Vidas: Let’s start Episode 127 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Lilla, and she writes:
“Thank you for all your advice about organ playing - especially the pedal virtuoso course that I am taking now. Regarding the arpeggios, is it OK to NOT to follow with both legs, when one foot is playing the highest/lowest notes on the pedal board? I keep my other foot on the note that I need to play when switching legs. For example, in case of B minor arpeggios, I keep my left foot on D while keep playing with the right foot upward and backward. (I followed your suggestion to use the F# minor pedal signs for B minor and it seems to work better).” Isn’t that great, that the f♯ minor pedal version works for b minor, Ausra? Ausra: Yes, excellent. Vidas: Sometimes you get advantages of discovering similarities between the keys and transferring one type of pedaling to another key, which works sometimes with sharps, sometimes with flats. Ausra: Yes, it’s nice. It’s really a big help. Vidas: And saves time. So, her question is about… Ausra: About body position, basically. Vidas: Keeping either one foot in place, or moving that foot, together with another foot, upward and downward. What would you say about that? Ausra: Well, I would say that most of the organ scores would suggest to keep both feet together. Vidas: But in the case of, let’s say, b minor, in the middle of the pedal part, you use both feet. But then, it goes very high. Then, you only need to use the right foot. What about the left foot, then? Ausra: It cannot stay in the middle, I would say. Vidas: I think so, too. Ausra: Because otherwise you might fall down on the pedal, if you will shift your entire body too much to one side. Vidas: It’s an unnecessary burden, I think. Ausra: Sure, yes. Vidas: And in general, it’s quite difficult to keep your balance on the pedalboard while switching directions. Ausra: Yes. Vidas: You have to push off with the opposite foot, to switch direction with your knees, in order to simply not hurt your knees, right? Ausra: Yes. And remember that you must feel comfortable on the organ. Not like on the couch at home--but still, you know, it shouldn’t hurt, and it shouldn’t be very much uncomfortable. And if it feels like that, it means that something might be wrong. Vidas: Should Lilla stick with the virtuoso pedal course, or would it be beneficial for her to supplement her menu with real organ music? Ausra: Well, definitely supplement it with real organ music, because you might get bored by playing exercises. Vidas: And exercises don’t get you real life experiences. Ausra: Sure, sure. Vidas: They’re isolated techniques which develop one certain aspect of your playing, of your skill. Which is good, but in real music, you need all kinds of abilities, right? Ausra: Yes, especially while playing organ, you also need to work on your coordination. Vidas: Mhmm. Ausra: And if you are only playing pedal all the time, your coordination might not be as good. So you need to combine all those practices: do some pedal work, and do some repertoire. Vidas: Maybe play a scale or two, or arpeggio or two, for starters--for warming up. Ausra: Yes, definitely. It would be a good beginning, you know, to warm up. Vidas: And with your fingers, too. Ausra: Sure. Vidas: Something technical. For example, I like to kind of...warm up with improvisation nowadays; because I can warm up, and slowly, gradually feel the keyboard. And the pedals too, because I improvise with my feet as well. What about you, Ausra? How do you warm up? Ausra: Heheh. I warm up with dictations--playing to my students! Vidas: “Eight measures!” Ausra: Because I have so many classes that I teach--27 a week!--so I get plenty of warmups, with my hands, at least. Vidas: Do you play this same dictation over and over again, the same day? Or do you have different ones? Ausra: No, I have different classes, so I play different dictations. Some of them--most of them--are actually 3-part dictations; but some are 2-part, and some have only 1 voice. Vidas: Do students like those dictations? Ausra: Oh, no. They hate them. (Most of them.) Vidas: Do you like them? Ausra: Well...yes! Why not? Vidas: And why do you like them and your students don’t? Ausra: Because I can have the music score in front of me, and they just have to write it down by ear, so that’s another story. And they are hard dictations, so I understand why they don’t like them. Vidas: Do they have syncopations? Ausra: Yeah, syncopations… Vidas: Dotted rhythms? Ausra: Suspensions, dotted rhythms, and all kinds of...things... Vidas: They’re like short musical compositions-- Ausra: That’s right. Vidas: Like preludes of 8 measures. Ausra: Yes, yes. Vidas: And sometimes they do sound like preludes, when they are 3 or 4 parts. Ausra: Yes, those 3-part dictations, you could play them as preludes. Vidas: Mhm. I would even say 2-part dictations sometimes sound convincing. Ausra: Yes, because they have like secondary dominants, and some of them even have modulations. Vidas: So, you teach your students the skills for real-life improvisation, I think. Ausra: Well, yes, but dictations are mainly meant to improve the pitch--musical pitch, hearing. Vidas: Mhm. To help them understand what they’re listening to in real life. Ausra: Sure. Vidas: And that’s not necessarily enough for creating your own music, right? Ausra: That’s right. Vidas: You have another class--harmony-- Ausra: Yes. Vidas: --Which is a transition between playing repertoire, listening to what you play, and then improvising--creating your own music. Harmony is sort of the in-between step, right? Ausra: That’s right. It’s very important, you know. Vidas: Good. So, Lilla should also supplement her exercises, too, with real music, we think. Ausra: Yes, yes. Vidas: Alright. What about...what about other pedal virtuoso exercises? I have, I think, not only scales there, but also arpeggios over the tonic chord, arpeggios over the dominant 7th chord, arpeggios over the diminished 7th chord; and even, I believe, chromatic scales with single voice and with octaves. So it’s a really comprehensive approach. Not too many people finish what they start, from what I read; but those who do, thank me later. And thank themselves, too. Ausra: Yes. Excellent. Vidas: So, if you have the stamina to succeed, if you really want so badly to develop your ankle flexibility like Marcel Dupré taught, so then playing scales, arpeggios--with one foot and both feet--is very beneficial in the long run. But you have to not forget the real music. Ausra: Yes, definitely. You know, the real music is the most important, I think. All these exercises, they supplement the repertoire very well. Vidas: They are servants for repertoire. Ausra: Sure, yes, yes. Vidas: It’s not the goal to master those exercises. It’s a means--it’s a tool. Ausra: Yes. Vidas: They have to serve you. And if you don’t enjoy playing technical exercises, don’t play them. Right? This is for people who do enjoy them, like Lilla and others--hundreds of others, actually, who love isolated technical exercises. But other people cannot stand them, so they do something else. We need to always find a balance between what we can be passionate about, right--and what we can do long-term. Ausra: Yes. Vidas: Thank you guys, this was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. This is really fun. And remember, when you practice… Ausra: Miracles happen.
