Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! V: Let’s start episode 509 of Secrets of Organ Playing Podcast. This question was sent by Diana, and she writes: “It’s difficult for me to know how much time it’s best to leave for learning new music and how much time - for refreshing previously mastered material. Most often I spend too much time on new pieces and too little time - on pieces learned earlier.” So, Ausra, do you know Diana from our Unda Maris studio? A: Of course I know her. V: Yeah, she is now practicing various manualiter pieces, namely Chorale Harmonizations from Krebs’s “Clavier-Übung”, but only outer parts—soprano and the bass—and she is now starting to practice Bach’s inventions, and in addition to that, she is transcribing fingering and pedaling from Lemmens’s “Short Trios” and playing them, as well. So, it depends on her choices, probably, what she needs to do on the goals, right? A: Sure, because from her question, of course, I know her personally, but if I didn’t know her, I would still understand that she is just a beginner, because usually this is the kind of question that might arise from a beginner. Because, for an experienced musician, it’s clear that it’s impossible to keep under your finger all the repertoire that you have ever learned all the time. V: Impossible? A: Yes. Well, unless you have learned only maybe… I don’t know... V: ...five pieces… A: ...90 minutes of music, then yes. But you know, if you have mastered hours and hours of music, then I think it’s impossible, and it’s not your goal to keep everything under your fingers all the time. Then you will have just played from morning until night every day. V: So probably, for beginners like Diana, her goal should be to learn as much new music as possible. Right? A: Yes, I think so. I think she would benefit more from that after just repeating the old stuff. Of course, she needs to think what kind of pieces she liked from her repertoire and she would like to play in the future, that has some artistic values to her, and maybe to play them time after time. But I think her main focus needs to be learning new repertoire. V: It’s like for babies, right? Babies grow up so fast, and for example babies’ clothes no longer fit them after a few months. Is that a good comparison? A: Well, yes, I think it’s a good comparison. I would never think about that myself, but yes, you could say it like that. V: So Diana is like a musical baby, and she needs to change her clothes constantly—musical clothes. A: Repertoire, you mean. V: Yes. A: So, what about you? How much repertoire is under your fingers, for example, in a given moment? V: Well, I’m different from most of my organists that I know—my friends, because I improvise in public, and that’s a big difference from just playing something that is written and keeping that under your fingers. So I’m generally thinking about learning new music for my upcoming recitals if I’m planning something to play from the repertoire, not only from improvisations. But right now, I have two recitals coming up which are improvisations, two recitals with you which are organ duets, or four duets, actually—two in Lithuania and two in other countries—and then some organ demonstrations, as well, so I have to be constantly ready to play in public, basically. My situation is different from most people, I think. A: But I guess if you are an organist and you are somehow related to the church, even if you don’t have a regular position, or to the universities, I think you need to keep some of your repertoire ready at any time. So maybe while learning new and difficult pieces, you need to have sort of a basic repertoire that you could be ready to refresh right away if you would receive any calls that you need to replace somebody and to play for some occasions, such as weddings, funerals, Mass… V: A collection of short pieces. A: Yes. V: Two or three minutes each, or even one minute is okay, probably, for starters. So, it reminds me of the examination requirements of the American Guild of Organists, where they have this test for the service playing certificate. They have requirements to play a few preludes, a few offertories, a few postludes, and a few communion pieces, and a few funeral pieces, and a few wedding pieces. So maybe a total of twelve pieces for this test. And for this occasion, maybe if you’d add six categories, so one or two from each category would be a good place to aim to learn for your constant repertoire. Don’t you think? A: Yes, I think that’s a good suggestion. V: Until you become a good sight-reader and can sight-read this kind of music on short notice. Okay, 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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Welcome to Secrets of Organ Playing Podcast 527!
Today's guest is a young and talented American organist Tyler Boehmer. With international acclaim for his keyboard abilities, Tyler carries much promise as a future organ virtuoso. After completing undergraduate studies at Brigham Young University with Dr. Don Cook, Tyler moved to the University of Kansas to study with Dr. James Higdon. He has also been active in many national and international competitions. Recent accolades include first prize in the Miami International Organ Competition (2019), second prize in the Sydney International Organ Competition (2018), and the diploma prize in the Mikael Tariverdiev International Organ Competition (2017). Besides attending school, T. Boehmer also works for the church where he plays for services and works with the children’s handbell ensemble. In the future, he plans to become a university professor. I met Tyler at my church and we talked about his experiences in preparing and participating in the 8th International M.K. Ciurlionis Piano and Organ Competition. By the way, just before coming to Vilnius he won the 3rd prize in Shanghai International Organ Competition. Listen to the conversation Relevant link: www.tylerboehmer.com
Vidas: Hi guys! This is Vidas.
