I didn't sleep well last night. So what happened is I got a nasty headache and no inclination to practice yesterday. But... I did it anyway. Can your practice help reduce physical pain you might be feeling? Listen to my thoughts.
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Are you thinking of skipping organ practice today? Don't be. If you improve just 1 percent today, miracles will happen in the future. Listen to these thoughts to find out why.
#AskVidasAndAusra 129: There Is A Great And Profound Joy In Practicing And Performing on the Organ12/22/2017 Vidas: Let’s start Episode 129 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Helene, and she writes that her challenge is not keeping up with her daily practicing. She writes:
“I have talents in other ways in that I write fiction and non-fiction; I play other instruments, too. However, there is a great and profound joy in practicing and performing on the organ which is unparalleled.” Ausra, do you have other hobbies/interests/talents besides organ? Ausra: Yes, I do have some. Vidas: So it’s a perfectly normal thing-- Ausra: Of course it’s normal, yes. Vidas: --To have many interests instead of just one. Ausra: That’s right. Vidas: What would happen if a person would have just one passion, one single focus? Ausra: I think he would become very good in that area in which he concentrates. That’s my opinion. Vidas: Wouldn’t that be like...a limit for that person’s personality growth? Ausra: Hmm… Vidas: You know what I mean? Ausra: Yes, I know what you mean; but people are different, so you cannot judge for everybody. And you cannot measure everybody by the same scale. Vidas: For example, I also have some hobbies besides playing the organ (playing the organ is not my hobby anymore, of course); but there is a downside to it, of course: it all takes up energy and time. Ausra: Yes. And actually, I see a conflict in this question itself: because she writes that she is not practicing daily, and then she’s telling that it gives her profound joy, practicing and performing the organ. So...I sort of see a conflict in this. And she plays other instruments, as well. Vidas: Maybe she should choose what is more important to her. Ausra: Yes, because, I mean, if she really finds joy and happiness in practicing and performing organ, then that’s what she should do. And you know, you will not be a virtuoso in any instrument that you play; I think it’s impossible-- Vidas: You mean, in every instrument. Ausra: In every instrument, yes. Especially if they’re not all, like, keyboard instruments. I would say you could play excellent on harpsichord and organ, or organ and piano; it’s harder, but still possible. But...not like, probably, violin and organ. Or flute and organ. Vidas: Or flute, violin, and organ! Ausra: I know--still one of the instruments will be the leading instrument, for you. Vidas: Mhmm. It seems to me that she enjoys writing very much, right? Ausra: Yes. Vidas: She’s writing stories--made-up stories and nonfiction. So that might be another way to express her creativity. Music and writing are not in conflict, I think--they supplement each other, right? Like other instruments and organ may be in conflict, but writing and organ are not necessarily in conflict. Ausra: Yes, this is true. Vidas: How many hobbies can a person have and still manage them successfully, do you think? Ausra: I don’t know--2, 3 maybe? Vidas: 2-3? Let’s say not hobbies, but activities. It might be other things-- Ausra: Well, you know, it’s like talking about nothing--it depends on how much time you spend at work everyday, how big your family is, how many domestic responsibilities you have...All these things, you know--some people are so busy that they cannot have even one single hobby. For example, like, I’m working late at school everyday. So, it’s a different story with you--maybe you should tell about your hobbies. Vidas: I’ve heard--I’ve read, actually--a story by...Warren Buffett, I think...yeah, the famous investor. And he says that you should write down a list of 25 things you want to do in life, in order from the most important one from the least important one. But all these things are important to you: like playing, like writing, like maybe drawing for some people, like other things. And some people really have 25 things on their plate. And then, he says, circle the top 5, and cross out the rest of them--like 20 things--and never look at them again. These are still important things to you, but life is too short. For myself, I have too many interests, too, and I have to limit myself, too. And I find that 5 things in my day, I can still fit in; and practice, every day, 5 different things, perhaps. Like let’s say, of course, playing the organ--repertoire, right? Maybe like...of course, improvising; like composing, number 3; and then would be writing, of course; and I like drawing, too. So those 5 things are still manageable. But other things I have to forget about, I think. What about you, Ausra? Do you agree with this? Ausra: Well, yes. I would be very happy if I could do 5 things a day! My teaching schedule is so busy that it gives me no time for anything else. There are days when I can hardly practice, and I’m very happy if I can read for like 15 minutes before bedtime! When you teach like 7, 8, 9 hours a day, what else can you do? It’s exhausting! Vidas: Yeah. Of course, I didn’t say reading; reading, of course, is important. I didn’t count that. So yes, Helene and others who have many interests and hobbies--and love to play the organ besides that--sometimes need to figure out a way of letting things rest awhile, and see if they’re still important, right? Maybe take a break of 5 weeks or a month without doing that activity, and see if you miss it. Right? And if you do, then maybe you’ll see it’s important, and maybe it has to go up in your priorities list. What do you think about that, Ausra? Ausra: Well, definitely, yes. Vidas: Okay guys, please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 124 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Dineke, and she wants to know when you really need to stop learning a piece--when enough is enough, when you have made enough progress so that you could pick up a new piece. First of all, I think it’s different for everyone, right Ausra?
