Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 223 of Ask Vidas and Ausra podcast. This question was sent by David, who is helping us transcribe my slow motion videos into scores with fingering and pedaling. And he writes: I'm getting better at this, yes. I'm quite enjoying this. I have an organ transcription for BWV 35, the aria Gott Hat Alles Wohlgemacht. I've been adding the fingering as I go, but with the work I'm doing here, I've been noticing things in the fingering that has got me going back and analyzing the entire aria and I've revamped the fingering in certain areas and I'm actually writing it in for every note while testing it at the same time to make sure it makes the most sense. I have a good grasp of the pedals, but with some of what I've noticed you do, I'm now applying those techniques and it's starting to catch on with the basic hymn playing I do. Sections that I used to find a bit challenging to figure out the proper pedaling before are now becoming a breeze! What can you say, Ausra, about this feedback? A: Well, I appreciate David’s letter! It’s so good to know that things that we are doing, that you are doing, are actually working. But it just proves what I believed starting from, I don’t know, 20 years ago, that right pedaling and right fingering may solve a lot of problems---technical issues, V: Mhm. A: and will make playing much easier. V: And you see, I am reading actually in between the lines, now, what David wrote, because he’s watching the videos and transcribing the fingering and pedaling into the score. He learns my technique, too! Not only does he help me, but he helps himself. A: True! V: Right? And later, he can apply my own system, or our own system, because it’s similar, in his own performance, which takes him, basically, to another level. A: Because it’s often the case, if you are working on a new piece, and there are some spots or one spot where you cannot play correctly---you always make mistakes, you always mess something up---then probably, your problem is incorrect fingering or pedaling. V: Either incorrect fingering and pedaling, or inconsistent pedaling or fingering. A: Yes, True. V: Sometimes people don’t bother writing them down, and play with whatever accidental fingering and pedaling they want. And that’s not consistent. And imagine, in one rehearsal you play one way, in the second rehearsal you play the second way, in the tenth rehearsal you play the tenth way, and in the public performance, you mess it all up, because you are in a very confused state. Especially with public performance, it’s dangerous; you’re stressed, and you don’t have motor skills this way. A: That’s true! And, this just reminded me, I almost started to laugh. When I had an open lesson of music theory with my ninth-graders a few years ago. And there were like three people watching that lesson. V: Mhm A: It was for me to receive a certain certificate. And, one of my students was playing just a basic sequence. And he suddenly said “Oh, I don’t have enough fingers!” And then another guy who always makes jokes said, “Oh, take my finger, then you will have six in one hand!” And everybody was just laughing. And the problem was related to this, because he chose the incorrect fingering, and then he could not play the chord appropriately. V: And sometimes you can use both hands... A: True, true. V: ...to facilitate playing of sequences like that. So even kids sometimes, in a way, understand the need of fingering the hard way, basically while making mistakes like that in front of the public. It’s sometimes humiliating, right? A: Yes V: Because he wasn’t joking, right? A: I know! V: Others were joking! A: True. So yes. Do you feel sometimes that you would need to have a sixth finger? V: If I do, then I need to add my foot, you know, like a third hand. And in a way, our feet are sometimes designed as a third hand. We use them, both feet together, as one additional hand, sometimes. While keeping heels and knees together, they move together as a unit, right? And not two separate limbs, but just one. Except, in cases where there is a double pedal passage, which is rather rare. A: True. V: Do you recommend, Ausra, writing down fingering themselves for people who don’t know how to do it? A: Well, I would say you’d better learn how to do it and then write them down. Otherwise, you might need to rewrite them a few times. V: Can’t you learn by doing? By writing and making mistakes, failing, erasing, and adjusting? A: Yes, that’s one way, but that’s a longer way. That will take a lot of time. So having correct fingering at the beginning, I think would save you time. Unless you like writing and rewriting fingering all the time. V: Another person who is on our team of fingering and pedaling transcriptions, he asked me to provide a score, you know, from which I’m playing, with fingering and pedaling. He hoped I had a score with fingering and pedaling written in with pencil. But I said, “No, I’m just sight reading those pieces with correct early fingering and pedaling right away!” And he asked me how is it even possible, right? Well, A: After many years of, you know… V: The first 20 years are difficult. A: Yes. Daily training and then it’s easy! V: Once you learn the system, you can do many, many things right away without preparation. And actually, one of my goals with sight reading those fingerings and recording those videos is not only to provide material for our team to transcribe, but also to improve my own sight reading, because it’s a process, right? It always improves or degrades depending on if you miss practices or not. So I hope to improve to the level that I can learn my pieces faster and faster. And sometimes, it’s even sight read unfamiliar pieces, easy pieces, during public performances in a fast tempo, concert tempo, if you reach that level. A: Yes. I think it’s always important when you are trying to teach other people, to help other people, don’t forget that you have all these to be improving yourself as well. Because otherwise you will not be able to teach others. V: Oh! Isn’t that a nice circle? While teaching others, you are teaching yourself as well. A: Yes, it is. V: And while teaching yourself…. Actually, you are not always teaching others, right? People who are hiding their talent from others, they are not helping others. But that’s another side of the story. We prefer to be open about it, right? We learn something new and we share with the world. A: Yes. V: Ok, thank you guys for sending us questions. We love helping you grow. And we hope that you apply our tips in your practice, and continue to develop your own skills in whatever area you choose. This was Vidas, A: And Ausra. V: And remember, when you practice, A: Miracles happen.
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 222, of #AskVidasAndAusra Podcast. This question was sent by Samuel. And he struggles with recognizing patterns in the form of chords, completely and independent, and sight reading harmonies, especially hymns. V: Ausra, I think most of his struggles are related to chords and harmony skills, right? A: Yes. V: It’s not an easy skill to develop though. A: True. True. V: It takes perseverance and time. A: That’s right. V: Where should he start? What’s the first step, would be? A: Ah, probably he has to take some music theory. V: Basic music theory training, like our basic chord workshop, where I teach the chords and inversions of three-note chords, and four-note chords, even the ninth chord which is a five-note chord. A: True. V: Afterwards, he will be ready to go into probably more advanced harmony. A: Yes. V: Playing with two hands, not one. A: That’s right. And first of all you just have to start to recognize chord patterns. When you look at the score, and only after a few years, you might recognize while playing. V: I remember John from Australia in our long-term correspondence wrote a few times that he, after studying those chords in theory, he started to notice them in practice, in his compositions that he’s playing. But little by little, maybe not even in compositions but especially in hymns. A: True. V: At first. He said “oh, it’s a dominant chord”. Or, “oh, it’s a modulation. That’s where we have F sharp”. You know, things like that. Little by little, the new world starts to open up for him. A: True, but it’s a slow process. And anybody who has to spend quite a bit of time with it know that. V: Of course, it’s different for everyone. For us it was systematic training and we spent twelve years studying at the national level, art school, right? Where each grade we had to, to study ear training, and then later music theory, and then later harmony. So, do your remember back in your childhood, Ausra, were you conscious of those harmonies in your pieces that you were playing? A: No. Not at all. Because we receive a professional training in all those music theory disciplines. I think that the main mistakes and the weakness of our school training was that we very rarely applied them here in practice. Somehow these two, performance and theory existed on their own. And only later on when I became an adult, I myself started to draw conclusions and to search for a right way, or