Ausra: And Ausra. V: Let’s start episode 525 of Secrets of Organ Playing Podcast. This question was sent by Roland, and he writes an answer to my question, how is his organ playing going on these days? He writes, Very well thank you. As I studied in the Netherlands and before that in Austria I was nervous of becoming too one-sidedly Dutch/Germanic in my repertoire and my approach, so am now preparing French repertoire and have tuition in Paris with Prof. Cauchefer Choplin (with whom you have recorded the interesting interview) in the coming period. V: So, Ausra, it seems that Roland wants to now become more balanced organist, not only focusing on the German side of the repertoire, but also the French side of the repertoire. First of all, before you say something, do you think that German and French sides of the organ historical playing schools are the only ones that needed to be taken into consideration? A: No, that’s what I wanted to say. Because I think that the sort of beginning of music itself is not in Germany, and it’s not in the Netherlands, it’s not in France, it’s in Italy, probably. V: Yes. A: So that’s, you know, you should consider Italian school as well. All those Frescobaldi pieces, and other masters. And there is also Spanish school, which is also fascinating with its chamades. And music, especially the baroque music was quite polyphonic at that time. V: Yeah. A: So it’s also worth of consideration. Plus, also English tradition - all those virginalists. Of course, if he knows the Netherlands music very well, so went through Sweelinck, of course he gets an idea of English virginalists. So, I guess sometimes we spent too much focusing on these two countries: Germanic and French. V: But, professor Cauchefer Choplin is a renowned figure when it comes to improvisation, for example, and French repertoire, so it will not hurt him in any way. Obviously, it’s very nice that he has listened to the podcast conversation with Professor Sophie Veronique Cauchefer Choplin, that I recorded. I think it, at the beginning of the time when I was just starting doing podcasts. A: Yes, I remember that time when you were taking an interview. V: She was on the jury of Ciurlionis International Organ Competition in Vilnius four years ago. A: That’s right. V: Which will start also in two weeks I think, or less than two weeks, almost in a week. So, we will try to also to listen to some of the organists, and maybe to interview some jurors too, if they agree. A: Sure. And you know, talking about Roland, I think it’s important when you are study, during your study years, as he now obviously is, to experience as much countries, and to try as many instruments and as many traditions as you can. But I guess at some point in your life, you have probably to choose which area will be the area of your concentration, of your main focus. V: Do you think it’s necessary to do that? A: Well, I guess if you are sort of like freelance musician, then probably not. But if you consider to work, let’s say in the university, let’s say in United States, then yes, I think it’s necessary. Because when I think about any professor back in the States, each of them would have their main focus of studies. Don’t you think so? Because I don’t think it’s possible to know everything in depth, because organs, there are so many countries with different traditions and so many organ composers, and such a wide range of repertoire starting from the Middle Ages and finishing nowadays. I don’t think it’s possible to be equally good and knowledgeable in each of those spheres. Don’t you think so? V: Well, there are a few ways to be successful in organ playing, not just one. To specialize, yes, this is one. One way to become the best in your area, in the small area, right, rather small. For example, you discover a very curious composer who didn’t receive much appreciation when he lived, or perhaps he is living now, and you could record everything that that composer wrote or writes. Become the go-to person, the expert in this music, right? And you will be known for that very, very narrow topic. That’s what Ausra is talking about. Another way is to become the first. Become the first inventor of something. For example, let’s say Harald Vogel, right? A: Yes. V: I don’t know if he was the first, but to me he is the first in re-energizing focus and attention to early organs in… A: Ostfriesland. V: Yes, area of The Netherlands and North Germany called Ostfriesland, with fantastic instruments and music from the manuscripts, tablatures, early performance techniques. Maybe there were other people involved in that, but he’s the most prominent figure in leading this movement - Harald Vogel, right? And what’s the third one? A: I don’t know. You wanted to tell us, so tell us! V: Okay! A: Or you forgot while talking about two others. V: The third way is to become different. Different from anybody else that you know. For example, okay - Guillou. Jean Guillou - is he an expert in the French music? Yes he is, but so are many others. So what is he, or what was he most well-known for? Improvisations, and his own compositions. A: But many French organists are very famous for their improvisations, so how is he different from others? V: His style is different from others, you see? A: Well, yeah… V: You know that? A: I know that, yes. V: So be yourself. You can easily be yourself. But the problem is that you have to be yourself or stick to one particular path, one, two, or three, for a long time so that people will start noticing you. A: True. V: Because at first they will ignore you, then they will laugh at you, then they fight you, and only then you win. A: Yes, and I think the worst thing that might happen, that after graduation you play only the pieces you learned during your study years. I know many organists like that. Especially in Lithuania, that we have learned, let’s say 20 pieces during the study years, and we keep playing them all through life, not trying anything new. I guess you just have to keep your curiosity going, even after graduation. V: To keep a beginner’s mind, always be prepared to accept that you don’t know everything. A: Yes, I think that’s the main, the most important thing. V: And be hungry for, learning new skills. Okay 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.
Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! V: Let’s start episode 504 of Secrets of Organ Playing Podcast. This question was sent by Vitold, and he writes: “Good day! This is Vitold from the organist school. Can you send or recommend literature to better understand organ harmony? Because I write those notes and I can't understand where and how those intervals are calculated. The hardest part I ever studied was the harmony I never understood. I played mostly from hearing and finally I would like to learn. Sincerely Vitold” So Vitold is a student from St. Gregory’s organist school, where I teach, this semester, Harmony. And there are something like 14 students in this course. Two are on the second level, and the rest of them are at the beginner level. So Vitold is at the beginner level, and during the first lesson or class, I gave them five hymns to work on, but I didn’t ask them to supply 4-part harmony, yet. Only to supply the bass line to the soprano melody. But, I asked them to think about the sweet-sounding intervals of sixths, and thirds, and octaves and fifths, but to avoid parallel octaves and fifths, and mostly use sixths and thirds in alternation. And, in order to avoid forbidden intervals, aim for contrary motion between the hands. When the soprano goes up, the other voice has to go down and vice versa. So this the general instruction. A: So basically, you are teaching it, not more like a harmony, what I understand is harmony, but more as about counterpoint. V: That’s right. We are starting from there, because before there was harmony, there was counterpoint. A: But, I think as an advanced musician, you need to understand that counterpoint in general is much more complex and difficult than harmony. V: If you take it into consideration the next species of counterpoint, not only note against note, but two, three, four, five mixed counterpoint, right? This is difficult, but from what I assigned, they only have to supply one note in the bass against one note in the soprano. A: But you know, what I understood from Vitold’s question, I think he is in much bigger trouble than he… V: ...realizes… A: ...realizes, yes, because he cannot calculate intervals. It means he doesn’t know what a certain interval is. And, it means that he really needs, probably, elementary music theory, to learn before taking any courses of harmony. V: That’s why I didn’t start with four voices. You know? And the next lesson when we meet, maybe I have to refresh what intervals are, what kind of intervals you can use… A: But then, you know, other guys in that course that know what intervals are will be bored! V: Yes! Yes, that’s true. A: I guess they need to do some sort of entry examination into this organ school. V: They didn’t. A: I know! I remember, I taught there last year for a half a year, and then I quit it, because I had like 18 students at very different levels, and I had to teach all of them harmony. V: So, to help Vitold and others who don’t know what an interval is, I took my camera yesterday and recorded a video about intervals, basically listing all those intervals from the unison up to a perfect octave from the note C, and I calculated their distance in terms of half steps and whole steps. A: Another thing that I was thinking while reading Vitold’s question was that he seems to have some musical training in the past, but hasn’t learned much out of it. So these are the hardest students, I believe, that have some formal training but haven’t learned anything, because, they seem to like to complain about things, resist things that you are offering them, and it’s just really bad. V: If he were a fresh beginner without any training, like a blank sheet of paper, you could write on a blank sheet of paper. But if you have a paper with something written in, you have to first erase incorrect things on that paper, and then rewrite everything from scratch. A: That’s right. So good luck for you, Vidas. I’m glad I’m not teaching harmony there this year. V: Yes, you can laugh at me, now. A: No, I’m not laughing. I feel really sorry for you. V: Or you can build a monument for me. After this semester. A: You haven’t built a monument for me after last year! V: Let’s build a monument for each other. A: Yes, ok. But anyway, harmony is not such a hard thing. If you can count to ten, you can learn harmony, too. V: Obviously, only the first twenty years are difficult. Afterwards it’s easy. A: But, you know, by having an understanding of harmony and about chords and how they are connected and all those things are a big help for a church organist. I cannot imagine being a good organist without having at least a basic knowledge of harmony. Especially if you are working in a Catholic church. V: In Lithuania. Because in more civilized countries, musically, they have hymnals and supplements, and harmonizations of melodies they have to play, and people sometimes can get away without harmonizing things. But in Lithuania, there are only a few hymnals with harmonizations, and the rest is up to an organist. A: So basically, if you are a church organist in Lithuania, you need to be an organist, a conductor, a composer, and cantor. V: Total organist, right? A: Yes, basically Total Organist. V: Like we teach! Excellent. So guys, 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! V: Let’s start episode 502 of Secrets of Organ Playing Podcast. This question was sent by Terry, and I asked him about his “8 Little Prelude and Fugues” practice. So, he writes: “Hi Vidas! Thanks for asking. The pedals are not second nature to me yet, unlike, say, doing scales on a piano. I made great progress with your pedal challenge courses but I need to get in some sort of regular pedal practice like doing my daily Hanson exercises, which I have not sorted out yet. I am also unsure of registration and tempo. Finally, remembering to practice articulate legato in both hands and pedals requires focus. Your fingering and pedaling suggestions, however, are a great time saver, although I do make some changes that seem to work better for me. In any event, practicing these works is a great joy with only a year under my belt. One other thing: it is hard for me to figure out a gradual progression of compositions to practice within your guidance of beginning, intermediate, and advanced groupings. I also stated with the “Orgelbuchlein” compositions, so I started with BWV 599 and will go from there. A small confession: I started with the Widor Toccata as my first piece, quite foolishly, although it was a thrill and I stayed with it through memorization. Maybe I will actually be ready for it with appropriate technique in a few years, but at age 71 I can’t wait too long. Playing these