Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode episode 322, of Secrets of Organ Playing Podcast. This question was sent by Rob. He writes: Hello Ausra and Vidas, Today, I have a few things to share with you that relate to subjects that both of you discussed in recent SOPPs. Please feel free to use it as “ammo” to elaborate on as you see fit. 1) Accompanying the congregation in singing This is something that I’ve been doing for almost 45 years now. When I accompany a choir, I’ll have to “obey” the SATB setting of the songs. When I accompany the people, I can basically make up my own harmonies. What I do is this: one of my ears listens to the organ, the other ear listens to the singing of the congregation. Now, in the middle of my head, I bring the two together: I always make sure, that I am just a fraction of a beat “ahead” so I can give them the next note, the next tone that they need to sing. This way, you can also control the pace of the song, because congregations are inclined to slow down in singing and it is best not to allow this. So, “split-listening” and being just ahead of the people is key in accompanying. And, of course, make sure that the melody of the song can be heard clearly. 2) On improvisation I discovered, that there is a part in my brain that always creates music. All I need to do, is tune into it and listen to what’s “playing” in my head at that moment. Can be a melody, can be a harmonized piece of music. When I listen to it, I can get my right hand to immediately produce the melody that I hear. I am not yet good enough to immediately produce the harmonics that I hear with both hands. So, I must take it “slow”. That is, play the melody (and often harmonizing it as well) bringing it out in the right hand and find supporting harmony (chords etc.) in the left hand and pedal. I change between playing on 2 manuals and playing on 1 manual where I get to bring the two hands together while developing on the keyboard what I hear in my head. This works wonderfully well. And I do make it a habit of improvising 10-15 minutes every time I play the organ. Also before service, I make time to improvise for about 5 minutes. Makes sense to you guys? Enjoy the weekend. Kind regards, Rob V: So, Ausra, these two questions, one is about accompanying congregation and about improvisation. I think it’s really on track what he’s suggesting about accompanying the congregation. A: I think it’s very much on track. Actually that’s what I would do if I was accompanying congregation. But of course, one part of this part of question, reminded me, or actually, we were kicked off the church. Because you didn’t want to play slower for congregational accompaniment. V: I was split second ahead, or more than split second ahead. A: True, and we received so many complaints, especially Vidas. And people would ask me to play service more often because I played slower and listened to them more. But Vidas just didn’t want to give up and wanted to keep his own tempo. And well, at that time we were very young, and probably not as wise as we are now, yes? V: Yes. Today we would play in lento tempo. A: So, this was, I guess, probably twenty or even more years ago. V: Yes. Today we would play everything like Albert Schweitzer did. A: Well, now I guess, if this would be in nowadays, I probably even wouldn’t take such a job. V: Wow. That’s even better. A: True. But actually, yes, the congregation tries to slow things down. V: But, Ausra, if it’s not a job, if somebody just asks you to fill in, you know, like a friend, substitute, just once, and would you slow down, or would you lead ahead? A; Well, that’s a good question. I would probably lead ahead. What would you do? V: I would lead ahead, yes. You see, at that time, we didn’t have our doctorate degrees. Now we have doctorate degrees. And to anybody who is complaining, we can,,, A: Show our diploma, yes. V: Yes. Yes. Complain to the director of University of Nebraska, Lincoln. A: Yes. V: (Laughs) A: That’s funny. That’s really funny. But actually, you just need to be reasonable. If you’re tempo and congregation tempo is very different, you need to think about it—why this happens. Because maybe you choose too fast tempo for that particular hymn. And you need to think if this happens all the time, and maybe you need to listen yourself from a side, make a recording of it, because that tempo might defer slightly bu it cannot be very different. V: Mmm-hmm. A: And when you’re accompanying congregation, always try to sing too. That way you will get the right feeling of the tempo. V: And sing energetically, because some congregations, like the one we were talking about, were singing like at the funeral, always. A: I know. We were dragging each note. If you, let’s say the hymn is written in quarter note values, yes? And we would make a whole note from a quarter note, and it was just impossible to survive. V: They would breathe with every word. A: True. With every note. V: Or every note. Maybe that’s original historically correct way of singing. A: I don’t know but it was just a nightmare. V: Because remember what Pamela Ruiter-Feenstra told us, a little bit about her research with, I think, singing psalms, in the, back in the day, that they were singing them really, really, extremely slow. A: Well, but that was what, a few hundred years ago. V: Right. A: But we are in the 21st Century now. V: We drive fast cars. A: Well, we cannot take service that is longer than one hour. V: We eat fast food. A: True. V: Everything is fast. A: Well, and fast death awaits us, yes? V: And the mass is no longer three hours long, like it was before Tridentine time. A: True. So I don’t know, for me, seems that everything needs to be balanced. So, and everybody needs to be reasonable. So, and I’m talking about tempo too. It cannot be too fast and it cannot be too slow. And I think you need to take a breath after each phrase, but not after each note (laughs). V: Mmm-hmm. If you can sing a phrase in one breath, then,,, A: Then I think your tempo is fine. V: Mmm-hmm. Excellent. Let’s go to the second part of the question about improvisation. Rob seems to have constant creative flow in his head, right, and whenever he wants to tune in to it and catch those melodies. This reminds me of a saying, or a quote by David Lynch. Remember the director of the movie, or the T.V. series, called... A: Twin Peaks. V: Twin Peaks, yes. He says that ‘we don’t create ideas, we catch ideas’. They are out there someplace floating in the ether, or someplace, I don’t know where. But when we are in the right state of mind, we can tune in and those ideas will come to us. A: But do you think those ideas will help you to make a good harmonic accompaniment to the melody that just came to your mind? Or you need specific knowledge and skills? V: Oh, that’s your harmony part, theory part, saying, right? A: Yes. V: I know what you’re leaning to, but I believe some people can play intuitively, with both hands, and even pedals, but it takes completely different state of mind constantly observing in everyday life, I think. If you, for example, would observe people who meditate, that could be like playing or sounding meditation. If people could to that, then they could play with both hands also, without real understanding what they play, but intuitively. But that’s a different mentality, Ausra. We are talking about the logical procedures, right? A: True. And I’m just wondering, because you are improvising so much. Do you think that all that history, your history, personal history, of learning, learning harmony, learning theory, is it helping you or harming you, when you improvising? V: You see, I also taught at the Čiurlionis National School of Art for twelve years, until this year, and all those years I taught, either solfege, which is ear training, or music theory. So basically those terms and procedures, modes, chords, were part of my daily routine with kids. And therefore they were ingrained in my memory too. When I first started teaching, I had to think consciously—what is this mode, how it’s constructed, what is this inversion of the chord—I was not that fluent. But now, I don’t have to think any more of course, and it’s part of my, part of my nature, probably. And when I’m playing intuitively on the organ, like improvising spontaneously, this former background or training comes in, into the forefront too, without even me noticing. So for other people probably, they do need to study theory and harmony for many years, until this is spontaneous for them enough. A: What would you tell for people who don’t want to learn theory? V: Maybe they’re not committed enough. Maybe organ playing or improvising on the organ is not important, that important to them. Maybe they don’t want to improve that much. A: Because, in my daily life, as teaching these harmony, theory and solfege for various instrumentalists and choir conductors, and piano performers and now teaching in that organ school, I always get this big, big confrontation. So basically I’m in a war, in a constant war, and it’s getting tiresome. V: I know how you feel. It’s difficult when you’re the only soldier on the battlefield, right? A: I know. V: And nobody’s really supporting you. Even your colleagues, they support you, on certain conditions, because, yes they need to teach theory and think that theory is important, harmony is important, but they’re not performers, they’re not creators, and they don’t apply them, these concepts in practice. And they really can’t really make a good argument to the kids—why do they need this? A: Well, yes, but I’m a performer too, but... V: You can because you use it every day. A: But still nobody listens so it seems like a hopeless business. V: I think people always listen to the authority, right? Whoever is authority to you, Olivier Latry or George Ritchie, if they tell you something important, you listen, right? But if your colleague says to you