Vidas: Let’s start Episode 91 of #AskVidasAndAusra podcast. And today’s question was sent by Max, and he writes:
“Hi Vidas, just letting you know I love your channel and have found a lot of useful hints in your theory videos, particularly. You have a clear and unaffected teaching style which is rare on YouTube. Suggestion for topics I would submit (if you were looking) would be organ playing in terms of continuo and supporting vocalists (I really like the use of it in Monteverdi's Orfeo, for example).” First of all, it’s nice that people are using my music theory advice from YouTube videos. And talking about continuo organ playing--can we give some tips and pointers to Max, Ausra? Ausra: Well, I hope so! Vidas: So, what is continuo--or basso continuo; or general Bass, in German; or figured bass, or thorough bass, in English? Ausra: Well, this is a system basically based on functional harmony. Vidas: But it’s a precursor to tonal harmony-- Ausra: Yes, it is. Vidas: To functional harmony, where it’s an abbreviated system, right? Ausra: That’s right, where you have only the bass line, and you have the numbers written below the bass line. Vidas: And sometimes you have a melody, too. Ausra: Yes, sometimes too. But real basso continuo, that’s only one line with numbers below. Vidas: Uh-huh. Sometimes you might have a soprano line or a classic melody, if you’re accompanying a soloist or if it’s hymn or a chorale. So then, based on those numbers, you have to do what? Ausra: To fill in those chords. Vidas: At least. Ausra: Yes. Vidas: That’s the basic understanding. Ausra: Yes, and it depends on the tempo of the piece, actually, which that particular movement is written in. Because if the tempo is very fast, like allegro or allegro molto, then only chords are sufficient; but if you have a slow tempo such as adagio or grave, then you can add more stuff. And if you are playing with a soloist, you may create dialogues and duets, which will work very nicely. But you will not be able to do that if the tempo is very fast. Vidas: Would do you mean that in intervals of thirds and sixths? Ausra: Yes. Vidas: With the melody, with the soloist. Ausra: Yes, that’s true. Vidas: Why thirds and sixths? Ausra: Because they sound so nice, and they are good intervals in functional harmony. You would not want to create duets and dialogues in fifths or octaves! Vidas: What about fourths? Ausra: Well, not as bad as fifths and octaves, but still...not the best intervals. Vidas: They would sound empty. Ausra: Yes. Vidas: The perfect, pure intervals sound empty; but major and minor thirds and sixths are the most beautiful in tonal harmony, and could be used in alternation or in parallel motion. Ausra: Yes. Vidas: Or in contrary motion. Ausra: And in Baroque times, composers used that basso continuo technique very often, because it saved them time; it saved them paper, which was so expensive at that time; you would just have to write the bass line and then put some numbers. Vidas: So, if you see, let’s say, in the bass clef, the note C, right-- Ausra: Yes? Vidas: Without any numbers--what would you play with your RH? Ausra: That’s the fifth chord, you would just have to add in the RH E, G, and C. Vidas: Or C-E-G. Ausra: Yes. Vidas: Or G-E-C. Ausra: Yes, it depends on what you want and what fits. Vidas: Those three pitches. Ausra: Yes. But yes, the note without any number means the fifth chord. Vidas: Root position-- Ausra: Root position. Vidas: Triad? Ausra: Yes. Vidas: And sometimes it’s major, sometimes it’s minor. Ausra: It depends on what the accidentals are, next to the clef. Vidas: For example, if the bass note is A without any numbers, then it’s… Ausra: A minor. But if you have 3 sharps next to the clef, it means A Major chord. Vidas: Don’t you think that they would write “♯” above the note? Ausra: Well, if that’s an accidental that’s not next to the clef, then yes; but if it’s next to the clef, then no, no. Vidas: Mhm. So basically, they would add additional accidentals-- Ausra: Definitely, yes. Vidas: Into the notation of the numbers. Ausra: Yes--flats, sharps, naturals, yes. Vidas: For example, if you see the numbering 5 and 3, and 3 is with a sharp or flat… Ausra: Yes, it means that you have to raise the third from the bass. Vidas: Or lower. Ausra: Or lower, yes. Vidas: What about 54? Ausra: 54 means that this chord has suspension. Vidas: Suspension? Ausra: Suspension, yes. Vidas: 54 leads to 53. Ausra: Yes, that’s right. So you always have to count from the bass. Vidas: Bass up. Ausra: Yes, from the bass up. Vidas: What else? For example, what if it’s a 6 above the bass? Ausra: Well, it means a 6 chord. Then it means, let’s say if you have C in the bass, it means