Ausra: I think so, and I think it’s never enough to stop, actually--I mean, the piece is never perfect enough. I think if once, after playing a piece, you can say, “Oh wow, it’s perfect!” then it means that you don’t need to perform anymore. And I don’t think that’s possible. Vidas: Right. What about for you? For example, when you learned--remember the last piece you performed in public (it was a group of pieces, but), let’s say, Variations in D, Andante by Mendelssohn. Right? So, when did you decide to stop practicing this piece? Ausra: I never stopped practicing the piece. That’s my point. Vidas: Uh-huh. Ausra: Okay, I did it--I played in during a recital. But I will play it in the future, so I will still be working on it. Vidas: With some breaks, right? Ausra: Yes, with some breaks, yes. Vidas: In between those periods, you pick up other pieces. Ausra: Yes. Vidas: Depending on your goals. Ausra: Yes. And you know, after a while, I may be returning to that piece, and I will play it maybe differently. With new ideas. So polishing a piece--it’s never a finished process, for me at least. I don’t know, what about you? Vidas: That’s a good question. I feel that whenever I’ve learned a piece inside-out (very deeply analyze it, write down fingering and pedaling, even memorize it--sometimes I go very crazy and transpose it to keys that have different accidentals)--so whenever I do this, I know that whenever I need to take a break, even a break of several years, I can pick up this piece with relative ease, and continue practicing relatively without any struggle and frustration. Of course, several days and weeks might go shaky; but then, little by little, my memory refreshes, and I start playing just like a few years ago--or even a decade ago, I would think, too. But first of all, you need to learn the piece very very thoroughly, in order to do that after a while. Ausra: Yes. But in general, if you want to know if you’re over with that piece, you just have to be able to play in the right tempo without any mistakes, I would say, at least 3 times in a row. What about you? What do you think--would you agree? Vidas: That’s an excellent point, I think. If you want to be more secure, I think 5 or even 10 times in a row would work for some people. And it depends on the occasion, and on the stress level, and the level of what is at stake, right? Ausra: Because if you are playing for yourself, and you are making mistakes… Vidas: Nobody cares, right? Ausra: Yes--well, yes, but it means that definitely you are not done with this piece, because in public performance, it will be ten times worse! Vidas: But if you are playing it for a competition, let’s say, and somebody who’s an expert will judge you, and 10 or 20 other high-level organists will compete with you, then you have to be really precise, and perfect this piece up to the point that you can’t even make a mistake. That’s how professionals are different from amateurs, I’ve heard. Amateurs practice until they get it right, and professionals practice until they cannot make a mistake anymore. That’s a big difference, right Ausra? Ausra: Yes. Vidas: So, I think you have to be strict with yourself, when deciding when it’s enough, when it’s okay to show to the public; and be realistic of your level, because stress and all the stakes will get ahold of you during a public performance. So you actually have to play automatically-- Ausra: Yes, that’s right. Vidas: Be able to play with your eyes closed, in complete darkness, let’s say. Ausra: Yes. And you know, it’s often the case with organists, that you practice on one organ, and then you have