better ways, combining theory and practice. V: The same for me. I think the first piece that I played on the organ that was one of the chorale preludes from Orgelbuchlein, and I think it was "Jesu, meine Freude", BWV 610, by Bach. I was worrying about putting hands and feet together but not about chords and how the piece is put together. A: Yes. But I think understanding that composition with structure and seeing the meaning and the notes is very important. V: Especially when we teach adults. They have more developed sense of motivation. A: Yes. And especially when you are playing like chorale based works, because we also have a text somewhere, beneath those musical notes. And that also changes a lot. V: Sometimes you can even ask why is this chord, colorful chord here, and discover because of the text. A: True. So it is important to know what you are playing and to understand chords. V: Mmm, hmm. It’s good that Samuel is interested in that. Somehow it’s not a universally loved thing, an analytical approach to music. A: And it’s just too bad, because it we would look at the middle-ages when the university system started, started going in, in Europe, actually music was a subject of science. And it was taught together with math. V: Exactly. There is even a quote, a very famous quote about musicians and, and probably people who can understand music which is called ‘Musicorum et cantor magna best distantia’. A: could you translate it for everybody to understand? V: I’m trying to look up, yeah. Between musicians and singers, it’s a great distance. Which reads in Latin (This is the quote by Guido D’Arezzo. And I found it in Christoph Wolff’s book “Johann Sebastian Bach: The Learned Musician”.): Musicorum et cantor magna est distantia Isti dicunt, illi sciunt que componit musica Nam qui facit quod non sapit diffinitur bestia. A: And let tell couple of words about Guido D’Arezzo. V: OK. A: He was actually very famous for creating the musical notation system. So this is really one of the most, most important names in the history of music. So you need to, to know who he is. V: Exactly. He created the system that we use today, the solfege. A: Yes. V: So let’s translate this passage by Guido which is cited in Christoph Wolff’s book about Bach, which everybody interested in Bach’s music should read. And it, it goes as follows: “Singers and musicians; they’re different as night and day. One makes music, one is wise and knows what music can comprise. But those who do what they know least, ought to be designated beast”. A: These are strong words. V: In Latin beast is bestia. A: Yes. V: So, the meaning of this passage is basically, the person who doesn’t understand what he is doing is like an animal. A: (Laughs). Wow! V: Right? A: Well, V: In those terms. A: That’s a strong words. I would not put them like that. V: But that’s what Guido in the Middle Ages wrote. A: I know. V: Right? It’s… A: Way back. V: It was like a satire, right? Humor a little bit. So, but it just means that how this ancient, centuries old battle, between musicians and singers, between scholars and, and performers, went all the time. A: True, and I think that’s a nice quotation that Christoph wrote, chose for his book that he edited about Bach, ‘The Learned Musician’. Because in that book all the articles, they just help you to discover or to rediscover Bach and to show behind his scores, what he really did and how fascinating his music was, full of all those symbols and entire different world. V: Yeah. So although Samuel’s interest in chords is, is not perhaps related to Guido’s quotation of course. Not at all. He’s just is interested in knowing and recognizing chord patterns, just intuitively. It says that it’s extremely important too, for everyone who’s listening to this, to understand the meaning of, of those chords and structures, how the piece is put together. Basically, this is the preliminary step before you start to create your own music. And let’s face it, not everyone is willing to create his or her own music, right Ausra? A: True. V: And one of the reasons, I guess, I suspect is, that it’s not because of talent or lack of talent. Not at all. It’s because lack of knowledge. Lack of knowledge how those master, master works were created in the past, which could serve as models for us today. We should not of course copy them today, note by note. But use ancient techniques in a new way; combine and mix them together and create some new and original this way. A: That’s right. V: So I think, even though, Samuel doesn’t probably even aware, isn’t aware of, of, of this further steps, but his motivation to learn chords will definitely lead him into a realm of creating music too. Either on paper or on the instrument as in improvisation. A: Yes. Isn’t it wonderful. V: Absolutely. Amazing world! Every day you can learn something new from the treasury of organ music. And we wish you that. And 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! Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 221 of #AskVidasAndAusra podcast. This question was sent by Ron. He writes: Hi Vidas, I signed up for Steemit 15 days ago; they verified my email but haven’t sent me a password yet, so I couldn’t get into the contest site to upload on Dsound. Anyway, for what it’s worth, here is my recording. It is very simple, but I learned a lot, having forced myself to stick within the FGAC theme. A very interesting exercise. I actually did another one, for 6 minutes, and made no note mistakes (!) but didn’t want to force anyone to listen to something that long. What I tried to do with this one was 1) stick to the notes 2) keep fair time 3) allow myself to play with resolution and not 4) allow my fingers to play fairly disciplined, and then more-or-less spasmodically—which gave me a feel for that “other” side of playing and what we fear to do… Anyway, you don’t have to listen to this or upload it—but you can if you would like; the site won’t let me yet. I do intend to enter these contests, I haven’t “forced” myself to do anything quite like this an a long time! I especially wanted to let you know that I did a recording, and that it was a big step forward for me. I appreciate what you are doing! You and Ausra are going to have WAY too much to do in your 100s, heh, heh. Cheers, Ron A: That’s a sweet letter. V: Ausra we hope that Steemit will facilitate registration process for new users and send passwords quicker, right? A: Yes, we hope so because now it’s quite annoying when you have to wait for a password for a week or even longer. V: For longer. He wrote that he signed up for Steemit 15 days ago. A: Wow, that’s more than two weeks. V: And some people never get their passwords with this system but I heard that a new hard fork is coming when the registrations will be automatic so maybe then it will be all easy to sign up and fast. A: Let’s hope for it. V: Because all those benefits that Steemit platform provides it’s all for nothing if legitimate users cannot sign up. A: True, true. V: They will never come back. A: That’s true. So, what is your impression about his improvisation. V: We listened to it, yes, just a moment ago. First, let me congratulate Ron for being brave and submitting his playing. It feels like he hasn’t been doing this for many years, right. He’s just experimenting and finding for himself what is possible. A: True. V: I think the theme, four notes, F, G, A, and C is simple enough for anyone, even a beginner, really, who never ever played the organ experiment with those pitches in any order, in any rhythm, in any octave, in any meter, in any texture and registration. And even form you can mix up things to do interesting stuff back and forth, right Ausra? A: True, yes. That’s quite a nice motive you know to improvise. V: Um-hmm. And this week, for week second, I also chose four pitches but they are different. D, E, F#, and G#. Like lydian, lydian tetrachord. A: I think this improvisation will sound more modal. V: The first week with F, G, A, and C is like pentatonic almost. A: That’s why it sounds so calm and down. It has no tension. V: No tension, exactly. I think Ron did a good job of doing this for the first time and the second week even if he doesn’t enter the competition if he records himself and let’s say sent this recording to us or uploads it online for anyone to listen he will discover something new about himself, about this music, and about this instrument that he is playing probably at home. A: Yes, sure and you know you could use like more varied dynamics you know because varied can be really from the pianissimo to fortissimo and try to explore different registrations, and you know to play not only one octave but keep range varied from the lowest notes to the highest notes. V: Let me tell everyone a little secret how it’s so easy to make a fantastic improvisation on those four pitches. I will tell you the secret in a moment and you will think how didn’t you think about this before. And once you apply my tips in your next improvisation you will not reach level 2 but you will reach level 10 I think right away. A: Wow, tell us about it. V: (Laughs). I’m curious myself now. A: I know. It sounds so unrealistic so. V: It is. A: I’m wondering what you are talking about. V: For everyone it will be different because everyone’s passions is different. For example take you favorite organ piece that you are practicing right now. It could be, I don’t know, Orgelbuchlein chorale prelude by Bach, or some romantic work, or some fugal work. Any type of composition that you enjoy today playing. And you know the intricate textures and details well enough. OK? And then second step would be to analyze a little bit what is happening in terms of texture, rhythm, dynamics, registration, where the melody goes up or goes down, what does the pedals do, OK? So that composer, let’s pretend the composer was Bach and he created chorale prelude from Orgelbuchlein. And he does all kinds of wonderful things and the theme is in the soprano perhaps or in the alto sometimes. It doesn’t matter. What matters is you now know the secrets behind this composition well enough so you put the music in front of you just like you would be playing it on the organ, but instead of playing this piece you’re using only four pitches, right? Either F, G, A, C like in Ron’s case or D, E, F#, G# like for week 2. Imagine that. But you are keeping your model intact. Your basically doing everything that your master did three centuries ago but with four pitches, you know? You could do that on paper first of all. Just write down similar things you know to see if this works well enough. But if you are brave enough you can actually play it. Four pitches is not too much in both hands and pedals and in various octaves. And because Bach made the music interesting enough you could also do interesting stuff too keeping similar procedures. What do you think about it? A: Very interesting. Now I’m working you know I’m repeating the Chorale in B Minor No. 2 by Cesar Franck and I’m thinking how it would work with it. V: B Minor, OK. A: Because it has that you know sort of not passacaglia theme but something similar to passacaglia style a little bit. V: You keep everything similar, not the same though but similar in your own imagination. But you only use those thematic pitches. A: But what to do with those modulations, no? Because like Franck used so many of them, and sudden changes of the keys to extreme you know to foreign keys, and enharmonic modulations. V: Let me ask you this question. If Franck wrote everything in one key, just in one B Minor key with two sharps right? And he only used what, seven notes, not four notes but seven notes. Do you think this music would be absolutely boring? Not really, right? A: Oh yes, but somehow it’s hard to imagine Franck not using modulations. V: No, no, no. Of course he will use modulations and of course it’s normal. But, if we just omit those modulations and key changes for a second in our mind there are plenty of other musical elements which are being varied at the same time as modulations. Rhythms are changing, right? Perhaps texture is changing, dynamics are changing too, registration is changing too. So those four at least things could be used as in Franck’s model but with your own theme. A: Yes, could be very interesting. V: Yeah, and it could be done not only with Franck but with Buxtehude, with Sweelinck, with Tournemire you could you know open any score that you like and experiment with what you can extract out of that score and make it your own. And of course if you are you know more experienced with this you can add a second section with another set of four pitches and then a third section where you come back to the first set of four pitches then you will have ABA form. A: Yes, with a nice simple few parts piece. V: Maybe it’s not for that contest, not for this competition but it’s a principle that you could easily follow. Anyone can do this actually just I’m especially certain that now if Ron is listening to this and taking this tip seriously his next improvisation will be in level 10 and not in level 2. A: That’s true. And I think it’s very nice to take a set of like four notes and to improvise something for the church especially when you don’t have much time to prepare for it. You know and to learn some difficult organ music. I think it would work quite well for communion, let’s say. V: Exactly, like a meditation. A: Yes. V: By the way, here is Ron's entry for the contest the following week. Listen to it here. Thank you guys. I really hope this was useful, don’t you think Ausra? A: Let’s hope for it. V: And let us know if this helped and please send us your recordings maybe next time we could listen to it and discuss your feedback as well with your questions. This was Vidas. A: And Ausra. V: And remember when you practice and share your art… A: Miracles happen. Vidas: Hi guys, this is Vidas
Ausra: And Ausra. V: Let’s start Episode 220 of #AskVidasAndAusra podcast. This question was sent by Jan, and she writes: Dear Vidas, Thank you for asking how my practice is going today. Today I am struggling with hymns. I am not very competent with the pedals. I practice separately...pedals, RH, RH and pedals, LH, LH and pedals, RH and LH, RH LH and pedals. I also write in the pedaling and fingering. It seems to take me ages to learn a hymn; especially as playing a hymn on the piano is very easy. Perhaps I need to do more slow practice and perhaps I need to do more separate practice rather than playing the hymn together over and over again. On a more positive note...I have been playing in church for a year now and my playing has definitely improved. I am very pleased. It has been worth all the hard work. Thank you for your help over the last year. Kind Regards, Jan Ausra, do you think that playing hymns is the easiest part of organists’ work? A: Well, I don’t think so. I think it’s quite hard to play hymns, because you’re accompanying the congregation, and you never know what will happen during the service and during the singing, because when you are playing a solo piece, then you are only responsible for yourself. V: Mhm. A: But when you are playing hymns, you are responsible for the entire congregation, and I think it’s quite demanding. V: Right. I think playing the hymn nicely, in time with the congregation--and actually leading it, not following--it’s a tricky skill to have and develop over time, but very handy. And I think the first step would be to--in addition to knowing all the parts--probably know all the harmonies, too. A: Yes, this might be helpful, too. V: Because when we compare 2 people who can play about the same level, and one can do only the music without understanding what is going on, and the second one can also analyze all the chords, and chord progressions and modulations (if there are any), and cadences perhaps, then the second person will definitely have an advantage. A: Yes, I couldn’t agree more; knowing theory helps a lot, especially in tricky situations. V: So Jan should take up, at first probably, music theory practices; and also, later, harmony, once she’s familiar with the chords. A: I think it would be very beneficial. V: So, our course which is called Basic Chord Training would be helpful for her to get familiar with all the basic 3-note and 4-note chords, in a position to be played with one hand only. A: Closed position. V: Closed position. But then, afterwards, I think she could progress to Harmonic Studies. A: Sure, definitely. And because, you know, hymns are nothing but 4-part harmonization sets. V: Mhm. A: So it’s very well-connected with hymn playing. V: Do you think, Ausra, that at this stage of her development, Jan could supply her own harmonizations, with pencil for example? A: I don’t know how well she can harmonize, but… V: She could try. A: But yes, she could try, why not? V: Following examples of well-known hymns-- A: That’s right. V: From the hymnal. A: But you know, for Jan, I think--because she’s already an organist for many areas--I think the second year will be getting easier, because some of those hymns that she worked on in the previous year will repeat. V: Definitely, yes, I too agree with you here. And also, I think practicing 7 combinations as she does, instead of 15, is probably perhaps not enough for everybody. Maybe she could try to do SATB alone, instead of RH, LH, and pedals alone, and then to do all kinds of 2-part and 3-part combinations, too. Don’t you think? A: Well, it might be beneficial, if you would keep the same fingering--then yes; but if you would play with different fingers, then it would be not so beneficial. V: Ausra, what about hymn sightreading? A: That’s very beneficial, definitely. V: Take an unfamiliar hymn--one hymn a day, at least--and sightread it; and if you cannot play 4 parts together very very slowly without mistakes, then you could play just 1 voice. A: But yes, as Jan said herself, maybe her problem is that she practices too fast; because she says that she needs to practice slower. V: Mhm. A: So yes, the tempo might be the issue. V: Usually people who say they might need to slow down--not only are they practicing too fast, but I think WAY too fast. When they will slow down, it will be too fast even then, I think, usually. A: Yes, that might be… V: Let’s say at quarter note at 30bpm would be the fastest available tempo for her, I think. Right? A: Yes, I think so. V: Not 40. 