works of the masters is tantamount to coming in direct contact with the Divine, before I pass through earthly bonds and come, hopefully, face to face. All the best, Terry” A: What a nice letter! V: It is! Even though Terry is 71 years old, he still strives to improve, which is really nice. A: True! V: More people should challenge themselves at this age. A: That’s right. V: I think when he writes that he can’t wait too long because he is 71, and he started playing from Widor’s Toccata as his dream right away, I think people should understand that dreams can change! They can adapt. A: That’s right, and being 71, you could think that you are only 71, because you never know how much longer you will live! Maybe you still have quite many years ahead of you. Nobody knows, actually. V: Yes. So better, probably, not to postpone your dream, but to live it today. Right? A: Well, I didn’t mean that, but I meant that being 71, you might still have a lot of time ahead of you. That’s what I meant. V: And be able to master Widor’s Toccata later. A: True. Actually, and this episode about Widor’s Toccata reminded me about that new girl that we have in our studio this year, V: Right… A: In our Unda Maris studio, who is desperate to play “D Minor Toccata” by J. S. Bach, and this is the only one organ piece that she recognizes. But she has never had any formal musical training whatsoever, and basically what she does is she plays for a church here in Vilnius, but basically she plays everything by ear. So what she hears, she plays that, somehow. V: I told her to discover more organ compositions beyond “D Minor Toccata.” A: And I was convincing her that it would be beneficial to play “8 Little Preludes and Fugues,” but it doesn’t seem that my ideas and thoughts touch her. V: I was not so progressive with her. I just recommended “6 Short Trios” by Lemmens. And, she played the right hand part of the first trio together with 4 other ladies quite nicely, so I thought they could master the first trio within several weeks, I think. But she still wants to play “D Minor Toccata” now. Who knows? Maybe she can play in her own time, but now I hope she will study Lemmens, as well. A: I think when you pick up a piece that is much too difficult for you, you might ruin the piece forever. So, it’s better to go step by step. At least that’s my opinion. V: Right. So from those “8 Little Preludes and Fugues” that Terry is working on, the easiest one is probably not the first one! Not C Major. A: No. V: And obviously, the gradation should also take into account the fugues. The fugues are much more difficult than the preludes because of the polyphonic writing. A: Could you learn the preludes first and then do the fugues after that? V: That’s how my Bach’s Mastery course: “Bach Organ Mastery Level 1” course is constructed. First we learn “8 Little Preludes,” and then we learn 8” Little Fugues.” But we’re not starting with the “C Major Prelude,” we are starting, I think, from either F Major or G Minor, I don’t remember now, but those two are the easiest ones. A: Well, but I started with G Minor, and the pedal part wasn’t so easy for me at the beginning. V: That’s why always…. A: Although, the tempo was slow, so… V: Yeah, it has more voices than three, that’s why I recommend easier pieces like trios—short trios like exercises of 8 measures long—like Lemmens, maybe. A: But when you are talking registration of these preludes and fugues, if you have no idea how else to register them, you can just play them using Organo Pleno, I think. V: And Organo Pleno is full Principal Chorus with mixtures. A: That’s right. And if you find it too much, you could just play with principal 8’, 4’, and 2’, and maybe some with just principal 8’ and 4’. V: Yeah, basically use principals, depending on the character. If it’s a solemn character and bright tempo, then maybe use mixtures. If it’s a slow movement and a meditative character, maybe one principal would be enough. A: That’s right. V: And register the pedals accordingly. You don’t need always to play with Posaune. Posaune fits well with mixtures with the hands, but if you only play it with one principal in the hands, maybe you only need 16’ and 8’ in the pedals. A: True. V: Excellent. Then Terry asks about “Orgelbüchlein” gradation. Obviously, 599 is the first one, Nun Kommt der Heiden Heiland,” but the easiest one is… A: Probably “Ich Ruf’ Zu Dir.” V: Probably, yeah, with a trio texture. And there are a few more like that, not with trio texture, with four voices, but which are less difficult to play than “Nun Komm”. They are at the beginning of the collection, too, but not right at the beginning. A: Plus I think that “Orgelbüchlein” was maybe written according to the liturgical year, but not according to the difficulty of pieces. V: No, no. That was intended as a collection of all the ways you could play the chorale for the liturgical year, and Bach didn’t even finish it. A: True. V: So postpone, Terry, the “Widor Toccata,” until you are ready for this, and have fun with the Bach pieces—easier Bach pieces first. And, if you are interested in the gradation of those “8 Little Preludes,” take a look at my “Bach Organ Mastery Level 1” course, and you will start from the easiest prelude, go through the more difficult ones, and then graduate from the easiest fugue through the most difficult fugue. And of course, this program is available without additional cost, like anything else we create, for Total Organist students. 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!
Welcome to Secrets of Organ Playing Podcast 526!
Today's guest Carson Cooman who is an American composer with a catalog of hundreds of works in many forms—from solo instrumental pieces to operas, and from orchestral works to hymn tunes. He was already a guest on our podcast in episode 84 talking about creating and promoting contemporary music. His music has been performed on all six inhabited continents in venues that range from the stage of Carnegie Hall to the basket of a hot air balloon. Cooman’s music appears on over forty recordings, including more than twenty complete CDs on the Naxos, Albany, Artek, Gothic, Divine Art, Métier, Diversions, Convivium, Altarus, MSR Classics, Raven, and Zimbel labels. Cooman’s primary composition studies were with Bernard Rands, Judith Weir, Alan Fletcher, and James Willey. As an active concert organist, Cooman specializes in the performance of contemporary music. Over 300 new compositions by more than 100 international composers have been written for him, and his organ performances can be heard on a number of CD releases and more than 2,000 recordings available online. Cooman is also a writer on musical subjects, producing articles and reviews frequently for a number of international publications. He serves as an active consultant on music business matters to composers and performing organizations, specializing particularly in the area of composer estates and archives. In this conversation, Carson shares his insights about how he has managed to create on average one composition every week for 27 years. Enjoy and share your comments below. Listen to the conversation And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. Thanks for caring. Relevant links: http://carsoncooman.com Carson Cooman's YouTube Channel
Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! V: Let’s start episode 499 of Secrets of Organ Playing Podcast. This question was sent by Joanna, and she writes: “Dear Vidas I bought a copy of Vieux Noel by Cesar Franck from your website. I wanted to ask you something which I do not understand. What are the numbers at the beginning of the piece...number 1, number 4 and number 0 in a circle? Regards and thanks Joanna” V: First of all, Ausra, we’re approaching soon episode 500! This is exciting! A: True, it is exciting. V: The next will be 500. A: I didn’t think we would survive for such a long time with our podcast. V: It’s a small milestone to celebrate. How will we celebrate? A: I don’t know, maybe practice something on the organ! V: No! I already practiced on the organ something today. A: You can’t practice too much! V: Maybe I’ll eat a cookie. A: That’s a good idea. V: And you? A: Then I’ll eat a cookie, too. V: My cookie? A: No, another cookie! V: We have enough cookies for both of us. A: True. V: Okay. So Joanna bought a copy of one piece by Cesar Franck from his cycle “L’Organiste.” This collection is created to be played on either pipe organ or harmonium—French harmonium. In other countries, they are called “reed organ,” or in German, “Phisharmonium.” Basically, they’re a little bit different, but the idea is the same. You pump the two pedals, and therefore your two feet are busy. You cannot play with your feet as with pipe organs on the pedal board. But, I have seen, actually, an electric harmonium which has an electric blower, and then you have a pedal board. You have seen this, too! A: So, how is this different from the organ then? V: Because it doesn’t have pipes, it only has free reeds vibrating, like in a harmonium. A: Harmonium actually reminds me of an accordion. V: Yeah, it has those bellows, and the same type of reeds. You know where we saw this instrument… I’m not sure if you were there… in the house of the priest/organist, Gracijus Sakalauskas. A: No, I haven’t seen it. V: You haven’t been there? A: No. V: He was, for a long time an advisor, I think, for an organ building company from Marijampolė, and he also is a priest, but he is, or was, trained as an organist as well. So, I think during one concert of our organ studio of professor Leopoldas Digrys, a few of us went to perform at some church in that region, and we had a dinner, and we visited this priest’s house, and he had this electric harmonium. This was nice. A: So, what do you think about the collection? V: So the collection… before last summer, I started sight-reading these pieces and recording them on videos, and putting the cameras above the keyboards, so that the hands would be clearly visible, with the hope that people would find the fingering useful that later, our team has transcribed from those videos. And apparently, Joanna wants to learn a piece from the suite suitable to be played for Christmas time. It’s, I think, in the middle of this collection, and this Noël is just one part of this suite. It’s a very interesting collection. It has, I think, seven suites in seven keys, major and minor keys. So the first is C, the second is C-sharp, the third is D, and the fourth is E-flat, and so on. It goes up chromatically. And in each suite, you have, I think, seven pieces suitable to be played for liturgy. Six pieces, plus either offertorium or the Sortie. A: I think it’s a wonderful collection for church musicians, because the pieces are easily done, quite easily done, but they sound like solid pieces of music. V: Yes, they are not crappy compositions at all. A: They are really aesthetically pleasing, and you know, it’s worth it to have this collection if you are a church musician—a church organist. V: And you could be a highly strained organist, but you can still sight-read them, and your congregation would definitely enjoy them. A: So now, could you explain about those numbers, what they mean? V: The numbers refer to the stops on the French Harmonium. In this particular Vieux Noël, there is #1, #4, and 0. So, I copied those numbers, indications of those stops, on the French harmonium from the collection, and one is Cor Anglais 8’. Cor Anglais is a reed sort of similar to the oboe, maybe, but only in the bass register. Right? Because French Harmonium has a divided keyboard: Bass from C to E1, and then treble from F1 to C4. So basically, #1 is Cor Anglais 8’, and #4 is Basson 8’ level. So here you have two stops of 8’ level. And then 0 means “Forté.” 0 means “Forté”, which basically I adapted to pipe organ and wrote my own registration suggestions using only 8’ stops. You obviously have to adapt. You don’t have to play everything with reeds here. What do you think, Ausra? A: Sure, of course! Not every organ has reeds at all, so… V: Maybe I should just mention other numbers. #2 is in the bass. #2 is Bourdon 16’, #3 is Clairon 4’, #4 is Basson, as I said, #5 Harp Aeolean 2’, and then is Forté. In the treble, #1 is Flute 8’, #2 Clarinet 16’, #3 Flageolet 4’, #4 is Hautbois 8’, #5 is Musette 16’, and 0 is Forté again. A: So what if you don’t have a divided keyboard as it is on the Harmonium? V: Then sometimes you need two keyboards. A: Two manuals. V: Two manuals, yeah. But not on this piece. Probably not on this piece. I have to double check, though, but not all of them required separate stops for the solo voice. So yes, having those markings in your head, you can adapt to any pipe organ that you want, even on an electronic organ. You just have to be mindful of the pitch levels: 16’, 8’, and 4’, and dynamic levels. If it’s 0, then it’s forté, and you can also sometimes find the letter G in the score, and G means Grand Orgue. Grand Orgue means like Tutti. A: That’s right. V: So most of the stops together. Okay, so that’s the idea of playing this piece. Alright, guys, please send us more of your questions; we love helping you grow. This was Vidas, A: And Ausra. V: And remember, when you practice, A: Miracles happen! SOPP524: I can still play but things feel different. I have reduced feeling in my fingers.11/6/2019
Vidas: Hi, guys, this is Vidas.