something which you disagree with, then you kind of are critical and this is understandable—everybody does this. So your kids would probably need to find authority from their circle, maybe their friends. A: But, actually it didn’t happen last year or a year before, but right from this school year when they come to school earlier, like a half an hour before first class, 7:30 am, I hear that kids are listen from their smart phones to music, and dancing and making fun, and it’s usually pop music. So I guess I’m not the right authority because I think their authorities [are] maybe Lady Gaga or whatever else. V: Then, we should invite Lady Gaga to visit our schools, right? A: (Laughs). Yes. Do you think she would tell that we need to study harmony and solfege? V: No, but she would tell them that they need to create songs. Remember we just watched a movie, ‘A Star is Born’, and we were really moved. A: True. But actually these songs that she composed for this movie, were not in the style that she created on her daily basis for her pop performances. V: Uh-huh. But this was still the same person, you see. A: True. V: So, I dunno. But sure, it’s, maybe we will not be able to invite Lady Gaga to the school tonight, just yet, but how about this; are you keeping in touch with your former students, on Facebook, let’s say? A: Yes, for some, I am. V: Some. Some students who were good at school, good in theory and harmony. A: Do you think they believe that the harmony helped them in somebody else? I’m even afraid of asking that, because I might get depressed. V: But that would be the truth, and the truth liberates you, right? Always. A: And then I would have to quit school as well, as you did, yes? V: I quit... A: And I would find out that nobody actually needs harmony. V: No, no, no. What I really think, those few students who graduated, and now are continuing their education or are already professional musicians, I think some of them really understands now, what you did for them, in early years. And if you invited them to come back to talk to their former peers, and like give a speech, like motivational speech, they would probably inspire current students even better than you could. Because our young people of today, would suddenly understand that these graduates were in sitting in their pews. A: True. I’ll think about it. V: Think about it and just ask on Facebook a few people and see what they come up with. Alright, guys, lots of ideas for the future. Not only for us but hopefully for you too, because we love helping you grow. So please keep sending us your lovely questions and feedback. And remember, when you practice... A: Miracles happen!
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 320 of Secrets of Organ Playing Podcast. This question was sent by Hanna, and she writes: Hi Vidas, This is what I studied and practiced last month, just recently adding the 2 Minuets and this new one. I don't speak German so can't pronounce it. 10-Day Pedal Exercise Ich Ruf zu Dir Praise to the Lord Doxology If you Could Hie to Kolob- piano/organ duet I am working on to play in sacrament meeting at Church. Our Prayer to Thee - Hymn out of the hymnal for the Church of Jesus Christ of Latter-day Saints Minuet in G Major #132 God is in His Holy Temple Organ Technique- listen (I have listed to one 30-min presentation). I am only 5'1" and can't block the church organ up. So it is difficult to skim the pedals like I want to. But I'm trying for better range of motion in my ankles so my heel can reach as I stretch the achilles tendon more. It is a thrill to sense even minor improvement, so your teaching must be working. Thank you. -Hanna V: 5’1”. It’s sometimes tricky for people of that height to sit on the organ bench and reach the pedals in the way they want, freely and without limitation. Right, Ausra? A: Well, I don’t know what 5’1” is, because it’s in another system, because we use meters and centimeters, so…. it’s hard for me to understand. I have to convert it. V: Okay, let’s look up 5’1”….to centimeters… oh… 154 cm. A: Well, I’m only 7 cm higher, so… V: But 7, so it’s a noticeable distance, I guess. Right? It depends on the length of the legs, too, not only of the entire body... A: True. V: ...when you sit on the organ bench. A: I guess I have quite long legs compared to my height. V: Is it true that the longer you play the organ, the longer your legs become? A: I don’t think so, but that’s, I guess, the more experience you get, the easier it gets to play. V: It would be nice, right, to adjust the length of your legs. If the bench is not movable, maybe your legs could be expandable, like a telescope. A: Yes. Or you get the pedal extensions that Wayne Leupold suggests for kids! V: But then, you only use a couple of pedals at a time. One for the left foot, one for the right foot. And, for some people it’s enough, probably, tonic and dominant—dominant and tonic. A: Well, but some people feel that they are too short, some feel that they are too high. So, you never know what works better. Everybody has to adjust. V: You know, I think the beauty of playing the organ is that you never know what kind of instruments you will find in a certain situation: what kind of bench, what kind of keyboards, too. And, this adjustment process is part of the fun. A: Yes, it adds adrenaline to your life. V: If you like adrenaline, that is. A: True. V: Do you like adrenaline, Ausra? A: Sometimes, yes. V: Like right now. Would you be willing to jump off the bridge with a parachute? A: Oh, no thank you. I would never want to do it. V: I see. Neither would I, actually. It’s easy to sit here in our living room and talk about these things, but when the time comes to jump off the bridge or jump out of the airplane with a parachute is really above my pay grade, I think. A: Me, too. V: Nice. What else could you suggest to Hanna? She’s working on two minuets, right? A: Yes, and “Ich Ruf’ zu Dir,” I guess it’s from the Orgelbuchlein, yes? V: Right. A: It’s a good chorale to start. V: Yes, minuets will prepare, probably, for the hand passages, and then when the pedal part comes in, in “Ich Ruf zu Dir,” it’s not that difficult. A: Yes, that’s right, because the tempo is slower. V: Right now, actually, in Unda Maris studio, we have two people playing those two minuets, one in G major and one in G minor. So, a lady is around the beginner level, so she is struggling, but she is making progress, I think, on a weekly basis, but not a very noticeable progress. But an older gentleman, he is in his late 50s, I think, approaching 60s, I think, he is a medical doctor. He mastered his minuet in a few weeks, and now he’s working on BWV 731, “Liebster Jesu, Wir sind Hier.” This was last Monday. I heard him play the right hand, it was rather ornamented, you know that line, and it seemed to me he could manage it. But the left hand was tricky, because two voices need to be played in one hand, and he was not used to that, so I said to him—his name was “Deividas,” I said “Deividas, I will send you another piece in preparation for, “Liebster Jesu Wir sind Hier,” that will be “Ich Ruf zu Dir” from Orgelbuchlein. And, once I sent him that piece, he was really happy, because he listened to the video, probably, or played it through. It’s easier to start with three-voice texture than with four-voice part. A: Sure. V: So, I guess Hanna chose the pieces from her level, I think. Right? A: Yes, I think it’s good not to jump right away to hard pieces. V: Even if she practices, let’s say, Doxology, or a few other hymns, then you see those four part hymns, they’re not very melodically developed—they’re more chordal texture, and with much practice, I think, people can learn it. A: Yes, I love that Doxology hymn. don’t you? V: Yes, it only has four lines! Nice and short. Excellent. And then, she needs to adjust to the pedals and sitting on the organ bench. Flexibility of an ankle, of course, plays a good part in here, and maybe organ shoes… would you suggest to Hanna to acquire shoes with higher heels? A: Sure! It’s always a good idea. V: Why? A: It works like a extension of your foot. V: Like a pedal extension. A: Yes. V: But, you don’t extend the pedals, but you extend your leg, exactly. A: But, you know, last week, my student from the organ school, after me showing her how the organ shoes look, and asking her to find something similar, she came with the heel which was… I don’t know how many inches, but… V: 5 inches? A: Well, I would say at least 5 inches… it was extremely high heel, and so thin, and you know, it just made me mad. I just told her, “I think this time you need to take your shoes off and just play with your socks. What else could I tell her? V: Or, you could let her try for herself, and receive the result, and she would say “Oh, I need to take my shoes off today.” A: I’m afraid she would have broken that heel, and that she would have to walk home barefoot. V: Oh, it was street shoes? A: Yes! V: Oh, that’s not nice. So, anyway, if Hanna or anybody else needs to extend their legs, maybe they could go to the...what’s the person who fixes shoes…. A: Don’t know, “shoemaker.” V: Shoemaker! Ok, Schumacher. Ok, Shoemaker, and maybe give him your playing shoes, right? But asking him to extend the heel...add another layer to the heel, or two more if you need a really long one. But this will be specifically designed for your feet, and I think it would be better. A: True. V: Nice. Better than to add pedal extensions on two keys, I guess. Maybe, we should recommend this version to Wayne Leupold, too, so his kids would make their heels longer and could play all the keys on the pedals. A: I don’t think it would work. V: Alright, guys, please keep sending us more of the 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 321 of Secrets of Organ Playing Podcast. This question was sent by Heidi and she writes: “Wow! Vidas Pinkevicius, what an Artist you are! Runs in the family, except your media