40 is a little… A: Yes, there is no need to rush. V: Mhm. A: Because, in any case, you will dictate the tempo for the congregation that they will sing, especially if you will play the organ loud. V: Yes. So, sightreading hymns, then music theory, and harmony later on...and of course, regular practice. A: Sure. In a slow tempo first. V: Never skip 2 days in a row. You can skip 1 day, but 2 days in a row is not good. Right, Ausra? A: That’s true. V: Because when you skip 1 day, then you can make it up the following day by practicing a little bit more; but when you skip 2 days in a row, to make up for those 2 days on the following day will be much harder. You will be tired! A: That’s right! V: Excellent. So Ausra, I think this is useful advice for people who want to improve their hymn playing. And for closing, what would be your last piece of recommendation? A: Well, practice every day; practice in a slow tempo; know what you are playing about, what the music is, how it’s put together; know the text of the hymn--that might help, too. V: And practice, probably, changing registrations between the verses by hand or by pushing pistons in rhythm. A: Yes, that’s a very good suggestion. V: If you mess that up, you can miss the entrance of the next verse, or make a mistake. A: True. V: 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. AVA219: Would a given piece of music have the same "feel" if transposed to a different key?5/18/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 219 of Ask Vidas and Ausra podcast. This question was sent in by Russell, and he writes: Greetings, Vidas. I found your course while searching for guidance as how to educate myself in music theory. I have a piano and an old Hammond organ, but I am not a musician. I read music, but only with difficulty. I desire to learn music theory because I do not understand many things about music. Most importantly, would a given piece of music have the same "feel" if transposed to a different key? For example, why did Bach choose D-minor for the Toccata & Fugue, BWV 565, and C-minor for the Passacaglia & Fugue, BWV 582? Would music written all in the same key be boring or tiresome? Or does the key (other than major or minor) enhance the effect of a particular piece of music? It seems to me that, for me, a good starting point would be to practice and memorize scales and chords. I love classical organ, but I wonder how an organist manages to keep track of multiple voices, such as in a fugue. I wonder whether some brains are "wired" with this capability and others are incapable of playing polyphonic music. By the way, are organists typically ambidextrous? At age seventy, I do not expect ever to become proficient on the organ, but I do find your instruction enlightening and welcome. Russell Harris V: Ausra, this is a nice account of Russell’s experience because at this age when he’s 70 years old and still is interested in music theory, it’s a great gift! A: Yes, you know, and I appreciate his question because some even professional musicians, they, you know, play for like 20, 30 years, and they never raise for themselves similar questions. So this is, I think, a very nice example of how people can, you know, think. V: Obviously, if pieces are written in different keys, there is a reason for that. A: Sure. And just a couple days ago Vidas and I gave a lecture at our school of art about historical temperaments. And, that’s why I think originally musical compositions were written in different keys, because each key had a different meaning, because each key sounded different at that time. Because before the beginning of the 20th century, you know, the A of the first octave wasn’t tuned in 440 Hz. V: Mhm A: And it could be higher. It could be lower, and the half steps wouldn’t be equal, and we have many many historical temperaments. And, in Bach’s time, for example, there were, like, Kirnberger II, Kirnberger III, and Werkmeister, and Rameau, and all those other temperament systems. So, and it makes sense why Bach wrote his compositions in different keys. Because each of it’s keys had its own unique character. V: And symbolism, too. A: Yes, that’s right. V: So, the difference between D minor and C minor was very apparent in those days---not so much in our time, if you play on a modern tuned instrument. A: True, because, you know, D minor was a more common key at that time, and it sounded a little more like a regular D minor key, especially because most of Baroque music still had like a D minor sort of Dorian feeling. V: Mhm A: It often had a raised 6th scale degree, not B♭ but B natural, as in the Dorian mode. V: Mhm A: But for example C minor, it had more accidentals, so it sounded more dramatic! V: Yes. The more accidentals you have, the more colorful the sound---sometimes dramatic, if it’s a minor key, and sometimes more joyful, I think, if it’s a major key. A: True! For example, E♭ major, that’s a very, very joyful character. V: Or A major. A: Yes. A major was suited more for, like, pastorale scenes. V: Mhm. A: And E♭ major was considered, because it has three accidentals, it was connected with the holy trinity. So, this is a whole different world beneath those keys. V: It’s connected with musical rhetoric, and musical affects theory, but Russell is, of course, on track here, thinking that it shouldn’t sound the same when transposed to a different key. And, he wants, of course, to learn more about music theory, and Russell suggests he would practice memorizing scales and chords. That’s probably one of the first steps, Ausra, right? A: Yes, I think it would be helpful. V: Not only will it improve his own technique, but his own knowledge of other keys, and the system of circle of fifths. Things like that will help him understand how pieces are put together. He should not stop here, though. Even if it’s a slow practice. But, I think in the not too distant future, he will be able to expand his knowledge into, let’s see, cadences, modulations, A: That’s right.. V: Things like that. And then the last part of his question is really intriguing. Russell asks whether some brains are wired for understanding and playing polyphonic music, and others not. A: <laughs> I think maybe for some people it maybe easier than for others, but, I think for everybody it’s quite hard and it needs some special training, and it needs time. V: But, for some people it’s easier than for others. A: That’s true! V: Who can coordinate and do two things at once. A: Well, and he asks about if the organists are typically ambidextrous. That’s a very nice question, actually. About that, that people can be ambidextrous, I found out about 10 years ago, only. Before that, I thought people could only be either right handed or left handed. But, you know, I am right handed, and so is Vidas! V: I even am right footed! A: <laughs> I don’t know about that, but, for myself, yes, I’m right handed, but since I have played starting from the age of five, in time, over the years, I think I improved my left hand enough. V: Mhm A: For example, in the summer time, sometimes I go to the forest to pick berries, for example, lingonberries or blueberries, and I can do that equally well with both hands. And other members of my family are wondering how I can do that so well, and I think its partly because I’ve played the instruments all my life: organ, piano, so… V: I also eat berries with both my hands! A: <laughs> but I’m telling you about picking them. V: Oh no, I prefer eating to picking! A: I know that, so that’s why I have to pick berries with both my hands, so that you could have plenty of them to eat! V: Yes, big stomach! And then, of course, we have to think about if some people develop this ability faster than others. What about, Ausra, your parents. Can they use their hands equally well or not? A: Well, probably not. V: Not so much. A: Not so much. Yes. And I think that it’s important, because you know that one part of the brain is responsible for math and science, and another one is for more responsible for arts V: Mhm A: and probably languages V: Creative stuff. A: Yes. So, and it’s important that if you are right handed that you would work more on your left side of the brain, and vice versa. V: To compensate? A: Yes. So I think for right handed, it’s a good way to learn arts. V: But actually, Ausra, you’re sort of… you have to add… because… it’s a mixed connection. The right side of the brain controls the left side of the body. A: Yes. V: Mostly. In motor skills. And vice versa. The right side of the brain controls the left hand, for example, more. A: That’s right. V: So, what does it mean? I think that you have to do both things at the same time sometimes. Improve both hands. To coordinate both hands. It’s wise to develop these skills especially in organ music because we have so many melodies moving independently at the same time. A: That’s true. And that’s why it’s so beneficial to play the organ, because it keeps your brain in a good shape. V: Yes. And, if Russell is 70 years old, he will find out for himself very soon that practicing actually organ music and analyzing organ music is even better than solving sudoku puzzles or crosswords