Vidas: Let’s start Episode 131 of #AskVidasAndAusra podcast. Listen to the audio version here. And today’s question was sent by Aleksey, and he wants to know how to play the pedals without looking at your feet. So, this is a challenging situation for a lot of organists, isn’t it, Ausra?
Ausra: Yes, it is. Vidas: Do you sometimes look at your feet when you play? Ausra: Sure, when I’m trying an unfamiliar organ, then I have to look at the pedal first. Then, there are sometimes tricky spots, where I also have to check the pedal. Vidas: Me too, from time to time. Especially when I improvise, I need to look down, because I’m not always sure which notes I will be playing in a second or so. And when playing repertoire, especially on an unfamiliar organ, the feel of the pedalboard is not very easy to memorize. And therefore, some looking is okay, right? Ausra: Yes, some looking is okay. It’s not good if you cannot play pedal at all without looking at it, on the same organ. If you are, let’s say, practicing on your organ every day, and then after practicing for a year you still have to look at it, then it’s not good. Vidas: True. I think one of the most important things here to do for organists is simply to apply pedal preparation. Ausra: Yes, that’s a good idea, you know. It’s very helpful. Vidas: For quite some time--maybe for a few months. And then you get used to the feel of the pedalboard and you no longer need to worry about it; but at first, you have to have a breakthrough. Ausra: Yes. Vidas: So, how do you do pedal preparation, Ausra? Ausra: Well, you know, because there are very few pieces that you use pedal all the time without any rests--usually you have some pedaling part and then you have some rests--so, during those rests, you need to know exactly what is coming up next-- Vidas: In the pedals? Ausra: Yes, in the pedals. And prepare in advance. Vidas: So, for example, if the passage was ended with your right foot, and the next passage starts with the right foot also, you need to slide your foot to the next key, right? Ausra: Yes, that’s right. Vidas: Right away. Ausra: Or let’s say there are sometimes there are passages that will finish on the same note and it will begin on the same note. So don’t move your leg. That will save time and energy, and you for sure will hit the right note. Vidas: A lot of times, people do the opposite. They finish an episode with the pedals, and they place the feet on the, I don’t know, maybe some place next to the swell box, or on the swell box… Ausra: Or behind the bench. Vidas: Exactly. Ausra: That’s what I do often--I put my right foot on the swell box and the left on the organ bench--or a little bit behind it. Vidas: Because it’s more convenient this way. Ausra: Sure. Vidas: How to do this without putting your feet on the place to rest, but slide into the next note position on the pedalboard? Is there a trick you could use to do that successfully and comfortably? Do you know? Ausra: Well yes: just keep your foot above the pedalboard! That’s possible! Vidas: What about sitting on the bench? Does it help if you sit, for example, too deep, or in the middle, or next to the edge of the bench? For you? Ausra: Well, if you sit on the edge of the bench, you might fall down on the pedals. That’s not a good way. And also, not a good way to sit too deep--back on the organ bench. You have to sit somewhere in the middle of it. Vidas: Remember, we usually practice on two organs: here at home and at Vilnius University St. John’s Church. But the height of the bench is different on each instrument, right? Ausra: Yeah. Vidas: Which is lower? Ausra: At home, of course. Vidas: At home. Which is more convenient for you, Ausra? Higher or lower? Ausra: Well, it depends on which manual I’m playing on. Because, for example, at church it’s more comfortable for me when I’m playing on the first or second manual, but it’s uncomfortable to play on the third manual and pedal at the same time-- Vidas: Mhm. Ausra: Because the bench is quite high. Vidas: Exactly. Then, the third manual becomes too far away from you. Ausra: Yes; and you know, it just gets difficult, after practicing for some time. Vidas: What I mean is, I discovered that I also play more comfortably at St. John’s Church when I sit higher, and closer to the edge--not on the very edge, but just enough to keep me balanced. But then my feet are also free to do what they want, and they can slide into position without getting me into trouble; and then I can basically focus my looking on my fingers or the music rack, but not necessarily on the feet. Ausra: Yes, I think that position gives you more mobility. Vidas: Mobility. And if it’s opposite--if you sit too deep on the bench--then what happens? Ausra: Well, you cannot move comfortably. It will take you too much time. Vidas: Then you need to use more of your core muscles. Ausra: I know, and you need to have really long legs in order to reach, let’s say, you know, very far away on the right side, or pedals very deep on the left side. Vidas: So, it’s good advice for people to experiment with the bench height and with the position of your body on the bench, and see if you can find a comfortable way to shift your body when you need to move on the pedalboard; and then maybe you don’t even have to look so much. Ausra: Yes. And you know, sometimes try to play the pedal part alone, and see if you have trouble too, you know, and if you have to watch the pedalboard. But if you are quite comfortable with the pedaling part but you still are watching when you are playing with hands, then maybe it means that something is not wrong with your pedaling, but something is wrong with your coordination. Vidas: In your experience, Ausra, when you work with students, let’s say, in our Unda Maris studio from time to time, do you notice that people like to play pedals alone, or they want to play everything together, more often? Ausra: Well, mostly they want to play everything together. Vidas: Right away? Ausra: Yes. Vidas: Even though the problem might be just to separate the parts, and learn them alone. Ausra: Sure. Vidas: Do you think there is a reason why they choose to play everything at once? Ausra: Well, I think it gives more satisfaction, to hear the full harmony--all the piece. Vidas: You have to sort of postpone your gratification-- Ausra: Yes, that’s right. Vidas: --Until you can do this comfortably, both hands and pedals together. And people nowadays have trouble delaying gratification; they want to have results right away. Right, Ausra? Ausra: Yes. Vidas: Are you one of those people? Ausra: Hmm, well, yes and no. Of course I am--I want to have immediate gratification; but I also understand that things never happen at once. You have to work to get to your goal. Vidas: Do you have to force yourself to work precisely, and according to your plan, and not to give up ahead of time? Ausra: Well, of course, yes. I think everybody does. Vidas: I see. But it’s worth it, right? Ausara: Yes, it’s worth it. And it’s worth it when you see the final result: it motivates you to do the next piece right, to learn it in a right manner. Vidas: Whenever I catch myself playing with mistakes--even on the pedals, or pedals alone, or all the parts together--I think I need to slow down considerably, right? Whenever I force myself to slow down, mistakes disappear, and I can play more comfortably and more relaxed. Do you have the same experience, Ausra? Ausra: Yes, I have the same experience. Vidas: So the tempo might fluctuate in the same piece-- Ausra: Sure. Vidas: Because some places are more difficult than others. Ausra: Definitely. Vidas: Is that okay, or not? Ausra: Well, it shouldn’t be like this. I mean, you can give yourself some flexibility, but not too much. Vidas: I think it’s okay, as long as you’re conscious of your tempo fluctuations, right? Ausra: Yeah. Vidas: It’s a process of practicing; and you know this is a difficult spot, and you need to slow down, right? You consciously slow down--not because your legs or fingers need to slow down, but your mind says, “I have to slow down, because that’s how I will avoid mistakes.” Ausra: Yes, that’s right. I do that sometimes, unconsciously. Vidas: And then when you’re ready, you can pick up the tempo, normally. Ausra: Yes. Vidas: Good. Do you hope that people can apply this in their practice, too? Ausra: Well, I hope so. You should definitely try. Vidas: Great. Please guys, send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Jesus Is Born And Laid In A Manger (Organ Improvisation)
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Welcome to Secrets of Organ Playing Podcast #126!