to perform on another organ. It also will make things harder, actually; so you have to be really really ready, and know your piece very well. Vidas: And if you’re used to playing your RH on the upper manual, and the LH on the lower manual, it will make a big difference if you reverse the hands, if you’re not used to the reversal. Ausra: Yes, so you have to be really comfortable, to feel comfortable with your piece, to be able to do all these additional things. Vidas: It all comes quite naturally, I think, over time. Ausra: Yes. Vidas: You don’t need to rush those things; you don’t need to be in a hurry to reach perfection, I think. Right, Ausra? Ausra: Well, sometimes you do, if you have a deadline very soon. Vidas: What do you mean? Ausra: Well, if you have a recital in a few days, for example. Vidas: And...? Ausra: And you are not ready yet. So then you are in big trouble, and you have to worry. Vidas: So maybe your planning, then, is not okay. Maybe a person like this chose all the pieces that are new, and all the pieces that are very long, and all that are very difficult. That’s a big lack of understanding how to plan, right? Because you don’t need to play everything that’s difficult stuff, and everything new, like you cannot repeat. Ausra: That’s right. So, I don’t think there’s any one answer when your piece is ready. You just have to decide for yourself. Vidas: And know that whenever you come back to this piece, you will find something new to work on. Ausra: That’s right. Vidas: That’s okay. Even after a while, after a few years, your level might have grown, and you will figure out some new things on how to perfect it even further. Your taste might change, right Ausra? Ausar: Yes, that’s right. Vidas: Okay! Good luck, guys, in perfecting the pieces that you choose. You will never reach perfection--I will never reach perfection, and Ausra will--I don’t know, will you reach perfection, ever? Ausra: NO. Never. Vidas: Never? So, we have to live with that. But probably, the main point here is to become a little bit better each time we practice, than yesterday. Compare ourselves with ourselves yesterday-- Ausra: That’s a very good point. Vidas: --And not to the masters and other virtuoso organists whom we hear from recordings and videos. Polished. And you never know, if you pick up a CD, if the CD is a live performance, or if it’s edited with many many takes, and glued-together fragments, right? It’s not live anymore! Ausra: Yes, that’s right. Vidas: So, how do you record pieces, Ausra? Do you record it in one sitting, or do you take multiple takes? Ausra: Well, I record it in one sitting, actually. Vidas: Mhm. You don’t edit things? Ausra: No. Vidas: You might stop, when it’s a big break, right? In an episode, or at the end of a movement? Ausra: Yes, of course. Vidas: End of a movement. But it doesn’t make sense to me; I don’t like editing too much. I try to play with feeling and with liveliness. Of course, some sloppy mistakes are not okay for official recordings... Ausra: Sure, of course. Vidas: And I need to redo it--retake it until I get it right. Ausra: But then, I just record everything again. Vidas: Mhm. Ausra: From the beginning to the end. Vidas: Right. Thanks, guys--this is really interesting. Please send us more of your questions; we love helping you grow. Right, Ausra? Ausra: Yes. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 121 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Robert. He writes that “I’m not taking enough time every day to practice.” So Ausra, do you think that he doesn’t have time enough, or he cannot force himself to practice?