from developing Alzheimer's to prevent such diseases, too. It’s like always engaging your brain, always exercising your brain when playing the organ. A: True! V: Wonderful. Thank you guys for listening to us and for applying our tips in your practice. We hope this has been helpful to you, and we also hope to receive more of your questions to help you grow further. This was Vidas, A: And Ausra. V: And remember, when you practice and share your art, A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 218, of #AskVidasAndAusra Podcast. And this question was sent by Bruce. He writes: Hi Vidas and Ausra, I am working on BWV 615 (In dir ist Freude) from the Orgelbüchlein, and I have a question about possibly moving a measure or two written for the pedals and taking them in the left hand instead. In measure 8 (and later, equivalently in measure 24, and also possibly 4 bars from the end), it seems to me that the quasi-Alberti figure in the pedals could (and possibly should) be taken by the left hand. In terms of registration this also makes sense to me (allowing the pedals to have a 32 foot stop, and individuating the left hand from the pedal with a 16 foot stop in the left hand). Also, by doing this, the pedal part that is established in the wonderful figure in the first measure (and found throughout the piece), can be given it's own character. Besides, to be honest, my pedal technique still isn't quite up to a full measure of 8th notes yet ... A few quick questions then: 1) Is it a common and acceptable practice for an organist to essentially move parts between manuals, and between manuals and pedals? I feel somewhat uncomfortable doing this (after all, who am I to alter Bach's written score?!). 2) I'd like to hear your suggestions on registration for this work, if you would care to share them. 3) As I am new to pedal work, can you suggest appropriate pedal footwork for the predominant figure in the pedals in this piece? (And yes, I am working on my pedal technique, it's coming along, thanks to your pedal power course ... slow and steady ... it's a miracle.) Cheers, -Bruce V: So, Ausra, we have a score in front of us, right? A: Yes. V: And what can we say? I think he refers, Bruce refers, to the first passage of the pedals which has eighth notes, throughout one measure—this is measure eight. Before that it was mainly quarter notes and then ostinato figure in the, in the, in the pedals, right, which obviously is repeated. But what happens then is arpeggio figure in the pedals. What do you think about it? A: About what? If it would be possible to play that measure in… V: In the hands. In the left hands. A: Well, technically, yes, it would be possible but I wouldn’t do it. Because, you know, Bach was really specific about what he wrote down in each of his pieces. And sometimes, you know, he even wrote a riddle in his pieces, and various symbols, religious and his personal symbols in the pieces. So I, I, I would not mess up this, you know, what he originally wrote. Because if he puts those figures in the pedals it means that he wanted them in that place, be played with the pedals. V: I can understand Bruce while he, why he would want to do this because it’s very high in the right hand, in the, in the tenor range, extreme right, right of the pedalboard and it’s really uncomfortable, right? And if he is just struggling with his pedal technique and, and still has ways to go, then playing eighth notes in, in rather fast tempo, as it is with ‘In dir ist Freude’. It’s a struggle. A: Well, but since, you know, you have a so many rests in that measure in the hand part, maybe you could, you know, shift a little bit, you know, higher up and look at the measure before. You again, in the pedal part, you have like a, a half-note D, D and C and that’s the highest notes in the pedal, on the pedalboard, basically. So you are already, have to be in the right position. V: Right. A: So I don’t think it would be so hard to play that next measure. Of course you have to practice it in a slow tempo and find the right position—comfortable position. I, I still think it should be okay, and I think it would take, you know, less time to learn it correctly with the pedal, than, you know, rearranging it and playing with manuals. V: And think about this: what happens in a few years, when Bruce is really advanced and can play almost anything, and he comes back to this beautiful piece, I’m sure he would want to repeat it, right? And, and suddenly he sees himself playing left hand with this measure. At that point in a few years, I think his mind will change. A: Sure. V: And his abilities change. He would be able to do so much more, right? A: And you know, somehow, in, in this particular measure, pedal part is written in such a way that actually it has two melodies; one is played with left foot and other one is played with right foot. You need to hear them both, and I think the, the left one is more important so you have to lean more on it. Yes? V: You are very, very right here, Ausra. Because if we see what’s happening one measure before the pedals are playing half-notes, D, D, C. And then if we continue just this model of noticing half-notes, the next important pitches in the pedals would be B half-note, B and A. So what does it mean? It’s a, it’s a choral tune. A: That’s right. V: Its a choral tune. If you suddenly drop this choral tune to the left hand, it sort of breaks up a little bit, right, half of the tune is in the pedals and half of the tune or the theme is in the left hand. It doesn’t make sense in this case. A: So, yes. So I would just you know, leave it in the pedal. I’m sure you can manage it, you know, after a while of you know, correct slow practice. Just be really patient. V: Mmm, hmm. Exactly. The next measure after this arpeggio figure in the right hand demonstrates exactly what is happening with the tune in the right hand; D, D, C, B, A, G. So these are the pitches that are present in, in, in the pedals as well. And I think it makes sense to keep them in the pedals as well. A: Yes, that’s what I think too. V: But,,, A: True, and maybe then you play pedal part like that, maybe you need you know, to underline or, you know, to make in circles those most important note. Like in this hard measure it would be B, B, and E. V: Mmm, hmm. A: And you would lean more on those notes with your left foot. And this might help too; look, don’t try to push hard each of those eighth notes. That might, you know, make also it technically challenging. But if you will focus on those three most important notes, I think the others will be played easier. V: Mmm, hmm. You’re right. And we should point out, that the right place to switch direction to the right, is right after you finish the ostinato figure in the bass on the note G. A: That’s right. V: Right? You have one measure rest then. And when you release G with your left foot, afterward, you have to push off with the left foot to the extreme right. A: Yes, to shift your body to the right side. V: Your lower body will be shifted to the right and your upper body will be facing straight to the music rack. A: That’s right. V: That’s the most comfortable way, actually, and the most efficient. And now let’s see if Bruce wants to hear our suggestion about registration. Registrations of course should be played with Organo Plano, don’t you think? A: That’s what I think because this choral has such a joyful, joyful and confident character. So that’s what I would do, I would play it Plano. V: Would you a add 32’ in the bass? A: Well,, V: If it’s not too muddy, right? A: Yes. If it’s not too muddy. If acoustic is, is, is dry enough I would add 32 probably. V: Mmm, hmm. And in the hands, the lowest principle should be 16. A: 16 yes, if you use 32 in the pedals, then yes, you need to have 16’ in the manuals. V: Uh huh. And don’t forget to add all kinds of principles; 16, 8, 4, a fifth, 2 2/3, principle 2, and then probably mixture. A: Yes. V: And maybe, possibly coupling the manuals and adding another plenum from the Positiv let’s say. A: True. V: To the Great. With the higher mixture. A: And look this also sort of massive registration, it will, you know, slow down, slow down your tempo a little bit, because you don’t want to play fast with a registration full like this. V: Mmm, hmm. And of course, a third stop, 1 3/5 is appropriate in Bach’s area because it was included in the mixture composition too. A: That’s right. I like actually to use third in Bach’s work. V: It’s like a little bit of pepper in the dish. A: True. True. V: Then of course, Bruce asks is it’s possible to rearrange and move part between manuals and pedals in other pieces, right? There are some instances in other composers. A: Well, yes, yes, yes, and, and no. Because for example, let’s say take a music for example for, of Cesar Franck, and I think everybody knows that the picture on the Dover’s Edition of Frank’s complete organ work. V: Mmm, hmm. A: Which shows, you know, Franck sitting on the organ and pulling of one of the stops and it shows his hands very nicely. And everybody can see how huge his hands were. And thinking about that you understand why some of his range in the manual was just simply almost impossible