Listen to the conversation Today is Christmas Eve! Merry Christmas, Blessed Season Greetings to our every listener and subscriber! I'm so happy that we've been doing for a while these podcasts and we're continuing our Secrets of Organ Playing journey for 6 years now and Ausra and I hope to help you grow as an organist for many years to come. And today a special guest is visiting Vilnius University St John's church. This is an English organist James Spanner. James recently contacted me ahead of time that he and his wife will be visiting our country and enjoying pre-Christmas season and I let him play the largest pipe organ in Lithuania. Our conversation was recorded just minutes after Jame's practice on this organ. He played a few pieces and finished with BWV 566. This is Bach's E major Toccata transposed down to C major and it sounds very sweet on this organ because of Kirnberger III temperament. In this conversation James is sharing his organ playing experiences. At the end he emphasized the need for the organist to reveal the meaning of the text to the listener, among many other things. I hope you'll be inspired by James thoughts. Listen to the conversation And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. If you like it, feel free to subscribe to our channel on Musicoin. By the way, you can upload your own recordings to YOUR channel to maximize revenue. If you have some audio recordings of your organ performances, you can do the same. Feel free to use my invitation link to join Musicoin: https://musicoin.org/accept/MUSICa45e5f26ede2be5dd4411747 Thanks for caring. Relevant link: https://www.sspeterandpaul-rustington.org.uk/ You can reach James via email at jamesspanner at aol dot com Vidas: Let’s start Episode 130 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Aleksey, and he wants to know about registration: “What are some of the perfect, or worst, stop combinations?” That’s a broad question, right Ausra?
Ausra: Yes, it’s a very broad question. Vidas: Where should we start? Ausra: I think, you know, not understanding the style well can make you to put wrong stops for your pieces. Vidas: Remember sometimes we go to churches, and...especially not in Vilnius, but in other cities where people play the organ, but they completely--they don’t know what they’re using, what type of instruments, and what type of stops they should use. Sometimes they play with all the stops drawn out, and with vibrato, with tremolo. Ausra: Yes, that’s right, yes. Vidas: Have you heard that? Ausra: Yes, I have heard that actually many times. Vidas: It’s like a big Hammond organ--although it’s a pipe organ. It sounds quite funny! Ausra: I know, or when you use some undulating stop and you don’t use an 8’ stop. Vidas: True. Ausra: That’s another thing; I have heard that also many times. Vidas: Or when you use mixtures without foundations. Ausra: Yes. It’s also a horrifying sound, at least for my ears. Vidas: The reason they do that is sometimes mixtures are positioned closest to the player, in the bottom row-- Ausra: And it’s easy to pull them! Vidas: Easy to find them! And the principal is on the top, and you have to reach for it. And maybe an amateur organist just looks at the closest stop and draws it! Ausra: I know, it’s a hard thing, you know. And it takes time to develop good taste, and knowledge about different styles and different registrations; and how to adjust, for example, to a particular organ which is not built in that period, or not styled in that period, but you still have to play music from some particular period... Vidas: What organ do you know the most, Ausra? Ausra: St. Johns’, probably. Vidas: I agree. Ausra: And of course, our practice organ. I know it’s very big! It has 2 stops! Vidas: Yeah-- 8’ and 4’! Ausra: Yes! Vidas: Flutes! Ausra: And pull-down pedal. Vidas: There is so much to learn about those 2 stops. Ausra: I know. Vidas: Soft, and softer! Ausra: Yes. Vidas: Hahaha. Do you have a favorite organ stop in our church? Ausra: Well...well...my very favorite? ...Cornet. If I had to choose one, it would be the Cornet stop. Vidas: If I had to choose...I would choose two, actually: Unda Maris, and Viola Gamba. At first, Unda Maris was better for me than Gamba; but recently, I’ve been discovering such beautiful (and quite intense!) colors with the upper range of Viola Gamba on the third manual, that I kind of keep improvising on these stops all the time. Ausra: Yes. And I find that Cornet really beautiful; it’s very nice for a solo voice. Vidas: I think in every recital, we use Cornet at least once. Ausra: Yes. And there are also other nice stops. Some flutes are really nice. And I like Posaune in the pedal--Posaune 16’ in the pedals. Vidas: Especially the low E♭? Ausra: Haha yes! Vidas: Why E♭? Ausra: Because it makes such a funny sound. And it’s fun to play Bach’s Prelude in E♭ Major, where you have to...press it! Vidas: Oh, the B section? Ausra: Yes, yes. “Ba-ba-ba-bum, bum, bum, bum, bum, bum...BAHHH!” Haha! That low E♭! Ausra: Yes. It sounds funny! So, if we could tell people about things that they should probably not do while registering...I think even playing Trio Sonata by J. S. Bach... Vidas: Ok? Ausra: I would say you should always add 16’. Vidas: In the manuals or in the pedals? Ausra: In the pedals. In the pedals, because I have heard trio sonatas played so many times; and people not using 16’ in the pedal--I think that’s a principle mistake. Vidas: Remember, we recently heard even Bach cantatas--Christmas Oratorio--performed-- Ausra: Yes, yes. Vidas: And they didn’t play the continuo arias with double bass. Doubled bass was always present with choir movements, right? So always that octave-down sound was present in the loud sections; but when somebody sang an aria with 1 or 2 instruments, they didn’t use 16’. Ausra: Yes. Vidas: Which was, I think, not a good choice. Ausra: No; in general, I like a low foundation, that gravity in the pedal. And I would suggest to always play with a 16’ stop in the pedal, unless there is some indication by the composer not to do that, or if it has like a solo voice, or it should be played on some particular stop. Vidas: You sound like Mendelssohn, now. Ausra: Really? Vidas: He wrote in his Preface to his 6 Organ Sonatas that you should always include a 16’ stop unless there is indication otherwise. Ausra: Because, you know, without a 16’ stop in the pedal, organ loses half of its beauty. Vidas: But then there is the question of the historical period, right? Before the 17th century, for example, 16’ in the pedal was not very common. Ausra: Well, yes, because most of that music before that period was written only for manuals, so you don’t have that trouble. Think about, like, early Italian music, early French music--they didn’t have a developed pedal, so they did not need 16’. Vidas: What about German? Ausra: Well, I’m talking about non-German, starting from non-German. Look how the organs are developed; I mean, look at their huge pedal towers… Vidas: But before the 17th century, 16’ pedals even in Germany was not always chosen. Ausra: Well...do you mean if the performer would not choose it, or that it was absent from the organ? Vidas: Performer, of course. Because of course, those big huge pedal towers sometimes include 32’ stops. But cantus firmus in the pedals, when they used chorale notes in the long values played by feet, they did not always include 16’. Ausra: So then you have cantus firmus in the pedal. I already mentioned it’s when the pedal has a solo voice, then actually yes, you don’t include the 16’, but that’s another story. Vidas: Unless it’s the bass. Ausra: Yes. Vidas: In the bass, yes. Ausra: Yes, yes. Vidas: But if it’s in tenor, it’s 8’ level; if it’s alto, maybe 4’ level; if it’s soprano, maybe 2’ level. Right? Ausra: Yes. But for most cases, still you can find, you know...If you would compare repertoire with 16’ stop in the pedal and without it, I would say that with-16’ would win over those cases without 16’. Vidas: Especially the repertoire that we are accustomed to today. Ausra: Yes; and plus, if you are a church organist--if you are accompanying congregational singing--I just would not imagine that you would not use 16’ in the pedal. Vidas: Yes, you’re right. For congregational singing, 16’ stops are essential. Ausra: Yes. What about putting 16’ in the manuals? What would you suggest for people to do then? Vidas: There are choices when you want to have more gravity. And for example, some organs don’t have a pedalboard at all, but they have 16’ in the manual. Then you have stop combinations with 16’; and it’s a little bit muddy, but it’s a broader sound, with more gravity. It fits sometimes. And then there was a question with mixtures. Sometimes mixtures are high, sometimes low. With low mixtures, like in our St. John’s Church, the first manual mixture is based on the 4’ level; which means that you do need to have 16’ in the manual. Ausra: And I have heard many times, when organists come, and they just don’t use