Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 297, of Secrets of Organ Playing Podcast. This question was sent by Dineke. She writes: Much pleasure with my pedal course. The first week I was some ill and the printer was new....I am studying with pleasure and it s just have been good I had basic knowledge of Theory..... we continue....beside my usual lessons. Nice you had a good Saturday with books meeting. Many greetings from Dineke. V: So this message was sent quite a while ago, right? When... A: Well at the beginning of the month. V: Yes. When our friends came over to our house and we discussed a few of the books we read over the summer. And next month we also will have similar meeting too. I think it’s good to read, right, Ausra? A: Yes. To bad what most of our friends read is only Lithuanian books. And that sort of... V: It’s a limit then. A: Dead, end. Yes. V: Mmm-hmm. Because there are not too many choices then. A: That’s right and Vidas and I, we mostly read English books. And even if there is a book written, let’s say by, Spanish author for example, I want to read it, not with translation into Lithuanian but with translation into English. Because I think it’s better. V: Right. Right, you’re right Ausra. And sometimes it’s interesting to read books not in your direct professional sphere. A: That’s right. V: Or area. Because then, you can really discover new things you didn’t even know existed. And sometimes not even books, but articles. I’ve, for example, found out that on the platform Steemit where we are posting our comic strips about Pinky and Spiky, there is a nice community called Curie. And Curie selects and basically finds fascinating and exceptional content, exceptional articles. Because sometimes they get buried down underneath some garbage posts, right, on social media. But they discovered new wonderful content, and they upload basically, give their likes, there, and people can follow the trail of quotes that Curie community gives, And I’ve been doing this for the past couple of weeks, I think. And reading articles that are not necessarily related to my direct interest, you know. And I’ve been discovering so many new things. It’s so fascinating. And all these articles are written by regular people, you know. Most of the time they are documenting their day, day-to-day activities, what they do, they travel, they work. And for them it’s usual. For me, it’s quite unusual because they live differently. And it’s so broadening my own perspective too. That’s inspiring. A: Well, I’m actually very glad that Dineke enjoys our pedal course. V: Right. It’s a rigorous course. It starts right away with C Major scale over one octave. And it’s not easy because C Major doesn’t have any sharps and it’s easier to play pedal scales with a little bit of sharps—a few, two or three sharps or flats. Because then you can play toes on the sharps and heels sometimes on the white keys too. But she apparently is sticking with the pedal course, which probably means that in a few months she will develop this wonderful ankle flexibility that we’ll need and which allows to play all kinds of difficult pedal passages then later on. A: And what do you think she means by that she has, that it’s good that she has a basic knowledge of theory? Do you think it’s because different keys have different accidentals? V: Uh-huh. That’s obviously it. Because, the way the scores is written down, is every day we’re practicing scales with ascending number of accidentals, major and minor scales too. So for people who don’t know music theory and circle of fifths and key names, tonality names, it’s confusing, right? But it’s good that she has this knowledge. And actually she does have her own organ professor. She is just supplementing her own organ studies with our course, right? Nice depth. It works for her too, to advance in her own organ playing too. A: Excellent! V: Right. Do you think sometimes, people can get different conflicting ideas from different professors when they study with us and with others? A: Oh yes. V: Mmm-hmm. Have you seen people, these people write to you? A: Well, yes. It’s usually, it’s about the same all the time. It’s about our understanding of early music, of baroque music. V: What do you mean, how is it different from other people? A: Well, it’s not so different from other people, but from some people. V: Mmm-hmm. A: That they still had learned not following the historical approach. And then playing Bach, legato, and use the heels in the baroque music. V: And it sometimes even not the case with organ professors who are teaching these people but maybe with a person who looks online at Youtube videos, right? There are so many Youtube videos now, and so many different versions of the same piece. So if you’re playing one piece, you can listen to ten different versions, and say that, ‘Oh, I like that version’. So, that person plays legato, right. And you’re teaching articulated legato. Maybe you are wrong, right? Because I like that version better. So, what could you tell that kind of person? A: Come and try historical instrument, and you will see that legato technique doesn’t work. V: Mmm-hmm. Because keys, pedal keys are generally differently constructed. And manual keys are also different. The touch itself, when you depress the keys is sort of different on the mechanical instrument. Especially on the historical mechanical instrument too. Sometimes very light, sometimes very heavy—depression of the key. And the keys are shorter so there is no easy way to use all fingers in early music, in music from 17th century, let’s say. To put the thumb on the sharp keys, it’s very inconvenient. Especially if an action is very light. Then you could hit the wrong key very easily. Did you discover yourself, one time, that kind of instrument? A: Yes, of course. V: Where was it? A: It was in Sweden, in Gothenburg. V: Oh, in 2000. A: Yes. V: Mmm-hmm. Tell us more. A: What I can tell you? But then you come yourself and see, for yourself. V: No no. It’s not enough. You have to paint the picture—what’s happened. A: Well, it’s just completely different world. I could talk about it for an hour. And maybe not in this podcast. V: Mmm-hmm. So maybe, just for information of people who are wondering, the keys are very differently constructed there, and you need to really try to go to those places. Maybe not necessarily to Sweden, but maybe to organs that are closer to you, right? Sometimes in the country where you live, there are replicas of older instruments too. V: Thanks, guys. This was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice... A: Miracles happen!