to play legato. Think about such pieces in E Major Choral, Choral #1, yes, or Priere and some of his other organ music. But you know, I heard in some conferences and masterclasses that even in places like this, professionals don’t suggest to put and to play some notes from the manual in the pedals. V: Mmm, hmm. A: Because it’s, it’s sort of inappropriate. You can do things like this easily when you play at transcriptions. V: Mmm, hmm. A: Then yes, you can do whatever, you know, what makes you comfortable. V: What about Ausra, for early music? Is it more acceptable to rearrange parts? For example, for example; take a look at Tabulatura Nova by Samuel Scheidt, right? You could easily play every piece for manuals only, or you could play Cantus Firmus choral melody in the pedals. A: No about early music what I would do. If I would have organ without pedal, then yes, I would play pedal part in the manual. But if I would have organ with pedal then I would play pedal part in pedal. V: Mmm, hmm. A: What about you? What about you? V: Yes, I would probably do the harder, the hard way. I mean what, what would sound best, right? If the pedals would have it’s own stop, maybe with a reed, why not use the pedals, right? So, so the more pedals, the better, in this case. If it’s, of course it’s more, more difficult but it takes time to develop this skills but in a few years, I think Bruce will understand this easily, and,,, A: True. V: And can play almost anything. A: And I think if you, you know, if you will start to avoid pedals right at the beginning of you know, of your career as an organist, then you know, your progress will be much slower. V: Exactly. A: And you may never be comfortable with pedal parts. So I think it’s better you know, to play as much for pedal parts as possible, right, at the beginning. V: The last point, question that Bruce makes is about pedaling the most prominent figure, ostinato figure in the pedals. How would you, would you Ausra, suggest to pedal this opening measure: D, G, B C D, C D, G. A: Well, I would play left, right, V: Right. A: Left Right Right, Left Right, Left. That would be my suggestion. What about you? V: It makes sense. We use alternate toes mostly, in, in early music, except, when pedal part switches directions. Or when you’re playing extreme edges of pedalboards. Or if the notes are very long, you could play with one foot. So, but in this case, it’s left right, alternate toe, then left right, alternate, but then the next note is with right also because afterwards it changes direction. A: And in this place if you will play C and D with right right, you will have a sort of a good articulation too. V: Yes. Before stronger beats, you articulate more. Especially when playing with the same foot. A: And know, and that you know, the tempo is quite fast in this piece, if you will start to alternate between that C and D, you might, you know, mess up. I think it’s easier to play C and D with right right. V: Excellent. We hope this discussion was useful to other organists besides Bruce, who maybe will be taking this piece and practicing. It’s a wonderful choral. A: It is, it’s one of my favorites, yes. V: It’s, it’s very unique in the sense that it’s not a Cantus Firmus choral or a ornamented choral. It has the structure with ostinato figure throughout the piece, but also, it is also fragmented. It’s not entire choral that is heard but just a measure or two at a time. So, we are actually in the process of making videos in the slow tempo. And our team are helping us to transcribe the fingering and pedaling. So in not too distant future, expect the pedaling and fingering prepared for this particular piece too, and maybe this could be helpful for other people. A: Yes, I hope so. V: Wonderful. Thank you guys. This was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember; when you practice, and share your art… A: Miracles happen! Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 217 of Ask Vidas and Ausra podcast. This question was sent by Francher. My Dear Vidas… Thank you so much for your response and inquiry! Although it is unlikely that I’ll ever perform, I do practice “very well”…and, for at least 2 hours every day. I start my day with an hour to an hour and a half practice, and end my day with another hour (with several shorter sessions, as time permits, throughout the day). I knew I wanted to be an Organist when I was about 10 years old…I also knew I wanted to be an Architect then too. As a profession, Architecture “won”. So, I spent my “productive” years doing the Architecture thing. Although I “piddled” with the organ for many years, I didn’t start serious music study until I retired at age 72. I found a wonderful teacher, who convinced me that I would learn more quickly if I knew some theory. So, I went back to college (at 74) and studied Music Theory for a year. Then, after studying with her for four years, she abruptly gave up all her students and quit teaching. That’s when I discovered “Total Organist” and, I’ve been studying with you ever since. I am so grateful for your teaching efforts. Based upon your reorganized material, I would place myself in the “Early-Intermediate” stage of development. At 80, I learn much more slowly than in my youth… Now, I say, I’m 8 years into, what will be for me, a 20 year program. So, as long as I am able, we’ll be working together far into the future. Thanks, again, for all that you and Ausra do for Organists and the Organ. Francher V: So it’s really wonderful to read this type of feedback, right Ausra? A: Yes, it’s amazing. V: It’s never too late to play the organ and to improve, even at eighty or even later in life, right? A: And it’s so nice that you know some people are able to do that. V: Yeah. Because when we are younger we so many other things that we have to do and there is not enough time, right? So then when we retire sometimes we get to do what we really want. A: Yes, that’s absolutely amazing. V: And Francher also rightly mentioned that her previous teacher encouraged her to study music theory. Why music theory is so important, Ausra? A: I think it’s important. It’s you know in order to be a good musician you need to have performance skills, technical abilities you know to play music well, but it’s also important to understand it, you know too. And that’s where theory comes in. And you know we keep fighting with you know with my students and other colleagues at school all the time. It’s like endless war you know between theory teachers and performance teachers because performers often say “Oh we can teach them to play without any theory.” V: Which is partly true. A: Well yes, but theory teachers just laugh about their attitude because I think it leave you, it takes you to a dead end. V: And in today's environment where everybody can do what you do you have to be unique. And if you have two people doing what they can at the same level like all things being equal, right? And one person knows music theory well and another doesn’t its I think a no-brainer to understand who will be picked in promotion and other things because theory background gives you as we say understanding how the music put together which in turn lets you to interpret music better. A: Yes. V: And people who don’t know this they will never be able to teach. A: That’s right. V: Right? Because they have only been taught themselves how to do it without understanding why. The reason behind the solutions. And then if you never teach, right, if you never share your experiences to other people you will never grow to the best of your ability. You will grow somewhat but not as much as you could. And you don’t have to teach at a formal institution, right? Like we both teach you right now, right Ausra? It’s teaching. Blogging is teaching. Podcasting is teaching. Everything that you share freely with the world is in a way teaching. A: Yes, so I think you know it was smart whoever you know suggested for Francher to go to learn some music theory. It doesn’t mean that you would need to write a dissertation and all about any theoretical subject. But you know still it broadens your horizons. V: You know with our rigid system I think we have trouble communicating this correctly with young generation and sometimes really we miss the mark like two passing ships in the middle of the ocean. We don’t communicate well. They want to play and we want them to understand the music and they don’t want to understand why they need this. The best way for Francher and others who are listening to this to think about music theory would be to learn it and right away apply it in your organ practice. Analyze the pieces you are playing. Be aware of how it’s put together. Not so much theoretical concepts for the concepts sake which is fine but you will forget it if you are not apply it, right Ausra? A: Yes and no. My colleagues at school they simply stop arguing with me when they find out that I am also performer, not only theory teacher. V: Yes, and in our school the best theory teachers are always performers. A: That’s true. V: Not necessarily performing right now but they were performing majors because they know real music not just dry rules. So Francher discovered