the 16’ in the manual but use that mixture--and it sounds, actually, not good. Vidas: Can you use mixtures with strings, for example? Is it a good idea? Ausra: Well...not so much. Vidas: You don’t...? Ausra: I don’t like that combination. Although I’ve heard some organists do that. What about you? Vidas: Yeah, sometimes. If the string is soft--and I don’t mean, here, undulating strings, like Viola Celeste, but just like Viola or-- Ausra: Gamba? Vidas: Gamba. Then sometimes it’s okay, especially when I improvise, and I build up a pleno sound, and I don’t have time to take out some of the strings--it sounds convincing, to me. Ausra: Well, if I want to strengthen my principal chorus, then I add flutes, not strings. That’s what I prefer. Vidas: Do you think flutes eat more air, or strings? Ausra: Flutes, probably. Vidas: So in our case, in our organ, there is some inconsistency with the winding system, and sometimes those “big” stops which require a lot of air don’t necessarily fit the large sounds--I mean, the large registration. I mean here, the 16’ flutes, on the third manual or on the second manual--I don’t use them. Ausra: Well, I don’t use them either; but I use 8’ flutes, and that doesn’t hurt the organ so much. Other than the wind system. So basically, registration is a tricky thing. You can know it theoretically very well; but on each instrument you need to adjust, and you need to listen. Because sometimes, you know, if you just pull out the stops that are required for that piece, and you will not listen to it, you might get a disaster, because each organ is a little bit different. But, like, we talked sometime about that organ in Nida that we have on the coast in Lithuania, that has just a ridiculous mixture. It’s so awful! I never use it! Even if I’m playing a piece by J. S. Bach that requires mixture and pleno registration--still, I don’t manage it. It’s very ugly! Vidas: It is too fierce, too...screaming. Ausra: Yes. Vidas: Too high-pitched. Ausra: Yes. Vidas: Like a cymbal, but too bright. Ausra: I know. And I’m thinking if I would use it, after my performance, probably the church would be empty--everybody would just leave! Vidas: Maybe it’s ok to use it just once in awhile, just for a special effect. And that’s it. Ausra: But, well, if you are playing, let’s say, a prelude and fugue by Bach-- Vidas: A long one…! Ausra: A long one! Then, you know, hardly anybody would survive it. And I’ve heard organists use that mixture, you know. So you always just need to listen to the organ stop, and to your registration. Vidas: And how it sounds in the church, in the sanctuary. Ausra: Yes. So it’s always a good idea, if you’re registering pieces for your recital, to have an assistant or somebody that could help you, to play a little bit of your music, so you could just go downstairs and listen to how it sounds. Vidas: If you don’t have an assistant, put a recorder or a phone down in the pews, and then record yourself for a short moment, and see if you like the combinations; and then come back, listen to it, and change something if you don’t. Ausra: Yes, that’s a good idea, too. Vidas: Thank you guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 129: There Is A Great And Profound Joy In Practicing And Performing on the Organ12/22/2017 Vidas: Let’s start Episode 129 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Helene, and she writes that her challenge is not keeping up with her daily practicing. She writes:
“I have talents in other ways in that I write fiction and non-fiction; I play other instruments, too. However, there is a great and profound joy in practicing and performing on the organ which is unparalleled.” Ausra, do you have other hobbies/interests/talents besides organ? Ausra: Yes, I do have some. Vidas: So it’s a perfectly normal thing-- Ausra: Of course it’s normal, yes. Vidas: --To have many interests instead of just one. Ausra: That’s right. Vidas: What would happen if a person would have just one passion, one single focus? Ausra: I think he would become very good in that area in which he concentrates. That’s my opinion. Vidas: Wouldn’t that be like...a limit for that person’s personality growth? Ausra: Hmm… Vidas: You know what I mean? Ausra: Yes, I know what you mean; but people are different, so you cannot judge for everybody. And you cannot measure everybody by the same scale. Vidas: For example, I also have some hobbies besides playing the organ (playing the organ is not my hobby anymore, of course); but there is a downside to it, of course: it all takes up energy and time. Ausra: Yes. And actually, I see a conflict in this question itself: because she writes that she is not practicing daily, and then she’s telling that it gives her profound joy, practicing and performing the organ. So...I sort of see a conflict in this. And she plays other instruments, as well. Vidas: Maybe she should choose what is more important to her. Ausra: Yes, because, I mean, if she really finds joy and happiness in practicing and performing organ, then that’s what she should do. And you know, you will not be a virtuoso in any instrument that you play; I think it’s impossible-- Vidas: You mean, in every instrument. Ausra: In every instrument, yes. Especially if they’re not all, like, keyboard instruments. I would say you could play excellent on harpsichord and organ, or organ and piano; it’s harder, but still possible. But...not like, probably, violin and organ. Or flute and organ. Vidas: Or flute, violin, and organ! Ausra: I know--still one of the instruments will be the leading instrument, for you. Vidas: Mhmm. It seems to me that she enjoys writing very much, right? Ausra: Yes. Vidas: She’s writing stories--made-up stories and nonfiction. So that might be another way to express her creativity. Music and writing are not in conflict, I think--they supplement each other, right? Like other instruments and organ may be in conflict, but writing and organ are not necessarily in conflict. Ausra: Yes, this is true. Vidas: How many hobbies can a person have and still manage them successfully, do you think? Ausra: I don’t know--2, 3 maybe? Vidas: 2-3? Let’s say not hobbies, but activities. It might be other things-- Ausra: Well, you know, it’s like talking about nothing--it depends on how much time you spend at work everyday, how big your family is, how many domestic responsibilities you have...All these things, you know--some people are so busy that they cannot have even one single hobby. For example, like, I’m working late at school everyday. So, it’s a different story with you--maybe you should tell about your hobbies. Vidas: I’ve heard--I’ve read, actually--a story by...Warren Buffett, I think...yeah, the famous investor. And he says that you should write down a list of 25 things you want to do in life, in order from the most important one from the least important one. But all these things are important to you: like playing, like writing, like maybe drawing for some people, like other things. And some people really have 25 things on their plate. And then, he says, circle the top 5, and cross out the rest of them--like 20 things--and never look at them again. These are still important things to you, but life is too short. For myself, I have too many interests, too, and I have to limit myself, too. And I find that 5 things in my day, I can still fit in; and practice, every day, 5 different things, perhaps. Like let’s say, of course, playing the organ--repertoire, right? Maybe like...of course, improvising; like composing, number 3; and then would be writing, of course; and I like drawing, too. So those 5 things are still manageable. But other things I have to forget about, I think. What about you, Ausra? Do you agree with this? Ausra: Well, yes. I would be very happy if I could do 5 things a day! My teaching schedule is so busy that it gives me no time for anything else. There are days when I can hardly practice, and I’m very happy if I can read for like 15 minutes before bedtime! When you teach like 7, 8, 9 hours a day, what else can you do? It’s exhausting! Vidas: Yeah. Of course, I didn’t say reading; reading, of course, is important. I didn’t count that. So yes, Helene and others who have many interests and hobbies--and love to play the organ besides that--sometimes need to figure out a way of letting things rest awhile, and see if they’re still important, right? Maybe take a break of 5 weeks or a month without doing that activity, and see if you miss it. Right? And if you do, then maybe you’ll see it’s important, and maybe it has to go up in your priorities list. What do you think about that, Ausra? Ausra: Well, definitely, yes. Vidas: Okay guys, please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 128 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Helene. She is an ordained minister, but also plays the organ; and one of her challenges is that she doesn’t let churches know of her ability--basically, as I understand, she keeps her organ playing talents a secret. Right, Ausra?