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 288, of Secrets of Organ Playing Podcast. This question was sent by Neil. He writes: Wow—it is so kind of you and Ausra to reply! I'm honored. My biggest challenges over the last six months have been pedal playing (which I basically have not done, except for harmonic pedal-point use) and registration. My wife and I keep looking for suitable organ shoes, but my feet are wide and I don't know what to buy. So far I play in my left sock for pedal-points. Or I'll play Bach's "Jesu, Joy..." with a G pedal point, and then reach down for a low C and D for the cadence back to G (may J.S. not strike me down with a lightning bolt!). But my church only seats about 200, so the pedals don't seem to be necessary. As far as registration, I have a 2 manual Allen electronic organ, and I'm getting pretty good at finding the colors that I want, but I am not able to change colors between verses of hymns, which I would like very much to do. I think you can use the piston-buttons for that, perhaps, but I haven't figured them out yet. You see, I don't have much time at all to practice on the church's organ. I work many different jobs to support my wife and children, mainly as a librarian, and I wish I had a small practice pedal with organ to play at home. I love your phrase "the miracle of practicing"—it's so true! By the way, my grandfather, who's mother was Lithuanian, lived to 103 years old. He loved America, but he used to say "America is a business country, but Poland and Lithuania were religious countries". He was a very devout and forgiving man, and when a Polish priest told him, after the war, that his brother Peter, back in Poland, was shot on the firing squad by the Nazis for being a spy, he just said "You have to forgive them". Makes me weep just to tell that story. Grandpa's name was Hendryk Kapowicz. Great guy. Thanks Vidas! Neil V: Ausra, what are your thoughts about the ending of this question about his grandfather who was Lithuanian, who has Lithuanian heritage? A: Well, that’s really amazing and that the end of his story makes me cry, want to cry. V: Right, because the history is so alive in our country. We still can remember through the ancestors those terrible days. A: And also in Poland too. And our two countries are very closely related historically. So, and Kapowicz, that could be Polish last name, but if you would add ending Kapovicius, it would be Lithuanian, just like yours—Pinkevicius. V: Right. I guess we could start discussing Neil’s situation about pedal playing, right? He’s hesitant to start playing the pedals except for pedal points. Maybe because of lack of shoes? A: Well but, you know since Neil is a man, I don’t think it’s that hard for a man to adjust shoes for the organ. For women usually it’s harder. V: Mmm-hmm. A: But, if you take any classical mans shoes, you could almost play organ with them. V: Or dance shoes. A: Yes. V: Classical dance shoes. So, of course we buy our shoes from OrganMaster shoes, but you could buy them from basically almost any other shoe store that has similar variety of shoes. A: And OrganMaster shoes, they have a variety of wideness of shoes. Not only sizes but you can buy little wide shoes. V: Narrow and wide, you can choose whatever fits your feet. A: That’s right. V: Right. It’s interesting that he plays Bach’s "Jesu Joy of Man’s Desiring" with three notes in the pedal: G, C & D. A: Do you think Bach is happy about that? V: Certainly not very angry because Neil is still alive, and Bach is dead. A: (Laughs). That’s right. V: I don’t think he can punish Neil very much for that. A: Yes. Now, let’s talk a little bit about changing registration between verse of hymns. Do you think it’s very hard if you have pistons? V: Not necessarily very hard, you just have to practice a little bit, maybe five to ten times, changing the desired piston after each verse, and do it sort of rhythmically, right? Basically counting. You hold the last chord, and you mentally figure out where that next button is, and still keep counting. If you need to slow down because it was the end of the verse, and in the same rhythm, when you release, you press the next button, and you’re ready to go to the next verse. A: And Neil said that he has trouble setting the pistons. V: Aha. A: Is it hard to do? To set those combinations? V: On Allen electronic organ, and I guess on most modern electronic organs, and basically even pipe organs, if they have solid state system, it’s kind of just one system to get used to, right? On the lower left side of the first keyboard there is this Set button, and then in the middle of that keyboard there are many combination pistons, right? One, two, three, four, five or more, right? So all you have to do, is to do what, Ausra? A: To press Set, then to press the right piston number. V: While holding that,,, A: While holding that Set button too. V: Mmm-hmm. But you first have to select the desired stops. A: Of course. You select the desired stops, and then you are sure that this is a combination that you needed, you just press Set, and then the right piston number. V: Uh-huh. In the far right hand side of the lower keyboard, there is a Cancel button. If you press the Cancel button, what happens? A: All the stops will disappear. V: Right. A: They will get off. And if you will press the next combination, the next piston, well, you get the next combination. And in that case you will not have to press Cancel button. V: You mean like sequencer? A: Not necessarily. Let’s say your organ has six stops, six pistons buttons, yes? Six combinations. It means that if you will press a second button, yes, that’s all button combination set of the first button will disappear, and it will change to the second combination. V: When you’re playing too. A: Yes. V: But when you’re setting the second combination, do you need to cancel before that or not? A: Yes, of course. Unless you want just to add some stops to the first combination. V: Uh-huh. A: Or do something new, yes. V: Uh-huh. So general idea is if the next combination is rather similar to the previous one, you don’t need to cancel the first one. And if it’s contrasting, rather different, then you cancel and select the stops from scratch. That’s how it’s done on most modern solid state system organs. A: Yes. V: Mmm-hmm. Good. Then Neil writes that he doesn’t have much time to practice on the church’s organ because he has to support his wife and children working as a librarian, right? Do you think, Ausra, if there any moments in librarian’s work, where he could incorporate, at least mental practice, while looking at the score? When the readers are not asking for new books, right? A: Sure, that possible I think, but I don’t know if many people would want to mix their job with something else. V: Mmm-hmm. A: That might not be good. For example, when I teach at school I cannot think about anything else. What about you? V: Uh-huh. I don’t think it would be a big problem for me, because I would bring some, at least one score into work. And if nobody is looking, right, if nobody is looking for me, I am sort of just sitting. And what do I do when I sit? Either I scroll my phone, or search for information online, right, which is also not related to the actual job. What can I do next? I could write, right, a blog post, I could draw a comic strip, whatever, right? Because I’m must waiting. So maybe Neil could incorporate those breaks that he sits. I don’t know if he sits but if he does maybe that would be something to consider. Just mental practice, on the table, while looking at the score. A: Yes, that’s one of the possibilities. V: Mmm-hmm. A: But you know, life is so busy for everybody. That’s usually the practice is the first thing to suffer, because of course you have to do so many other things first. V: And then of course, as a librarian, maybe his job is not only sitting at the desk, waiting for books, but maybe he has to take those books manually. Maybe he as to walk around. A: Plus many librarians, we have to do catalogs all the time, and refresh them, and all other things too. V: Right. So just, I guess maybe, he has to find some other time after work, maybe early in the morning or late at night, when everybody is asleep. A: True. V: Wonderful. So we hope this was useful to you. Please continue sending us those wonderful, thoughtful questions. And we love helping you grow, right Ausra? A: Yes, that’s right. V: Answering your questions is one of our favorite activities in the day, right? A: True. V: So, this was Vidas. A: And Ausra. V: And remember, when you practice,,, A: Miracles happen!