Ausra: Well, from his statement, it sounds like he might be probably too lazy to practice, like we all are sometimes. At least, I had such an impression, after reading his statement: “I am not taking enough time every day to practice.” Vidas: “Lazy” might be a cause for this, but I think this inner drive should come first, right? If you’re so motivated, and passionate about that, and if you want it so badly, then you don’t have to really force yourself. It comes naturally, right? Ausra: Well, then you will understand that practice is a privilege; and yes, you will practice every day. Vidas: I’ve heard an explanation about this issue: that you have to feel like a gun is pointing at your head, and then you will feel motivated to do whatever it takes! Ausra: Well, what I personally think is, I think your practice needs to become your habit. It’s like having lunch or dinner. You eat every day--I believe so, yes? So that’s what you have to do with practice: it just has to become a part of your routine, of your schedule, of all the necessary things that you do. Vidas: But Ausra, what if you stopped eating or drinking? For a week? For a month? Ausra: Well, you will die. Vidas: You will die, yes? So that’s why we keep eating and drinking. What would happen if Robert (or anyone else in his shoes) would stop playing? Ausra: Nothing. Vidas: Nothing. That’s why he is not taking enough time every day to practice. Ausra: But, because he already sent us this question, that shows that he actually worries about it. And actually, without practicing, he doesn’t feel well enough. Vidas: Mhm, mhm. Ausra: That he has that--I don’t know what to call it, inner guilt? Vidas: Yeah, it’s like this dog that we have to feed, and he’s saying, “Feed me, feed me, feed me!” and we forget every day, right, and he dies after three weeks. Ausra: Yeah. Vidas: I have this dream once in awhile. Or, you had this dream right? Ausra: Yes. Vidas: About a hamster? Ausra: Yes, yes. Vidas: I had another dream that I would skip classes--I would teach music classes in some school, and I would forget those classes for six months. So that would be...uhh, not a nice feeling in the morning. It’s kind of like that with Robert, too. He feels this guilt, I think, too; because he wants to succeed, but it takes willpower to do this. Ausra, is there any shortcut, silver bullet, or magical pill? Ausra: I don’t think so. It would be too easy--too simple! Vidas: Anybody could succeed, right? Ausra: Yes. Vidas: And anybody would succeed, actually. Ausra: Yes. Vidas: So, the best I can advise Robert is of course, imagine what bad would happen if he stopped practicing for himself--what life would look like if he didn’t practice for six months, for him. He has to visualize it, right? Or the other way around--imagine how his life would be if he practiced every day for six months, and what he could achieve in that time, right? Ausra: Yes. And of course, from his question, I could also understand that maybe he practices every day, but not enough. Vidas: Hmm. Could be. Ausra: So, that could be another issue: that you know, in that case, if he practices every day, but not enough, then he will never play well enough. Vidas: What is enough? Ausra: Well, it depends on how good you are already, and what your goals are. It’s different for each person. Vidas: Is 15 minutes enough? Ausra: I don’t think so. Vidas: Minimum of 15 minutes a day. If you are, you know, so busy, so tired, so exhausted, that you kind of feel like skipping today, we say: do just 15 minutes, and you will thank yourself the next day that you didn’t break the chain. Right? But if you’re serious about it, it should be more. Ausra: Yes, of course! Vidas: At least what? Ausra: Well, at least an hour. Vidas: At least an hour, probably. Ausra: At the very minimum. Vidas: Mhm. If you want to learn a few more advanced pieces and go further along into the perfection of organ art. It’s not easy to force yourself, right? Because life is so full of complications, and we have so many distractions every day, right? TV, computers, phones everywhere, and everything is shiny and wonderful… And they call to us: “Pick me, pick me, pick me! Do this, do this, do this! Forget organ practice! Just once!” So Ausra, what motivates you to practice? Ausra: Upcoming recitals. Due dates. Vidas: External motivation. Ausra: Yes, yes. Vidas: Hmm. I probably would practice less than now if I didn’t have my concert schedule lined up. So yes, guys, if you suffer from this trouble of not making enough effort and practicing every day, then schedule some public performances. Ausra: Yes. Vidas: That will be helpful, right? Ausra: That will force you to practice enough! Vidas: Does it have to be a full recital, Ausra? Ausra: Not necessarily. Vidas: What do you mean? Ausra: Well, you could do just one piece, I don’t