is painting with music, rather than oils. The music you’ve created and performed here is deeply profound and moving to me. At times, I also noticed that it is so far 'above my comprehension' that I feel a bit confused. In no time, however, the music is telling its story again. The birds singing brought so much joy! I actually wondered for a moment if they were live birds. And then there is the Giant. How I loved hearing the giant come tumbling down. Very deliberately, filled with tension and suspense, slow, getting slower as he descended!! Wow, it was so much fun listening to this. Everything about this piece is wonderful, including the Artist - thank you. Oh, and by the way, the fact that the organ is mechanical totally added to the music’s drama. Beautiful performance by the artist, Vidas. Articulation beyond compare. You deserved a vacation after that.. Whew! I love it. Heidi” V: It seems that Heidi is talking about my performance in Liepaja, Latvia when I recently broke down that organ. A: Yes, nobody will invite you now to perform. V: (laughs.) This was storytelling improvisation about David and Goliath which I recently shared with our listeners too. So what can you say about this feedback because obviously you could tell more things than I. A: Well you know I wasn’t up there together with you so what can I say. Was it rough for you to register during performance? V: I made two recordings. One was rehearsal and another was live performance in front of the audience. This rehearsal which lasted exactly one hour was all the time I had to adjust to the organ so I deliberately limited my practice time on this instrument and wanted to find out how would it feel to give it really live and spontaneous performance on such a big organ with 131 stops. And to my surprise, rehearsal was even more spontaneous I think, maybe because the organ didn’t break somehow. A: Well, do not scare our listeners. You actually didn’t break that organ. The electrical company who was fixing that organ a week maybe before your performance, forgot to add one extra fuse, and since the organ is totally mechanical it needs a lot of power and it didn’t have enough power so that’s why at the end of the recital simply all the power was off. V: Or maybe the organ gave up and said “Oh no, I cannot stand Vidas improvisations, let’s finish this concert earlier.” A: Well I don’t think so. It’s just coincidence. V: You never know what goes inside of this beast. Monster organ really, even without additional side panels it’s already very big but in 1885 I think, Barnim Gruneberg added, enlarged this instrument, made it into a larger instrument than the Riga's Cathedral actually. The famous Walcker organ there and it’s completely mechanical, it only has I think barker machine for the first manual, but no combination action, everything has to be done by hand. So to answer your question, actually, it’s easier to register on that organ than on St. Johns’ organ because the stop handles are shorter. You could move a few of them quickly. A: Well, yes. At St. Johns’ sometimes you get the feeling when you are trying to pull of the organ stop that actually the organ stop might take you into the organ with it. V: Umm-hmm. And I had another improvisation experience when Pope Francis was visiting Vilnius and Lithuania too, so I played in Lukiskes square in conjunction of his prayer at the monument for the victims of genocide. There I had a digital organ, Johannus organ, and that time I didn’t use the stop knobs, I used dynamic buttons, pianissimo, piano, mezzo-piano, mezzo-forte, forte, fortissimo, those kinds of things. A: And I think it worked quite well. V: Yes it was sort of easier for me to just push the button and to see the desired dynamic level but I kind of didn’t feel in control because by pushing the button you give up control. You don’t know exactly what will sound. A: But I think on an occasion like this when you don’t have rehearsals basically, and you are improvising in open space let’s face it, you don’t know how the result will be in a way. V: Yes, you might hear one thing when large speakers are next to you and you don’t know what the audience is hearing 300 meters further. A: And I was listening to it on TV, of course it was broadcast, so I think it sounded fairly well. V: So to go back to Heidi’s comment she started her comment that it runs in the family except my media is painting with music rather than oil. My dad was a painter. A: So do you think it’s largely because of him you are so creative. V: No, I don’t think so. I think we are all creative in one way or another, maybe in different fields maybe, not necessarily in organ playing everybody equally creative. But what I mean, I took from my dad maybe motivation to create because I saw the example but not necessarily the genes. He didn’t transmit his organ playing genes to me because he wasn’t an organist. A: But don’t you think that your parents could understand you better what you are doing because they were artists themselves? V: I hope so, yes. People who create themselves tend to understand other creators better but I could also feel certain limitations when talking to my parents about organ playing. Their knowledge about organ artists was very limited. My dad for example, he could not really differentiate between certain periods of musical composition I believe, so I don’t really know what or how he comprehended organ music. A: Interesting. V: Maybe a little bit differently than a person from the street would but certainly not like an organist. A: Well but still you were lucky you could talk about art in general because what I could talk with my parents was with my mother about blood formula and with my dad about all that building engineering things. V: Which is also creative too. A: Still it’s very far from music and organ playing. V: In order to talk about engineering creatively you would need to know a lot about engineering before you even start this conversation. A: But actually yes, my dad helped me a little bit to understand how the things in the engineering drawings looks like and it helped me in an organ building class that Gene Bedient taught us in Lincoln. V: Listen Ausra, of course your background with your family is different from mine but tell me this, would you say that your creativity over the years diminished or is growing. A: I think it’s growing. V: Why? A: Because I’m living with you. (laughs.) V: No. Because you let it grow I think. That’s all it takes. A: I think simply you stop fearing things, to try things, so it helps. Actually to stop thinking what others will think about you. V: Stop comparing yourself to masters or your peers, your colleagues. Just ignore everybody. Ignore your husband, Ausra. (laughs.) A: I don’t think you would like that. V: Actually I would love it and then I could ignore you. A: Really? V: Yes. A: OK, let’s try it. V: Let’s start ignoring each other. A: How we will do this Podcast then? V: I think our ignorance of each other would last only last until lunch. A: Yes, you always know where the food is coming from. V: Unfortunately. Thank you guys for listening to our silliness. We hope this makes you smile a little, and remember when you practice… A: Miracles happen.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 319, of Secrets of Organ Playing Podcast. This question was sent by Irineo. He writes: Have you ever partaken in an event where 2 organs (or organ + harpsichord/2 harpsichords) were played simultaneously? Very truly yours, Irineo. V: Uh, we certainly have played organ duets many times. A: Yes. V: Does this count, Ausra? What to do you think? A: (Laughs). I don’t think so, because I think what Irineo means, he means two instruments. But we definitely have played two instruments. Two... V: Let’s say pianos—two pianos. A: Two pianos. We played that... V: Hindemith Sonata. A: Many times, yes. V: Mmm-hmm. A: And Brahms’ variations and other pieces. Concerto by Telemann. And we also have played two harpsichords. V: Two harpsichords. A: Yes. V: Okay. On which occasion? A: Well, at the Eastern Michigan University we have played a recital. Each of us played one of the solo pieces. I played the Italian concerto. It was entirely a J.S. Bach program. I played Italian concerto, you did French overture, and then we played two concertos, for harpsichord and orchestra but it was arranged for two harpsichords. V: One was in D minor. A: D Minor, where I played a solo part and then we switched to A Major concerto, and you played the solo part. V: Wow. You remembered so many details. A: Because I just loved that concerto. V: How was I dressed? A: I don’t remember that. V: Probably black. A: Sorry. This is not my strength. V: How did you, were you dressed? A: I don’t remember. V: What did you eat for breakfast that day? A: I don’t know. I just remember music. V: I see. Um, maybe I need to eat more fish oil, then, to help with my memory. A: Could be. But I don’t think it will help. V: (Laughs). Nothing would help me. A: Yes. Too hopeless case. V: Alright. So what’s your impression about playing two instruments? A: I love it! V: More than playing one instrument together? Four hands? A: Well, probably yes. Because you have sort of your space. You don’t have to share with same keyboards, which is very nice. Because sometimes when you are playing four-hands, it gets really uncomfortable. And I remember that Andreas Hildebrandt in Paslek, Poland, where that bench was so short, and we had to squeeze on it somehow to sit for entire hour and to play. It was really uncomfortable. V: Let me say this: Hildebrand definitely didn’t plan on this organ to be played for two people. A: That’s right. But when you play two different instruments, it’s wonderful. But if you are playing two different organs, you really need to be careful that they would be tuned in the same temperament. V: How many organs or instruments do we have at home, Ausra? A: Two. V: Two. What kind of instruments? A: Piano, and organ. V: Can we play them both? A: I have also block flutes, two block flutes, but I don’t remember where I purchased them. V: Ah. You could call them by name. A: Yes. V: Soprano flute, where you are? Alto? A: That’s right. V: So, could we play piano and organ together at home? A: I think our piano is so out of tune that it really needs tuning and our organ is tuned in Kirnberger III temperament so I don’t think they would work together. V: Mmm. And piano is tuned one half-step lower. A: Yes, comparing to 440. V: So it would be like comparing situation when ancient historical organ tuned in Kammerton tone half-step lower, about 415, would be played together with a 440 instrument, still tuned in Kirnberger. But in historical times I don’t think this was ever possible. A: True. V: Can you promise me to try how it sounds, both instruments, and I can transpose something and you would play on the organ and see if that’s nice sound or not. A: Yes, we could do that sometime. I could transpose too. V: No, please... A: But I cannot transpose. V: No, no, no. Only one of us should transpose, because if you transpose and I transpose then the difference will be too much A: But you know I transpose every day, in my work. V: So maybe you should take a break from your work. A: Yes. That would be nice. V: For once. Okay. You see guys, we enjoy playing together in any situation, whether on one instrument or two instruments, when we get a chance. In our church of course, there are, there is a possibility to play two organs. Well there isn’t anymore because the chapel organ just broke recently. We broke it recently. A: I broke it. V: You did it. Okay. So we’re waiting for a new organ blower to arrive. But later of course, we could play the big organ and the little organ together. That would be nice. And there are some pieces written for the positive organ and the big organ too. A: That’s right. What to you think about organ and harpsichord duets? Do you like it? V: Mmm-hmm. I do. It’s so contrasting sound—organ sound lasts forever while harpsichord sound fades away very quickly. And you could play Soler concertos I think, very successfully with this kind of layout. A: Sometimes Clavierubung III by J.S. Bach was done in that way that Prelude and Fugue and long chorales are played on the organ and the little ones are played on the harpsichord. V: So not simultaneously but... A: Yes, but still in the same... V: In alternation. Right. I wonder why Irineo has this question about this instrument. A: True. I he going to perform with somebody simultaneously? V: Could be. Maybe a friend, or a family member. It’s quite common for two organists to go to one place. For example, if I had a friend, let’s say in Sweden, or in Poland, a local organist, and they have a concert series. They invite me, right? And I go to play may solo repertoire, and then we switch—he plays his own, and then we play both together on two different instruments, if they have one, if they have two different organs. But as you say, they need to be in tune. A: Because I vaguely remember but I still remember a little about, when we had two organs, in nowadays, it’s called Holy Cross Church in Vilnius. V: Right. A: We had two organs, remember? V: Mmm-hmm. A: In the early days. But I don’t think we were entirely in the same tuning, and I heard some recitals where at least one or two pieces were played by two organists. I didn’t like it so much, actually. V: Mmm-hmm. A: Have you heard it? V: No. You were living in Vilnius... A: Oh, that’s right. V: For a longer time. A: That’s right. V: You’re a native. Indigenous. A: And you are, alien. V: Alien, immigrant. From Klaipeda, from the seaport. Okay, so guys, if you ever try to install two instruments in your own church, or initiate a project like that, always make sure it’s in one tuning temperament. Or it could be in double tuning temperament—multiple temperaments—but in general, at some point those tuning systems should coincide. Okay guys, we hope this was useful to Irineo and others who are listening. And please us more of your questions. We love helping you grow. And remember, when you practice... A: Miracles happen!
Happy Halloween everyone! Will you be playing scary organ music tonight? I hope you will... I will certainly be playing organ music of Teisutis Makacinas. It will scare off some neighbors who will be trick-or-treating for sure. If nobody will show up at our door, perhaps I can scare Ausra at least... :)
And now let's go to the podcast for today. Vidas: Hi guys, this is Vidas. Ausra: And Ausra. V: Let’s start episode 318 of Secrets of Organ Playing Podcast. This question was sent by Sjouke and he writes: “Hi Vidas and Ausra, Today I have finished a morning practice session for about 2 and a half hrs, and than after that I was done for, meaning very tired. I get that way, my back is hurting and between my shoulder blades etc. Although I am not very good at it, playing the organ that is, still I try to get to the church at least once a week, because others also want time behind the organ, which is understandable and I do not begrudge them that, and I am working at trying to get a key for the church so I do get more time behind the organ. I do have a organ at home and I enjoy playing of it but of course the sound is different, so that is why I go to church to practice. But it seems that I am a slow learner, being 72 years of age does not help, but that is frustrating me. I usually pick pieces that I know that I can learn, a couple of months ago I heard a friend of mine play, "Wachet auf, ruft uns die Stimme" by J.S. Bach and I asked this friend of mine if he thought I could learn this piece, his reply was to try, but to take it slow. I have done that, now this piece has four pages, but it is going very slowly, and I do not mind telling you that I get impatient and frustrating for a piece of music of this kind, I can work on it for a year before I can say I do know it now and I can play it at home with not problem, but in public is another story. I played for a congregation for fifteen years, and it took me another eight years before I felt comfortable enough that I did not get overly out of control nervousness. One and half years ago that church closed its doors, to bad for I really enjoyed my time there. My question to both of you is how do I get over this out of control nervousness. I done a performance last March I believe and it was not very good, I did know the piece I was playing, which was an improvisation by Dianne Bish " Great God We praise Your Name" I do not know if you know it, but it did take a while for me to learn it. Anyway the nervousness really I need help with, please do not suggest a psychologist, for I did see one for three years and not help. Thank you for answering this question. Sjouke” V: This is really a common problem people are having about nervous during public performance. It can make or break an organist in public. A: That’s true and I think it’s a common feeling for anybody who is performing so I think the trouble is that maybe Sjouke is not performing publicly often enough. V: Right. A: Because usually what helps is frequent performances for somebody else because the more you appear in public the more you can learn how to control your nervousness. V: If we look at our Unda Maris studio students we already teach for like eight years I think and some of them are still with us right from the beginning so from the start those people were really weak in their public performance skills but now look they are quite comfortable, not confident enough, but maybe comfortable while playing in public. In your opinion Ausra, how much time does it take for a person to feel more comfortable and not nervous? A: I think it depends on the person, I think it’s a different number for everybody. I couldn’t tell you a number but the more often you do it the better it gets, the more comfortable you will feel. V: Probably not eight years as we see with our studio, I think less, maybe a few years if you perform regularly. Not once a year obviously, but maybe like once a few months. They don’t have to play an entire program, maybe one or two pieces. A good place to start is schedule a prelude and postlude or communion with your friend organist at church. A: But Sjouke talked in his letter and I think it’s sort of a general tendency in Europe that more and more services are dismissed and churches are closing and I heard maybe a couple of years ago that the Dutch are selling the organ to South America and Africa and I just think that this is too bad. Where are we going to. V: I think we have one Dutch organ too in one of the churches installed recently in town, not very bad organ. A: At least I hope that the best historically interesting and valuable organs will remain in the native places because it is so important. I strongly believe that the organ needs to be built for that particular place and should not be moved someplace else because it is part of that architectural structure. V: Well let’s take Africa or South Americas’ example. If church closes doors in the Netherlands and they feel the need to sell it or donate it overseas is it better for the organ to keep silent for decades or be played? A: Well I would rather have it silent because I’m afraid if they go to Africa or South America think about climate in the Netherlands and think about climate in Africa or South America. It’s completely different and because the metal of organ pipes is soft or soft metal as you know it might flatten and collapse quite easily and another thing, other pipes are wooden pipes and let’s say if you are in Northern Europe, the Netherlands I would consider them part of Northern Europe, you could use even Maple to build an organ and everything would work fine. If you would take the same pipes to Africa or South America they would be eaten by worms, local worms, because simply