Ausra: Yes, that’s what I understood from her question. Vidas: So, why do people keep their talents a secret? Ausra: Well, I think there might be different reasons. In this case, maybe she sort of feels uncertain how her colleagues or the church would respond or react to it--that she’s actually playing organ. For me, it sounds like maybe she feels a little bit ashamed of playing the organ, and maybe she thinks that preaching or leading services is more important than playing organ. Which I don’t think is the right way, at least from my point of view. Vidas: You’re right. Remember we have some friends, and one of them is Paulius. He is a lawyer--his first profession is lawyer--but he started playing organ some years ago, right, as a hobby. And now of course, he is, we could say, a professional organist, because he receives a salary within the church; but in the beginning, he was just practicing for his own pleasure, right? And remember that time when he kind of felt a little bit hesitant to say to anybody from his work that he plays--he was a little bit shy, right, at first? Ausra: Yes. Vidas: So you’re right. What keeps people from basically letting other people know that they have other talents and hobbies, is probably insecurity and how other people would react, right? Ausra: But I think it’s important to let other people know about your talent. Vidas: Mhm. Ausra: And to share your talents with other people. Because I think service music is equally important. Vidas: Especially if Helene is a minister. Imagine this situation: she could preach, say, a sermon, right? Ausra: Yes. Vidas: And maybe she could play a prelude, or postlude at the end. Maybe she could not play every hymn in the service, because it’s just too much to do; but she could contribute. Would you think that her congregation would be in awe of her contribution? Ausra: Yes. I think so. I think people would appreciate it. Vidas: Right. So guys, I think among our listeners there are other people who have organ playing skills or hobbies, but their main profession is something else, right--they do something else for a living. And they keep it a secret; they practice in a basement or somewhere like an attic, where nobody is around, and never, ever share their art, let’s say on social media--never post a picture of their organ playing on Facebook or post a video on YouTube, right? Ausra: Yes, that’s right. Vidas: There are some people like that. Ausra: Yes. And you know, I understand why people don’t want to share their talents on social media. It might disagree with their beliefs. But I think playing organ in church, during a service, should not be kept a secret. Vidas: Exactly. Ausra: Especially if you are a minister, an ordained minister. Vidas: You are already sharing. Ausra: Yes, you’re already sharing; and I think playing organ would just support what you are doing. Vidas: And if people got over that initial fear of sharing their talents, and fear of being, you know, ridiculed in front of other people, sometimes--if they got over this situation and they would even play in front of other people--I think their general organ playing skill would improve, don’t you think? Ausra: Yes. And you know, playing organ--I think that’s a rare gift for a minister. Not too many ministers can play organ. Vidas: Remember in the old days, Lutheran seminaries had organ playing classes; and I think Concordia colleges in the US had many practice organs-- Ausra: Yes. Vidas: Like 40 practice organs. It was, I think, around the 1940s or something. Ausra: Yes, because I think it’s important for clergy to understand music in general--to understand the meaning and value of music, and how it helps to sort of lift up the congregational spirit in church. So I think this is even better, that a minister can play herself. Vidas: There are some side benefits to that, because she can sing well, probably. Ausra: Yes. Vidas: She can lead hymn singing very well. And this is also very important for a church, because sometimes organists play the hymns--they sing--but if they see a minister not participating in that, there’s a wall, right? Between what the clergy do and what the musicians do. Ausra: I know. And it’s like that in some Catholic churches; because if the mass is sung, and you have to make a response to a priest’s singing, so sometimes it’s so funny if the priest doesn’t have any pitch at all! And during like one phrase, he can modulate a few times! And the organist never knows how to pick up the response to it. Vidas: Of course, the priest doesn’t know they’re modulating… Ausra: I know, yes. And that’s because they don’t have good musical education, I think, in seminaries. Vidas: So if Helene and others DO have musical background, and can sing well and even play the instrument, it would be selfish-- Ausra: Yes, sure. Vidas: To keep it a secret. Ausra: And you know, if it’s hard to combine things in one service, for example, it might be too stressful to do preaching and playing in the same service; so maybe she could keep leading the worship as the minister on one Sunday, and maybe play the organ on the next one. Vidas: Mhm. Or just play occasional service music-- Ausra: Sure, sure. Vidas: Not everything, but just...like a dessert! Ausra: Yes. And especially like during or before big festivities, like Christmas or Easter, during Lent and Advent, many churches have additional services; so maybe she could play the organ on those services. Vidas: Yeah, on Saturday nights, Vespers-- Ausra: Vespers. Vidas: Mhm. Excellent. We hope this was useful to you, and we hope to inspire you to share your gifts with your community and congregation. People need this, right? And maybe they will be inspired to take up your example and share their gifts, too. Ausra: Yes, yes. Vidas: Right? You never know what impact you have on people around you. And if you play in church, and you are a minister, please write to us about your experience. It would be interesting to know how people react, and how you react to this situation. Thank you, guys! This was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 127 of #AskVidasAndAusra podcast. Listen to the audio version here. Today’s question was sent by Lilla, and she writes:
“Thank you for all your advice about organ playing - especially the pedal virtuoso course that I am taking now. Regarding the arpeggios, is it OK to NOT to follow with both legs, when one foot is playing the highest/lowest notes on the pedal board? I keep my other foot on the note that I need to play when switching legs. For example, in case of B minor arpeggios, I keep my left foot on D while keep playing with the right foot upward and backward. (I followed your suggestion to use the F# minor pedal signs for B minor and it seems to work better).” Isn’t that great, that the f♯ minor pedal version works for b minor, Ausra? Ausra: Yes, excellent. Vidas: Sometimes you get advantages of discovering similarities between the keys and transferring one type of pedaling to another key, which works sometimes with sharps, sometimes with flats. Ausra: Yes, it’s nice. It’s really a big help. Vidas: And saves time. So, her question is about… Ausra: About body position, basically. Vidas: Keeping either one foot in place, or moving that foot, together with another foot, upward and downward. What would you say about that? Ausra: Well, I would say that most of the organ scores would suggest to keep both feet together. Vidas: But in the case of, let’s say, b minor, in the middle of the pedal part, you use both feet. But then, it goes very high. Then, you only need to use the