know; it depends on your situation in life. Vidas: Could you find an organ friend in a church--like, an organist--and get to know him or her, and ask for permission to perform a postlude or prelude or communion piece… Ausra: Of course you can do that. Yes, you can do that. Vidas: In a month, let’s say, right? Ausra: Yes. Vidas: And then, there you go. You have a deadline. Ausra: That’s right. Vidas: Or two pieces, if you are more confident. Or, for people who want to advance even further, they could do half an hour of some sort of celebratory recital after some festivity in the church, like Easter. Ausra: Yes, because I believe that there is no better motivation to practice than fear of public performances coming up. Vidas: Everybody’s afraid, right? You think that you will mess up your playing, and everybody will make fun of you, and your career will be over, and your life will be over, and you will go to prison, and you’ll die eventually. Ausra: I don’t think you will go prison if you didn’t play a recital well. I hope not! Vidas: To organ prison! Ausra: Yes. Vidas: Where all the bad organists are staying! Or you will go to purgatory! Would you like to go to purgatory? Ausra: No. No. Vidas: Where all the bad organists are staying? Who play only white keys on weekdays and black keys on Sundays and festivities? Ausra: Yes, that’s funny. Vidas: So guys, look seriously and decide what you want to achieve within the next six months, right? It could be very small: learn and master 2, 3, 4 pieces, maybe. Just like that. And then, schedule some external accountability, like public performance. And then you will thank yourself later, because you will have to force yourself. Right, Ausra? Ausra: That’s right, yes. Vidas: Thank you, guys, for listening. Thank you for sending us your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 117 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Neil, and he writes:
“I don’t have a home organ so practising is on my Roland piano but I have access to an organ at my parish church.” So Ausra, do you think that playing on a keyboard or electronic piano is beneficial? Ausra: Yes, of course; you can do a lot on those. Vidas: Mhm. Ausra: You can learn the text, and keep your shape; but of course, it’s better in Neil’s case to practice at church. And it’s good that he has access to his parish church organ. And actually, very few of us have an organ at home. Vidas: Mhm. Vidas: So it’s good to have any type of keyboard at home. And even acclaimed virtuoso pianists sometimes don’t practice on an acoustic piano. They sometimes have electronic keyboards, like clavinovas, or Rolands, or others at home. Remember Ausra, we visited one house here in Vilnius, looking at some apartments; and there was a famous Lithuanian pianist--we saw his wife, with a baby--and of course, they had a piano, but not an acoustic piano, but an electronic piano! Ausra: Yes, I remember that. Vidas: So we talked about that, and apparently, her husband practices quite a bit. Ausra: Yes yes. So there is always a solution. But if you live in the States, I would say people in the States are quite generous--churches are very generous, actually, with sharing the organ. So you could easily get access to basically many church organs to practice on. Pipe organs, electronic organs... Ausra: Yes. Vidas: All kinds of organs. Of course, some churches don’t have pipe organs; and we prefer even a small pipe organ to a large electronic organ, I think. Ausra: Yes. Vidas: But that’s our taste, right? Other people might choose differently. Ausra: Yes. Vidas: Ausra, do you have some suggestions for people who are struggling to get access to a church organ? Ausra: Well, yes; just try to find a church that will accept you. Vidas: What will you need--the number 1 step--for this? Ausra: Well, just to call, actually. Vidas: Mhm. Ausra: To your local churches. Vidas: Or...Is it better to call, or to visit on a Sunday? Ausra: Well, I think it’s better to visit personally, then you show that you really care about it. But if you cannot do that, then call them. Vidas: Sometimes you can befriend a local organist, right? Ausra: Yes. Vidas: And listen to them play, and maybe after a while, ask them permission to play yourself once in awhile. Ausra: That’s right. Vidas: Or maybe volunteer to play in the church service, maybe for communion or prelude or postlude--just one piece, so that the local organist could get a better feeling for your abilities, right? Ausra: Yes. Vidas: And then, if you are friends, you can ask for more regular access to this instrument. Ausra: That’s right. Especially because in the States there are so many churches. So many organs! Vidas: Do you think sometimes donation helps? Ausra: Yes. Vidas: You could donate some small amount… Ausra: Yes, you could donate, or you could volunteer in some