One of the most common reasons why people skip practicing the organ is that they don‘t have enough time. With all other important tasks and activities during the day it seems impossible to squeeze that extra time needed for organ practice. People who work from 8 to 5 are often too exhausted to play the organ after work. Our families also require much attention. Is there any recipe or solution how to find time for organ playing? Read on to find out.
First of all, we have to set firm priorities what is most important for us during the day. If organ playing is a hobby for you, then obviously you have other responsibilities every day. These tasks need to be done first, in order to properly fulfill our duties. If you love organ playing and tend to sacrifice other more important things in your life then you should consider setting firm priorities. I am not suggesting that organ practice does not need any sacrifice at all as you will later find out; I am just saying that first things come first. Do not prioritize your family. Your family is the most important thing you have in life and they need your special attention and care. If your spouse asks for your help and you are in the middle of your organ practice, don’t say “I will help you when I am done with my organ playing”. Or if your kids ask you to look at their homework, do it right away. However, we also need to think about what we do when we work. That way we could be more productive in our work, accomplish more, and perhaps have more time for organ playing at the end of the day. Are we working seriously and staying focused on the task at hand all the time or we are reading our email, and newspapers, checking facebook, watching youtube videos during our work day? All of this takes precious time. I may say, “It will just take a few minutes and I’ll be done”, but in reality I even won’t notice how I may spend 30 minutes or more doing things that are not necessary. You see, these 30 minutes can be all you need for your organ practice after work. Some people work at evenings so they could practice organ in the morning. What about playing organ on weekends? Sure you could play more on Saturdays and Sundays. Usually our weekends are not that full of activities and we may try to practice even for 2 hours. That would be great. Imagine, how your organ playing would improve, if you could practice that much every weekend. You are probably wandering what is the minimum time required for organ playing? On weekdays, perhaps minimum time could be 30 minutes of wise and productive practice . You could work on your keyboard and pedal technique playing Hanon exercises , pedal scales , and sight reading for 30 minutes every evening and practice for 2 hours on weekends. This could be all you need to see constant improvement. Even if full practice time is unavailable for you, repeating for 15-20 minutes what you learned the day before could be much better than to skip practice that day altogether. Some people would rather practice in the mornings, other later in the evenings. Of course, this requires a little of sacrifice. But if you have a goal in mind, if you are trully passionate about organ, it is probobly worth it. Do whatever works best for you. Whatever time you choose for organ playing try to make it constant. Put it on your calendar. This way you will know exactly when to practice. You will have a constant time for it and you will not have to worry about how to squeeze it into your schedule every day. Just write it down. I know that we are all different and our needs are different, too. Every person has to find a special solution. But these are my personal recommendations and I hope you will find at least some of them useful. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.
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When beginners first decide to start playing the organ, they inevitably have a question: where to begin? Having an answer to this question is crucial to the advancement of an organist.