that wood would be just too sweet for that climate and worms would be very happy to receive delicious pipes from Europe. V: I know what you are thinking. Let them ship their organs to Lithuania (laughs.) A: Yes, we would be happy to have historical rich organs in Lithuania. At the same time we have many spectacular organs here that really need restoration. I think it’s part of our responsibility of each person who thinks broadly enough that we would preserve our historical heritage. V: Umm-hmm. This is true, obviously. And the other Sjouke wrote is that he is thinking about playing Wachet Auf by Bach. This is a very sweet piece, not very easy though for beginners. A: Well it’s for me for example it’s easy when you have only two voices, pedals and right hand, but when the left hand comes in then it’s harder and cadences are especially hard. Don’t you think so? Even for a professional you have to work on those cadences. V: Now that I remember this piece I think I’m going to assign Wachet Auf to one of our Unda Maris students. A: But it’s so beautiful I think it’s worth the trouble of learning it. Because if you would think it’s taken from collection of Schübler chorales, that Bach himself actually arranged to be played on the organ from his cantatas, so I think Bach himself liked it so it’s really worth learning. V: Right. The fact that it was published means that it was important for the composer to preserve it for future generations and also arrange it for the organ and maybe it’s a sign that we should not be afraid of arranging other orchestral music to the organ. It sounds beautiful sometimes too. A: Yes. V: So we could close our conversation with maybe our assurance to Sjouke that yes, this piece could be done by him and that he needs to take frequent brakes when he practices so that his body would not go tired. A: Another suggestion would be sometimes if you know that you will have to perform in public you can prepare in advance sort of scaring yourself about how you will feel doing that public performance and sometimes you can lift those emotions about having an audience and see how it goes. V: I know what you mean. A: You can imagine that you are already in a real performance. That might help sometimes too. V: This reminds me that I read someplace that ancient samurai from Japan had a saying that you should constantly imagine death coming to you in many ways. Dying from spear, sword, water, falling stones, fire, you know all those warrior things, and then when the time comes to die they were ready. So if we as organists could imagine the worst situations ahead of time then the real situation would not be as scary. We hope this was useful to you guys and 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 317 of Secrets of Organ Playing Podcast. This question was sent by Barbara, and she writes: My challenge continues to be aware of posture + unrelaxed hands, arms, and shoulders to prevent numbness in my hands (especially my right hand). This came to a crisis 2.5 yrs ago. I've been to doctors, occupational therapist, and Alexander Technique teacher and am determined to control it without surgery. Mild arthritis is also an issue (age 67). I hold chords too tightly, press the keys harder than I need to, and frequently find my shoulders hunched. Releasing all of this helps. I'm thinking of focusing on 17th-18th c. French organ music this fall (interesting, need to learn ornaments + performance practice better, and not so many chords). Will give my feet exercises and tricky Bach pedal passages (and learn the hands later). V: So, let’s talk, Ausra, first, about how to relax the body when you’re playing organ. A: I think one of the key things is to breathe, because if you will not breathe, then your body will get tension. V: What do you mean, “Breathe,” we all breathe all the time, right? A: Well, yes, but… V: You know, they say you cannot survive more than three minutes without air, three days without water, three weeks without food. Three, three, three. So I think everybody breathes. A: And I think I would survive three minutes without any air, but… V: Maybe you would get unconscious, but you will still be alive… A: Okay V: Until that time, I guess. But, what do you mean to learn how to breathe and…. A: That you’re breathing needs to be meaningful. V: Conscious? A: Conscious, yes. V: So, when you’re playing something on the organ, you also have to think about breathing? A: That’s right. V: How to do this at once. Think about music and about breathing. A: Well, if you would think about musical structure, how the piece is put together, you would also notice that it’s not through-composed. V: There are some pieces which are through-composed. A: Well, yes, but what I’m meaning is that each piece has its own phrasing. And that even naturally music, after the phrase, takes a break. So if the music breathes, you need to breathe, too! V: Oh, the easiest way to imagine this, would proabably would be if you are playing a wind instrument. A: Yes, that’s right. V: And you have to breathe at the end of the phrase. A: And in some sense, organ is also a wind instrument. V: Why? A: Because it has pipes! V: I see! So everything that has pipes is a wind instrument. Or not? A: Yes! V: Nice. So then, what goes on in our minds when we play, we try to breathe, does it help to relax when we breathe? A: That’s right, and also your posture is very important, when you sit on the organ bench. You need to keep your back straight. V: And, people always forget this. Right? A: Yes, especially you! V: Because they…. Especially me? A: Yes. V: Right. You guys shouldn’t see me right now. I’m almost in half line position recording this conversation, reclining on our chair. A: Armchair. V: Yes, Armchair. So, yes, sitting up straight… what else would help? Making small economical efficient movements. Not hitting too much. A: Yes, but sometimes the soft motion with your arms might help you to relax, too. And sometimes, when people try to do very economic motions, let’s just say they get tension, too. V: Oh right. A: At least that’s what I feel. V: So it’s a practice. It takes time to learn this. A: And another important thing is you need to take frequent breaks if you have problems as Barbara has. V: Yesterday, I practiced the church organ….or was it the day before… maybe the day before...with my phone, I have this app which has a timer from the Pomodoro technique. It beeps every 25 minutes and reminds me to take a break. And then, it beeps again after 5 minutes to remind me that it’s time to work. So after four of those sessions, it beeps again, and I can have a longer break, like 20 minutes. And then, it starts all over again, if I need to continue the practice of some sort. So, would you like to try it, Ausra, artificial reminders by phone? A: Well, actually, my body, I think, is the best reminder for me. V: You never forget how you feel when you are just so deeply focus on the music? A: Well, I used to forget, but not anymore. With age, your body becomes more and more fragile. V: Like a glass. You have to take care of the body more. A: Or it will break. Another thing that might help, do some exercises. Do some yoga, V: Stretching. A: or some Pilates. V: Even, probably, swimming is good. A: Well, yes, but you have to know how to do it. Of course, in all these activities that I mentioned before, you have to know how to do it, because otherwise you might hurt yourself even more. V: Taking a walk is very natural and a lot of people can take advantage of that without any training. A: I think this is about the only activity that you will not hurt yourself, probably. V: Unless you have knee problems. A: True. V: So that’s about relaxing your body. What about French organ performance for Barbara? Do you have some tips and pointers to start with? A: Well, I guess you have to know a little bit about French ornamentation, of course, when you play music like this, 17th and 18th century French music, because it’s all based on the ornaments. I would say it’s half written notes, and then half the ornaments, if not even more than half. V: In other words, if you omit all the ornaments and play just the written music, it’s so boring! A: Yes, it is. And, I heard that with French people, they never play the same piece in the same manner. They always change something—add more ornaments or play them differently. It’s hard for us that are raised more like German school to understand. V: Eins, zwei, drei! A: Yes, that’s right. V: And then, probably, if people try historical instruments, then they discover this freedom and beauty of color in French organs. They’re not so good with polyphony, of course, but the harmonies are amazing, and colors, too. A: So the second thing, the most important thing after learning ornamentation, would be to learn about registration—how to register a piece. Because, again, if you will not register them right, they will lose their sense. V: Good thing that French composers tend to notate the registration quite specifically. But then, you need to adapt it to modern instruments if you’re playing one. A: Yes, and I used to think that French classical music is sort of a little bit boring, yes? But then I attended a master class, which was held by Olivier Latry at the Saint Cecilia Cathedral in Omaha, USA, and I really enjoyed how he talked about it, how he demonstrated it. And he compared the French classical music to theater. And it really makes sense how, for example, if you have a dialog between two hands on two different manuals with different registrations, and how one voice argues against another one, and it’s really like a theater. You can make an entire story out of it. It’s very interesting? V: What’s your favorite French classical composer right now? A: De Grigny. Nicolas de Grigny! V: Right. He is much more advanced than some of his contemporaries in terms of polyphony. A: What about yourself? V: Well, I would tend to agree with you on those matters. It’s easier to agree than to argue. A: Do you think I couldn’t take an argument well? V: No, not because you couldn’t, but I think de Grigny is a great composer, so there is nothing to argue about. A: Yes, and of course I also love The Noëls by Daquin. V: Will you be playing them for Christmas? A: Maybe I’ll do some. That’s always fun. And again, it’s so nice, you don’t have to use pedals, you just use your two hands. V: But don’t be deceived too fast, because in the middle of the cycle of variations, they’re extremely virtuosic. A: I know! Especially in Daquin’s variations. V: They start slow, but they finish, oh….. like fire! A: That’s true. V: Ok guys, let’s go and practice now, because we think that just talking about those issues won’t help you advance in organ playing. You need to apply those tips in your practice. Because when you practice, A: Miracles happen.