kind of work in the church... Vidas: Mhm. Not necessarily organ music-related… Ausra: Yes, yes, definitely. To be an usher or acolyte, or whatever you can come up with as an idea of what could be beneficial to the church. Vidas: Basically, make yourself useful to the community, and earn their trust. Ausra: Yes. Vidas: And then, maybe they themselves will offer you practice and rehearsal opportunities. Ausra: Yes. Vidas: Wonderful. So, I think, guys, you can look up many churches in your area; maybe some miles around your house, because you can drive some distances. What to do if people live in rural areas, like villages, remote forests--in the middle of nowhere, basically? Ausra: But still there should be a church in the main neighborhood. Maybe not as close, but still… Vidas: Like in the middle of Australia, or far north in Canada. Ausra: Well, that’s a hard question. What would you do in that case? Vidas: Well, I would probably try to find some bear settlements. And maybe in the bear settlement, you could befriend some polar bears, if you are in Canada, and then make yourself useful to their community; and then maybe the bears will offer you an opportunity to play their instruments! Not necessarily pipe organs, though. Ausra: Well, I would not want to get acquainted with a polar bear. Because I think this would be the last acquaintance you made! Vidas: What about in Australia? What kind of animals live in Australia that you could make yourself useful to? You know those ostriches, right--emu? Ausra: Yes, I have seen those on TV. Vidas: Uh-huh. So they run very fast, and they can kick you… Ausra: Well, you know, if you live in such a remote area, then probably the best thing would be to have an instrument at home. Not an organ, necessarily, but maybe a piano or electric piano… Vidas: Or some sort of keyboard, right? Ausra: Yes, some sort of keyboard. Vidas: You can get a cheap, used one from Ebay shipped to you for $20 or so. Just for starters--maybe not for a lifetime, but just to get used to the keyboard layout, and start practicing, basically. Ausra: Like in Lithuania, for example, they have upright pianos in a lot of homes; and some people don’t need them, and they want to get rid of them. But it’s hard to move them, because they are heavy; for example, imagine that you live on the tenth floor, and this piano cannot fit into an elevator, so you have to manually bring it downstairs by using the real stairs. Vidas: Mhm. Ausra: So it’s very hard work. So some people just want to get rid of the piano, and they make such an announcement like, “I’m giving away a piano, but you have to come and pick it up, and move it out.” So that’s what you could try to do: to look for an announcement like this. Vidas: And when you get a used piano, and if you don’t mind making alterations to your piano, you can modify this piano and attach an organ pedalboard to it. To the strings. Ausra: Yes, I know, some people have done that quite successfully. Vidas: Just like people who “midify” their keyboards, and add pedalboards with midi input, and play with the synthesized sounds with their feet, right? You could also do this with acoustic upright piano, while playing piano sounds with your feet! Ausra: And remember reading about Albert Schweitzer, when he was a missionary in Africa… Vidas: Mhm. Ausra: What kind of instrument did he have at home? Vidas: I think a pedal piano. Ausra: I think so, too. Vidas: But it might have been not an upright piano, but a grand piano with pedals. Ausra: Could be. I think it would have sounded very bizarre, in the middle of the jungle--Schweitzer playing Bach. Vidas: But people around him would have sung, too. In their local indigenous tradition. Ausra: Yes, yes. Vidas: It sounds a little bit like Lithuanian folk music, right? Ausra: Yes. Yes, some similarities, yes. Vidas: Those chords and harmonies...Wonderful, guys. Please send us more of your questions; we hope to help you grow as an organist. And remember, when you practice… Ausra: Miracles happen. ![]() Ausra and I are very excited to announce that our 5th e-book is finally ready. "I'M A SLOW LEARNER" (And Other Answers From #AskVidasAndAusra Podcast) People who find our podcast helpful, will also enjoy having all these transcripts in one place for future reference. This e-book is available here for a low introductory pricing of 2.99 USD until November 8. All our other e-books in one collection are located here. Please let us know what will be #1 thing from our advice you will apply in your organ practice this week. This training is free for Total Organist students.
Vidas: Let’s start Episode 99 of #AskVidasAndAusra podcast. This question was sent by Paul, and he writes that he doesn’t always have the patience for a highly systematic and laborious practice. So, that’s a common problem among organists, right?