right foot. What about the left foot, then? Ausra: It cannot stay in the middle, I would say. Vidas: I think so, too. Ausra: Because otherwise you might fall down on the pedal, if you will shift your entire body too much to one side. Vidas: It’s an unnecessary burden, I think. Ausra: Sure, yes. Vidas: And in general, it’s quite difficult to keep your balance on the pedalboard while switching directions. Ausra: Yes. Vidas: You have to push off with the opposite foot, to switch direction with your knees, in order to simply not hurt your knees, right? Ausra: Yes. And remember that you must feel comfortable on the organ. Not like on the couch at home--but still, you know, it shouldn’t hurt, and it shouldn’t be very much uncomfortable. And if it feels like that, it means that something might be wrong. Vidas: Should Lilla stick with the virtuoso pedal course, or would it be beneficial for her to supplement her menu with real organ music? Ausra: Well, definitely supplement it with real organ music, because you might get bored by playing exercises. Vidas: And exercises don’t get you real life experiences. Ausra: Sure, sure. Vidas: They’re isolated techniques which develop one certain aspect of your playing, of your skill. Which is good, but in real music, you need all kinds of abilities, right? Ausra: Yes, especially while playing organ, you also need to work on your coordination. Vidas: Mhmm. Ausra: And if you are only playing pedal all the time, your coordination might not be as good. So you need to combine all those practices: do some pedal work, and do some repertoire. Vidas: Maybe play a scale or two, or arpeggio or two, for starters--for warming up. Ausra: Yes, definitely. It would be a good beginning, you know, to warm up. Vidas: And with your fingers, too. Ausra: Sure. Vidas: Something technical. For example, I like to kind of...warm up with improvisation nowadays; because I can warm up, and slowly, gradually feel the keyboard. And the pedals too, because I improvise with my feet as well. What about you, Ausra? How do you warm up? Ausra: Heheh. I warm up with dictations--playing to my students! Vidas: “Eight measures!” Ausra: Because I have so many classes that I teach--27 a week!--so I get plenty of warmups, with my hands, at least. Vidas: Do you play this same dictation over and over again, the same day? Or do you have different ones? Ausra: No, I have different classes, so I play different dictations. Some of them--most of them--are actually 3-part dictations; but some are 2-part, and some have only 1 voice. Vidas: Do students like those dictations? Ausra: Oh, no. They hate them. (Most of them.) Vidas: Do you like them? Ausra: Well...yes! Why not? Vidas: And why do you like them and your students don’t? Ausra: Because I can have the music score in front of me, and they just have to write it down by ear, so that’s another story. And they are hard dictations, so I understand why they don’t like them. Vidas: Do they have syncopations? Ausra: Yeah, syncopations… Vidas: Dotted rhythms? Ausra: Suspensions, dotted rhythms, and all kinds of...things... Vidas: They’re like short musical compositions-- Ausra: That’s right. Vidas: Like preludes of 8 measures. Ausra: Yes, yes. Vidas: And sometimes they do sound like preludes, when they are 3 or 4 parts. Ausra: Yes, those 3-part dictations, you could play them as preludes. Vidas: Mhm. I would even say 2-part dictations sometimes sound convincing. Ausra: Yes, because they have like secondary dominants, and some of them even have modulations. Vidas: So, you teach your students the skills for real-life improvisation, I think. Ausra: Well, yes, but dictations are mainly meant to improve the pitch--musical pitch, hearing. Vidas: Mhm. To help them understand what they’re listening to in real life. Ausra: Sure. Vidas: And that’s not necessarily enough for creating your own music, right? Ausra: That’s right. Vidas: You have another class--harmony-- Ausra: Yes. Vidas: --Which is a transition between playing repertoire, listening to what you play, and then improvising--creating your own music. Harmony is sort of the in-between step, right? Ausra: That’s right. It’s very important, you know. Vidas: Good. So, Lilla should also supplement her exercises, too, with real music, we think. Ausra: Yes, yes. Vidas: Alright. What about...what about other pedal virtuoso exercises? I have, I think, not only scales there, but also arpeggios over the tonic chord, arpeggios over the dominant 7th chord, arpeggios over the diminished 7th chord; and even, I believe, chromatic scales with single voice and with octaves. So it’s a really comprehensive approach. Not too many people finish what they start, from what I read; but those who do, thank me later. And thank themselves, too. Ausra: Yes. Excellent. Vidas: So, if you have the stamina to succeed, if you really want so badly to develop your ankle flexibility like Marcel Dupré taught, so then playing scales, arpeggios--with one foot and both feet--is very beneficial in the long run. But you have to not forget the real music. Ausra: Yes, definitely. You know, the real music is the most important, I think. All these exercises, they supplement the repertoire very well. Vidas: They are servants for repertoire. Ausra: Sure, yes, yes. Vidas: It’s not the goal to master those exercises. It’s a means--it’s a tool. Ausra: Yes. Vidas: They have to serve you. And if you don’t enjoy playing technical exercises, don’t play them. Right? This is for people who do enjoy them, like Lilla and others--hundreds of others, actually, who love isolated technical exercises. But other people cannot stand them, so they do something else. We need to always find a balance between what we can be passionate about, right--and what we can do long-term. Ausra: Yes. Vidas: Thank you guys, this was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. This is really fun. And remember, when you practice… Ausra: Miracles happen.
Welcome to Secrets of Organ Playing Podcast #125!
Listen to the conversation
James’ involvement in church music ministry spans over several parishes of the Albury, NSW, area. James enjoys the demanding but rewarding challenges in contributing to the various liturgies of the Christian church and his ongoing development as a recitalist and liturgical organist. James hopes that the organ will be a treasured instrument for many more generations to come. Apart from his musical endeavors, James completed an IT degree from the University of Wollongong and currently works as an Enterprise Systems Engineer at Fairfax Media. He is also strongly interested and skilled in many web related technologies. In fact, his website (jamesfloresorganist.com) was created by James along with the assistance of his talented wife Leysa Flores (Graphic Designer). In this conversation, James shares his insights about his recent 12 recitals in 12 months challenge. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. If you like it, feel free to subscribe to our channel on Musicoin. By the way, you can upload your own recordings to YOUR channel to maximize revenue. If you have some audio recordings of your organ performances, you can do the same. Feel free to use my invitation link to join Musicoin: https://musicoin.org/accept/MUSICa45e5f26ede2be5dd4411747 Thanks for caring. Listen to the conversation Relevant link: jamesfloresorganist.com Vidas: Let’s start Episode 126 of #AskVidasAndAusra podcast. Listen to the audio version here. And today is a very interesting day: we celebrate 6 years of the beginnings of Secrets of Organ Playing! Isn’t that exciting, Ausra?