Total Organist over the years and yes, she is a long term student of ours. And of course just recently we decided to reorganize the materials so that they could look at the levels of difficulty. For example, music for beginners, music for basic level, then intermediate, and then advanced level organist. And this way people really simply pick what they like from that level, right? So Francher is putting herself in early intermediate stage. What does that mean in your opinion? Is it that she can play more things than the basic level students can or something else? A: Of course, I think she should be able to play more advanced pieces. V: More advanced pieces than the Orgelbuchlein probably. A: Yes, yes. V: Because Orgelbuchlein would be like the best example for basic level stuff, right? Orgelbuchlein and probably Eight Little Preludes and Fugues. A: That’s right if we are thinking about Bach. V: And if we're thinking about let’s say romantic music. What would that be for basic level? Like Boellmann maybe, Vierne. A: Yes, Boellmann and probably like L’organiste by Cesar Franck. V: Uh-huh. Slower basically movements of the large-scale works, not to fast, not to virtuosic, not too chromatic also. A: Yes. V: So wonderful and then early intermediate level allows you to gradually progress to longer preludes and fugues, right? Maybe not two pages long or three pages long but maybe four or five or even six, right? A: That’s right. V: What about chorale based works, Ausra? A: Well I think you could select some of Leipzig chorales. Slower, like Nun Komm probably. V: Um-hmm. Like the one we recommended to study for John from Australia, BWV 569 or 659. Yes, 659. A: Yes. V: It’s longer and ornate in melody but not too difficult. A: That’s right. V: Because Schmucke Dich from the same collection is much harder. OK, so what would you wish for Francher in the upcoming months? A: Just you know to wish her to continue what she is doing. I think it’s great that she is still you know able to play. V: And practicing at that age really I think slows down aging process, don’t you think? A: I think so yes. V: Would you Ausra, hope to practice at this age for example when you reach eighty years old? A: It would be wonderful but I don’t know how I will succeed. V: But if we live that long I think ideally would be to continue to push, to continue to practice, at least a little bit every day. Because when you practice every day you stay curious every day, and if you stay curious every day your mind is engaged every day, and if your mind is engaged every day you are using your mind and it’s like a muscle, your brain right? It gradually also becomes stronger even at that age when your body for example gets weaker. A: True. V: Um-hmm. And it definitely prevents Alzheimer's for example. A: Maybe we need to do you know a research about to find out how many organists at elderly age have Alzheimer's. V: We could do a survey. Starting from like 65+, right? And from our subscribers they could vote, right, whether they have Alzheimer's or not. And we could see the percentage and I think that percentage might be quite small. A: I hope so. Because playing organ trains your brain. V: Exactly. And body and mind coordination too I think is connected here. So thank you so much Francher and others who are sending these wonderful questions. I think this discussion allows us to really help you grow. So please keep sending them and keep practicing. Because remember when you practice… A: Miracles happen. Welcome to Secrets of Organ Playing Podcast!
Today's guests are Francine & Matthieu Latreille, who are Canadian organists and choirmasters, currently sharing duties as co-directors of music for Saint Thomas' Anglican Church in Belleville, Ontario. Both recitalists in their own right, they are active as soloists as well as a duo on the North-American scene. The husband and wife team regularly gives joint concerts since 2009. They also share a deep passion for sacred music and liturgy. They served together at Saint Ambrose Episcopal Church (Claremont, CA), before coming to Belleville, Ontario, where they live since 2014. I've talked with Francine last year on the podcast and I'm glad I had a chance to interact now with them both. In this conversation let's find out how Francine and Matthieu practice, perform, work and even how Matthieu recently recorded his own solo CD recording. Listen to the conversation Relevant links: Matthieu's CD Page: http://rmlatreille.wixsite.com/duopergulae/cd Their Website: http://duopergulae.com Their Facebook Page: https://www.facebook.com/Matt.Francine/ Matthieu's YouTube Channel: http://www.youtube.com/c/MatthieuLATREILLE Francine's YouTube Channel: https://www.youtube.com/user/orangeetjaune Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 216 of #AskVidasAndAusra podcast. And this question was sent by Denham and he writes: Please can you do a masterclass on the In Dulci Jubilo in the same Orgelbuchlein Book. BWV 608. How to master the rhythm of 3 against 2s. It is so difficult. Thank you Vidas! V: Do you remember this piece (here is slow motion video), where it’s a canon between the chorale parts, I think, the soprano part and the pedal part, but then hands are playing interchangeably duplets and triplets. Remember, George Ritchie talked about that. A: Yes. V: In our early music performance class that’s one of the more difficult things to learn, I think, right? A: Yes, especially for the beginners. V: So. But, actually, it’s not very, very complicated when you think about it. It’s not like three against four. A: Oh, that’s true. Three against four is much harder. Or you know, if you think three against two is hard, pick up the big cycle of organ music by Petr Eben called “Laudes,” and you will find rhythmic figures that would curl your tail! V: Mhm, interesting. You see, “In Dulci Jubilo” is written in A major, and in original notation, it has 3/2 meter, and, against a half note, there are triplets of eighth notes. But of course, in the modernized version it’s a little bit different because we need, then, to have probably a different type of notation, right? A: Mhm, yes. V: We need probably to have something like quarter notes against dotted half notes or eighth notes against dotted quarter notes. Right? A: That’s true, but it’s again the same problem: three against two. V: Mhm. A: But, you know, I think for people for whom it’s so hard to play triplets, vs. duplets, it’s probably because they don’t have a well enough developed hand independence. Don’t you think so? V: Yes, of course you’re right. And this can be achieved by playing and counting those parts separately, right? I’m not sure if Denham does this, playing parts separately. But in this piece, there are actually four parts in this canon between the soprano and the bass. And the bass, of course, has to be played, probably, with the 4’ stop, which will sound an octave higher. And you see sometimes, like in measure 3, there are three groups of triplets in the tenor voice, and six notes in the alto playing duplets. That’s what’s the most difficult, is to play alto against tenor---inner voices, right? And sometimes they switch, three against two, or two against three. A: Yes, but you know, first of all you would need to work in combination. Sometimes it sounds boring, I know, and probably our listeners are getting bored of my advice of working in combinations, but this is really what will help in a piece like this, because if you would, let’s say, play only right hand and pedal, first, and then left hand and pedal first, and after a while you would be really comfortable with it, only after long with those combinations, you can try to play that third measure. V: Or the fourth measure when they switch. A: Or the fourth measure. Yes. V: Mhm. A: But anyway, you know, if after working in combinations for let’s say two weeks, you still have struggling playing duplets against triplets, then maybe you just need to do simple exercise, not playing, but trying to… V: Clap? A: ...clap them, but yes, not with both hands, but… let’s say... V: Tapping! A: Yes, tapping. Imagine that you play on your hip... V: Mhm. A: ...one left and right. I don’t know… do the duplets with your left hand, and triplets with your right hand. Do them separately and then put everything together. And then you will be comfortable with your left hand clapping duplets and your right hand clapping triplets, then just switch... V: Mhm. A: ...and do triplets with your left hand, and duplets with your right hand. V: Hm. That’s possible. And the way to learn this is actually very simple. You can imagine, those two voices. When they are mixed they form a rhythm in em… let’s say 9/8 meter. Instead of playing with both hands, you can play with one hand. <claps the rhythm x_xxx_x_xxx> this way. And when you need both hands, it’s the same thing. So basically, I’m tapping on my computers for you to hear better. <taps out the rhythm x_xxx_x_xxx_x_xxx_>. Right? I can switch, too <taps out the rhythm again x_xxx_x_xxx_x_xxx..