Ausra: Well, I think for any kind of people this is a common problem. Vidas: What can we say? We don’t always practice systematically ourselves, right? Ausra: That’s true. Vidas: We’re humans, and we have weaknesses. Ausra: Yes. Vidas: I think the important part is recognizing our weaknesses, and learning from our weaknesses. But I think it’s unavoidable, sometimes, to make mistakes and do things that we regret later. Ausra: Yes, that’s true. Otherwise we would become robots and computers that could just program ourselves, and do systematic practice all the time. But that’s just life--it’s impossible to do, be a machine all the time. Vidas: What I think about organists who don’t always practice systematically, with patience, is that probably, they haven’t seen the results of systematic practice yet; and therefore, they haven’t been hooked on this. Do you think it’s safe to say so? Ausra: Yes, I think that’s true. But also if you don’t practice systematically, you still get some kind of results. Maybe not as good results-- Vidas: Not systematic results? Ausra: Yes, yes. Vidas: Maybe not quantifiable results. Maybe you practice sporadically, right? And you get better one time, but you don’t know if you will get better in time for your next public performance. Ausra: Yes. I think that public performance is that way which keeps us moving, actually. Vidas: Mhm. Absolutely. I remember the time when we came back from America, from our studies, and there were some months when I didn’t play in public--maybe 5, 6 months, maybe half a year. And I remember at that time, I almost didn’t practice, because there was no external motivation--no push from deadlines and things like that. Ausra: Yes, deadlines. This is the word that I most hate! “Due date,” “deadline”--ugh! Vidas: But it keeps us moving, right? Ausra: Yes, that’s true. Vidas: You don’t have to set external deadlines, right? But you can set internal deadlines, for yourself, for your own enjoyment. Ausra: Yes, that’s true. Vidas: For example, if you’re planning to learn a piece or two on the organ, give yourself a deadline by which time you can play through it. Ausra: That’s right. Vidas: And make a plan. Because in order to learn, let’s say, a piece which has 10 pages in let’s say 10 weeks, you have to learn one page a week! It doesn’t mean that after 10 weeks you will be able to play this piece in public, right? Because you need maybe 1 extra month to get fluent and even better at this. And so...But practices like this--you give yourself a plan, and you proceed step by step. Ausra: Yes, that’s right. So you just have to commit to do something--to learn a piece of music to play it in public. Vidas: So for example, in our case, we are preparing for a recital in what, 3 weeks? about 3 weeks, in November. And there are some pieces--really challenging compositions among our repertoire. And if it wasn’t for this deadline in November--yes, we would play together, we enjoy playing in organ duet, but it doesn’t mean that we would practice and get better on time. Right, Ausra? Ausra: Yes, that’s right. Vidas: So although you don’t like deadlines, you must be glad that this public appearance is coming up. Ausra: Yes, of course, it’s always nice to have that external push. Vidas: Because what--for this concert, we are learning new music, right? And we are slowly getting better at this. So I think for other people, too, our advice could be to find a chance to play in public. Ausra: That’s right. Vidas: A piece or maybe 2 pieces at a time. You don’t have to play an entire hour or thirty minutes of program at once. Ausra: Yes. So maybe make a tiny recital, play a fancy postlude after a church service. And never despair if practice will not go well that day, or you will be too lazy to practice; that’s just a perfectly normal, natural thing. You will do better the next time. Vidas: That’s right. And 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.
Vidas: Let’s start Episode 95 of #AskVidasAndAusra podcast. And today’s question was sent by Rivadavia. And she has a struggle with patience, and she writes that she lacks patience and even perhaps lack of memory, when she practices. So Ausra, do you think that people often lack patience when they encounter difficult spots in organ playing?