Without a clear understanding of what are the strengths and weaknesses of any particular approach, it will be very difficult to succeed in developing one’s technique. In this article, I will give you my thoughts on this topic. First of all, let me say this: if you have a teacher or a mentor whom you can trust, do as they tell you. It is important that you accept and follow your teacher’s suggestions. Otherwise, he or she can’t take full responsibility for your development. When I first started to play the organ, my teacher asked me to choose a choral prelude from the Orgelbuchlein by J.S.Bach. Imagine that – playing from Orgelbuchlein right from the beginning... I have to admit, although I had a fairly well developed piano technique (I played the piano for 10 years before starting taking organ lessons), I had much trouble with this chorale. I did not know the reason why it was so difficult then, but now I can confidently say it was so because it had 4 independent voice parts (one in the pedal). Talking about Orgelbuchlein, it would have been better to start with the trio texture with 3 independent voices (chorale prelude “Ich ruf zu Dir, Herr Jesu Christ”), because it does not require to play two voices in one hand, which makes too difficult for a beginner to control the articulation. So going back to this topic you can see, that if the organist chooses a piece from the repertoire, it should be a wise choice. On the other hand, having a good organ method book , proceeding from the beginning and diligently following the instructions might save a lot of precious time. You see, the author who writes a particular method book gives you not only very specific exercises to develop your organ technique, but usually a good method book is structured in a very graded manner – from easy to difficult exercises and compositions. A traditional method book might start just with a single line and large note values and proceed a little bit further and involved with each set of exercises. This way the beginner might not feel overwhelmed by the subtleties of texture and technique. I understand that in many cases method books have long sections with dry unmusical exercises which are focused just on one particular element of organ technique, like pedal playing and the organist is supposed to complete them all. Organ pieces sometimes are only at the end of such method. For some people, this approach might be too boring. Isn’t the most beautiful organ music that they first heard was the most important reason for them to start playing this instrument in the first place? And here they are forced to play these exercises for many pages. Perhaps they could feel better about them if they had their goal , vision, or a dream in mind. For example, imagine that the organist wanted to play some piece that he or she always dreamed of, like the D Minor Toccata and Fugue by Bach or Toccata by Widor . But this organist would understand that they are too complicated for a beginner and start studying organ from the method book first with this goal in mind. In fact, it is possible to use a mixed approach. With this approach you would study exercises from the method book but integrate compositions from the repertoire of your level, too. Incidentally, the best method books available today integrate pieces within the exercises or construct the exercises out of the excerpts of the pieces. In addition, such a book also has extensive details on early organ technique, registration, ornamentation, service playing, organ construction, and even on the new late 20th century techniques. Another option would be to start playing the organ with very easy pieces from organ repertoire, such as the chorale prelude “In dulci jubilo” by Johann Michael Bach . However, be aware that you will need to figure out many details by yourself which otherwise would be included in the method book. These details include choice of fingering, pedaling, articulation, registration, ornamentation etc. So you still probably would need to consult your teacher or a method book. Otherwise, your solutions might not be the best and the road to mastering these pieces would be too long. Following the directions from your method book in a way is like studying with an experienced teacher but without the benefits of feedback, motivation, encouragement, and support. By the way, most of the teachers I know use method books in one way or another in their teaching. In the end, I would say that it is possible to start playing the organ with any approach described here. Of course, the choice is yours but my recommendation would be to choose and practice wisely. Treat the pieces like the exercises, find and isolate the difficulties, practice them diligently and you will have no trouble in mastering any organ piece . By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Many organists want to be able to play the most wonderful organ compositions from memory. This skill lets them to know the music at a much deeper level and gives many advantages against the organists who do not work on memorizing their music.
But is it possible to store the music in our permanent memory so that we could play it after many months? The answer is yes, and this article will show you how to do it. First of all, we have to understand that after we memorize the piece the next day we have to repeat it otherwise we will soon forget it. What does it take to truly memorize the composition ? We can take the analogy with learning the words of the new language. Just imagine if you have to memorize 5 new words in a foreign language today. How many times you have to repeat them in order to memorize them? Perhaps repetition of 10 times each would be enough for most people. Will you remember them tomorrow? Not really, unless you repeat them tomorrow, right? So, if you repeat them tomorrow, will you remember them permanently? Not yet. We have to repeat them about 100 times over a long period of time to be able to remember them permanently. In other words, repetition of just 10 times stores them in our short-term memory, but if we repeat them 100 times over some months, then we will have them stored in our long-term memory. Going back to organ playing, we can also use a similar system how you could go about in memorizing music and keeping it in your long-term memory. We will use a special 11 step strategy. 1) Memorize the music. Repeat it 10 times. 2) Repeat it after 1 day 10 times. 3) Repeat it after 2 days 10 times. 4) Repeat it after 4 days 10 times. 5) Repeat it after 1 week 10 times. 6) Repeat it after 2 weeks 10 times. 7) Repeat it after 1 month 10 times. 8) Repeat it after 2 months 10 times. 9) Repeat it after 4 months 10 times. 10) Repeat it after 6 months 10 times. 11) Repeat it after 1 year 10 times. Note that the length of the piece does not mater as long as you repeat so many times. However, I suggest you try something shorter for starters. After 1 year you will have 110 repetitions of this piece and it will be stored in your long-term memory. Then you can leave it for many months, but your will not forget it. However, I don’t mean you should be playing ONLY this piece for one year. Of course, play and other organ compositions but this is for the sake of an experiment. You can memorize more pieces, if you will have time. Now try this for yourself and I would like to know how it will work for you. It certainly did work for me. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Not every organist who plays this instrument masters the organ playing and achieves the high level. Many fail to stick with it for a long time and quit before they even start to see the results of their playing. This can happen because they fall into one or more pitfalls that slow down their progress. Avoiding these mistakes can save you much precious time and energy.