Ausra: Yes, it's been already 6 years! Wow, time flies. Vidas: Very fast. It seems like a few weeks ago, right? Ausra: Yes. Vidas: It seems like this September, for example. Remember the first article that I posted on EzineArticles, and started--you were not part of this project yet, but you joined it later, right? Ausra: Yes. Vidas: By the way, how did you decide to join the Secrets of Organ Playing blog? Ausra: I couldn’t explain how it happened… Vidas: Very naturally, probably--gradually. Ausra: Yes, yes, yes. Vidas: You were helping me behind the scenes with fingerings and pedalings… Ausra: Yes, yes, that’s right. Vidas: And of course... Ausra: I just didn’t want my name appearing somewhere. Vidas: You were too shy, right? Ausra: Yes, I was crypto-editor. Vidas: Crypto-editor! Haha. Ghost editor! But then somehow things changed, right? Ausra: Yes. Vidas: And are you happy about that? Ausra: Very much. Vidas: I sense that since you have started doing this together with me, our conversations became more lively online; and people, I think, get more out of this discussion than myself--I would write just a one-sided article, and now sometimes we disagree, we sometimes have discussion; and people can choose which one they like more, which version. Ausra: Heheheh. Yes, that’s right. It’s always good to have an argument, and compare things. Vidas: So, we would like to thank you guys very much for sticking with us for 6 years now, and we hope to help you grow as an organist even further in upcoming years, and help you reach your goals, right? Ausra: Yes. Vidas: And now, going back to the question that was sent by Irineo: he writes: “Hello back there maestro Pinkevicius, thank you for your interesting email. I have a couple of questions though. 1. How can I upload one of my pieces to Musicoin? I have it recorded in my iTunes, so I guess I should first transfer it to my laptop and then upload it to the site, am I correct? Do I need some kind of software to do so? If that's the case, which one would you suggest and where can I get ahold of it, please? 2. I also wrote lyrics for that piece. Therefore I suspect it might be classified a short Chorale. I have to translate it into English as well but, do you think I should upload its original lyrics as well as the translated version? Thank you so much in advance. Also send warm greetings to maestra Ausra please. Keep up the good work, you both! Very truly yours, Irineo” So, isn’t that exciting, Ausra, that people are joining Musicoin? Ausra: Yes! Very exciting! Vidas: You joined Musicoin, too. Ausra: Yes. Vidas: Why? Ausra: Because you suggested that, and I agreed! Vidas: Hahahaha! Do you find value in that program? Ausra: Yes, I think it’s much more beneficial than the others. Vidas: Like, if you put your music on SoundCloud, what do you get? Nothing. You simply have to pay monthly or annual membership fees for that, but you don’t get anything in return. What do you get for putting your music on Facebook? Ausra: Nothing. Vidas: Nothing, too! They actually put advertisements on top of your posts, and you become a product for them! So basically it’s a lose-lose situation for an artist. What about YouTube? YouTube does pay for views, and it makes a little bit of sense, right? A very insignificant amount compared to Musicoin. But it still does, so it’s, I guess, it’s one of those things you have to consider. What about Spotify? Spotify, I guess--I’ve heard that for 1 million--for 1 million--listens or playbacks, an artist gets $400. That’s nothing. For 1 million! You know, the majority of people will never get to a million. Ausra: Of course, it’s hard to get a million! Vidas: And then $400--that’s nothing compared to the work that is required to get to such a number, right? And Musicoin, with every listen on the Musicoin platform, an artist gets (right now) 1 Musicoin. (That’s their currency.) And 1 Musicoin currently is worth about 1.8c. And sometimes it rises in value, and sometimes it decreases in value, as with any cryptocurrency. But I guess, in general, the more people join this platform, the more valuable it will become in the future--right Ausra? Ausra: Yes, that’s everything. Vidas: It’s basically, the demand grows, and basically a supply and demand rule. So, it’s worth doing that for organists as well. You simply upload your tracks--it could be mp3 tracks, for now, only--and you watch your Musicoins come in. That’s very exciting. Ausra: Yes, that’s right. Vidas: Of course, you have to share--share your work all over the place so that people will find you. Right Ausra? Ausra: Because if you will not share, nobody will Know about you. Vidas: And another good thing about the Musicoin platform is that it’s built on so-called Blockchain technology, which enables them to create smart contracts: automatic contracts where you can specify which proportion of your revenue will go to you, and which proportion will go to, let’s say, your partners (if you have a band or ensemble or a small choir or something). Right now, you have to subdivide your revenue in 8 shares. So right now, for example, these podcasts with Ausra--we divide it in half. One half goes to Ausra, and one goes to me, because we both participate in this--right Ausra? Ausra: Yes. Vidas: Even though you say “yes,” you still get one Musicoin! Ausra: Okay, okay! Vidas: Or half a Musicoin. Ausra: I can give all my Musicoins to you, and make you happy! Vidas: Hahahaha. I know! But that’s not the point! The point is that you have the choice of doing this. Ausra: I know, but the thing is that you get such a technical question as this, the thing is that you are just more experienced. You know, all those programs, and internet stuff. Vidas: Or, maybe you have other questions that arise when I talk? You could ask! Ausra: Hahaha, maybe not now. Vidas: Good! Ausra: Let’s just answer Irineo’s question. Vidas: So, he writes that he wants to use the pieces that he uploaded to iTunes, right? And repurpose them on Musicoin. Ausra: How should he do this? Vidas: So, he simply has to transfer mp3s from iTunes. And there was, I think--I found an article online, “How to Download from iTunes,” and you can simply read the directions there. Ausra: Yes. And also, the second half of Irineo’s question was about either he needs to put the original lyrics, or just an English translation. So I think he definitely has to include both. Vidas: Yeah, to expand his audience. Ausra: Yes, yes, of course. Vidas: Some people will want to listen to the English version. And others--why not include the original language, too? And specify in tags, you could specify the language: English or another language. Ausra: Yes. Vidas: We could even submit a Lithuanian chorale, too. Ausra: Yes. It’s like watching movies, like for example, I love to watch a movie in the original language. It gives me much more, even if it’s a language I don’t know well enough, like French, for example. Vidas: And, to expand your audience, you can actually include an English translation in the description box. Even though the original track is in another language, people could click and read the English version, too. Ausra: Sure. Vidas: Everybody wins, this way! So, we hope this was helpful, right Ausra? Ausra: I hope so! Vidas: Don’t hesitate to use our invitation link to join Musicoin. And please, of course, invite other people--that’s how this platform grows; that’s how, in general, it becomes more valuable to you and to everyone. Because it’s a network; your songs, your music, get in front of many more people this way, inside of the platform of Musicoin, just like on YouTube or iTunes. And of course, you get paid for each listen. That’s fair treatment for every musician, I think. Thank you guys, this was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 125 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Peter. He writes:
“My challenges are lack of time, and spending/wasting time on other things(!) i.e. lack of willpower. And I think I need to improve my sight-reading if I am going to improve my overall organ-playing. Also, I hate most 'modern' organ-music. On this subject,it might be interesting if you could explain, in one of your blogs, what anybody 'sees' in sour-sounding, discordant 'modern' music. You know the kind I mean - where you are not sure if the player is making lots of wrong notes, or is this what it is supposed to sound like? Many highly competent professionals like this kind of music, but why? One such person said to me, "It's probably more satisfying to play than to listen to." In that case, why play it to an audience? Another said, "Well, I like it, and I'm going to play what I like." (He meant in a recital.) Is it any wonder that the organ is right at the bottom of the pile, in popularity, with the general public? Where I live, if we get an audience of 40 to a recital, that's very good. Usually, it's 20 or under. The idea is dying on its feet and a lot of it has to do with the kind of music people play, as well as the way in which they play it. (There's another topic for discussion - how is it that some people can play all their pieces absolutely accurately, and the performance is dull and boring, and someone else plays with a few mistakes, but it's exciting and attractive? 