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Would you like to improve your pedal technique in 10 days?
If so, check out my new 10 Day Pedal Playing Challenge. These exercises are taken from the Solfege method book by Frederic Boissiere (1877). I added the pedaling to the 10 opening exercises so that you can practice one exercise per day for the next 10 days. Feel free to sing these exercises too which will also improve your musical hearing. PDF score. 8 pages. Basic level. 50 % discount is valid until December 20. Free for Total Organist students. Enjoy and let me know in 10 days how your practice experience went. Vidas: Let’s start Episode 112 of #AskVidasAndAusra podcast. Listen to the audio version here.
And today’s question was sent by Hubertus. He writes: Dear Vidas, thanks for the Boellmann Carillion fingering and pedaling score. One question please. What means the –o and the o in the pedal part, is it the heel position? I’ve never seen this. Awaiting your comments, I thank you. Please tell me how to use the both feet in the first two measures. Thanks. Hubertus. PS Just ordered the Memorization instructions, for hopefully better approach. So Ausra, have you seen my score of Boëllmann’s Carillon? Ausra: Yes, I have seen it. Vidas: And I notate pedaling in 2 ways. The toes are like a pointed tip; that’s regular, everybody knows about this notation. But the heel, I notate instead of letter U, I notate as a circle, or O. Ausra: Actually, that’s a common practice, especially in the United States. So whoever has some American scores, I’m sure they have noticed such type of pedaling. Vidas: And sometimes--not in my scores, but in English scores in the 19th century--they used another system, where, I think, the pedalings were marked above the notes, even the left foot pedals. Ausra: Yeah, but that must be very uncomfortable… Vidas: Quite confusing. Ausra: Yes. Vidas: Because then they would write L for left, R for right, and then you would have to figure out sometimes heel, sometimes toe. I guess back in those days it was common for organists... Ausra: Could be. I don’t think that English organ music used so much pedal that it was a [problem]. Vidas: True. Ausra: Maybe they didn’t have much pedaling. Vidas: But I’ve seen the English edition of Mendelssohn organ works… Ausra: Oh, I see. That’s another story. Vidas: Yeah. It’s confusing. So now we use a more comfortable system; but heels could be used interchangeably: letter U, or a circle. Ausra: That’s right. Vidas: Or O. Ausra: And if, you know, the letter U or letter O is above the staff, that means you have to press that note with your right heel; and if it’s below the lines, it means the left heel. Vidas: And how do you usually notate your heels--O or letter U? Ausra: I usually use letter U. Vidas: Would it be confusing for you to see O? Ausra: No, it wouldn’t be confusing. Vidas: Mhm. The reason I chose to use Letter O for the Carillon by Boëllmann, is that when I do this sometimes on the computer, is that letter U--if it’s not a capital, but small letter u--it has a curious tail to it, the letter. And it’s not the exact sign of “heel,” right? Ausra: Yes. Vidas: For heel we use capital letter U. If I use the capital letter U, then it would be a much larger font than the toe sign. Ausra: Yes, that’s not good either. Vidas: So I would be constantly having to adjust both heel and toe signs. Therefore I chose letter o, small letter o; and therefore toes and heels would be of a similar size. Ausra: So maybe in the future, you just have to add a little note about how you’re pedaling--which sign means what. Vidas: Exactly. Or I could write it in my handwriting; then I don’t have to worry about capital or small letters anymore. Ausra: Yes. So now could you explain to Hubertus about the next half of his question? Vidas: He writes, “Please tell me how to use both feet in the first 2 measures.” So, the principle of the pedaling this piece is very simple, because a lot of time it’s repeating 3 pitches: D, F♯, and E, D, F♯, and E. It’s like a carillon sounds in the pedal. So I start… First of all, I play everything in those 2 opening measures in the left foot. Ausra: Why do you do this? Vidas: Because it’s very low register, in the extreme left. Would you do this differently? Ausra: Well, I might try to hit that F♯ with my right foot--toe. Vidas: Mhm. But then you have to shift your position entirely to the left--your lower body should be facing the F♯. Ausra: Yes I know, I’m looking now at the manual part. It seems that it’s very high notes, especially in the RH... Vidas: Mhm. Ausra: So that way, it would be very uncomfortable to sit. Vidas: Plus, I believe in some cases, you have to push the pedals and add some pistons, right? Or swell pedals. So it’s better to reserve the right foot for that, I guess, especially later. So the way I notated the first 2 measures is like, I begin the D with the toe, but substitute right away with the heel; and then go to F♯, to the toe again of the same foot; and E will be with the heel; and then the next measure too: D, F♯, E, toe substituted to heel, toe, and heel. And this goes on and on. Ausra: Yes. Is it hard for you to play the same figure over and over again in the same pedaling? Vidas: Um, you have to get used to this. Of course, it’s a fast tempo--Allegro giocoso. What does it mean, giocoso? Jokingly? Ausra: Or playfully. Vidas: Playfully, yeah. Ausra: Joyfully. Vidas: So basically it’s a joyful tempo, and brisk pace. Therefore, yes, you have to get used to this low bass line… Ausra: And I believe it might be hard to substitute in such a fast tempo, don’t you think so? On that D--toe to heel? Vidas: I thought about that; but what else could you do? If you cannot use the right foot, you see? Any suggestions? Ausra: Well, yes, try this pedaling, and if you don’t succeed, then maybe just really play that F♯ with your right toe. Vidas: Mhm. So guys, if you have this score of Carillon by Boëllmann, and you’re struggling with playing only with your left foot, see if Ausra’s suggestion helps you--to use both feet. For me, it wasn’t comfortable to shift my lower body that far to the left while the hands would be playing in the upper register all the time, or most of the time. But your physique might be different than ours. You might have longer or shorter legs than I have, so I don’t know. It depends. What do you think, Ausra? Ausra: Well, try all ways, and just see what works for you. Vidas: Exactly. And please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 78: I’m a beginner who still struggles with pedals, I really need your help9/29/2017
Vidas: Let’s start Episode 78 of #AskVidasAndAusra podcast. And today’s question was sent by Marvin. He writes, “I’m a beginner who still struggles with pedals, I really need your help”. That’s a nice and simple question, right?