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 257 of Secrets of Organ Playing Podcast. This question was sent by Glaiza. And Glaiza writes, “Hi, please teach me to do full pedaling in organ.” Well, this is a rather complex and rather unspecific question, right Ausra? A: Yes, it’s very broad and very unspecific. Because you cannot just take and generally describe all pedaling instances on the organ. Because you could talk about position on the organ bench, how you position yourself, your body; how you would pedal if you would play early music; how you would pedal if you play Romantic music; how you would pedal if you would play modern music; and how you would pedal if you play on a historical instrument; and how you would play a certain piece on a modern instrument. V: You’re right, Ausra. So maybe we could talk about something that we do, right? Do you write in your own pedaling? A: Yes, I do. Not for everything; but yes, I do. I write more pedaling than fingering, for myself. V: What about me? A: I don’t know, tell us! V: Aha. So, good question, thank you! I sometimes don’t write pedaling for early music, because it has very strict rules, and I know them. Not only I know, but my body knows it; and I can play as I want without writing it down. But for later music, I guess there are more options, you know? And writing down the best option for me at that time is helpful. Yes. So, okay, talking about those options, Ausra--early music, right? Why do you think they didn’t play with heels, or they didn’t use heels in early times? A: Well, because on some particular instruments, to use heel would be physically impossible. V: What was the last instrument that you tried, with the short keys? Where heels were not possible to play? A: Well, even such an instrument as built by Andreas Hildebrandt in Paslek, Poland I don’t think it would be possible to use heels on that instrument. V: Right. Do you remember the local organist, what he did in order to facilitate the use of heels--with the bench? A: I remember, yes--he just turned that bench the other way around! V: Uh-huh. And then you have more space for your feet! In one way, it’s good, right? He doesn’t damage the organ or pedalboard, or something. He doesn’t need to replace the pedalboard with a modern one. But...I think he used the heels for playing hymns. A: But I think it’s also unnecessary, while playing such an instrument. I’m just thinking, if you are an organist at a church that has one of the most wonderful historical restored organs, then why use heels? You just torture yourself...and torture the instrument! V: Maybe it’s difficult to change the habit, you know, that he learned in music school or somewhere else. A: Well, you can relearn it, anyway, if you are lucky to be on such an instrument every day. V: Right, so no heels. And then, most of the passages can be done with alternate toes, right? A: Yes, most of them. V: Left, right, left, right; or right, left, right, left. But here are exceptions, right? Sometimes we use the same foot, when the passages are in extreme ranges of the pedalboard. A: That’s right. V: High or low. What else? Maybe when the note values are very slow? A: That’s right; and sometimes you use the same foot or toe, when you want to articulate more, if it’s 2 notes in different measures. V: Yes. And that happens often, when the pedal melody changes direction. A: That’s right. V: So if it goes up-up-up-up-up, you use alternate toes; but then if it suddenly goes down, at that moment you use the same foot. And therefore you have an accent. A: That’s right. And of course when you play early music, you need to put more weight on your big toe. You need to get that feeling that you are actually playing with your big toe. V: Oh, you need to--I think what you mean is to keep your feet turned inward, right? Not outward. A: Little bit, yes. Because how else would you put your weight on your big toe? V: What about the knees? A: They don’t have to be together. V: And heels? A: Heels as well. And that’s what I like about Baroque music. V: I see. And the later music, right? You can do almost whatever you want, right? Toe and heel, left and right. Are there any instances that you particularly avoid using heels and toes one way? A: Hahaha! Yes, there is one rule that I avoid. I never put my heel on the sharps! V: Okay. That’s a good rule. A: Yes. V: By the way, what if you play that sharp with the right foot, and then at the same time you have to depress the swell pedal? And your left foot is...busy? A: Then...then I will not use the swell box. V: Like in Reger, with double pedal. A: Yes. Then my assistant will have to do it for me! V: And who’s your best assistant? A: You! V: Thank you. Heheheheh. Now, let’s talk about things that I think will be useful for people to understand when they play scale passages in Romantic and modern music. You know there is that rule, toe-toe-heel-heel, toe-toe-heel-heel; left-right-left-right, but first you depress toe-toe-heel-heel, with different feet. The French technique. And that helps people keep the heels and knees together. Do you like it? A: Not so much. I don’t think it very well suits my body. Because when I was taught how to play the organ, nobody told me this rule; so I never kept my heels and toes together. And let’s consider it: people have different body constitutions, different weight; and if, for example, for somebody who is overweight--to keep heels and toes together and knees together--I think it’s almost impossible. V: Yeah, yeah. Exactly. And especially in places where you play in the extreme edges of the pedalboard: lower left, higher right. A: And I know this technique; I tried it, you know, in the States, when I had to play from the Ritchie-Stauffer technique book. And I can do it, but it gives a sort of...unnecessary tension to my body. V: Exactly. And I think one more thing could be useful for people to know: that there is a system that some organists play with the left foot on the left side of the pedalboard, and with the right foot on the right side of the pedalboard. A: In general, my rule when playing Romantic or later music is to see how much swell box I will need to use for a particular piece; and then if I need to use a lot of swell pedal, I try to do as much swell pedaling with my left foot as possible. What about you? V: I agree, yes. The swell pedal is an important consideration to make right from the start, right? When you make your choices for pedaling. And most of the time, you need to use your right foot for the swell pedal. So, at those spots when you use crescendo pedal or swell pedal, you play with the left foot alone. A: That’s right. V: And of course, if you want to learn how to pedal and develop advanced pedal technique suitable for Romantic and modern music, consider joining our Pedal Virtuoso Master Course. We have there total pedal scales and arpeggios over one and two octaves in 24 keys, with single voice and double octaves. You know, after that course--it lasts I think 12 weeks--you can go back to your difficult pedal pieces, and you will find out most definitely that they are not as difficult anymore. A: That’s right, yes. V: Thank you, guys. This was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen.
This blog/podcast is supported by Total Organist - the most comprehensive organ training online. It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online...
Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime. Check it out here Here's what one of our students is saying: Dear Vidas, I have done some training as a monthly subscriber for a few months - did the Bach Little Preludes and Fugues. I particularly appreciate when you have training videos along with the pdfs you post. Your going through an analysis of the piece and pointing out possible tricky areas is helpful to me; I can pick up on things I might have missed on my own. I also find the structure you provide by suggesting practice "chunks" with timetables very helpful - the more structure, the better! Looking forward to delving in further this year! Dianne Would you like to receive the same or even better results that Dianne is getting? If so, join 80+ other Total Organist students here. AVA208: Is there a source on the Internet for all of the toe-toe, heel/heel scale patterns?4/27/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 208 of Ask Vidas and Ausra podcast. This question was sent by Jane. She writes: Is there a source on the Internet for all of the toe-toe, heel/heel scale patterns? I am playing 15-20 hours per week in preparation for some private lessons in Paris this summer. I am an accomplished musician, but my pedal technique has become lazy over time. Working it back into shape as I am playing repertoire such as the Guilmant, op. 42 which has very demanding pedal passages. Thank you for your inspiration! Jane V: So Ausra I think the best place to look for solutions for pedaling patterns playing scales in all keys is probably our Pedal Virtuoso Master Course. A: Yes, I would say so because it has all kinds of scales you know and all kinds of pedalization. V: It’s quite demanding because right away from week 1 we start with C Major pedal scale over one octave and every day for six days in a row you learn four different keys, four different scales in ascending number of accidentals. C Major, A Minor, G Major, E Minor. Then day two D Major, B Minor, A Major, F# Minor and so on. So by the end of week one you have the knowledge of playing those scales over one octave. Is this enough Ausra? A: For starters yes, but when you need to expand you know that basis and to play not in one octave but in two octaves. V: Right. We do that in week two. The same order of keys but now we expand into two octaves. And the principle for somebody who has never done it before is very systematic I would say. We try to keep both feet together, and your knees together, and your heels together. Basically you two feet have to move as one unit. Right, Ausra? A: Yes, but it nevers works for me for example because I have short legs so you know I have to play scale in two octaves I wouldn’t be able to keep my knees together because I would fall down from the organ bench or I would injure my spine. V: So, this is just for improving your technique or course. In real life those kind of passages over two octaves is rare to find. A: Because it’s good if you are playing in a middle range. Then it’s OK. It’s fine. You can do that. But when you go extremely high up or extremely lower down then it’s much harder unless you have long legs which I don’t. So... V: And basically when I first released this course I received a feedback from one of my earlier students playing C Major scale that it wasn’t really comfortable to play with both feet in the extreme ranges you know When you play C, D, E, F. In theory C with left toe, D with right toe, E with left heel and F with right heel. And then turn to G with left toe, A with right toe, B with left heel and C with right heel. So this is system we use, but in reality it is completely unnatural to do this in the lower range of the pedal board up to let’s say bass G. So then I changed the first five notes from C to G I recommend playing just with the left foot. A: That’s what I would do too because otherwise I wouldn’t be able to reach such lower notes with my right foot. V: And then the same is with the last few notes in the tenor range. Let’s say A, B, and C now I think is best to be played with the right foot alone. A: Sure, yes. V: So the principle is we keep is quite straightforward, right? We alternate toe-toe, heel-heel for both feet wherever possible but of course when you get keys with accidentals then you get into some tricky situations and sometimes you have to think whether to start with the toe or with the heel in order to land on the toe when you are playing this sharp. A: That’s true. V: Like in E Minor. E would be left heel, F# would be left toe, and G would be right toe, A would be left heel, B would be right heel and so on. Right? So we have to think about what’s possible and sometimes you have to skip sometimes some notes because when you get to more accidentals like F# Major for example then it’s you have to even do substitutions. A: Luckily you don’t have many passages in organ music where you have to play F# scales in the pedals. V: Um-hmm. Um-hmm. But I think it’s useful for people at least from the feedback we received so far. It’s not easy. You have to understand that. A lot of people start with week one, maybe week two and then they stop and don’t continue. Because later we have arpeggios over tonic chord, and then arpeggios over dominant seventh chord and dominant seventh scale degree diminished chord, and chromatic scales, and the same with double octaves you know. This is really a virtuoso organ pedal technique course. But it starts with a single octave scale. A: Yes, and it doesn’t mean that you have early to work on the pedal course. V: No. A: You need to play repertoire as well you know in addition to this because if you will play only pedal exercises you will get bored after a while. V: Exactly. And the point of this is just to give you enough tools for later practice because when you learn those scales let’s say over two octaves you can easily incorporate those exercises as a warm-up. A: Yes. V: After you complete the scores, you know to keep the technique flexible because the entire point or the mystery behind the perfect pedal technique as Marcel Dupre said is the flexibility of an ankle. So while doing those tricky exercises you develop flexibility of an ankle. A: That’s true, yes. V: But it’s not for everybody for example people who like real music will get bored very quickly while playing those scales and arpeggios, right Ausra? A: Yes, that’s true. V: Would you do the scales yourself? A: Well, it depends. V: At which point of your development you are. A: Yes, if I would get this kind of course at the beginning of my career then yes, I would do it. Now, I would probably not. V: Or if you need to perfect your pedal technique in a you know rather short period of time to play at a symphony of some sort, or a you know french symphonic piece, maybe Franck’s “Grand Piece Symphonique.” A: Well, talking about Franck I think his pedal part is so easy. I know very few French organ composers who wrote pedal part as easy as Franck did. V: Or let’s say Reger, if you wanted to do Reger. A: Oh yes, you would have to do it. V: Or Durufle probably. A: Yes and Vierne wrote also some very tricky pedal parts, but not Franck. V: So investigate your choices and vision in your pedal technique development in the future. What would you like to accomplish? And if you want to get flexible ankles and be able to play those tricky passages with your feet then this course might work for you. A: Yes, definitely. V: Thank you guys, this was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember when you practice… A: Miracles happen. This is a collection of transcripts from #AskVidasAndAusra Podcast (157 pages). Vol. 8. (PDF file). For students who want to have all our ideas in one place.