1. Having too many wishes. Because so much of the organ music is so beautiful, sometimes people cannot decide which pieces are the most important to them to practice for the moment. They watch videos or listen to recordings, find a piece that they like and start practicing. However, the next day they might find another piece and the same will happen. And so they have just too many pieces to learn for one practice session. Only the very best organists with much experience and extraordinary sight-reading skills can prepare for several recitals simultaneously. So limit your wishes and keep other pieces waiting for you in the future. 2. Laziness. Let’s face it, many people are just too lazy to learn to play the organ. Although this can be changed, they spent most of the time wishing they could be practicing and dreaming of how to become skilled in organ playing instead of just sitting down on the organ bench and start practicing. If you are serious about organ playing, never let a day pass without some practicing. Even if the full practice time is unavailable to you, you can spend some 20 minutes just repeating what has been learned the day before. Remember, there is a saying, if you miss one day of practice, only you will notice it. If you miss two days, your teacher and your friends will notice it. If you spend three days without practice, everyone will notice it. 3. Lack of prioritizing. The reason many organists do not practice regularly is due to their poor ability to prioritize. If they have other responsibilities besides playing the organ, they need to set firm priorities what is most important to accomplish each and every day. Do the tasks which are urgent first, then the important tasks, and only then the tasks that can wait. If you don’t have or don’t follow your priorities during the daily tasks and do only the things that you love first, then the urgent tasks still need to be done. Spending the day this way can mean that you will not have enough time to practice organ. 4. Practicing without a goal in mind. How many times do we sit on the organ bench and just go through the motions. We may play the piece once or repeat it several times but without being aware what we need to accomplish here. Ask yourself these questions regularly. Was the posture, hand, and foot position correct? Did I play the notes in this episode correctly? Were the fingering and pedaling without mistakes? Did I play the rhythm correctly? Was the articulation precise? If the answer to any of these questions was “No”, then go back and do it correctly a few times. If you are aware of these goals constantly while practicing, your performance level will improve dramatically over time. 5. Not having an experienced mentor. Having a mentor, a teacher or a coach is crucial to your advancement. Although there are manuals, textbooks, and tutorials from which you can learn many things about organ playing, having a person whom you can trust is even more important. There is one specific issue that needs to be addressed here: a good mentor will hold you accountable for your actions. He or she will not listen to any excuses. The mentor will push a little further each time you say “I can’t”. This is because the mentor was in your shoes once, mastered something, and can share this skill with others. 6. Not listening to the mentor you trust. What happens if you have a good mentor but you don’t follow his or hers advice? Of course, your progress will be much slower. What happens if your mentor tells you to practice for two hours a day, and you only practice for 30 minutes every other day? What if your mentor asks you to memorize a page of music, and you only memorize one line? Mentors are supposed to be strict. Only then real progress can be seen. But remember, only you are responsible whether or not you accomplish the task that your mentor asked to do. So trust your mentor and try not to make excuses. 7. Habit of not finishing tasks. Some people choose a piece of music, play it, practice it but never really master it. Long before they know the piece, they take another one. This approach will not get them very far. This can happen if the piece has places that organists cannot master easily. So they switch to another piece. I say this way people can eventually quit practicing the organ altogether. We have to finish what we start unless the piece is really too difficult for us for the moment. If this is the case, ask your mentor for advice. Realizing these common mistakes that organists often do and consciously avoiding them will help you to become a better organist. Be serious about your progress and you will reap great results. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. As organists we often have play in public. It could be services, weddings, funerals, even recitals, concerts, and organ demonstrations. However, for some organists, to play in front of other people can be a real stress. As you know, if we practice at home or any other place alone, our feelings and performance level can be much different than if we play for others.