Ausra: Yes. Vidas: Imagine, Ausra, you have a student who just started playing the organ. Maybe he or she has piano technique of some sort, and can read the notes, but the pedals are new for them. So what would you suggest for starters? Ausra: Well, maybe just start with some pedal exercises. Don’t try to play hands and feet together at the beginning. Do some simple pedal exercises. Vidas: Don’t even try to play pedal scales. Right? Ausra: Sure. Vidas: In our Organ Pedal Virtuoso Master Course, we have pedal scales and arpeggios over two octaves, over one octave...But that’s more advanced technique, right? Ausra: Yes. Vidas: If you want to do that, to perfect your pedal technique and advance to the next level, then it will work; but first you have to reach the basic level, I would say. Ausra, do you think that playing hymns, for example, with pedals would be helpful? Melodies of hymns. Ausra: Could be, yes, why not? Vidas: Melodies--simple soprano melodies-- Ausra: But even at the beginning, I would say you just play everything in a very very slow tempo. Imagine that each note in the melody is written in whole-note values. And play them as that. Vidas: Exactly. If you want to make your pedal technique a little bit more fluent, and not hit the wrong notes, then very very slow tempo is the key, and repetitive practice. You have to practice over and over again short fragments, maybe one measure at a time, two or even four measures. Ausra: Yes, and then, when you will be able without any trouble to play that part in the bass, in the pedals, then you can add hands--and not both hands together, but maybe RH and pedal first, and then LH and pedal; and then everything together. Vidas: In general, I think students should think about their goals first. And maybe my advice about playing hymns doesn’t work for somebody who is interested in playing real organ music, right? Ausra: Yes. Then take just, for example, Little Prelude in g minor by J. S. Bach. Vidas: And play just the pedal part? Ausra: Yes. Because it’s written in long-note values, it’s very suitable for a beginner. Not the fugue of that prelude, but just the prelude itself. Vidas: Yes. We have many solutions for everybody, right? But not everything works for everybody. You have to think and adjust personally what would you like, what is boring to you, right? Never play pedals scales and arpeggios if it’s very boring to you. Or never play exercises if it’s too boring. Maybe treat real organ music as exercises. Ausra: Yes, you can do that. But some people love to play exercises. Vidas: Exactly. So for some people, it’s gold! And I know one of our subscribers--his name is Leon--he writes (frequently) updates on his practice, so he loves to practice exercises both on the manuals and the pedals. And they challenge him really everyday, and he seems to enjoy it. Ausra: Good for him. For example, when I was back in the School of Art, I loved these technical skills exams where we had to play scales, arpeggios, chords, chromatic scales, and the scales in different combinations and thirds, and so on and so forth. And you know why I liked it? Because I wasn’t worried about forgetting the text which I had during my other exams, when I had to play repertoire, and I had to memorize it and to play from memory. So it just seemed so easy to play scales, because you just know what it is! And you don’t worry about the text. Vidas: Well yes, it’s already pre-designed for you: you don’t have to improvise or play something very difficult or from memory, you just play a simple scale up and down. Ausra: Yes. Vidas: Or other technical studies like arpeggios or chords. Ausra: So I believe that some people can just love to play exercises and scales. Vidas: Yes. And in some sense, they feel some sort of improvement. Ausra: Yes. Vidas: Because they are improving, actually. And they’re improving their technique, right? Of course they will lack the knowledge of applying that technique to real situations, to real music. That’s another side of the coin: you have to read music, real organ pieces, regularly. Ausra: But going back to the original question, with pedal technique at the beginning you just have to be really patient, and try not to be too much disappointed in yourself. I’m sure that in time, you will succeed, and you will overcome those technical difficulties. Vidas: Oh, by the way, Ausra, how was your first experience with organ preludes, do you remember? Ausra: Horrible, it was just horrible! I played this G minor Prelude by J. S. Bach, and I could not get the right notes. At the beginning there is like G and then C in the pedal in whole notes... Vidas: Mhm. Ausra: And I could not get that C. I would hit, like D or something else, instead of C. Vidas: Did you play with your inside or outside portion of the foot? Ausra: I don’t remember now exactly, but it just did not work for me. Vidas: Your first teacher didn’t tell you the exact way to depress the pedals. Ausra: No, she did not. Vidas: Well, yes, technique is important, and it might get you quite far with organ playing. But, as Ausra says, be patient, right? And I think we all need to have some kind of reward every day, to feel that we are progressing somewhere, so if you play a set of exercises, then you don’t necessarily feel that you’re progressing. Maybe try to play excerpts of real organ compositions with pedals, too. Or, Ausra, tell us a little bit of your experience with organ demonstration for bankers the other day. Did you demonstrate something with your feet, the lowest voices? Ausra: Yes, I demonstrated it. Vidas: What did you play with pedals for them? Ausra: Well, I just showed some--some excerpts, you know, just improvised, some... Vidas: Improvised, that’s what I was looking for. Keyword: improvisation. Improvising a pedal melody is not something you should be afraid of, right? Ausra: Mhm. Vidas: And it gets you familiar with the pedalboard, as well. You’re creating a melody, but at the same time, the pedalboard becomes your own, a little bit, more and more every day. So, besides those technical exercises, besides excerpts of real organ compositions--why don’t you play a melody of some sort, that you make up in your mind, on the pedals, too? Ausra: Sure, that would be a great idea; it would help you to improve your pedal technique. Vidas: And play hymns on the pedals, if you like playing hymns. Ausra: Yes, maybe for starters, you could do hymns in closed position. And maybe you could play three voices in your RH, and pedal part (bass line) in the pedal, and don’t use your LH, at the beginning. It would make things much easier, I think. Vidas: You mean to play the entire harmonization of the hymn! What about playing just the soprano melody with your feet? Ausra: Well, you could do that; I don’t know how well you could apply it in the church service, I’m not sure. Vidas: Mhm. So, explore everything, right? And keep something that works for you. Ausra: Yes. Vidas: That’s the best advice, probably. Excellent, guys. Please send us more of your questions; we love helping you grow. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: And we’re starting Episode 59 of #AskVidasAndAusra podcast. Today’s question was sent by Minori, and he has a challenge with articulation and phrasing in the pedal part. He writes, “while playing the organ, I just can manage to coordinate my hands and feet but it is not easy for me to care about articulation and phrasing in the pedal part.”
