from this answer. Please send us more of your questions. Overnight, a couple of people have sent me a couple of questions, and tonight we're going to record those answers. This is going to be really fun, Asura, right? Ausra: Excellent. Yes. Vidas: Where people can find out more about our activities and blog and subscribe to get the opportunity to email us? Ausra: Of course, at our blog, www.organduo.lt. Vidas: Yes. If you subscribe there to get updates and for 10 days mini-course of organ playing, then you will get the opportunity to connect with us and ask those questions. This is the best way, probably, to contact us. Excellent. Guys, go ahead and practice, because when you practice ... Ausra: Miracles happen. By Vidas Pinkevicius (get free updates of new posts here)
Ausra and I are in our summer cottage right now. It's beautiful out there and it's good to escape the noise of the city. Very green. This morning while I was helping prepare the bread that Ausra's parents will bake in an oven with a real fire-wood I was listening to James Altucher's conversation with stand-up comic and actor Jim Morton. At the end of it, Jim shared his 3 steps in being a better comedian. Afterwards I thought about what would it take for someone to master the art of organ improvisation. So here are my 3 steps: 1. Write down musical ideas every day. Have an idea notebook. Take it with you everywhere you go. Use it for sketches or complete compositions. Doing this on computer isn't very practical at least to me. I have to have a physical thing in my hands to hold. I use Sibelius for something else. But maybe I'm different from you. 2. Perform live every day. I don't suppose you have the privilege to play for a church service every day. That would be an exciting musical laboratory for you (and funny thing is so many organists I know don't even think about it). Also playing recitals every day is kind of above the limits of a mortal person. But you certainly can live-stream your improvisations wherever you practice on FB with your phone. This counts too. You get a built-in live audience and immediate feedback. 3. Record yourself and watch/listen to it. It's difficult to watch yourself play. Sometimes I'm so embarrassed that I can't stand listening my own pieces. But you have to. It's very important for growth. Learning from your own failures and successes. In one hour of improvisation I might find 3 minutes of music worth writing down for composition. That's a lot, actually. Many times, I don't. But it's not for me to decide, you know. My job is just to do it. I don't filter anything. Good or bad. I don't care. So just write down, show up and learn. That's all for now. Have to finish editing and uploading the podcast. By Vidas Pinkevicius (get free updates of new posts here)
Yesterday my student Jay from San Diego, CA asked my help in improving his hymn sight-reading skills. He's 70 years old and occasionally plays as an substitute at church and especially enjoys hymn playing. But right now he's struggling with reading 4 voices from the hymnal. I gave him advice to practice 30 hymns for 30 days from the hymnal while only playing the soprano part. After that he should do the same with the next set of 30 hymns and the alto part. Then comes the tenor part and finally the bass. 4 steps with solo parts, then 6 steps with 2 part combinations, then 4 steps with 3 part combinations and after that he will be ready for the entire 4 part texture. You see where I'm going with this? My 15 step sight-reading system. Do you think this type of approach will lead him to success? |
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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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