Here’s what you’ll learn in this e-book: 1. PLEASE HELP ME LEARN TO PLAY ORGAN PEDALS 2. HOW TO SUBDIVIDE IN 2/2 TIME 3. HOW TO PLAY ORGAN PEDALS WITHOUT LOOKING DOWN AT YOUR FEET 4. WHAT ARE SOME OF THE BEST AND WORST STOP COMBINATIONS? 5. THERE IS A GREAT AND PROFOUND JOY IN PRACTICING AND PERFORMING ON THE ORGAN 6. I WOULD REALLY LIKE TO REVIEW YOUR RECOMMENDED FINGERINGS WHILE I'M ON THE ROAD 7. WHEN TO PLAY THE "AMEN" OF A HYMN? 8. HOW TO USE FINGER SUBSTITUTION TO IMPROVE LINE 9. THE AMOUNT OF TIME WE WASTE ON THINGS IS FRIGHTENING 10. KEYS MIGHT ACTUALLY HAVE THEIR OWN "FLAVOR" 11. 10 DAY HYMN PLAYING CHALLENGE 12. WHAT ARE 20 OF THE MOST IMPORTANT ORGAN STOPS? 13. HAVE YOU MOVED THE PODCAST FEED OVER TO ANOTHER PROVIDER? 14. I HAVE BEEN INFORMED THAT IF I DO A HIGH VOLUME VOLUNTARY IT MAY DISTURB PEOPLE TALKING 15. I WOULD LIKE TO SEE THE FINGERING FOR TRADITIONAL HYMNS 16. CONCENTRATING ON THE MANUAL PARTS WHEN THE PEDAL ENTERS IS A CHALLENGE 17. YOU'VE SPOKEN ABOUT THE LINEAGE THROUGH YOU TO BACH If you liked our other e-books from #AskVidasAndAusra collection, we're sure you will love this one too. Until March 30 this e-book is available for the low 2.99 USD price. Check it out here Free for Total Organist students Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 165 of Ask Vidas and Ausra podcast. This question was sent in by David. “In the US, we are taught to play pedal using both feet, including toes and heels on both feet. Would I be correct in thinking that in most of Europe, most of the pedaling is done only with toes?” A: Well it does not depend on the country that you are in. Either US or Europe. It depends on what style of music you are playing. If you are talking about baroque music or you’re talking about romantic and modern music. V: In Lithuania for example, there are plenty of organists that would play early music with heels and toes. A: But it just means that they don’t have a sense of good style. V: And they haven’t tried historical instruments. Just as in the U.S. there are plenty of organists who can play early music with toes only. A: That’s true. V: Because they have that experience. A: And they have many replicas too. Wonderful instruments built by great American organ builders. V: So, we highly recommend wherever you live in the world to travel a little bit around your area and see if you could explore historical instruments because even organs build at the beginning of the 19th century a lot of times they have the baroque layout and baroque type of pedalboard and for those reasons you would not be able to play with heels successfully on those instruments. A: Yes, and for example imagine if you are studying a piece for example by J. S. Bach and your playing it on a generic instrument, of course you could use both heels and toes but think maybe someday you will get a chance to travel and to play it on a historical instrument so it would be better if you would learn it right away in the right manner and use only your toes. And, for example if you are working on a romantic piece it means that you know that if you will get a chance to play on 17th or 18th century instrument you will not play that particular piece because it will not fit for that instrument. V: Ausra, should we say the right manner or something different? A: I don’t know. V: Because when we say the right manner we imply that some people play incorrectly or the wrong manner. What is right and wrong here? Can we decide? A: You know, it’s basically how would you defer what is Ketchup and what is tomato sauce. Are they same or are they different. V: In some people’s minds they are the same. A: But we are different. V: How? A: We are different in the way we are made up. Their taste is different. Although there is one ingredient in common that’s tomatoes. But that’s about it. V: Exactly. A: And you know if you are making Italian pizza you probably wouldn’t put the Ketchup on it. V: But if you don’t know the tradition you would put the Ketchup and you would say “Oh, what a lovely pizza.” A: Well, yes but would it be stylistically correct? I don’t know. It’s up to you to decide. V: Remember the first time we tried to eat pizza. That was right after independence I believe because in Soviet times nobody made pizza in Lithuania. And, the first pizzas we ordered from public restaurants there were imitations of pizza, right? A: And they were made with Ketchup, actually. V: Maybe we could say not the correct manner or the wrong manner here but maybe let’s use the term “historically informed performance practice.” A: OK, I’m sorry. I did not want to offend anybody. V: I didn’t mean you offended. No, no. Just to clarify that we don’t know all the answers here. And nobody knows actually. But it would be better to say “historically informed performance practice” because then a person can choose whether he likes it or not. A: Well you know I’m talking from my experience because you know I studied six years in the Lithuanian Academy of Music and I was taught some things good and some things not very good. But historically I don’t think that way of playing music was correct way or right way. And then I went to study abroad, I traveled quite a lot, I tried historical instruments, I tried replicas, I know I worked with Dr. Ruiter-Feenstra, and George Ritchie and of course I took many master classes with people like Harold Vogel, Bill Porter, Hans Davidsson, and I could go on and on naming them all, Olivier Latry and you know it sort of broadened my perspective. And I’ve re-learned to play the organ. I’m trying to do everything historically right. V: Historically informed way. A: Informed way, yes. Because if you sit down at a historical instrument and you would just apply what I have learned at the Lithuanian Academy of Music I would be screwed up. I could not play anything. I could not register right. I could not play pedals right. Especially if I would sit and play the pedal clavichord. That wouldn’t work at all if I tried to use modern fingering and modern pedaling. So, since have these two sides of my life I can compare it very well. So I think the later way what I learned was the correct way. At least for me. I would never go to that alt habit. V: You know Ausra, it’s very well to say for you, easy to say right? Because it changed your mind. But what about a person who sees a video on YouTube played by let’s say Cameron Carpenter right? He’s a fantastic virtuoso organist. Right? But he doesn’t necessarily play in the historically informed manner, right? But people love how he plays, how he presents organ music and his showmanship, right? So we definitely are not criticizing him here. But, an organist who sees Cameron for example thinks this is the correct way, right? But then Vidas and Ausra tells them no, no, no, you should read about historically informed performance practice, right? And then he says look at this video. If the master Cameron Carpenter plays right how can you say it is not correct? A: Well, go to Europe and try some historical instruments. That’s what I would suggest for them to do. We will speak for themselves and then we don’t have to argue. Because no, while going to the States I wouldn’t think I will find a society of organists so historically well informed. And I was actually amazed about it because before going to the United States that’s what I thought. That you know that Americans play organ fast and loud. That was my personal opinion. V: And you changed that opinion. A: I changed that opinion, yes. Of course there are still many organists that play fast and loud but there are many others that are real scholars. That can see a difference between Tomato Sauce and Ketchup. V: And the best part of this is people who know the early style and later style which is for example, being taught in the Richard Stauffer Organ Method book. They can adapt and play romantic pieces just beautifully on the romantic or modern instruments. And the early music just beautifully on the modern instruments too but using early technique. Right? A: Yes. V: So if you know more stylistically informed performance practices you can choose from them. You don’t necessarily have to use them but you have to understand why there are and how they change the style that you like. A: And I think the true artist know to show the best qualities of the organ and not of yourself. V: Why? A: Because I think organs are standing for so many centuries already, some of the older historical instruments and though even when we will die they will still keep standing. V: On this optimistic note, we have to finish here. Please guys send us more of your questions. We love helping you