That’s a very common problem with beginners, right? Ausra: Yes, definitely. Vidas: Not beginners in general playing the instrument, but beginners at the organ. Because organ articulation is very different from other types of instruments, I would say; that when people first try to articulate on the piano, they manage to play everything legato, I would say, rather easy. But then, when they transfer to the organ, somehow they forget that you can do all kinds of articulation with the organ. Ausra: Yes. Vidas: What’s your experience with this, Ausra? Ausra: Yes, the same, actually. Organ is quite a tricky instrument to play well, to articulate well. Because the principles of its mechanics are so different from the piano, because it’s a wind instrument, you must not forget it. And also you have such a different way articulating notes when you are playing early music and when you are playing later music. And also when you play piano, you just have to think about how you press the key down, but not so much how you release it; but in organ, playing organ and articulating organ, it’s very important, both the beginning of the sound, and the end of it. So you have to be very careful about it. Vidas: Good idea, Ausra. Beginners tend to forget the ending of the chord a lot, and sometimes even the beginning. They tend to depress three or four notes not necessarily together, at the same time. Precisely. But I would say there’s another issue with Minori here, I can read between the lines, because he is having difficulty with coordinating hands and feet, and then articulation and phrasing becomes a challenge, right? It’s sort of like he first thinks about the notes, and about articulation afterwards only. Ausra: Well, when you are learning a new piece, you have to start with the right articulation right away. Maybe the process will be a little bit slower at the beginning, but it will give you a much better result at the end. So just work slowly, think about articulation right away, work in combinations. Play just a single pedal line first; then do right hand and pedals, then left hand and pedals; and only when you are comfortable by playing all these combinations, only then put everything together. Vidas: Hey Ausra, what was your first piece that you played on the organ? Ausra: Well, that was G minor Prelude and Fugue from the Eight Little Preludes and Fugues. Vidas: So you had like, twelve years of experience of playing piano, before that? And now, you’re starting to play the organ, right, and your teacher assigned you this g minor Prelude and Fugue from the Eight Little-cycle...And did you try to coordinate your hands and feet, or you thought about articulations right away? Ausra: Well, I had so many challenges at that time: everything was so new, with all the articulation business, and pedaling business, but I don’t think I learned in a good manner right away. Nobody talked with me what I had to do first and what I had to do later. So I just tried to play all together and do everything at the same time--and it wasn’t easy, and I think I wasn’t successful. The biggest challenge for me in this piece was to go in the pedal from a low G to C, to connect those two beginning notes of the prelude. It seemed like an impossible thing! Vidas: And for me, my first piece--it was a little bit earlier than yours--I started playing a couple of years earlier in my school in Klaipėda, and it was “Jesu, meine Freude” by Bach from the Orgelbüchlein. And my teacher, gave me to choose any chorale prelude from this collection that I wanted. I wasn’t a very good sightreader, and I didn’t have recordings then, there was no YouTube to listen to. So I just flipped the pages through and maybe chose the most understandable one that I could comprehend at the time. And as yourself, I tried to play everything at once, and everything legato! So when September came, I think I had a couple of weeks of practice at home; and then in my first lesson, I came to my teacher, and she was so angry with me! She said it’s better not to practice this prelude at all, than to practice it incorrectly, with legato touch. Now I had to redo it, and relearn it the right way. Ausra: Well, how could you know about articulations at that time? Vidas: Yeah, she wasn’t very specific about how to make spaces between each and every note (and I wasn't as motivated to learn and think back then as later). Plus, of course, as yourself, I also didn’t know that the best way to manage four-part texture is actually to practice each line separately, and then two-part combinations only after I can do each line separately, you know, without mistakes. Ausra: Yes, that’s the best way to do it. Vidas: And three-part combinations comes only after two-part combinations. And so on. So, Ausra, do you think that Minori should despair, or is it an easy problem for him to overcome? Ausra: I think he will overcome it in time. It might be hard at the beginning, but I think he will make progress in time. Just don’t give up. Vidas: When you learn new music today, Ausra--Baroque music, let’s say, which has all kinds of articulation, and even Romantic music, which also has legato nuances and you have to coordinate legatos in various voices which are not necessarily together at the same time--remember in modern music, in legato, we have to shorten certain notes exactly, and make them exactly half as short. Ausra: Yes, repeated notes. That’s the most challenging thing. Vidas: Or staccato. Ausra: Yes, in Romantic music, when you have a few voices, and let’s say two voices in one hand or even three voices in one hand, but you have to play like two voices legato and one voice has repeated notes that you have to shorten by half, so that’s a challenge. Vidas: So today, when you practice new music or when you sight-read new music--is it difficult for you to articulate? Ausra: Well, not anymore, but now I know what to do. Vidas: When did you first discover that it’s not a challenge anymore--that you have different challenges now? Ausra: Well, it was maybe thirteen years ago. Vidas: Also in America? Ausra: Yeah. Vidas: So how many years by that time you were playing? In Lithuania, you played maybe six years? Ausra: Yeah. Vidas: In Michigan, you played two years with Pamela Ruiter-Feenstra? Ausra: Two, yes. Vidas: But then, in Lithuania we had one more year. Ausra: So, about ten years. Vidas: About ten years, guys. After ten years it becomes easy. Ausra: Yeah. Vidas: So, Minori and others who are listening to this, please be patient. Please be patient at least for ten years. Ausra: Yes! Vidas: If you can do this, then everything becomes easier after that. Ausra: Well, but of course, you have to practice hard during those ten years. Vidas: Exactly. And enjoy the process, because each day you will notice some improvement. And that is the most important thing: to be better today than yesterday. Not to compare yourself with the masters; but compare yourself to yourself, of yesterday. Okay guys, this was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. And you can do this by subscribing to our blog at www.organduo.lt and replying to any of our messages. And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 57 of #AskVidasAndAusra podcast. Today’s question was sent by Christa, and she writes:
“Hello Ausra and Vidas, Thank you very much for your podcast. It is easier for me to follow the written version, so thanks a lot for it too. My question is: How can I avoid hitting two keys in the pedals at once? It happens easily, when I have to turn a bit over the middle and play lower notes with my right foot and higher ones with my left foot. Best wishes, Christa” So basically, this question involves accuracy in playing pedals, right, Ausra? Ausra: That’s right, yes. Vidas: Do you notice yourself sometimes playing wrong notes, with your feet? Ausra: Well, yes, definitely, sometimes I hit the wrong note; but actually, I don’t hit two keys at the same time with my feet. And since your feet are larger than mine are, maybe you encounter that problem. Vidas: I guess the reason for this is simply an inability to adjust to the pedal part easily. And I don’t know if Christa is practicing on different kinds of pedalboards all the time, or just if she is used to one specific pedalboard; but it would help her, probably, to practice pedal preparation, don’t you think? Ausra: Yes, I think that would be helpful; also, I’m not sure what kind of shoes she uses--if they’re suitable shoes for organ then it shouldn’t be so hard to hit only one key at a time. Because special organ shoes have narrow tips. Vidas: And the heels are reasonably medium-high, and they are not very wide, too; so basically if you have ordinary organist shoes, you are in good shape. Ausra: I think she might not turn, shift her body position fast enough, when she changes the position, going from the low pedaling to the high. Vidas: What’s the easiest way to shift positions? Ausra: Well, sometimes it’s very good to note especially if there must be a sudden shift, to add it in your score--maybe with some kind of sign. Vidas: Maybe an arrow, right? Ausra: Yes. Vidas: Going upwards or downwards. Ausra: Because I think the main reason she is unprepared for that shift in advance, and it takes too long; and then she just moves at the wrong time and hits two keys instead of one. Vidas: That would help, obviously. And another thing that I mentioned earlier is pedal preparation, where you basically practice, multiple times, a short segment of pedal passage, and you aim to move your foot to the next pedal note, and let it rest there. Ausra: Yes, and I’m thinking of another thing: her pedaling is maybe not correct; Maybe she tries to play too high with the left foot and too low with the right foot. Maybe she should revise her pedaling, to check it. Vidas: But that depends also if you can shift your body comfortably. Ausra: Sure. Vidas: Because for me, earlier I thought I could play extremely low passages with my right foot, too, or extremely high passages with my left foot. But today I avoid that, and everything below bass G goes with my left foot, and everything above maybe A--like an interval of a perfect fifth in the tenor range, I would play with my right foot. Ausra: Well that’s an easy way to do it in Baroque music; but if you’re playing later music, you cannot avoid playing with both feet all over the pedalboard. But anyway, I would sugget Christa to revise her pedaling. To see if it’s really good written. Vidas: Exactly, and focus on practicing separate pedal lines and segments repeatedly. Ausra: In a slow tempo, first. Vidas: When you say slow tempo, how slow should it be? Ausra: Well, I would say very slow, but, the tempo that you feel comfortable to playing right, in a correct manner. Vidas: Basically, you play without mistakes, in this tempo. Ausra: Sure. Vidas: You avoid mistakes. So, fifty percent of concert tempo? Ausra: I would say so, yes. Vidas: If the tempo when you are ready to perform it in public is, let’s say, eighty beats per minute… Ausra: Yes? Vidas: Maybe it could be like forty beats per minute, when you practice. Ausra: And also another suggestion would be, if the spots--a particular spot is very hard for you to hit one note at a time, maybe you just take a fast look down to the pedal. Maybe It’s not the best thing to do; but if you will do that twice, or three times throughout the entire piece, I don’t think it will be a crime. And it might help you. Vidas: We look at pedals anyway. Ausra: Yes, sure. Vidas: Sometimes. Ausra: Sure. Vidas: We don’t recommend looking at the pedals; but involuntarily...sometimes we manage to get a glimpse or two. Ausra: So sometimes it’s better just to take a quick look, than to make a mistake. Vidas: And then, if you do have to look, then mark that particular place in your score: draw a sign of your eye, for example. Ausra: Yes. Or eyeglasses. Vidas: Okay guys, we hope this was useful to you. Don’t forget to send us more of your questions, and you can do that by subscribing to our blog at www.organduo.lt and simply replying to our messages. We will be very glad to help you out to grow as an organist. So--this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: And let’s start Episode 49 of #AskVidasAndAusra podcast. And today’s question was sent by Anna, and she asks about the pain she experiences in her knees when she plays the pedals. Probably, she feels that when she turns--when playing pedal passages--when she turns, it’s kind of painful to her. Maybe she’s doing something wrong. What do you think, Ausra?