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 316, of Secrets of Organ Playing Podcast. This question was sent by Regina. And she writes: I enjoy reading your blog and find your responses to be absolutely spot on. I am a retired music teacher and choral director. Piano was my primary instrument (began lessons at 4). Upon retirement, I decided to pursue a life-long dream (the number one item on my “ bucket list” lol) to learn to play the organ. I have been studying for almost eight years and have tackled some of JS Bach’s most challenging masterworks. As a pianist, I found that the most difficult aspect of learning to play the organ was not the pedals but, rather, the left hand. If I made mistakes, it was usually in my left hand! I’ve recently gotten the St Anne’s into performance- level shape. I will probably use the Prelude as exit music for my next wedding gig (I work as a substitute organist for two Lutheran Churches here on Long Island, NY) . Again, I enjoy your blog tremendously and always find some piece of advice I can utilize in my studies. Sincerely, Regina V: So it seems that Regina is struggling with playing left hand parts, more than pedals. Why is that Ausra? A: Well, I think everybody who hasn’t played organ but is going to do it, fears playing the pedals. V: Mmm-hmm. A: I remember myself before starting to play pedals, I was afraid of how I will do it. And actually I felt just like Regina; I felt that it’s really not the hardest part to play pedals. And actually left hand was less really a problem at the beginning, until I was able to master it and to coordinate between left and pedals. V: It seems to me that the most difficult combination when you play two parts, is not the hands alone, the right hand and pedals, but rather left hand and pedals, for most people. A: Yes. And even now, for example, when I’m playing hymns, let’s say, I still have to think about tenor voice. Not about alto and soprano and the bass. I need to follow carefully the tenor line, because I’m playing it with my left hand. V: And I’ve heard that people who are playing hymns, and starting to play them with pedals, they easily omit the tenor line and play the right hand and pedals more often. And only later brave enough to add the left hand part. For those same reasons, I think, that you were mentioning before. A: And I wonder, I think these problems are for right-handed people. I’m wondering what, how things work if you have left hand as a main arm, hand. V: Mmm-hmm. If you are left-handed. A: Yes. Maybe then the hard thing is to play the right hand. V: I think then it becomes sort of easy enough to play both of them because the melody is usually in the right hand part, in most pieces. So that’s why this right hand is rather well developed for many people. And if you’re naturally left-handed, then left hand is easy for you too. So it compensates. A: Yes. And another thing when I thought about Regina’s case, that she was a pianist, yes? Piano was her primary instrument. And if you think about most of piano repoirtore, I would say that left hand is accompany hand. But in organ music, especially if you are talking about J.S. Bach music, they have polyphonic music where both hands are equally important and both hands are equally complex and difficult. So that might be a problem too by it’s harder for her to play with left hand. V: I find myself too struggling with left-hand part in advanced modern music. The one which I’m practicing right now for Teisutis Makacinas organ music recital is pedal part could be difficult. But if i’m playing it alone it’s okay. Right hand is okay. Left hand, if I’m playing it alone, is also sort of okay. But when I’m playing everything together, I think left hand is the first one to see mistakes, I think. Yes. So I need to work on left hand. Just like Regina, I think, does. And that’s so natural. I think people could practice etude’s for the left hand, don’t you think? A: But still, at first, you will not get the same texture as you would get, let’s say, in Bach’s fugue. So my suggestion would be when you are picking up a new piece and starting to learn it, learn the left hand first. And then left hand and pedals. V: Or if you’re playing in separate parts, practice them twice as many times. A: That’s right. V: Let’s say if you are playing ten times, right hand, and ten times the pedals, maybe twenty times for the left hand then. A: True. V: But for other people pedals is also problem so maybe not ten times for the pedal but fifteen times for the pedals. Or as many times as needed until you can play three times in a row without mistakes. A: That’s a good suggestion. V: That might be much more than twenty times. A: True. V: Right. A: But anyway, I think it’s normal that everybody has sort of a weak spot in their playing. For somebody pedals are harder for somebody [with] the left hand. So I think it’s normal. V: I think it’s also sometimes different when you go from organ to organ. Right now for example, I’m playing on two instruments; at home and in our church. In both places we have mechanical action organs. But at home it’s a small practice organ and in the church it’s 64 stop, three manual instrument with really difficult mechanical action. Difficult to depress keys. So, naturally, at home it’s easier, I think to play, to depress keys. But I think at church, it’s more convenient for me, don’t you think? A: Why? V: Because this resistance gives you sort of—foundation. You’re sort of grounded in those keys, when the keys are resistant. A: But you know, with this, I find it harder and harder to play in our church. I don’t know, maybe I’m just getting weaker with age. But sometimes I, even saying all kind of bad words in my mind. V: You’re cursing! A: That’s right! V: What kind of curses? A: Oh! This is the last time that I’m performing on this organ. I won’t do it anymore. I’m just getting really, [really, really] tired of doing all that hard mechanical work. Because, and it’s not that tracker action is so hard. Yes it’s hard, but we have trouble with a few keys that are harder than everybody else. And it’s too hard because you cannot separate when you are playing complex music and in fast tempo, you cannot think, ‘oh, okay, I will depress this F and this E harder’, and put more power. You cannot do that. And after a while you simply starting to play everything with such a heavy touch, that after practicing for an hour, you are feeling like you will just fall and die. V: I think this instrument really needs to have some sort of ‘barker’ machine. A: True. Because I’m sort of used to mechanical instruments and I love them. I like heavy action, but not in this organ, not any more. I’m getting too old to struggle with it. V: The keys the second manual and the first one also, would really benefit from some kind of ‘barker’ system. Maybe with variation that would make playing on those manuals much easier. It really is a pain for virtuoso music, I think, to play this instrument. And maybe that’s the reason why not too many Lithuanian organists love to play there. A: I know. I remember when last I was playing that huge chorale fantasia by Johann Adam Reincken, ‘An Wasserflüssen Babylon’ and it’s in the key of F Major. And I played a lot on the first and on the third manual because they are sort of baroque-based manuals, baroque-like based manuals. And imagine I had to hit those two, the heaviest keys on the first manuals, E and F. They were repeating themselves, over and over again, because the key is in F Major, and I had to play so many trills, that would be start on the G, and I would trill this F, then go to E, and to resolve it on the F. I thought I will really die, or break my fingers. V: Mmm-hmm. A: I was feeling while playing those trills, that I’m sort of chopping a meat, with a hammer or something like this, or with an axe. V: And as always, I have a solution to you, my dear. A: What? V: You could always transpose to F# Major. A: Could you do that? With Reincken?. I doubt it. I highly doubt it. V: Guys, on this optimistic note, I think we’d rather finish this conversation. A: Yes, just before I just would start telling nasty things to Vidas about his solution and transposing Reincken to F# Major. V: Okay. Please go ahead and practice. Because when you practice... A: Miracles happen!