grow. And Ausra and I are hoping that this was useful to you. In at least raising the questions right? Not necessarily we have all the answers but we could elevate a discussion and tell us what you think. Send us your opinion. This was Vidas… A: And Ausra. V: Remember when you practice… A: Miracles happen. AVA154: Today I Practiced As You Taught The C Major Scale. But How Do I Learn Not To Look Down?2/12/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 154 of #AskVidasAndAusra podcast. This question was sent by Shirley, and she writes: “Hi Vidas, I have piano only to Grade 6 but am just starting the organ. Today I practised as you taught the C Major Scale. But how do I learn not to look down! Would you please tell me the order in which I should watch your videos? Blessings, Shirley.” Uh...Ausra, do you think that people should really watch our videos? A: Well, it’s up to them. But I don’t know. I would spend that time practicing. V: It’s better to start playing right away. A: Yes. V: If you are struggling with a specific problem, right, you Google it online, and you come across our videos. So of course take a look, and watch, and apply. But then, right away, come back to the organ bench, and practice what you have just watched. A: Sure, because you know, just watching will not make you a great organist. V: “Oh, I thought it would make myself a great organist! I would rather watch 100 videos than practice, let’s say, 100 hours!” A: Well, but I think it’s better to practice 100 hours. V: But it’s easier to watch 100 videos! A: I know it’s easier, but the result will not be the same. V: Umm...Do you mean that watching videos is not beneficial at all? A: Well, it’s beneficial to some point, but I think it’s more beneficial to practice. Let’s say if you...It’s like 1 to 10: let’s say if you watch a video let’s say for 5 minutes, yes, then go to the organ and practice for I don’t know, 50 minutes. V: I thought of another way of explaining this, too. You’re saying a good idea, but I think people should understand that watching random videos on the internet will not teach you a system, right? A: Yes. V: Of playing the organ. What Shirley is probably meaning here, is she would like to know the order in which we would recommend her to watch our entire video library, right? And she hopes, probably, to learn a system that we use from this. Is it even possible? A: I don’t know. What do you think about it? V: You see, these are videos designed for public use, right? For everybody. And they’re not created as a course from the easiest to the most advanced materials, right? A: That’s right. V: Like these podcasts, right? People send us questions, and we are answering them and helping them grow (hopefully). But they’re not necessarily from the easiest to the most advanced level, right? A: That’s right, yes. V: Sometimes they’re in random order. And if you want some video courses and system which go gradually in advancing order, then of course we recommend our training materials. We have other videos like that. A: That’s right, yes. V: But Shirley has to ask herself, what is her goal in organ playing, right? Because we have many, multiple courses for multiple goals. A: That’s right. V: For example, for Bach playing, we have a course on 8 Little Preludes and Fugues, and they go from the first to the last, and preludes and fugues are discussed, and it’s very gradual. They learn harmony, right? A: Yes. And hymn playing… V: And improvisation. A: Yes, and sightreading. V: Sightreading...Do we have videos on sightreading? I don’t think so. I think we have PDF materials on sightreading. A: Yeah. V: The same with pedal playing. It’s a PDF format. A: Yes, that’s right. V: So, you have to ask yourself what is your goal, and then see what kind of materials you need from us. A: Yes, and talking about that: C Major scale, she asked if how to not look down. I think it’s okay, at the beginning, for starters, to look down at the pedal. I think your goal is that eventually you could play that scale without look at the pedalboard. What do you think about it? V: Yes. A: I think it’s fairly okay to watch your feet, when you are just a beginner. V: Sure. So guys, I think if you are in Shirley’s situation, also spend more quality time on the organ bench, and just occasionally glance at some videos, which are not part of the course, of course. That would be more beneficial. Ausra, would you think that watching videos is good for inspiration, by the way? A: Yes, I think it’s good for inspiration. V: Like if you have a specific organ piece that you want to master, but you don’t know how to play. A: That’s right, yes. Or sometimes you don’t know which piece to play; then it’s maybe also good to watch some videos, and hear some music, and then to decide what you want. V: To broaden your musical horizons, right? A: Yes, that’s right. V: Sure. A: But it wouldn’t be good to pick up a video that you like, for example, and try to copy it, just by watching or by listening. V: Yes. Thank you guys, this was really fun. Apply our tips in your practice, and...we cannot guarantee, but we almost can guarantee that in a few months, you will see the results slowly developing, right? A: Yes. These things take time. V: For each, the time is their own, and it varies. As they say, “Your mileage might vary.” With cars, right? A: Yes; so the same with playing, and achieving progress. V: Excellent. Please send us more of your questions, we love helping you grow. And remember, when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 152 of #AskVidasAndAusra podcast. And this question was sent by Willem. He writes: “Maybe a dumb question but how would you play your new “10 Day Pedal Playing Challenge”, two octaves lower than is written?” So, the situation, Ausra, is that, remember we took those exercises from the French solfège treatise, right? And we applied it to pedal practice, and created a course on it. Do you remember it? Ausra: Yes, I remember it. Vidas: Why did you need those sightreading exercises for your solfège classes? Ausra: Well, that’s a part of the curriculum. Vidas: Mhmm. And specifically for you, of course, children in school have their own methodical material, but you had to prepare something of your own, right? Ausra: Well, yes. We have some special occasions, but we need special exercises, so this was one of those. Vidas: Was it for a special competition? Ausra: Yes. Vidas: Excellent. So...we searched for suitable material, and we found those exercises in the French system for singing solfège. Ausra: Yes. Vidas: For ear training. And then we thought, “What would happen if people would play it with their feet on the pedals? Would that be a good idea?” Ausra: “Yes! We could do pedal exercises!” So that’s what we did. Vidas: But of course, people sing those exercises in treble clef, right? Ausra: Well, not necessarily; if you are a man, after puberty, of course you sing in the bass clef. I mean, not in the bass clef, but in the range of the bass clef. Vidas: Yeah, you transpose it one octave down. Ausra: That’s right. And that’s what you do when you play the pedal on the organ, too. Vidas: You just have to figure out whether you need to transpose it one octave lower or two octaves lower. Because...what’s the lowest note in those exercises? Primarily treble C. Ausra: Yes. Vidas: Like soprano. Ausra: Yes. Vidas: So, if the lowest note for the feet is C, this means you could be playing one octave lower in the tenor range, or two octaves lower in the bass range. Right? Ausra: Yes, sounds right. Vidas: Anything else you would like to add? For people who will be practicing this course? Ausra: Well, I’m just thinking is it harder to sing those melodies than to play them in the pedal? And I would think that some of them are harder to sing, actually. Vidas: Definitely, because of those high leaps, up and down; and to play those leaps you could use both feet. Ausra: That’s right. Vidas: And to sing them, you need to use your voice, and it’s particularly challenging sometimes. Ausra: It is. Actually, everybody complained after that competition, that these were hard examples! Vidas: Oh, tell us a little bit how it went--those singing