'Music' certainly is fascinating, as a subject.) I think you may agree with me that, the basic 'purpose' of music - any music - is to create emotion in the mind of the listener. But if that emotion is one of irritation, annoyance and unpleasantness, why would anyone want to repeat the experience? It makes no sense.” It’s a complex question, right Ausra? Ausra: Well, yes; a very broad one. Vidas: In general, I think Peter struggles with modern music comprehension, probably, and discovering the beauty of it. Ausra: Yes. That’s a tricky question to answer, because the term “modern music” is so broad. There are such different types of music in this “modern” organ music. Vidas: There is no longer a mainstream. Ausra: Yes, that’s right, so it’s very hard to describe. But I guess, you know, maybe modern music’s problem is probably too many dissonances. Vidas: Dissonances which people don’t know how to handle in their mind Ausra: Yes. Vidas: They don’t know what they mean; they don’t feel the resolution of the dissonances. Or maybe composers don’t resolve them anymore. Ausra: Yes. And of course, another trouble with modern music is that some of it actually just lost the form of it; and it’s very hard to listen, sometimes, to music which has no shape. Not like sonata form, where you have like 2 main subjects, and then another subject, and then you have all that exposition, and then you have the development of these themes, and then after that recapitulation comes back. Then you have a clear subject, and you can refer to it all the time. Even in a fugue. I don’t think very many listeners appreciate the fugue so much; but still, because you have a subject and it appears over and over again, it makes a fugue bearable to the listener. Vidas: Haha. Good term--“making fugue bearable.” This could be a tagline of some music website or for one of our recitals. Ausra: Well...Okay, and even listening to Bach’s Art of the Fugue, it’s hard work. Of course, you can appreciate such music the better you know it. So if you go to a concert where you know that modern music will be on the program, I suggest you do some research yourself, if you want to really appreciate it. Maybe find a score, or listen to a recording on YouTube, if that’s possible. Or at least maybe you will find a story of how that piece was written. Because sometimes, understanding what the composer felt at that particular moment of this particular composition may light it in another light, and you may understand it better. Vidas: And sometimes it’s a problem of communication, right? Performers don’t make an effort to introduce the music to the audience, either in spoken form or in text, as program notes. So less-experienced concert goers don’t know what to think during such a dissonant performance. Ausra: Yes. And I think another problem is that so much music is written already, that new composers, they try to do something differently. But actually, it’s hard to find something different, and do something differently; because as I said, 700 years of organ music, so...it’s very hard to find something new. So sometimes they want to make it as horrible as possible, to make it sound “new.” Vidas: I think originality is a complex question. Everyone wants to be original, but everything was created before, right? We just repeat history in a new way, perhaps. So the best way to be original, actually, is to combine old things--several things, not one, but several things, in a new and unexpected way; and then you will be original. Ausra: Well, and you know, composers did that time after time, in history, if you look back. It’s sort of, for example, like Romantic composers. They got inspiration not from the Classical music that was just before the Romantic period, but from the Baroque period. And what the Classicals did was, they found inspiration not in Baroque music but in Renaissance music--which was pre-Baroque. So...And they took some things of those old times, and put some new ideas into them. And it worked fairly nicely. Vidas: And I think people like Peter could benefit from sightreading modern music more. Literally taking it apart, and looking at the scores, and seeing how it’s put together helps to appreciate it when you hear it. He wrote that somebody he knows said that it’s probably more pleasant to play it than to listen to it, right? So...which means that he needs to play it more, simply. Ausra: Yes. Vidas: And then he will be able to appreciate modern music more. I’m not saying he should go on a modern music diet… Ausra: Oh, no! Definitely not! Vidas: For the record. But just to include some pieces in your sightreading menu would be helpful. Ausra: Yes. And another thing, I think, is that organists who perform only modern music are making a large mistake. I think they are losing audience, because if you want to play modern music, it’s okay, but you have to keep the right proportion. For example, if you are planning a recital, and it’s an hour long, I would suggest that your modern music wouldn’t take more than 10--well, at the most,15 minutes of your entire recital. Vidas: Mhm. Ausra: And don’t play it at the beginning, because your audience will leave right away! Vidas: You know, it’s another very complex question for people who choose to voluntarily play only modern music in their repertoire. For example, my friends James D. Hicks and Carson Cooman, they are known to perform only pieces that are created recently. James D. Hicks is playing (all over the world!) music from the Nordic countries, and Carson Cooman is a champion for avant garde music and modern music in general. So you could actually build a brand for yourself, of being the one who performs such music. And I don’t think that they worry about losing audience who don’t like such music, right? Because it’s simply not for them. Don’t you think, Ausra? Ausra: Well, yes and no… Vidas: It depends on your goals. If you want to please everyone, then of course, playing only modern music doesn’t help. Ausra: But what about pleasing yourself? For example, I could not just play modern music. Vidas: That’s why you don’t play modern music only. Ausra: I know. Although, I like modern music, and I have played it quite a lot, actually. Vidas: But then, imagine a situation where a person only plays music of dead composers--not only dead composers, but who lived a hundred years ago, two hundred years ago--three or four hundred years ago! If everybody would play this, then the advancement of organ art would be on a minimal scale. Probably creativity would be diminished, in general, in the organ world, because we would be repeating only museum-like performances! Ausra: You know, I don’t think it would be a huge disadvantage for organ music if none of the new pieces would be written, starting from this day on, because there are so many masterpieces already that you wouldn’t be able to play all of them in your entire life, even if you would live for like 200 years. Vidas: This is true. But what about for a composer, who feels the need to create something, to let it out into the world--what about them? Ausra: Well, that’s a tricky question--you got me! Vidas: So, what I meant is, everybody needs to be creative in some way, probably--to spend our days not only in consuming things, but also creating things. Performing music is one of the ways we consume music, and creating music (either in written form or in improvised form) is one of the creative endeavors. So, you could create, actually, stylistically old-fashioned music if you like it, right? It doesn’t diminish your creativity, if you like this particular style. But I think that people who create sooner or later become a little bit dissatisfied with repeating old styles. They want to create something which has never been created before. Ausra: You know, nowadays there are so many composers that I think you will be lucky if after you compose a piece, somebody will actually perform it. You don’t get much chance of that, knowing how competitive this field is. Vidas: Oh, this is another question probably too broad to answer today, but: in this global world, where everybody can create and everybody can share, and many people are doing this, so it’s getting more crowded every day, right--this global world of music? So then, the only way to get noticed, actually, is to stand out--to not follow where everybody else is going, but to lead, to do your own thing, to find your own voice. Ausra: And what I could suggest to Peter is: for example, if he decides to play some modern organ music, choose that modern organ music which was composed by organist composers. Because they actually know how to treat the instrument well. Vidas: Yes. Ausra: Because I have seen many organ compositions that were not composed by organist composers, and they were just disasters, because you can find things that are impossible to play well on the organ, and it sounds bad. But organist composers, that’s another thing. They know how to treat the instrument well. Vidas: What would be one composer you think would sound perhaps satisfactory enough for Peter, for starters? Ausra: Petr Eben maybe? Vidas: His music is not too challenging--not too dissonant? Ausra: Well… Vidas: He is dissonant. Ausra: He is dissonant, but he knows how to treat the organ. Vidas: What about Charles Tournemire? Ausra: Yes, Tournemire also. Vidas: I’m sightreading every day now from his cycle, “L’Orgue Mystique”. And I find that some of his meditations are quite simple in structure and very modal, and therefore sound quite sweet. So, a lot of French composers also do that modal, sweet writing, which you might find helpful, too. Thank you guys, this was very interesting. Please send us more of your questions; we love helping you grow. This was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 124 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Dineke, and she wants to know when you really need to stop learning a piece--when enough is enough, when you have made enough progress so that you could pick up a new piece. First of all, I think it’s different for everyone, right Ausra?