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 315 of Secrets of Organ Playing Podcast. This question was sent by Dianne and she writes: “I’m struggling with the pedal exercises that call for playing a fourth with heel and toe of one foot... And doing so legato without playing pedals in between. Some of the 3rds, depending on octave and foot called for, are difficult as well. My feet don't bend and stretch that way!” V: This was a discussion in our Total Organist communication channel on BaseCamp so David jumped in and added a comment… David: “That really seems an issue for me, too. When I first started, 3rds were nearly impossible... Especially on the organ where I had my lessons because those pedals traveled farther down than the pedals on my practice organs when you press them. Over months, the 3rds got easier and some 4ths are finally easy for me, but not all 4ths. The flexibility does eventually come. One thing my teacher always cautions me about is making sure to point my knees with the toes so I don't get injured.” V: And then Jay added a comment to Dianne: Jay: “I have that same problem as well. I just thought that maybe I need more exercise with the pedals. I’ve also been trying a bit harder to keep my knees together, as we’ve been instructed. I really like David’s comment about pointing your knees with the toes. That’s a great tip. Thanks, Dianne, for helping me not feel alone with that, and David, for the tip.” V: And then Dianne answered: Dianne: “Thanks to you both! I feel better now as well and more hopeful that the flexibility may actually come someday. I will keep trying!” V: That’s a nice discussion, right? A: Yes, it is. V: I think I added to all of them “Don’t hurt yourself.” A: True. And Dianne you are not alone, I have the same problem too because my foot is quite short so when I have an interval to play legato with one foot it’s really not an easy task for me. But what I do sometimes if let’s say I’m playing in a big acoustics and tempo is fast of a piece I might not be playing such a spot complete legato. And you wouldn’t notice that if the tempo is fast and you have larger acoustics. And another thing if the tempo is slower then I just try to substitute with another foot the same note and then jump to that next note with the other foot so I’m sort of cheating a little bit. V: Example would be from the note G if you have jump to C up a fourth, you would play G with the left foot and C with the right foot and substitute right away with the left foot, right? A: That’s right. You know if the tempo allows me to do that. And if as I told you before if acoustic is larger and tempo is really fast then I don’t think anybody will notice that I don’t play both those notes completely legato. V: This is true I think. For me too I don’t particularly enjoy playing with one foot wide intervals. A: But you see your foot is much longer than mine is. V: Part of the solution might rest in playing with higher heels because when you want to play a wider interval without hitting notes in between you need that space between the toe and the heel and that is only possible when you have a higher heel. A: That’s obvious, yes, you need to have a higher heel. But when you have single melody in the pedal you still can do some tricks. The hardest thing for me is when I have to play two notes with one foot at the same time like for example now I’m playing the second fantasy by Jean Alain and there are a couple spots like that and I’m having a hard time. V: I think majority of organ repertoire doesn’t require that kind of flexibility. A: No, but if you would take French music then yes it does. V: Then you need to be a virtuoso. A: That’s right, or do a plastic surgery on your foot and make them longer. (laughs) I’m just joking. V: A good exercise which prepares you for passages like that is to play scales and arpeggios with your pedals. We have this Pedal Virtuoso Master Course with complete major and minor scales in the 24 keys and arpeggios too over one octave and two octaves. So people tell us that it’s really strenuous working. Not too many people finish what they start but those who do always are very happy with their flexibility afterwards. A: Well, yes, maybe I need to work on your course too. V: Or choose easier music. A: That’s right, but I like hard music. V: Where will you be playing this, Alain’s fantasy? A: At Notre Dame in Paris. V: Notre Dame. A: Yes. V: I see, nice. What else will you be playing at Notre Dame? A: The second chorale by Cesar Franck, the one in B minor and E flat major Prelude and Fugue by J. S. Bach. V: E flat major, BWV 552. Which of those three pieces is your favorite right now? Which of those would you take with you to uninhabited island if you didn’t have food or drink? A: Maybe not Alain although I really much like that piece but it would be hard to decide for me because I really like Bach E flat major, that’s one of my favorite organ pieces ever written, but I also love Franck’s B minor chorale, it’s my favorite out of all three of them. V: Imagine if you actually are on this remote island and you have all three pieces with you, Bach, Franck, and Alain and this boat with indigenous people is approaching and you have only one piece to offer them in exchange for water or food. Which one would you trade? A: (laughs) V: A bunch of organists is coming by in a sightseeing boat for the remote islands of Polynesia, they want to visit their local organs and here is this stranded organist offering one of those pieces, to organists. A: You are asking tricky questions and you have such a fantasy that it scares me. V: Which one would you betray? A: Probably Alain, because it’s the shortest out of three of them. V: Would you feel guilty about that? A: Sure, yes I would. V: Would you go to confession afterwards? A: To whom? V: To me, when you come back home. You could tell me and I say you’ve been forgiven. I won’t tell Alain that. Nice. So we are sort of riffing on this theme of playing wide intervals, right? A: Yes, that’s right. It’s really a hard thing but somehow you can work on it and make it work. V: Umm-hmm. Thank you guys, we hope this was useful to you. 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 314 of Secrets of Organ Playing Podcast. This question was sent by Dianne, and she writes: I am struggling with keeping the practice slow. I am too goal oriented for my own good. And then of course I am more easily frustrated when I make mistakes. Working on patience and enjoying the process! V: So, Dianne seems to have partly answered her questions, too. A: Yes, that’s true. V: Because she needs patience, and to enjoy the process. Why do you think, Ausra, people sometimes lack this patience and want to practice too fast? A: Well, I think it gratifies one more when you are playing fast, and sometimes it’s so hard to work on a slow tempo and to practice slowly. But you know, if you won’t do it, you will be sloppy and make mistakes. And actually, you know, sometimes, I think about that story, do you know it, about how a hedgehog was competing with the rabbit? V: A hedgehog or a turtle? A: I know one version there was a hedgehog, and one version there was a turtle. V: Okay. A: That they were competing in a race competition, and the bunny was just running back and forth very fast and he thought he will win, but actually, the hedgehog asked his wife to help him, and one was placed at the beginning of the race, and another at the finish of the race, and actually hedgehog won! Of course, he cheated, but he won, in a way. V: I know a different version of the story. A: Okay, tell your story. V: That the rabbit was competing with a turtle, and that the rabbit, of course, was really fast, and almost finished the race, but before he finished, he looked back, and since the turtle was so far back that he couldn’t even see him, then he thought maybe he should take a nap. And, he did. And actually, this nap turned out to be a deep sleep for a few hours, maybe longer, and when the rabbit awoke, then he saw that turtle little by little, step by step, he approached the finish and actually won the race. A: So, I guess in my story, you can learn that the smarter people win. Think about the strategy, and not necessarily doing what we want to do without thinking about it. And in your story, of course, you know, it’s a good story about slow practicing, I think. It shows that if you practice slowly, you will finish the race first, and you will win it. V: That’s right. You know why I like your story, also? Because I think there is another hidden meaning here, that you should always strive to work on things that matter or are important. Like, in the race, the beginning is important and the finish is important. The middle of the race is not that important. Nobody sees the hedgehog, with his running around, the ending is important. So that’s how he won by placing his wife at the finish line. In organ practice, of course, we could think of things that make up the 80% of the practice with 20% of effort, maybe, and that could maybe be slow practice. But even, probably, not necessarily the entire piece, but maybe if you take a prelude and fugue, or chorale prelude, or fantasia, or any other type of piece, you would probably discover that not every line is extremely difficult. Even in the most difficult pieces, there are easy lines. And maybe, we should practice more the difficult ones! A: True! We need to start from practicing the hardest part. V: Mhm! So, for example, right now I’m practicing for my upcoming recital, where I’ll be playing three pieces by Teisutis Makačinas. He is a composer who celebrates 80 years this year, and he was our teacher, professor, at the Lithuanian Academy of Music. What did he teach, do you remember? A: Harmony and Polyphony. V: And improvisation, too! A: It was part of those courses. V: Ah! Not a separate one! A: No, it wasn’t a separate one. V: Interesting. So, he wrote a bunch of popular songs, actually, which are widely broadcast on the radio, but he wrote a few of the organ sonatas and other pieces that are rarely performed, so he asked me to play for this concert, and his music is really advanced, in many places, but not always, right? There are easy spots, easy pages, and even easy movements! So, at first, I was sort of practicing everything equally, but now, I understand that maybe, those easy movements only need to be played once, and I need to focus on the difficult parts. A: Actually, I don’t remember you practicing so diligently for a long time as you are practicing now these pieces by Makačinas, and I’m so glad I told you, “No, I will not take part in this concert,” and, that