Ausra: I think so. Not everybody, maybe; but yes, I think that might be a problem for some people. So are you patient, when you practice? Vidas: Usually I’m patient enough to overcome difficult spots; but sometimes, yeah, I get into the trap of feeling frustrated, and then switch to something else. Do you think that people have to stick to the practice no matter what, or is it ok to take a break--take a drink, walk, stretch--and then come back? Ausra: Yes, I think it’s good to take a break, but I think it’s bad to quit practicing a particular piece; because a lack of patience might mean that when you find out that this piece will be hard for you to learn, you discover some hard spots, sometimes you just quit, because you don’t have enough patience. Vidas: Have you ever quit a piece in your life? Ausra: Well, let me think about it. Yes, I think that I did, way back. I think I quit one choral fantasia by Max Reger. Vidas: Oh! Ausra: But I think it was probably the trouble or a bad decision of my former teacher, because I think I was still too young and not experienced enough to learn such a hard piece. Vidas: That’s right. And I think I quit some piano pieces back in high school, because they were simply too virtuosic for me. So...when people like Rivadavia, for example, encounter a difficult spot, right, and they want to quit--what should they do first? How should they motivate themselves? Ausra: Well, that’s a good question. Very hard one. Vidas: What about simplifying the problem? Instead of climbing a big mountain, right--like you say, mastering a Chorale Fantasia by Reger--maybe mastering a smaller episode first? Ausra: Yes, that could be; but you need patience for that, too. Vidas: Or not even an entire episode, but a solo line, of RH or pedal line, of that episode. Ausra: That might be a good idea. Vidas: You see guys, I think a step-by-step approach is slow, but it’s very firm, and a very positive way to reinforce yourself in your goals. If you’re taking this step, and the next step, and the next, you’re surely moving towards your goal. Would you agree, Ausra? Ausra: Yes. The slow process guarantees you a good result at the end of it. Vidas: So why do people quit, if the slow, step-by-step approach works? Ausra: Because you need patience to work slowly, and not everybody has it. But it’s not necessarily related to organ practicing. If you have patience in one site of your life, you will have patience throughout your life, too. Vidas: Do you think that people quit when they don’t see results? Ausra: Could be, too, yes. Vidas: Because if they feel results--some kind of results, even basic results--they feel compelled to take action even further. But if they just keep spinning their wheels, then they think inside their head that it’s not worth it. Right? Ausra: Might be, yes. Vidas: They’re not getting anywhere. Ausra: So I think it’s a good thing not to pick up too hard pieces at first, and not to expect too much from yourself in a very short time. Vidas: And celebrate small victories. Ausra: That’s true. Enjoy small things. Vidas: Give yourself a treat, whatever a treat might mean for you. Celebrate every small step, because each small step will lead you to success, whatever success means for you. Wonderful. So, another part of this question is of course, lack of memory. So Rivadavia is struggling not only with patience, but with memory. What do you think is happening, Ausra, for her? Is she trying to memorize some passages and struggling? Ausra: Sounds like that. Yes, then just play from the music. You don’t have to memorize it, necessarily, if you are practicing organ. Vidas: True, because memory is not everything, I think. You have to read music... Ausra: That’s true. Vidas: And memorize only the pieces that you want to keep for a long time. Ausra: Yes, that’s right. Vidas: Wonderful. We will discuss the problem of lack of memory in the next episode. And for now, just keep up your practice. And remember, when you practice… Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #107!
Today's guest is an American organist and pianist Kae Hannah Matsuda. She began piano lessons at age 9. In junior high school she accompanied her youth group's weekly hymn sing, and at 13 began her ongoing involvement in church music. She's a performer at heart, and church music offered a challenging but forgiving way to develop this skill! So throughout her years at Covenant High School in Tacoma, she accompanied weekly chapel and school choir concerts. At the prodding of her piano teachers at the time, Paul Twedt and later Chris Rogers, she also competed and placed as a soloist in local MTNA competitions. In 2013 she began attending Seattle Pacific University, where she collaborated with SPU choir and solo vocal performances and recorded several student-led ensembles, while continuing private lessons with Dr. Wayne Johnson. He retired in 2014, and she joined the studio of Dr. Dainius Vaičekonis. Kae lives in Lake City, Seattle, and teaches in-home lessons. She's currently employed as pianist/organist at Haller Lake United Methodist Church, seasonally accompanies the Norwegian Ladies’ Chorus of Seattle, and have been occasionally teaching elementary piano students since 2012. She graduated from SPU in June 2017, one of just two students with a BA in piano performance. In this conversation Kae shares her insights about overcoming her 3 main challenges - developing hands and feet coordination, getting on the organ bench every day and dreaming big. Enjoy and share your comments below. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. And if you like it, please head over to iTunes and leave a rating and review. This helps to get this podcast in front of more organists who would find it helpful. Thanks for caring. Listen to the conversation Related Links: Kae Hannah Matsuda on YouTube: https://www.youtube.com/channel/UCIjPtoQ1_bxt38oGTCLOJiw and Facebook: https://www.facebook.com/hannah.matsuda.39 |
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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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