Ausra: Well, she might be doing something wrong, but another thing is that she might have weak knees, basically, like a medical condition. So at the beginning, I would suggest to her to contact her doctor, and do some tests on her knees, because the problem might be just a medical issue--not her playing. And another thing that I would suggest for her to do, or to try to do: to exercise before practicing the organ. Because you have to warm up if you have bad knees, in general; it will help you to reduce your pain. Vidas: So like, stretching, you mean? Ausra: Sure. Some physical therapy, I think, also would help her to improve things. I’m not sure if it would help like 100%, but at least it might lessen her pain. Vidas: Right, when your body feels warmer, and the blood circulation is normal, then you can start playing full speed, especially with your feet. Ausra: Yes, and of course I would wish to see how she’s sitting on the organ bench, and how is she moving, when she has to shift her legs; because another thing that might cause this knee pain is, maybe she shifts too suddenly; and the sudden motion might cause pain, too. What do you think? Vidas: When you are shifting pedal positions--when you’re sitting facing straight and the pedal passages continue to go upward or downward--you need to change positions. And the correct way to do this is by pushing off of the opposite foot. So for example, if you are going upward, you push off with the left foot; and your lower body, your knees, continue to face the direction that you’re playing (basically upward), right? But your upper body must always face straight, to the music rack. Does it make sense, Ausra? Ausra: Well yes...yes and no. It might be very hard to do, especially when you have pain. Vidas: So when people have pain like this, in their knees and sometimes in their backs, too, is because they don’t push off with the opposite foot and their lower bodies continue to face straight even though they are moving to a new position with their feet. So for example, they’re playing extreme bass passages--extremely low passages--but the knee is facing the center. So it’s kind of breaking their knee. That’s why it might be painful. I don’t know if it’s the case with Anna, but it’s worth investigating further if she is changing position correctly. Ausra: Yes, and I think she definitely needs to contact a doctor, and to see, if it’s not like arthritis or something medical. And then if everything is just fine, then just exercise and try to find new ways to move on the organ. Vidas: Have you ever had a similar situation, Ausra--pain in your knees when playing pedals? Ausra: Actually no. I had knee problem when I played piano, way back in my high school time. Because when playing piano, you only use two pedals, and not always you have to (especially the left one). So when practicing a few hours you would get a sort of stiffness in your whole body, especially in your knees. And it would be hard for me to get up from the chair after playing for two or three hours. So that was very painful. But this pain disappeared when I started to practice organ; because my knees kept moving all the time, and actually helped me to avoid pain. Vidas: Hmm, interesting. For me, I had some pain issues when I first started playing the organ in the 10th grade; and later on, too, in the first years of music academy in Vilnius. Really, nobody taught us this correct way of changing position in Lithuania, right? Ausra: True. Vidas: So people kept playing in whatever way they found easier, but that doesn’t necessarily mean it was the correct way, or a healthy way. Ausra: Yes, that was the method in Lithuania, actually. I remember when I asked my teacher how I could play a right note in the pedal...She just told me, “Oh, whatever, play it with your nose! Just hit the right key.” That was her answer! Vidas: Half-jokingly, she said that? Ausra: Well...I don’t really think so. It was a very ironic joke. Not very nice, to talk with your students in that manner! Vidas: So instead of explaining to you how you could depress the pedals with your foot, and make the sound with your feet correctly--instead she chose to deflect your question with ironic humor, and because she actually didn’t know, herself! Ausra: Probably. She did not know, probably, about pedal preparation, so that was the easiest way for her to get rid of my questioning. Vidas: So guys, please, please, please pay attention to how you shift positions when playing the organ, and pedals--it’s really, really sometimes damaging to your knees if you don’t pay attention, if you continue to play facing the center with your knees and your lower feet continue to play, in the lower range or the upper range. So your knees should always face the note that you’re playing with the pedal--that’s the general rule. And you push off to the new position with the opposite foot. Ausra: Yes, please do that. And let us know how things are going. Vidas: Yes, please reply to our messages when you subscribe to our blog at www.organduo.lt. And we will be very glad to help you out and answer any other questions that you might have in the future of this podcast. Thanks for listening! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. PS Would you like to save yourself weeks or even months of tedious work when writing the most stylistically appropriate fingering and pedaling yourself for efficient practice of Piece d'Orgue, BWV 572? If so, check it out here. 50% discount is valid until August 23. #AskVidasAndAusra 26 - What to do with the pedals in songs that don't have pedals like most hymns?7/15/2017
Adding pedal part
To songs comes easier, if You'll have strawberries.