the part, of course! Ausra: Well, it went fine. But everybody complained afterward, later, although we all did either good or even better. So… Vidas: So the competition went in 3 levels, right? For the 10th grade, 11th grade, and the 12th grade. And then you prepared a set of exercises for each grade, right, Ausra? Ausra: Yes. Vidas: And was it too difficult for, let’s say, 10th graders? Ausra: Actually no...I think it was still okay, and for 11th graders too. But for the 12th graders, those were especially hard, to sing. Vidas: Very chromatic and lots of modulations. Ausra: Mhm. Vidas: I see. Do you think that people would...Would people be able to play with their feet in a slow tempo, successfully? Ausra: Yes, I think so. Vidas: Those exercises that we converted into the 10-day Pedal Playing Challenge? Excellent. So guys, try it out. Of course we recommend extremely slow tempo. Do you think, Ausra, they could play it just once, or practice repeatedly? Ausra: Well, of course you could practice repeatedly. Vidas: Why? Ausra: Because it’s more beneficial. You could get more out of it. Vidas: Like etudes, right? Ausra: Sure. Vidas: And then, maybe one exercise per day. But some people need more days for one exercise, don’t you think? Ausra: Of course. Vidas: Like, up to 1 week, maybe? Ausra: Yes, or even a month. I don’t know, it depends on the person. Vidas: It doesn’t matter, actually, how much time you spend; it’s important just that you spend quality time, right? And you master each exercise to your satisfaction, that you feel that you’re progressing, right? Ausra: Yes, that’s true. Vidas: Excellent. So, please, guys, send us more of your questions; we love helping you grow. And send us your feedback about this course, right? And remember to transpose it one octave or two octaves down, because you will be playing it from the treble clef. Thank you, guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. V: Let’s start episode 143 of #AskVidasAndAusra Podcast. Listen to the audio version here. This question was sent in by Dan. And basically he comments after my question to him. I asked him ‘what is he struggling with in organ playing currently?’ And he wrote:
"With the Walther piece I find concentrating on the manual parts when the pedal enters, to be a challenge particularly, as in this piece, he’s got the melody in the pedal. I’m taking it way way slower then this at the moment though. With the Bédard suite, were doing things a little out of order, its a four movement suite. So I covered the first movement, and am working on the third right now. The third movement has a lot of suspensions in it, and I’m finding figuring out when parts move in those suspensions to be quite a challenge, but I’m getting it. And with the Dubois piece, its just a case of getting it smooth and polishing it up. I’ve almost got it." V: So Ausra, his practicing I think Walter’s, choral prelude, one of the collections, and then French Suite by Bedard, and then Dubois toccata. And with Walter he finds it difficult to play the manual parts when the pedal enters correctly. A: Well yes, that is often the case in Baroque music and Baroque pieces. V: Because it’s mostly fugal writing, correct? A: Yes, the polyphonic texture gives trouble to coordinate between feet and hands. V: Imagine if it’s like a fugette or even fugal texture then, the alto enter first, then the tenor, then the soprano, and only then the bass. And the instance where the bass or the pedals enter, then it’s four part texture. A: Yes, specific texture and you got a lot of things to do, to think, to listen to. V: I think that people take the first tempo, practice tempo, according to the first line. A: Yes V: Yes? And in the first line you only have one voice, it’s very easy and they tend to play to fast. A: That’s true and to know in general, I would suggest that if you have pieces like this, start to learn them and practice right away those hardest parts. Don’t play from the beginning. Then you see that texture is to fix that learning those parts, in combinations first, to play pedal separately. Then together, then start to learn those easier parts. Because, otherwise, you can play piece nicely, but not those parts where the pedals come in. V: Hmm, hmmm. A: So in order to make to make things even in the piece, throughout the piece, you need to start working from the hardest parts, from the beginning. V: That’s very natural, right? Let’s say, let’s say if the pieces just one line, solo piece, we have some pieces like this, especially in contemporary music. I’m thinking about Messiaen and his movements from Les Corps Glorieux for a single Cornet stop. A: Yes, yes. V: Or a reed? A: Mmm, hmm. V: So, it’s still difficult to play but not as difficult as let’s say, two voices, right? A: Yes, So true. The more voices you get, the harder it gets. Unless it’s a homophonic texture, then it’s another thing. But I’m talking about polyphonic texture. V: So in the polyphonic texture, if it’s just one line, and for everyone it’s different, but let’s say you can play this one line piece, collectively slowly with a few mistakes, then you need to go back, correct them, and probably, probably play it a few more times, right Ausra? A: Yes V: So five or ten times for one voice short episode. What happens if you have two voices? You have to repeat not twenty times but thirty times. Because you have one line, the second line alone, and both lines together. Thirty times. And if you have three part texture, you have actually seven combinations. That’s why you have to play seventy times. A: Your number scares me. V: I know. A: Stop counting. V: And if you have four part texture (I’m not finished yet), if you have four part texture, guess how many combinations? A: Too many, too many for me to count. V: Fifteen combinations, and if you give each combination just ten run-throughs, then you have 150 uh, plays to do. A: Well, you don’t have this so mathematical, exact or precise. But, the more you get the more you have to practice. V: Ausra, does it sound about right, if you have four part polyphonic texture, chorale, prelude or fugue or fuguette, that you need to practice that many times in order to fully master it. A: Yes, especially if you are a beginner. V: Mmm, hmm. We’re talking about people who have beginner skills or early intermediate. A: Yes. And another place he wrote about suspensions, my suggestion would be to lean more on those because suspensions always mark a dissonance in music and you have to lean more on dissonance. Because, after that resolution, usually comes. So that might help him too while practicing this piece. V: Mmm, you’re right. Um, what to you mean by lean on dissonances? A: Well, (chuckles) I didn’t mean like physically lean on them, but listen to them, and, V: Make them longer. A: Make them longer, yes. V: A little. A: A little bit, yes. V: Uh, huh! A: Not too much of course. V: And play them legato A: Yes. V: Suspension and resolution has to be played legato. A: Yes. V: At least it has to sound legato. A: Yes. V: In a very reverberant room maybe you could articulate a little bit. But if it’s dry acoustics, it definitely needs to be played legato. Those two notes. A: Yes. V: And with the Dubois toccata, I think he is on the right track, right? A: Yes. Although don’t practice that piece too fast too often because it might get muddy after a while. V: So maybe then dotted rhythms and reverse dotted rhythms might help. Slowing down and playing, tum, ta-tum, ta-tum. A: Yes, and know every time when you practice, play in a slow tempo too, not just that tempo. V: Mmm, mmm. True. A: That will help to keep things clean. V: Okay. It’s just a matter of spending time. A: Sure. V: And he will get it, eventually. A: Yes. V: Thanks, guys. Please send us more questions. We love helping people, right Ausra? A: Yes. V: And remember, when you practice… A: Miracles happen! Vidas: Let’s start Episode 131 of #AskVidasAndAusra podcast. Listen to the audio version here. And today’s question was sent by Aleksey, and he wants to know how to play the pedals without looking at your feet. So, this is a challenging situation for a lot of organists, isn’t it, Ausra?