Ausra: I think so, and I think it’s never enough to stop, actually--I mean, the piece is never perfect enough. I think if once, after playing a piece, you can say, “Oh wow, it’s perfect!” then it means that you don’t need to perform anymore. And I don’t think that’s possible. Vidas: Right. What about for you? For example, when you learned--remember the last piece you performed in public (it was a group of pieces, but), let’s say, Variations in D, Andante by Mendelssohn. Right? So, when did you decide to stop practicing this piece? Ausra: I never stopped practicing the piece. That’s my point. Vidas: Uh-huh. Ausra: Okay, I did it--I played in during a recital. But I will play it in the future, so I will still be working on it. Vidas: With some breaks, right? Ausra: Yes, with some breaks, yes. Vidas: In between those periods, you pick up other pieces. Ausra: Yes. Vidas: Depending on your goals. Ausra: Yes. And you know, after a while, I may be returning to that piece, and I will play it maybe differently. With new ideas. So polishing a piece--it’s never a finished process, for me at least. I don’t know, what about you? Vidas: That’s a good question. I feel that whenever I’ve learned a piece inside-out (very deeply analyze it, write down fingering and pedaling, even memorize it--sometimes I go very crazy and transpose it to keys that have different accidentals)--so whenever I do this, I know that whenever I need to take a break, even a break of several years, I can pick up this piece with relative ease, and continue practicing relatively without any struggle and frustration. Of course, several days and weeks might go shaky; but then, little by little, my memory refreshes, and I start playing just like a few years ago--or even a decade ago, I would think, too. But first of all, you need to learn the piece very very thoroughly, in order to do that after a while. Ausra: Yes. But in general, if you want to know if you’re over with that piece, you just have to be able to play in the right tempo without any mistakes, I would say, at least 3 times in a row. What about you? What do you think--would you agree? Vidas: That’s an excellent point, I think. If you want to be more secure, I think 5 or even 10 times in a row would work for some people. And it depends on the occasion, and on the stress level, and the level of what is at stake, right? Ausra: Because if you are playing for yourself, and you are making mistakes… Vidas: Nobody cares, right? Ausra: Yes--well, yes, but it means that definitely you are not done with this piece, because in public performance, it will be ten times worse! Vidas: But if you are playing it for a competition, let’s say, and somebody who’s an expert will judge you, and 10 or 20 other high-level organists will compete with you, then you have to be really precise, and perfect this piece up to the point that you can’t even make a mistake. That’s how professionals are different from amateurs, I’ve heard. Amateurs practice until they get it right, and professionals practice until they cannot make a mistake anymore. That’s a big difference, right Ausra? Ausra: Yes. Vidas: So, I think you have to be strict with yourself, when deciding when it’s enough, when it’s okay to show to the public; and be realistic of your level, because stress and all the stakes will get ahold of you during a public performance. So you actually have to play automatically-- Ausra: Yes, that’s right. Vidas: Be able to play with your eyes closed, in complete darkness, let’s say. Ausra: Yes. And you know, it’s often the case with organists, that you practice on one organ, and then you have to perform on another organ. It also will make things harder, actually; so you have to be really really ready, and know your piece very well. Vidas: And if you’re used to playing your RH on the upper manual, and the LH on the lower manual, it will make a big difference if you reverse the hands, if you’re not used to the reversal. Ausra: Yes, so you have to be really comfortable, to feel comfortable with your piece, to be able to do all these additional things. Vidas: It all comes quite naturally, I think, over time. Ausra: Yes. Vidas: You don’t need to rush those things; you don’t need to be in a hurry to reach perfection, I think. Right, Ausra? Ausra: Well, sometimes you do, if you have a deadline very soon. Vidas: What do you mean? Ausra: Well, if you have a recital in a few days, for example. Vidas: And...? Ausra: And you are not ready yet. So then you are in big trouble, and you have to worry. Vidas: So maybe your planning, then, is not okay. Maybe a person like this chose all the pieces that are new, and all the pieces that are very long, and all that are very difficult. That’s a big lack of understanding how to plan, right? Because you don’t need to play everything that’s difficult stuff, and everything new, like you cannot repeat. Ausra: That’s right. So, I don’t think there’s any one answer when your piece is ready. You just have to decide for yourself. Vidas: And know that whenever you come back to this piece, you will find something new to work on. Ausra: That’s right. Vidas: That’s okay. Even after a while, after a few years, your level might have grown, and you will figure out some new things on how to perfect it even further. Your taste might change, right Ausra? Ausar: Yes, that’s right. Vidas: Okay! Good luck, guys, in perfecting the pieces that you choose. You will never reach perfection--I will never reach perfection, and Ausra will--I don’t know, will you reach perfection, ever? Ausra: NO. Never. Vidas: Never? So, we have to live with that. But probably, the main point here is to become a little bit better each time we practice, than yesterday. Compare ourselves with ourselves yesterday-- Ausra: That’s a very good point. Vidas: --And not to the masters and other virtuoso organists whom we hear from recordings and videos. Polished. And you never know, if you pick up a CD, if the CD is a live performance, or if it’s edited with many many takes, and glued-together fragments, right? It’s not live anymore! Ausra: Yes, that’s right. Vidas: So, how do you record pieces, Ausra? Do you record it in one sitting, or do you take multiple takes? Ausra: Well, I record it in one sitting, actually. Vidas: Mhm. You don’t edit things? Ausra: No. Vidas: You might stop, when it’s a big break, right? In an episode, or at the end of a movement? Ausra: Yes, of course. Vidas: End of a movement. But it doesn’t make sense to me; I don’t like editing too much. I try to play with feeling and with liveliness. Of course, some sloppy mistakes are not okay for official recordings... Ausra: Sure, of course. Vidas: And I need to redo it--retake it until I get it right. Ausra: But then, I just record everything again. Vidas: Mhm. Ausra: From the beginning to the end. Vidas: Right. Thanks, guys--this is really interesting. Please send us more of your questions; we love helping you grow. Right, Ausra? Ausra: Yes. Vidas: And remember, when you practice… Ausra: Miracles happen. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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