Some of my organ students even have nightmares about that (me too, by the way). Actually, my worst nightmare about organ playing is like that: I have to play a recital but the music on the music rack is absolutely unfamiliar to me. Another version of the same nightmare would be if I have to play some pieces from memory, but I don't even know how they start. Going back to this topic, people feeling stage fright or performance anxiety might get quite uncomfortable before performances. The hands start to shake, breathing becomes very shallow, a person might start thinking about the people in the audience, about their negative comments, about difficult places in some particular piece etc. Naturally all these thoughts and feelings might affect not only person's general condition but also quality level of the performance. So, if you are like me and have some performance anxiety what can you do about it? Is it possible to get rid of it entirely? I think as long it does not affect your playing, some anxiety might be a good thing. It gives you more focus and determination. Otherwise the playing might be too relaxed, even boring for others to hear. I think the level of performance anxiety might have something to do with the actual ability to play the music confidently and fluently. The better you will know the piece, the more confidence you will have in your playing, and consequently, the less stress you will feel. In addition, the performance anxiety might be reduced by mental focus. This does not mean that we have to try to exclude all external thoughts but instead we should strive to be in the moment. When playing some particular piece, try to shift your focus and attention from measure to measure. So the take away message from this article would be this: whatever piece you are working on right now, try to achieve the level of fluency when you could play it with precision and without mistakes at least three times in a row. Even try to memorize the music. Keep your focus on the current measure. Then when time comes to perform it in public, the performance anxiety will not affect you as much. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. The road to achieving a high level in organ playing can be a lifelong journey. This is so because organist's profession requires a person to have many skills. That is why people studying at universities and conservatories to become organists need to take many different music classes. Although all of them are vitally important to the aspiring organist, there are four which I consider indispensable.
1. Organ Technique. In this field, we learn the basics of organ playing. These may include depression and release of keys, legato touch, finger independence, glissando playing, finger substitution etc. The same holds true to the pedal playing. This area of study involves playing specially designed exercises which develop specific organ technique. Some people do not consider the basics of organ technique very important and they start teaching organ with organ repertoire right from the beginning. I think that although this can be done, playing repertoire from the start might be sometimes too difficult for the beginner. However, the repertoire can be incorporated and mixed with the exercises quite successfully. 2. Organ Repertoire. This area, of course, involves practicing and performing many organ compositions from various national schools and historical periods. Because the organ repertoire is so vast (the earliest surviving music was composed about 700 years ago), every organist can learn something from it that is interested and useful. Naturally, the Bach organ works are the main emphasis of most organist's repertoire, but various other important schools need to be learned as well. For example, very popular among organists today are French Classical, French and German Romantic, North German Baroque, 20th century French repertoire. However, I think one can benefit from playing other lesser played composers from the Italian and Spanish Renaissance, English Baroque composers etc. 3. Organ Registration. Organists would not have sufficient skills, if they did not know the basics of organ registration. This involves knowing how to register specific types of organ composition, how to mix the stops, how to achieve balance between manuals and pedals, how to adjust historical registration practices to different modern organs etc. It is important for an organist to know how to make a good seamless crescendo, how to apply principles of terrace dynamic, how to make good use of the swell pedal etc. All these things can be learned if we study organ registration practices. 4. Sight-Reading. Organists also need to sight-read new repertoire pieces every day. This is the skill which will be very useful when organists have to accompany choirs or collaborate with other musicians. Without practicing sight-reading regularly, organists will have difficulty of reading and learning new music. It often happens that we are given new music to perform with choirs, ensembles, and soloists just a few days in advance (or less). If a person does not have good sight-reading skills, he or she might have much trouble and stress learning to play these new pieces fast. So you can see, how these four areas of study (organ technique, repertoire, registration, and sight-reading) are crucial, if the organist wants to be successful. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Have you ever had a feeling that it is very hard to memorize music? Do you struggle to memorize a few measures and get stuck? Or if you memorize something and try to learn something new, you just can't remember the first fragment. Or you try to memorize the piece for weeks if not months and still it does work. Or you think you memorized something but when the time comes to play it public, something happens and you can't remember most of the piece.