Ausra: And Ausra V: Let’s start episode 524, of Secrets of Organ Playing Podcast. This question was sent by Mark. And he writes: Hello I am 63 years old and have had a stroke on my left side. I fell and banged my head and had a further brain injury. I can still play but things feel different. I have reduced feeling in my fingers. I am trying to retrain myself. My muscle memory is just not there. My sight reading is much harder. I have a Rodgers organ at home so I have no trouble practicing. I sometimes feel like I am beating a dead horse. I have Hauptwerk and can play a nice Father Willis organ with it. Any suggestions for something I could do? V: I wrote him a short answer: Thanks Mark! Look forward to our answer on the podcast. In short—don't overextend yourself and enjoy every moment of your practice, even if it seems slow. V: What can you add, Ausra? A: Well that’s a sort of a very difficult issue to discuss because I’m not a medical doctor but I think our brain is remarkable in that way that it’s very flexible and it tends to recover. V: Mmm-mmm. A: Even after such a serious illness as a stroke. So I guess you just have to take things easy and take a slow steps, not rush yourself. And I think eventually you will regain your abilities that you had before the stroke. Maybe not one-hundred percent but still I think it will become easier and better with each day. I think the worse thing in the situation like this what you could do is to do nothing. V: Or to push yourself too hard. A: Yes! That’s two extremes that you should avoid—doing nothing and to doing maximum out of yourself. I think you need to be somewhere in the middle. But anyway I think that in a rehabilitation process the physical activity is crucial. You will not recover without it. So I think also in addition to practicing organ, you need to do your physical therapy as well. V: Mmm-hmm. All kinds of exercises. A: Yes but of course you need to consult your doctor. V: Yeah. We don’t know exactly what works for you. A: But I guess you have to find the right balance for yourself in your life, how much can you do and what you need to avoid. V: You know, people who have suffered a stroke or a heart attack, for example, those severe life threatening situations, and if they recovered like Mark, for example, they need to take life not so seriously any more. Don’t you think? Maybe let themselves enjoy a little. A: I guess it’s easier to say than to do. V: Why? After this experiment, experience, right? A: I guess nobody of us knows what is waiting of us. So I guess we just have to receive every day as a gift... V: Mmm-hmm. A: and enjoy it, and live it. V: Yes. It would be a mistake to try to fight the situation and say ‘okay, I will push myself even more, and my muscle memory will return faster, and my sight-reading will become much better really fast, next week’, for example. That would be a mistake, I think. A: I think enjoying the moment… V: The moment, yes. A: is most important thing and the further we live, the more obstacles we get in our may, the better we understand this crucial thing, that we need to really enjoy the moment. V: He sometimes feels like he is beating a dead horse. It’s an expression saying that he doesn’t feel any progress probably. A: Well, but even if he only trying to do it is already a progress. Because think about all those people after stroke who either die… V: Mmm-hmm. A: or they just become… V: Inactive. A: inactive at all, and they stay on their bed for many, many years. V: Mmm-hmm. A: I know people like that in my relations, my relatives. V: Mmm-hmm. A: We have a women who is now probably seven years lying in bed. So I guess if you can move after [a] stroke and do something, it’s still very, very good. So you don’t need to rush progress and I think you will get stronger and better with each day. V: You’re not a physician. You’re not a doctor, but do you think that walking would not hurt him? Talking walks, you know. A: I think in general, walking is the most beneficial exercise for people who have trouble with their physical health. V: Unless they have knee problems, hip problems… A; Of course, but in general… V: Those mechanical. A: I think for people who have heart conditions and other problems, I think walking is very beneficial because you can, you regulate the tempo of your walking. You don’t need to rush. You may walk slowly and maybe with time to increase the speed of your steps. V: And the distance too. A: And distance too. And now we have all these Fitbit sort of… V: Smartwatches. A: smartwatches, and you can see what your pulse is and how it reacts to the tempo you are taking. So you can regulate it much, much easier, than in any other physical activities. So I guess the walking is the most harmless exercise, as least I understand it. V: Will we go for a walk today? A: Yes, I guess. V: After this recording. A: True. But of course if you have trouble walking, maybe swimming might be useful too, or some exercises in the swimming pool. For some people especially if they have leg joint problems... V: Mmm-hmm. A: the water smooths the damage to the joints. But you can still exercise. V: Does reading help? A: What do you think about that? V: Well, you are the smart one here! A: (Laughs). Well I think that walking or swimming helps more in such a case. V: Than brain activity? A: Of course you have to combine both things but… V: So organ playing is also a combination of mental and physical activity too. A: But of course you need to take things slowly and easy and not to overwhelm yourself with either physical or mental exercise, especially after such a difficult events... V: Mmm-hmm. A: and serious ones. V: Always remember that practice is privilege, like our professor Pamela Ruiter-Feenstra used to say. A: But I guess playing organ is a good idea for people like this because it really works on your coordination and on your brain and on your muscles. On your motor motions. V: Yes. So please guys, 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 V: Let’s start episode 521, of Secrets of Organ Playing Podcast. This questions was sent by Diana. And she writes: When I play an organ I look too much at my hands. So sometimes I lose where I play. And it makes trouble when I need to play in Mass or concert (not only this week). V: Hmm. Interesting question. It’s probably very common among beginners to look at their hands. A: Well, true because if you are beginner, keyboard player as Diana is, then yes, you look at the hands a lot. But then if you are experienced keyboard player but you start to learn to play organ then you look at the pedal a lot. So these two problems are kind of similar. But I guess when she will