Today's question was posted by Ugochukwu. Here's what he writes:
Currently I play on keyboard, I was privileged to play an electronic pipe organ during my undergraduate days, then I only played the manuals (3), not knowing exactly what to do with the pedals. I sometimes try to play the pedal during "unserious" music like Benediction, Amen and Doxology with left foot. I want to know what to do with the pedals, in songs that don't have pedals like most hymns. Listen to the full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Let's start Episode 26 of #AskVidasAndAusra Podcast. Today's question was sent by Ugochukwu, and here is what he writes. "Currently, I play on the keyboard. I was privileged to play an electronic pipe organ during my undergraduate days, then I only played the manuals, three manuals, not knowing exactly what to do with the pedals. I sometimes try to play the pedal during "unserious" music, like Benediction, Amen and Doxology with the left foot. So I want to know what to do with the pedals, in songs that don't have pedals like most hymns.” Okay, so basically Ausra, as I understand, Ugochukwu deals with him playing, right? Ausra: Yes. Vidas: But sometimes he is struggling with adding pedal part. Ausra: Yes. Vidas: Well, this should be simple, because if you play from four-part harmony, you could play the bass line. Ausra: Sure, if you're doing that, but I don't know what his hymnal looks like. Vidas: Maybe just one line. Ausra: And a guitar based chord progression with signs. Vidas: A lot of hymn notes do that. In this case, Ausra, What's the best way to think about adding the bass part from having just the soprano line. Ausra: Then you will have to know how to harmonize. And maybe to write down for yourself a bass line and to play it with the pedal. Vidas: Like on a separate music sheet notation, you add two voices, soprano voice and in the bass clef you add the pedal part. Ausra: Or you could harmonize in four voices, as it’s common. Vidas: How many notes do you absolutely need to have for the bare minimum in the bass? Ausra: 3, I would say. Vidas: 2 or 3? Ausra: Probably 3. Vidas: 3 better than 2, right? Ausra: Yes. Vidas: Because when we think about 2 then it would be tonic and the dominant. Ausra: But for hymns, you definitely would have to add a sub-dominant. Vidas: So 1st scale degree for the tonic, sub-dominant would be 4th scale degree. Ausra: And dominant would be 5th scale degree. Vidas: And then of course in the right hand you would play the soprano part. What would the left hand do? Ausra: Well, if you're harmonizing for four voices when you will have to add alto-voice to the soprano voice in the right hand, and you would play tenor voice with your left hand. Vidas: That's a little bit advanced technique, right? Ausra: Yes, it is. Well, what could you do? If you are just a beginner, you could harmonize everything in a closed position so that you could play 3 top voices, soprano, alto and tenor with your right hand, and then you would just have to play bass with the pedal. This would be very easy. Vidas: For example, in C major chord you would play C with your pedal- Ausra: Yes. Vidas: -In the bass line. And then E, G, and C with your right hand. Ausra: Sure. Vidas: Left hand would be silent. Ausra: Yes. Vidas: For now. Ausra: Yes. Because in a closed position, it's very comfortable to play 3 voices with one hand. Vidas: It's like basso continuo notation. Ausra: Sure. Vidas: Then your actually left hand is free to add any type of variations, figurations, even solo part in a separate manual if you know what you're doing. So guys, try like this if you need to add an extra pedal line in your hymns and you don't know what to play, if your hymn notes are not in 4-part notations. That might be an easy way out. Ausra: Sure. Vidas: Okay guys, so please send us your questions. We would really like to help you grow as an organist, and remember to practice today, right? Will you be practicing today, Ausra? Ausra: Sure, I will. Vidas: What will you play today? Ausra: Sonatas by Franz Seydelmann. Vidas: Oh, with me? Ausra: Sure. Vidas: For four hands, it’s fun, but it's not very simple, actually, we play a lot of these sonatas but today we're practicing for our upcoming recital in Stockholm, a German church where the organ is a reconstruction of the 17th century instrument and it has short octave and split semitones and basically very antique looking keyboard. So a lot of our repertoire will fit nicely. But Seydelmann’s sonatas were not created for this type of instrument specifically. It was Mozart's time, not 17th century. So what we did- Ausra: We have to adjust a little bit. Vidas: What did you do for the treble range sitting on the right side of the bench? Ausra: Well, I have to play some things an octave lower. Vidas: Because the range of this keyboard is until C. Ausra: And I have D in many places, so I have to rearrange it. But I think it will work nicely. Vidas: And I circled some bass notes, which also have to be readjusted because of the short octave in the bass, right? And those additional accidentals in the bass. So there are C, D, E and there are no C sharp and D sharp in the bass octave, you have to adjust this in my part too. So that's what we’re working on today. And this will be fun. Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember when you practice ... Ausra: ... Miracles happen.
Picking red currants
From wet branches helps you with Playing with your feet.
Today's question was posted by Ugochukwu. He wants to know how to improvise with organ pedals.
Listen to the full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Hi guys, this is Vidas … Ausra: And Ausra. Vidas: And let's start part 25 of our #AskVidasAndAusra podcast. Today's question was sent by Ugochukwu, and he wants to know how to improvise with pedals. Well, that's an interesting question Ausra, right? Ausra: Yes. Vidas: Do we usually improvise with pedals? How do you think, does he think you should improvise on solo pedals or in addition to manuals? Ausra: I think he means in addition to manuals, and if I would have to improvise and use the pedal, I would probably just do most of the time, pedal point. Vidas: For starters … Ausra: Yes, for starters, either on the dominant or the tonic. Vidas: Or subdominant? Ausra: Subdominant, yes, but it's less useful. Vidas: Two long sustained notes in the pedal. Ausra: Tonic and dominant. Vidas: First scale degree of the scale or the fifth scale degree. Ausra: But because you are an expert in this field so maybe you could explore a little bit more? Vidas: So, I think you could imagine that it's okay to be very simple at the beginning. As Ausra says, two notes total, maybe three notes if you need variety. And if you think about it, if you know tonic subdominant and the dominant chords, you can do a lot. You can even improvise, you can harmonize most of the tunes you find in any hymnal. So, the same thing applies in pedal improvisation, you could be very simple with this. If you want to be more advanced, you could play a tune in your pedals. That would be like a nice variety. Ausra: That's a good suggestion, I think. Vidas: What would hands be doing at that moment, Ausra, what do you think? Ausra: Probably playing fast notes, fast note motion. You could do like toccata, in your hands play sixteenth notes, and then slower notes in the pedal with the melody. Vidas: Or you can reverse, you could play faster notes with the pedal, not really fast, but quarter notes, like a tune, a hymn tune, but placed in the feet, and then your hands could be quite slow then. Accompaniment feature of exchanging a couple of times per measure. Ausra: Sure. Vidas: Maybe one voice in each hand. If you don't know any tonal harmony, there are some model techniques you could use. You could just check what kind of mode this tune is in, and play only in your hands, the notes of the mode. No accidentals, no additional sharps or flats. That means, that anything you play with your hands, will sound well with the pedals. Ausra: Yes, if