>. So basically, you have to fit the quarter note---the duplet---in the middle between the second and the third of the triplets. Right Ausra? A: That’s true, yes. V: Mhm, and you do that by playing separately, or tapping separately, first. A: Yes, but, you know, this is the struggle that each beginner has to overcome. It seems so hard as a beginner. But after a while, you know, after ten years, you will be just laughing about things like this. V: Mhm A: Because by that time you will encounter much, much, much, more difficult rhythmic problems in organ music. V: And of course, in Bach, this is more complex stuff. He was one of the pioneers of course to do this---two against three---and it was quite unusual. And that’s why he used an old rhythmical version writing in 3/2 meter but writing triplets basically in eighth notes. A: Yes, but if you would think about, like, later composers, let’s say, I remember playing Céasar Franck, and in his C major Fantaisie, he used fourths against triplets. V: Mhm. A: So four against three, and it was hard for me, because I was also maybe like on my second or third year of organ playing at that time. So, but then think about Messiaen, how complex his rhythms are. There, you have to subdivide in 32nds maybe, you know, in order to get the rhythm right. Or you know, like I mentioned Petr Eben before that. So… V: I’m just looking at the Google Brahms piano exercises. If you want more advanced exercises, especially for more advanced rhythmical figures, try to study 51 exercises by Brahms. That’s an amazing place. And, even the firs exercises is just absolutely impossible to play right away. You have to spend some time with it. Maybe a few days to get it. Even the first exercise. So, Brahms was a champion to do this, because in the Romantic era, they had all kinds of rhythmical variations, right? So you will also need to do this. So, we hope this was useful to you. And study Brahms and other things, too. And remember to send more of your questions. We love helping you grow. This was Vidas! A: And Ausra. V: And remember, when you practice, A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 215 of #AskVidasAndAusra podcast. This question was sent by George. And he writes: Dear Vidas, My greatest problem at this point is independence of both hands and feet, in addition to the usual issues sight reading all the separate parts. You're very kind to write! Yours truly, George So, it seems like George hasn’t spent many years on the organ bench. A: Yes; it seems from his question that he’s a beginner. V: Okay. And beginners usually struggle with playing separate melodies in your hands and separate in the feet at the same time--that’s what we call independence of both hands and feet. Right? So, this is just a very natural phenomenon, I think. A: It is. V: That’s how we all start, and that’s nothing to be either worried about or ashamed of. A: That’s true. So, and as I have told before to other organists who asked our opinion and help, you really need to work in a slow tempo, and you really need to work in combinations-- V: Mhm? A: Not play all the parts together. V: Ausra, in your experience, will there ever be a time where a person can practice faster right away? A: Not really. V: Because the texture is just too complex, right? A: I know. V: Mhm. Unless you are playing a solo melody which is a single voice. A: Yes, that’s right; then you can play fast! V: Or--if you’re playing with a partner--maybe 2 voices, like an organ duet, and you’re both sight reading 2 voices each. A: That’s right, but you know, in other cases, you need to start with a slow tempo. V: Remember, Ausra, in Bach’s birthday recital, we just picked up a harmonization of Bach’s chorale maybe 5 minutes before our actual performance. We just played it through a couple of times, and we did it at concert tempo right away. That was risky, but we did it. A: Yes. It worked okay, I think. V: Would it be okay if, for example, either of us alone would have played it? A: Probably not so well as we played it together. V: Because alone, you have to manage 4 parts. A: That’s right. And an open score--written in an open score. V: Mhm. So then, you would need to spend some extra time. A: Yes. Because it wouldn’t be so fun to read 4 lines together. V: Unless you are doing this everyday. A: Sure. V: Like choir conductors do. So yes--basically, slow practice is essential. And Ausra, will there ever be a time when a person can practice without spending too much time on combinations, just 4 parts right away? A: Sure. V: That is possible? A: Yes, that’s right. V: But maybe later in his career, or her career. A: True. Maybe after 4 or 5 years of extensive playing. V: I think that’s too few years; I think more is needed. A: Well...it depends on circumstances. V: When did you first find out that you could manage 4-part texture right away? A: I now don’t remember exactly when that time was. V: It wasn’t like, on January 1st, 2014…? A: No, no. But actually, for me, the church position helped a lot. When I was first--besides from playing that organ solo repertoire--when I was having to learn a lot of music for the church each week-- V: Mhm. A: New music for the church. V: So basically, having regular performance opportunities every Sunday--that basically facilitates your progress. A: That’s true, yes. V: It’s like being thrown into a swimming pool deep enough to drown… A: Haha! V: And being told, “Swim, or sink!” A: That’s right! V: So, can we recommend that system to George? Swimming or sinking? A: Well, I don’t know what his goals are, but maybe he could try to find an assistant organist position. Part-time. V: Just a few hours per month? A: Yes. And I think this would be motivation enough for him to improve faster. V: Maybe just 1 piece per month to learn, for starters. That would be a good opportunity, right? A: Yes. V: If he could show up on the organ bench at church just 1 Sunday a month, and play something new. And then go back and learn, for a month, something new again; and show up the next month. A: Yes, I think it would be a good beginning. V: Mhm. Would that be a scary experience at first, for him? A: Yes, but I think it would get easier with time. V: How much time do you need to be more comfortable with playing in public, at the beginning? How many performances, or Sundays? A: ...Probably ten? V: You’re about right, I think. In my experience, when I was playing in my improvisation recitals nonstop for 60 minutes, at first it was a very very scary experience; but after 10 performances, it was a breakthrough--a little bit of a revelation. And every 10 performances, you discover something new about yourself, something new about the music, and something new about the instrument that you’re playing. Agree? A: Yes. V: Excellent. A: So if you will take some church positions, then at the end of the year you will feel more comfortable. V: Yeah. You will have learned 12 pieces! A: That’s right. V: And remember, you can constantly repeat those pieces over time--maybe not every week, but maybe a few times a month, right? And your repertoire will expand this way--you will not have 1 or 2 pieces under your belt, but 12 pieces; and the next year, perhaps you will learn maybe not 12 new pieces, but maybe 24 new pieces, because your new skill level will build on this old skill level, right? A: Yes. V: It’s possible? A: That’s possible, true. Maybe some of those new pieces you will not repeat--maybe you will not like them so much after a while. V: Mhm. A: But still, some of them you will keep practicing and playing. V: Exactly. And by the time you will have 12 pieces learned for the repertoire, you can actually play a public recital. Maybe not necessarily an hour long, which is too hard for a beginner, but maybe 30 minutes. A: Sure. V: Maybe with another person, split half--50% of the time. You on the bench, and another person would help you, too. Or maybe with a soloist, another instrument. A: Yes. I’ve thought about it, too--that’s a nice idea, to share, to play in some ensembles. V: Mhm. So...the best way to grow is basically to start failing in public as often as possible. Right, Ausra? A: Yes, that’s true. V: And the scariest, right, too? A: Yes. It doesn’t sound very encouraging, but it’s true! V: That’s the way we do it, actually. Right, Ausra? We don’t keep our mistakes under the table, right? Because mistakes are not fatal--you will not die from playing C# instead of D♭. A: ...I’m not so sure about that. V: Hahaha! Okay! Thank you guys, this was Vidas. A: And Ausra. V: Please remember to practice today. And send us more of your questions, because we love helping you grow. And when you apply our tips in your practice, and maybe modify, a little bit, our advice to fit your situation (because some things will work for us but not necessarily for you, but you can always adjust, and pick and choose from our advice what you like)--then, with time, you will discover something different about yourself. And actually, other people will say, “Oh George, you’re different now! Tell us more!” Right? A: Yes. V: So, you will have gained a new skill. That’s an amazing way to live: constantly learning, and staying curious in the ever-changing world. Thank you guys, this was Vidas. A: And Ausra. V: 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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