If so, I know how you feel. It was even worse for me: I was so afraid to play a piece from memory that I started having nightmares about that. However, it all changed when I came across this simple and easy system that Marcel Dupre, the master French organist and composer used in his teaching. Dupre suggests that we subdivide the piece into fragments of 4 measures. Then the memorization is done in the following manner. First, learn measure 1. Just repeat it a few times in a slow tempo, perhaps 5 times looking at the score and 5 times without looking. Then learn measures 2, 3, and 4 this way. Always finish the fragment on the downbeat of the next measure. After learning these 4 measures separately, practice two measures at a time. Combine measures 1 and 2, 2 and 3, 3 and 4. Again, repeat them 5 to 10 times. Then practice fragments of three measures: 1, 2, and 3, and 2, 3, and 4. Only then master measures 1, 2, 3, and 4. Then take another fragment of 4 measures and learn them in the same manner. Remember to repeat the previous fragments before learning something new. After learning the piece in these fragments, you can combine 2 of them together and practice 8 measures at a time. Later, take 16 measures, and so forth. Of course, this method works very well not only for memorizing organ music but also for any other instrument as well. However, not all musical passages are equally difficult. Some are easier than the others. For example, if you try to memorize any fugue, you will notice right away that there are places where not all parts are present. This is especially true for the beginning of the piece. Then you will need to repeat the opening measures much less than others with full polyphonic texture. So we always have to adjust to the real situation. This system is so powerful, but at the same time so simple and easy to implement that if you use it, you will notice how much faster and easier the whole learning process will become. The fragments will stick together in larger blocks very easily and you will know the entire piece inside out. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Do you ever think about how much time it will take to reach the next level in organ playing? Of course, we all want to progress as fast as possible. We want to be able play those virtuoso organ pieces that master composers like Widor, Vierne, Franck, and others wrote. We wish to have the ability to master major polyphonic works by Bach and other Baroque composers.
So, what is the fastest way to achieve that level of competence? The answer to this is simple: slow, regular, and persistent practice. By slow, I mean we should practice pieces in a slow tempo. Even the fast tempo pieces should be practiced this way. The tempo will become easy if you will know the piece very well. There are various practice techniques that help achieve fast tempo but generally speaking, we have to take such practice tempo in which we would avoid making mistakes. In addition, we have to practice regularly. By regular practice, I mean that ideally we should practice every day. It does not always have to be two or more hours of practice, but try not to skip practicing. Even if you have only 20 minutes available, repeat the work that you practiced the day before and it will become a little better every time you practice it. There is a saying among organists, that if we skip one day without practice then only we notice it. If we don't practice for two days, then our friends will start noticing it. If we spend three days without practice, then everyone will notice it. Finally, it is important that we have persistance in practice. For example, what do we do if we find a challenging spot in the music and we make mistakes? There are three options: 1) correct the mistakes 2) play with mistakes 3) choose another piece Ideally, we should strive for option 1. And that often takes persistance. Very often we will get discouraged by the difficult places in a piece. We don't always see the solution very clearly. But if we have persistance, then we'll find the way out eventually. By the way, option 3 might be a good solution, if the piece is too difficult to play comparing with our current level of ability. So the fastest way to achieve higher level in organ playing would require slow, regular, and persistent practice. I sure hope you are practicing this way. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Many pieces in the organ repertoire are so beautiful that sometimes we can't decide which one is our favorite for the moment. And often we have to practice several different pieces every day. This can happen if we prepare for a recital, church service, which might require prelude, offertory, communion, and postlude music.