reach certain level on playing the keyboard she will naturally stop looking at her hands. Because, do you look at your hands a lot while playing keyboards? V: When I improvise, yes. Because where I supposed to look? There is no music. A: Well, yes but we are talking if you have a musical score in front of you. V: Ah. I see. Not so much of course. No. I have to look at the score… A: I know. V: because I don’t know what to play then. A: Sure. V: Do you think she needs some extra attention of looking at the score and not looking down at the fingers or it will just come naturally to her? A: I think is should come naturally. For example, I look at the keyboard early when we are playing duets. And you know why? Because when I’m playing solo I sit in the middle of the keyboard but when we are playing duets, I most often play the upper part but sometimes I play the lower part, and then you sort of have to change your body position and you sit either far right or far left of the keyboard. V: Yes. A: And then the keyboards shifts because of the position of your body and it’s sometimes a little bit hard to coordinate the distances, yes. V: You don’t know which key you will hit. A: Sure. V: Which octave you will hit. A: Yes. Because you are sort of decentralized. So that way, yes, I have sometimes to look at the keyboards because we have such a laughs, that for example, I start to play everything what is written but let’s say a third above or a third below, and it’s so funny, sometimes. V: And we can transpose them. A: Yeah. V: Very nice. I like transposition. A: Yes. So I guess it all comes with experience. Because its often a problem for young organists when they just start playing organ, that they watch at the pedalboard a lot. And then they lose the text. And since Diana is playing violin I guess she is new at the keyboard so that gives her a problem but I think she will overcome it with time. V: Do you think giving herself this idea of really focusing on the score and not on the hands would help her concentrate more and not to look down, like actively looking at the score and not at the hands? A: Yes, I think it would help. V: And remembering not to look down, sort of. A: True. V: Or reminding herself not to look down. A: That’s right. But another problem that some of the new musicians experience; I remember teaching many years back, I had fifteen first graders to teach to play piano. V: Mmm-hmm. Fifteen? A: Yes. Fifteen. V: Oh. A: I had like one lesson with each of them every week. V: How many minutes? A: Maybe two lessons but like a half an hour with each time. V: Wait a second. Half an hour, right? A: Yes. V: Each time. A: Maybe twenty minutes. V: Twenty minutes. A: I’m not so sure right now. I think we had like one academic lesson switched into two hands, divided into two hands. V: Do you miss these days? A: No! No, no, no, no… But that’s a good experience. You have to experience life. And I started to teach them on the First of September, and before Christmas that year, I had to make a contest with them and everybody of them had to perform. V: In front of their parents. A: Yes. So it was really tough. And not only parents but also director of the school. V: You mean principal. A: Principal, yes. V: Mmmmm. A: So, it was really tough. But what I wanted to tell, that some of those kids really didn’t want to read music... V: Mmm-hmm. A: from the score. I was really, probably for half of them the hardest thing to read the score. And what they wanted, these kids, they wanted that I would show on the keyboard how it goes, and they memorize from my hands what is happening. V: They would mimic your hands. A: Yes. Just like apes, you know. V: Monkeys. A: Monkeys, yes. V: Chimps. A: Chimps. V: Ohh. A: And they wouldn’t watch to the score. It would be there for them just to follow their finger… V: Mmm-hmm. A: on the keyboard. And one suddenly realized, ‘it’s just like computer’. V: Mmm-hmm. A: You also have to press a key and then he liked it, actually a lot. V: Because he likes computer. A: Yes. V: Uh-huh. So what was your solution with them? A: Well… V: How did you manage fifteen first graders to play in a Christmas concert in front of their kids, after maybe sixteen, fifteen, weeks of training only? A: Well, we did actually pretty good because what I found out while working with them, that these little kids, they are very observing, observing all the new information and they learn very fast actually. And one of them actually I suggest for his mother to take to a musical school and she did. And he was accepted to study to learn to play cello. And I just recently found out through the social media that he became a professional musician. V: Mmm-hmm. A: And he lives now, I think in Cyprus. V: Really? A: Yes. And he performs sometimes with one colleague from our school, Eugenius. V: Cyprus is an island in the Mediterranean. A: Yes. So I guess my understanding about his talents was real and I’m glad that he chose that way. V: Uh-huh. But you don’t have good memories about your principal, right? A: Well, yeah. V: She. Um… A: Well, she didn’t do anything bad personally to me… V: Yes. A: I think she gave me a job when I really needed and I really appreciated that. V: But? A: But being musician herself and knowing what the horrible station for musicians was in Lithuania at that time, she used us all, I think. V: Mmm-hmm. Employed you without, um… A: Without Social Security? V: Mmm-hmm. A: Yes. So now I don’t have any benefits from those. I was teaching for her for three years. V: Three years? A: Three years, yes. So I guess when I will reach my senior age I will be very sorry that I worked for her for those three years. V: Uh-huh. You could get retirement three years earlier. A: That’s true. But now I will have to work… V: Three more years. A: Yes. V: You see guys, sometimes, musicians, when they become in a position to organize some kind of school and employ other musicians, they abuse those musicians… A: True. V: which are below them. A: Because I remember one teacher that our colleague in Lincoln, back in the USA had. And the sign on that T-shirt said, ‘Unemployed musician. Will work for food’. V: Uh-huh. A: And that’s so true, actually. V: Maybe not necessarily abuse but exploit musicians, exploit her… A: True. V: workers. A: True. V: Right. Wow. So we started talking about Diana’s hands. Nice. Alright, guys, please send us more of your questions. And we will talk about your questions and troubles in our podcast. And maybe we’ll share some of our experiences in a way to create a story out of that. Alright. And remember, when you practice… A: Miracles happen!
Welcome to episode 516 of Secrets of Organ Playing Podcast!