it's only white notes, you cannot miss them. Vidas: So, Ausra do you think that people should always improvise with pedals? Or not necessarily? Ausra: Well, not necessarily, but if they are good, and they have advanced organ technique, then why not? It depends on your level. Vidas: And also, you need variety because when you look at any organ composition, you always see some measures, some episodes where pedals are not playing, resting. Not only you need to rest your feet, that's one thing, but you also need to think about the lowest voice, the pedal voice, the bass. Let's say, it’s as the double-bass part in the orchestra. Ausra: Sure. Vidas: They not always play, sometimes they do double the cello part, usually they do, but sometimes even the cellos are silent. Ausra: Yes. Vidas: And the higher instruments are playing, and that's because on the organ, always add 16’ in the bass, playing one of the lower sounds, you feel this sort of gravity. This is very nice. Ausra: Yes, that's right. Vidas: But it might be too much if you do this all the time, right? Ausra: Yes. Vidas: So you need to rest. Ausra: Another probably helpful idea would be to improvise a chaconne or passacaglia. Then you could have the same melody over and over again in the pedal and just add new stuff in the manual. This would make life easier too. What do think with this? Vidas: Those passacaglias or chaconnes are extremely helpful in improvisation because your theme is set, you don't have to think about it. Ausra: Sure. Vidas: Four or eight measures are already set in advance, you just play and repeat them. Well, you could transpose them, right? To have more variety. Let's say, eight variations, or four variations, in the tonic. Then, let's say, eight or four variations in the dominant, and then coming back to the tonic, that's fine. Or relative minor, or subdominant, or any other related key works well. But you see, it's still set, you don't have to improvise really with the feet. What you need to do then, you have configurations of the manuals. Ausra: Sure. Vidas: Keeping the same harmonies probably. Ausra: But of course if you are advanced in pedal technique, you could add probably even pedal solo, that would be very impressive during your improvisation. Vidas: Pedal solo, what do yo mean? Oh, simple solo line where the hands are not playing? Ausra: Yes, exactly. Vidas: An example would be the F major toccata by Bach. Ausra: Well, yes, and C major toccata. Vidas: Those episodes for virtuoso pedal part. That's nice. Ausra: Or even like Buxtehude’s that famous preludium in C major the opening is pedal solo. Vidas: Or Bohm’s C major. Ausra: Sure. Vidas: That was really very often seen feature in North German Baroque music, solo pedal lines, to establish the key, and to either to end in the tonic, or to go to the dominant, to modulate and then start in another key, with the hands. So, that's a nice idea, Ausra. Ausra: Thank you. Vidas: So guys, we hope that this has been helpful to you. Ausra: Yes. Vidas: And please send more of your questions to us, we love helping you grow. And remember, when you practice ... Ausra: Miracles happen.
Pedal legato
Is easy after you hear Lonely crane trumpets.
Today's question was send by Levi. He wants to know how he can play consecutive black keys on the pedals in a legato articulation especially if going down the keys.
Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT Vidas: Hi, guys, this is Vidas. Ausra: And Ausra. Vidas: And let's start Episode number 20 of #AskVidasAndAusra podcast. Today's question was sent by Levi. And he asks, "How can I play consecutive black keys on the pedals in a legato articulation, especially if going down the keys?" Legato, right? Ausra: Yeah. Vidas: Ausra, have you played two consecutive black keys recently on the pedals? Ausra: Maybe not recently, but I have definitely played it many times because if you are playing romantic or modern music, French symphonic music you definitely have to use this technique quite often. Vidas: Which one of your current pieces would be more suitable for this technique? Probably Franck, right? Ausra: Well, I don't think you know, you'd have to use it in Franck as much because if you know talking about sound, sounds better, Franck is quite easy actually. Compared to other French composers, so I'll see that you know, you will get to use this technique than playing Widor, Durufle, Vierne. Vidas: Unless your right foot is busy with swell pedal right? Ausra: Sure, but you know, somehow you can manage that, too. Vidas: Right, so you're playing Franck's B-minor chorale right now and the pedal line is not too complex, right? Ausra: Yes, it's certainly easy. Actually, I haven't found it, you know, hard or tricky. But I remember in playing Vierne’s 3rd symphony that would have really hard pedal part. Vidas: Yes, third symphony. Ausra: And especially that middle movement, because I had to play chords in the pedal. To play three or sometimes even four notes at the same time. And that was very difficult because I don't have very long foot. So, it was really hard for me to do it. When you have for example, to play an interval of the third in this one foot at the same time. Vidas: Oh, you need to have heels right? Ausra: Yes, definitely, yes. And you have to play two, four notes together in the pedal, at the same time. Vidas: Like a chord? Ausra: Yes, it's exactly a chord, that's what's very hard. But here the challenge is to know to play legato two consecutive black keys. And basically do you know the foot position very well. Because if you would go upwards, you would have to put the weight of your body on the big toe, and then to switch smoothly, sliding, in the sliding motion to the outer part of the foot. And to do exactly the opposite if you're going down. And if you're going from down you have to also to switch position off your foot at the same time. Vidas: Right. So, in order for me to understand and visualize it correctly, let me repeat what you are saying and paraphrase. Ausra: Okay. Vidas: If you're going upward with the left foot, right? And let's say you need to play F-sharp into G-sharp, right after the other. So, F-sharp would be played with the outside portion of the left foot, and the next note G-sharp would be played with the big toe, with the inside portion of the foot, left foot. Then, if you do this with the opposite direction, right? The G-sharp to F-sharp you switch inside to outside, and exactly the same is with the right foot too. F-sharp to G-sharp, big toe, and then outside of the foot, G-sharp. Or, G-sharp to F-sharp outside and inside. And so, Ausra it's a good advice I think, and Levi and others could practice isolating. Just this passage maybe one measure at a time and to play repeatedly, very, very slowly. And maybe 10 times, and get it right. Get it smoothly with legato, legato articulation. Ausra: Sure. Vidas: Probably one of the biggest mistakes people make here is to start playing the next passage right away and not correcting the current measure, right? If you feel mistake, you have to go back and make it really solid, reinforce it right away. That will help in the long run to build your solid and efficient pedal technique. So, Ausra, I hope with this answer will give our listeners more opportunities to practice the efficient way. What will be the easiest way for them to ask more questions? Ausra: We'll ask you to visit our webpage, www.organduo.lt and to send us the email with their questions. Vidas: But first they have to subscribe, right? Ausra: Sure. Vidas: Enter their first name and email address, become subscribers, then they will get our tips and blog posts daily and can reply. And that would be the best way to connect. Wonderful, guys I hope you will benefit from this answer and practice today with your feet, with your pedals. And remember when you practice … Ausra: Miracles happen! |
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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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