Even if you play the organ just because you like it, it might be a good idea to practice several different compositions. I will explain why it is so. You see, because different historical periods, national schools, and composers require different performance practice techniques, playing different pieces every day will give you a benefit of diversifying your organ technique, too. One possible approach would be to take 4 compositions: one free work by Bach, one chorale work by Bach, one Romantic work (Mendelssohn, Brahms, Frank etc.), and one Modern work (Messiaen, Langlais, Distler, Hindemith etc.) The question then is: how to plan your practice time in order to learn these 4 works every day. First of all, you need to know how much time you can spend practicing your music every day. 2 hours a day of practice would be a reasonable amount of time. Working less than that would not give the results you want for these 4 pieces. By the way, this does not necessarily mean that you have to spend 2 actual hours at the organ. It can involve some time at the piano, or even working without the instrument, too. I would suggest practicing each piece for 30 minutes. In these 30 minutes, you can have time to do 2 things: 1) 10 minutes to practice and repeat the pages that you already have learnt before. 2) 20 minutes to learn new music from this piece. If you do this with all 4 compositions regularly, after some time you will get to the point when you will know them all together. Note, that if you want to play even more pieces every day, you have to spend more time practicing every day, too. In other words, if you have 10 compositions that you need to learn you will have to spend that much time every day practicing them. Of course, not all organ pieces have equal length and not all of them might have the same level of difficulty. Therefore, these numbers are relative. We have to adjust them to a real situation. It is possible to practice four or five pieces one day and another four or five the next day, too. That way we just alternate our repertoire every other day. So, would you like to be able to learn multiple organ pieces? Try this approach for yourself. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Because organ repertoire is so vast (the earliest surviving music is from the 14th century), we might sometimes get overwhelmed by the variety of compositions, composers, national schools, types of compositions, and historical periods. In this case, our wishes might be too broad for the moment. One day we might want to play this, another day - that. By doing so, we might even lose our motivation to play the organ in the long run.
We can't achieve a quality performance by playing different pieces every day. What happens is that by doing so, we might develop reasonable sight-reading skills but our overall level will not be as high as if we create a strict practice routine or plan. If you want to succeed in organ playing, you need to have a plan. Just like any other activity organ playing requires thinking about our goals, strategies, and tactics to achieve a higher level. So, how do we create this plan for our organ practice? First of all, we need to think about our goals with organ playing. Where do we want to be in 2 months, in 6 months, in 1 year, or 5 years from now. Do we want to get a solid foundation of our organ technique? Or to find a good organist position? Or to be able to play a challenging but exciting organ piece of our choice. Or maybe to prepare for our organ recital? Because we are all different, our needs will be different, too. But we still need to think about our goals. When we know what we want to accomplish in x months from now, then we can begin to think about strategy to do that. For example, let's pretend I want to be able to play the famous Bach's Toccata and Fugue in D minor (or any other piece) in 8 weeks. In order to achieve that goal, my strategy might be something like this: I would need to spend 3 weeks by learning the piece, 1 week memorizing it and 4 more weeks perfecting it. Once I have the strategy in place, I can plan the tactics, too. This would mean I have to calculate how much time and effort I have to put in order to learn the piece in 3 weeks. Because this piece is about 9 pages long, I would need to learn 3 pages per week, or 0,5 page per day to meet my goal. So, would you like to create something like this for your own organ practice? Try this approach and you will have incredible clarity in what you need to do to achieve your goal. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. |
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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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