I don’t have to learn this music. V: Why? A: Well, it’s so complicated, and, well, just not in my taste. V: It’s not in my taste, either, you know…. A: And with years, somehow I want just to spend time on playing what I really, really like, because I just realized that life is so short. V: But, it’s very difficult to say, “no,” because he was our professor. And, I think he deserves that kind of concert at least for his anniversary. And, since he asked me, then I said, “yes.” A: I remember how you tried to convince me to play that recital, too, and after I spent a couple of hours sitting on the organ bench and sight reading his music, actually, I think I got seriously sick. V: Right. A: And I took it as a sign that probably I shouldn’t do it. V: A sign from Heaven! A: Yes. V: Nice. So, when I’m practicing, I usually practice without sound at home, so that you wouldn’t hear it. A: Well, actually, I like how you’re practicing them, because you know what to emphasize and what to hide. And really, in music like this, I think, the more you play it and the more you listen to it, and the more acquainted you get with it, the better it sounds. And it’s just too bad that during the concert, the listeners will hear it only once. So, I don’t know how well impressed they will be, what impression they will get. V: Maybe that’s part of my assignment, too. If I’m used to the piece and I know the good side of the piece, maybe I can transmit this knowledge to them—to the audience—as well! It’s easier than if I were just sight reading it, right? Of course, you couldn’t sight read it, nobody could sight read this kind of music in a satisfactory manner. So, I have a hope, that people will kind of enjoy this performance, because I will deeply know how the pieces are put together. A: Yes, and I will be turning pages for you and changing stops! V: And I just also hope that the composer himself will be happy. A: I know, it’s always scary to play music by a living composer, knowing that he or she will attend your performance. It sort of puts pressure on you. V: If you wrote music, Ausra, and somebody else performed it, would you go easy on that performer, or would you be very meticulous A: Actually, I would be easier, because nowadays, there is so much music that is created, that you really need to be happy and really to appreciate somebody who is performing your music. V: Mhm, that’s what I’m thinking, too. If anybody would play my music in a different way from what I would imagine, I still would be very grateful, I think. A: True. V: And when you release the music into the world, I think you sort of let it go, and let it live its own life without controlling it too much. A: That’s right, and now, as we go back to the question about patience, I think if you will be patient in your practice, it will help to be patient in other ways in life, too. Because, if you will strengthen this good side of yourself, of being patient, I think you’ll benefit in other things as well. V: That’s right. And, I think it’s a good exercise for me to force myself to play this kind of music that I don’t enjoy right away—it has to grow on me—because I, too, have to be patient! Thanks, guys, this was Vidas, A: And Ausra, V: We hope this was useful to you. Please keep sending 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 313, of Secrets of Organ Playing Podcast. We had a discussion in our communication channel on Basecamp recently. And Jay wrote that ‘he’s feeling a bit frustrated with seemingly little progress’. And then he wrote some details: “For one thing, I have a similar problem that Dianne posted about slow practice. I'm trying slow down things that are more difficult and go through many repetitions. Maybe I'm not going through enough repetitions. And, I know we shouldn't compare ourselves with others–it's easy to do though. I see others posting about getting perfect on things that I can't even play. I am enjoying practice though. I just would really like to improve faster. And like someone else who is 71 recently said, that at this age, it just takes longer to get things. Perhaps that's where part of the frustration is”. V: Diane answered: “I agree with everything you said. I tend to compare myself now to when I was younger, and I get frustrated that I can't play things perfectly the first time through the way I used to! It's bad enough to compare myself with others without also comparing myself with a younger version of me”. V: Mmmh. That’s a lot to take in, Ausra, right? A: Yes. It is. V: Well, first of all, let me say this: I’m so delighted that people are doing those discussions, having those discussions in our Basecamp channel for Total Organist students. You see, if people just study on their own, practicing from our practice course with fingering and pedaling, or studying from our courses, video or audio, that’s one thing, and that’s wonderful, right? This gives results. But not nearly as much results, or as better results, as if, when they share their feedback with others in the same circle. Maybe they’re studying the same things. Maybe they’re going through the same problems. Like for example, Diane and Jay are talking about slow practice and repeating many times the same episode. This is really helpful, Ausra, don’t you think? A: Yes, I think it’s very helpful to be able to communicate with each other. Because, let’s say, when I teach at school, let’s say I teach harmony, and for example we are having new theme that day, new subject to discuss. And I explain, I give examples, I play some examples, and then I give some time and I can still see that somebody can’t understand what I explained. And then somebody from the classroom tried to explain for her or his friend, what I just told them. And sometimes it works better. V: Because they can do this in their own words. A: True. True. Because they are going through the same problems. And sometimes when you are advanced in something, you might not see the problem from the bottom actually. V: You don’t have beginners mind. A: True. True. And sometimes you try to imagine that you have beginners mind but it’s not always possible. V: Plus you can imagine beginners mind, but you don’t remember how it was for you when you were little. A: True. True. And I think the same is with practicing organ. V: You might remember because you have better brain, but I don’t remember. A: You mean, better memory. V: Memory, brain, yeah, sure. A: Not better brain. Actually my brain is much damaged, so... V: But I mean, yes, memory, yeah, memory. Because I don’t remember many things what I did at school. A: Well, but that’s not a brain thing; that’s a memory thing. V: I see. So, yes. Being in the same circle of friends who are studying right now, currently, similar things and going through the same problems is extremely helpful. So guys, if you are in our Total Organist community but are not active in Basecamp, consider at least following discussions. Maybe you don’t want to engage. I can totally feel that. I can totally relate to that because some people are introverts and better keep their problems to themselves. And others are more easy going and share everything with others. So at least be observer, and that will be helpful too. A: Yes. I think everybody could benefit in something by reading these things. V: If you, Ausra, were a student of some study group, would you prefer posting your feedback, or not? A: Maybe I wouldn’t post my feedback, but I would be glad to read others feedback. V: Because then you would be more motivated to go and practice that thing, obviously. A: Sure. V: Mmm-hmm. That’s absolutely true. This is instant feedback. Sometimes people get notifications on the phone and if you write your struggles in the chatroom, then somebody will answer you right away, in a few minutes, perhaps, if the time zones are aligned. Because of course our community is global. When one is writing, another might be sleeping and vice-versa. A: True. V: But you could do this on your computer. Not necessarily on the phone. And if you are frustrated with too many notifications, you can actually go ahead and update your settings, adjust your settings so that you won’t get notified unless you want to. Unless you go in and check yourself. That’s good too, because our community now is more than eighty students so there is always some kind of notification going on and some kind of feedback. And sometimes it’s tiring too. A: Yes, it is. V: Okay, guys. What else we could suggest you with trying to be okay with slow progress. I think people get frustrated with their slow practice because they want to see a shortcut. Don’t you agree, Ausra? A: That’s right. V: Do you like shortcuts? A: Yes, of course I like them but usually we don’t mean anything good. We don’t give anything good. We don’t do good. Because usually after taking a shortcut you still have to back and then that way becomes even longer. V: There is no magic pill. If you eat that pill and suddenly you can play anything in the world, on the organ. There is no such invention yet. Do you think scientist will discover that later? A: I think in the future. V: Mmm-hmm. You know what will happen? I think if they can manipulate the brain a little bit, or let’s say, take a virtuoso, right, a scan of their bran, and their brain activities, and put it into a server someplace in the cloud. And then, if they could connect that server to another brain of beginner organist, like a microchip or something, like, plug in and upload that information or data to beginner’s mind. Then suddenly, like in science fiction movie, the person would have fantastic skills and superhero ability. A: That sounds scary. I hope this will never come true. V: Superman playing pedals. Nice! Thanks guys. This was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice... A: Miracles happen! |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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