Today it's my pleasure to introduce to you Paul Ayres who is a prize-winning composer, arranger, choral conductor, musical director, organist and accompanist from the UK. We are talking about his organ music. Vidas: Thank you so much, Paul for joining in this conversation! I'm very delighted to be able to talk with you through the internet. I came in the contact with your work some months ago when I found out about your fabulous Toccata for Eric. And you sent me other pieces to listen to and then I bought the entire Suite for Eric which was very exciting suite for me. And I'm actually learning and practicing it right now. Actually, before we started talking I practiced the Prelude and Fugue from this suite. Listen to the entire conversation You can find out more about Paul Ayres and his work by visiting his website at https://www.paulayres.co.uk. Relevant Links: a re-written version of J S Bach's Toccata and Fugue BWV 565 awarded second prize in the AGO Seattle Chapter 'Bach to the Future' composition competition online live recordings: https://youtu.be/lGxCCNq01Yw http://yourlisten.com/paulayresaudio/mostly-bachs-toccata-and-fugue Fantasy-Sonata on Over the Rainbow http://paulayres.co.uk/catalogue/404 https://www.youtube.com/watch?v=gbP5qiHzYD8 https://soundcloud.com/user-517413285/rainbow1 https://soundcloud.com/user-517413285/rainbow2 https://soundcloud.com/user-517413285/rainbow3 https://soundcloud.com/user-517413285/rainbow4 https://soundcloud.com/user-517413285/rainbow5 http://paulayres.co.uk/catalogue/404 Toccata (Fantasia) first prize in the Harrison and Harrison organ builders 150th anniversary composing competition http://www.youtube.com/watch?v=M_fhV6Hh6vw http://yourlisten.com/paulayresaudio/fantasia-150-ayres-for-organ http://paulayres.co.uk/catalogue/318 Washington Toccata second prize in Washington DC AGO chapter composing competition [this one not performed nor recorded yet!] Aria (from Suite for Eric) https://youtu.be/j0bCdjBm6yA https://soundcloud.com/user350556481/aria-ayres http://paulayres.co.uk/catalogue/296 Mostly Bach's Toccata and Fugue in D minor https://youtu.be/lGxCCNq01Yw http://yourlisten.com/paulayresaudio/mostly-bachs-toccata-and-fugue http://paulayres.co.uk/catalogue/398 Concerto on I want to hold your hand https://youtu.be/PXCq2a_LcaU https://soundcloud.com/user-517413285/i-want-to-hold-your-hand-ayreslennonmccartney http://paulayres.co.uk/catalogue/359 Green Suite first prize in the Brindley & Foster composition competition 2010 http://paulayres.co.uk/catalogue/276 Adagio Cromatico on Michelle https://youtu.be/WGZcwocxMZM http://yourlisten.com/paulayresaudio/adagio-cromatico-on-michelle-paul-ayres http://paulayres.co.uk/catalogue/408 Toccatina on Here Comes The Sun https://youtu.be/idE2tyMWVKg http://yourlisten.com/paulayresaudio/toccatina-on-here-comes-the-sun-ayres http://paulayres.co.uk/catalogue/410 Trio on Ich steh' and Hey Jude https://youtu.be/dpd682Ko1SA https://soundcloud.com/user-517413285/trio-on-ich-steh-and-hey-jude-ayresbachbeatles https://soundcloud.com/user350556481/trio-on-ich-steh-and-hey-jude-ayres http://paulayres.co.uk/catalogue/388 Lament on And I love her https://youtu.be/07syFRJjGWE https://soundcloud.com/user350556481/lament-on-and-i-love-her-ayres http://paulayres.co.uk/catalogue/390 Funiculi Funicula Finale http://paulayres.co.uk/catalogue/407 Fantasia on Mission Impossible https://www.youtube.com/watch?v=aGiGCMLIK98 http://paulayres.co.uk/catalogue/298 The Departure of the Queen of Sheba https://soundcloud.com/paul4141/the-departure-of-the-queen-of http://paulayres.co.uk/catalogue/242 Andrew Lloyd Webber Variations for cello and rock band (the entire album, transcribed for solo organ) http://paulayres.co.uk/catalogue/356 A Whiter Shade of Pale http://paulayres.co.uk/catalogue/357 Exite Fideles (based on Adeste Fideles) http://www.youtube.com/watch?v=3149lMJdysk http://paulayres.co.uk/catalogue/191 Variations on Es ist ein Ros entsprungen joint first prize in the New Zealand Association of Organists' composition competition https://youtu.be/9-Z1SmMbBUE https://soundcloud.com/user-517413285/es-ist-ein-ros-entsprungen-ayres http://paulayres.co.uk/catalogue/15 Evermore and evermore (based on Corde natus ex Parentis) http://paulayres.co.uk/catalogue/290 Advent Fantasia (using melodies Veni Emmanuel and Wachet Auf) http://paulayres.co.uk/catalogue/45 Herzlich tut mich verlangen http://paulayres.co.uk/catalogue/181 The Lord's my Shepherd (Crimond) http://paulayres.co.uk/catalogue/182 Veni creator Spiritus http://paulayres.co.uk/catalogue/245 Duo (from Suite for Eric) https://youtu.be/0oqsTjnU550 https://soundcloud.com/user350556481/duo-ayres http://paulayres.co.uk/catalogue/296 Intermezzo (from Suite for Eric) https://youtu.be/Fg6KQlmnNB8 https://soundcloud.com/user350556481/intermezzo-ayres http://paulayres.co.uk/catalogue/296 Wie schoen leuchtet der Morgenstern http://paulayres.co.uk/catalogue/180 Toccata on All you need is love http://www.youtube.com/watch?v=Xn_22eAr3Eg http://paulayres.co.uk/catalogue/243 |
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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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