Ausra: Yes, it is. Vidas: Do you sometimes look at your feet when you play? Ausra: Sure, when I’m trying an unfamiliar organ, then I have to look at the pedal first. Then, there are sometimes tricky spots, where I also have to check the pedal. Vidas: Me too, from time to time. Especially when I improvise, I need to look down, because I’m not always sure which notes I will be playing in a second or so. And when playing repertoire, especially on an unfamiliar organ, the feel of the pedalboard is not very easy to memorize. And therefore, some looking is okay, right? Ausra: Yes, some looking is okay. It’s not good if you cannot play pedal at all without looking at it, on the same organ. If you are, let’s say, practicing on your organ every day, and then after practicing for a year you still have to look at it, then it’s not good. Vidas: True. I think one of the most important things here to do for organists is simply to apply pedal preparation. Ausra: Yes, that’s a good idea, you know. It’s very helpful. Vidas: For quite some time--maybe for a few months. And then you get used to the feel of the pedalboard and you no longer need to worry about it; but at first, you have to have a breakthrough. Ausra: Yes. Vidas: So, how do you do pedal preparation, Ausra? Ausra: Well, you know, because there are very few pieces that you use pedal all the time without any rests--usually you have some pedaling part and then you have some rests--so, during those rests, you need to know exactly what is coming up next-- Vidas: In the pedals? Ausra: Yes, in the pedals. And prepare in advance. Vidas: So, for example, if the passage was ended with your right foot, and the next passage starts with the right foot also, you need to slide your foot to the next key, right? Ausra: Yes, that’s right. Vidas: Right away. Ausra: Or let’s say there are sometimes there are passages that will finish on the same note and it will begin on the same note. So don’t move your leg. That will save time and energy, and you for sure will hit the right note. Vidas: A lot of times, people do the opposite. They finish an episode with the pedals, and they place the feet on the, I don’t know, maybe some place next to the swell box, or on the swell box… Ausra: Or behind the bench. Vidas: Exactly. Ausra: That’s what I do often--I put my right foot on the swell box and the left on the organ bench--or a little bit behind it. Vidas: Because it’s more convenient this way. Ausra: Sure. Vidas: How to do this without putting your feet on the place to rest, but slide into the next note position on the pedalboard? Is there a trick you could use to do that successfully and comfortably? Do you know? Ausra: Well yes: just keep your foot above the pedalboard! That’s possible! Vidas: What about sitting on the bench? Does it help if you sit, for example, too deep, or in the middle, or next to the edge of the bench? For you? Ausra: Well, if you sit on the edge of the bench, you might fall down on the pedals. That’s not a good way. And also, not a good way to sit too deep--back on the organ bench. You have to sit somewhere in the middle of it. Vidas: Remember, we usually practice on two organs: here at home and at Vilnius University St. John’s Church. But the height of the bench is different on each instrument, right? Ausra: Yeah. Vidas: Which is lower? Ausra: At home, of course. Vidas: At home. Which is more convenient for you, Ausra? Higher or lower? Ausra: Well, it depends on which manual I’m playing on. Because, for example, at church it’s more comfortable for me when I’m playing on the first or second manual, but it’s uncomfortable to play on the third manual and pedal at the same time-- Vidas: Mhm. Ausra: Because the bench is quite high. Vidas: Exactly. Then, the third manual becomes too far away from you. Ausra: Yes; and you know, it just gets difficult, after practicing for some time. Vidas: What I mean is, I discovered that I also play more comfortably at St. John’s Church when I sit higher, and closer to the edge--not on the very edge, but just enough to keep me balanced. But then my feet are also free to do what they want, and they can slide into position without getting me into trouble; and then I can basically focus my looking on my fingers or the music rack, but not necessarily on the feet. Ausra: Yes, I think that position gives you more mobility. Vidas: Mobility. And if it’s opposite--if you sit too deep on the bench--then what happens? Ausra: Well, you cannot move comfortably. It will take you too much time. Vidas: Then you need to use more of your core muscles. Ausra: I know, and you need to have really long legs in order to reach, let’s say, you know, very far away on the right side, or pedals very deep on the left side. Vidas: So, it’s good advice for people to experiment with the bench height and with the position of your body on the bench, and see if you can find a comfortable way to shift your body when you need to move on the pedalboard; and then maybe you don’t even have to look so much. Ausra: Yes. And you know, sometimes try to play the pedal part alone, and see if you have trouble too, you know, and if you have to watch the pedalboard. But if you are quite comfortable with the pedaling part but you still are watching when you are playing with hands, then maybe it means that something is not wrong with your pedaling, but something is wrong with your coordination. Vidas: In your experience, Ausra, when you work with students, let’s say, in our Unda Maris studio from time to time, do you notice that people like to play pedals alone, or they want to play everything together, more often? Ausra: Well, mostly they want to play everything together. Vidas: Right away? Ausra: Yes. Vidas: Even though the problem might be just to separate the parts, and learn them alone. Ausra: Sure. Vidas: Do you think there is a reason why they choose to play everything at once? Ausra: Well, I think it gives more satisfaction, to hear the full harmony--all the piece. Vidas: You have to sort of postpone your gratification-- Ausra: Yes, that’s right. Vidas: --Until you can do this comfortably, both hands and pedals together. And people nowadays have trouble delaying gratification; they want to have results right away. Right, Ausra? Ausra: Yes. Vidas: Are you one of those people? Ausra: Hmm, well, yes and no. Of course I am--I want to have immediate gratification; but I also understand that things never happen at once. You have to work to get to your goal. Vidas: Do you have to force yourself to work precisely, and according to your plan, and not to give up ahead of time? Ausra: Well, of course, yes. I think everybody does. Vidas: I see. But it’s worth it, right? Ausara: Yes, it’s worth it. And it’s worth it when you see the final result: it motivates you to do the next piece right, to learn it in a right manner. Vidas: Whenever I catch myself playing with mistakes--even on the pedals, or pedals alone, or all the parts together--I think I need to slow down considerably, right? Whenever I force myself to slow down, mistakes disappear, and I can play more comfortably and more relaxed. Do you have the same experience, Ausra? Ausra: Yes, I have the same experience. Vidas: So the tempo might fluctuate in the same piece-- Ausra: Sure. Vidas: Because some places are more difficult than others. Ausra: Definitely. Vidas: Is that okay, or not? Ausra: Well, it shouldn’t be like this. I mean, you can give yourself some flexibility, but not too much. Vidas: I think it’s okay, as long as you’re conscious of your tempo fluctuations, right? Ausra: Yeah. Vidas: It’s a process of practicing; and you know this is a difficult spot, and you need to slow down, right? You consciously slow down--not because your legs or fingers need to slow down, but your mind says, “I have to slow down, because that’s how I will avoid mistakes.” Ausra: Yes, that’s right. I do that sometimes, unconsciously. Vidas: And then when you’re ready, you can pick up the tempo, normally. Ausra: Yes. Vidas: Good. Do you hope that people can apply this in their practice, too? Ausra: Well, I hope so. You should definitely try. Vidas: Great. Please guys, send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Jesus Is Born And Laid In A Manger (Organ Improvisation) |
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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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