that you will have to have E and A. Vidas: Why E, then? Ausra: Because that’s a 6 chord. That’s the way we write it in basso continuo. Vidas: And from C to E it’s a third. So if nothing is written, we have to imply that it’s a third, also. Ausra: Definitely, yes. Vidas: Unless it’s a fourth, too. Ausra: Yeah, could be, then it would be 64 chord, of course. Vidas: The numbers would be 64, and then the spelling out of the chord above C would be-- Ausra: C, F, and A. Vidas: Uh-huh, 64 chord. What about a 753 chord? Ausra: That’s a seventh chord. Vidas: So you add those three notes above the bass-- Ausra: Yes. Vidas: Above, let’s say G--would be what? Ausra: G, B, D, and F. Vidas: So G would be in the LH, and the three upper notes in the RH. Ausra: Yes, and while playing what’s the most comfortable thing. If you are doing it on the organ, just play the bass line with your pedal, and add the next 3 voices in your RH--that’s the most comfortable situation. Vidas: Mhm. Ausra: And I would suggest the same if you are playing on the harpsichord, except that now your LH would be playing the bass line. Because the closed position is so perfect for basso continuo playing. Vidas: And sometimes those numbers could have just one number, or two levels of numbers, or even three levels of numbers. Or sometimes four, if four notes have to be played in the RH sometimes. Ausra: Yes. Vidas: Remember when we played recitatives from Bach’s cantatas? Ausra: Yes, I think the recitatives are the hardest thing, probably, to accompany. Vidas: Or from the Passions. Ausra: Yes. Vidas: Especially from the Passions. Ausra: Yes. Because the harmony is so chromatic in those pieces. Vidas: But it’s not really rocket science, is it? Ausra: No, it’s not. Vidas: You just have to count intervals, and add necessary accidentals, if they happen. Ausra: It’s just a matter of practice and experience. Vidas: And once you get used to adding those chords, you could have those melodic lines, and dialogues and duets. Ausra: Definitely, definitely. Vidas: Remember somebody wrote about Bach’s playing continuo, that he would add one extra voice, always-- Ausra: Mhm. Vidas: One completely, sort of, written-out and through-composed voice. If it’s a duet, he could add a trio texture. If it’s a trio, then a quartet would sound. Ausra: That’s an amazing thing. Vidas: He would think linearly--horizontally, not only vertically. Ausra: Yes. That’s amazing, actually, pretty amazing. That’s a hard thing to do. Vidas: But probably not as hard as it sounds, because you have to just think about the melody that your other voices are playing… Ausra: Well, yes, but if I had to do it in written form, I could do it, definitely, because that way I would have time to think about it; but if I had to do it on the spot, just sitting at the instrument right away, it would be very hard, for me at least. Vidas: It’s a matter of practice, of course--how fast you can think. Ausra: Yes, it’s also a matter of practice, that’s true. Vidas: If you can think as fast as you can play… Ausra: But for starters, let’s just be able to add those scores on the bass line, while given only numbers. It will be good enough for starters. Vidas: Alright, guys, go ahead and try out some continuo settings. What would be a good collection for them to look at? Ausra: Well… Vidas: Clavierubung Part I by Krebs, probably? I've created fingering and continuo realization for his "Allein Gott" chorale setting from this collection. Ausra: Yes, because Krebs gives 2 voices to the soprano and the bass, so you would have to only add the 2 middle voices; and of course, I would say Handel’s continuo exercises. Vidas: And here we have to mention, probably-- Ausra: Handel’s harmony is simpler than Krebs’, because Krebs lived later. Vidas: If you want a deeper understanding of basso continuo, and how it relates to, let’s say, Bach’s school, and later to improvisation--let’s recommend Pamela’s method book. Ausra: Definitely, yes. That’s a good book. Vidas: And by the way, she just released her second, long-awaited volume for polyphonic playing, and I think in the first volume you will find a lot of things and exercises with continuo. Ausra: Yes. Vidas: Bach and the Art of Improvisation by Pamela Ruiter-Feenstra. Thank you, guys, for listening, and thank you for applying your tips in your practice--that makes a lot of difference in your playing in the long term. This was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Comments
Vidas: Let’s start Episode 90 of #AskVidasAndAusra podcast. And today’s question was sent by Sunny. And she writes:
“It would be good to mention the type of shoes you should wear while playing and NOT barefoot like I've gotten in bad habit. My teacher taught me to wear same shoes, with 1/2' heels, carry in bag with my music or keep at the organ. AND one rule we have in our house: NEVER touch ANY of the 4 keyboards in my home without washing your hands. That’s a big time no no. My grand daughter scolded one of our guests who sat down at our grand piano to play. Too funny, but people don't realize how over time, grime from one’s hands becomes a problem with build up gunk so washing hands should be taught to others for any instrument.” So first of all, Ausra, let’s discuss: what type of shoes should organists wear while playing the organ? Ausra: Well, if you live in the United States, then it’s not a problem to get organ shoes, because they have a company that delivers you organ shoes. The only thing you have to do is to submit an obligation--to give them your size, to pay money; and the shoes will come to you. Vidas: You’re talking about Organmaster® shoes? Ausra: Yes, that’s what I’m talking about. Vidas: And you’re wearing those shoes, too, yourself? Ausra: Yes; and I paid double for them, because we don’t have that treaty between the United States and European Union, so everything that goes above $20, you have to pay extra. Vida: Yeah, fifteen percent of taxes. Ausra: Yes. And so now, my last organ shoes are just golden! Vidas: Yeah. Ausra: I paid for them twice! Vidas: But they are good for you, right? Ausra: Yes, they are good for me. I’m very glad I have them. But in general, if you cannot access real Organmaster® shoes, you could find similar to what you need for the organ. Vidas: Something for ball dancing, right? Ausra: Well...no, no... Vidas: No? Not the same? Ausra: No, no, it’s very different. If you mean like folk dancing, then yes, but not ballroom dancing. Vidas: Mhm, not ballroom. Ausra: Because they have that very high and narrow heel. Vidas: Hmm. Ausra: Thin heel. So you could not play organ with those shoes. Unless you would be like, a French madam. Vidas: So probably...an inch would be enough, right, for you? Ausra: Yes, an inch, maybe an inch and a half. Vidas: Yeah… Ausra: But no more than, probably, two inches. I would say that two inches is the highest heel. Vidas: Sunny writes that a half inch is a little too small. Ausra: Yes, definitely, yes. Vidas: Mhm. Because then you have to twist your ankle a lot when playing heels. Ausra: Yes. An important thing is that the tip of your organ shoes would be a little bit narrower. Vidas: The toes? Ausra: Yes, toes. Vidas: Mhm. But not too long. Ausra: Yes, not too long, definitely. Vidas: So they all should be leather-based shoes--the soles should be leather, right? Not rubber. Ausra: Yes. Yes, then you could nicely glide through the pedal keys. I think it’s easier for men to find the right organ shoes. But the most important thing is that your organ shoes must be clean, that you would not bring dirt on the organ. Vidas: For some beginner students, we don’t want to invest, for example, a lot of money for shoes, if they don’t know if they will be playing for a long time, and they just want to try it out. It’s better to just wipe your feet on the carpet (if you have a similar type of shoes). But you want them to be clean: so before playing, have a special carpet next to the organ bench, and clean or wipe your soles, and then you should be ok. For the short term, of course. Ausra: Yes, for the short term, definitely. Vidas: What about the second part of the comment, about washing your hands? Have you seen? Remember when we went to some country organs, and we saw some grease on the keyboard, and that means that people really don’t wash…? Ausra: I know… Vidas: They maybe eat bacon and then sit down and play. Ausra: Ooh. That’s disgusting. And I think then rats will just eat those keys! Because they feel some grease on them. Ugh! Sounds very bad. So better wash your hands before playing any type of instrument. But actually, on the other hand, sometimes you can get another problem: for example, I have very dry skin on my fingers. So if I wash my hands each time before sitting down to the organ, I simply will not be able to play. Because the blood will just start to flow from my fingers. I will hurt them. So what I actually must do before playing organ is, I must use some hand cream. Vidas: Moisturizer? Ausra: Yes, moisturizer. I wasn’t even even able to give my fingerprints when I needed a new passport. Vidas: Really? Ausra: Yes. Vidas: So you could be a great bank robber. Ausra: Yes. They could not scan my fingerprints; and finally they gave me such a very greasy cream to put on my fingers. And after that I was able, finally, to give my fingerprints. Vidas: I know what you should do. You should break into the Organmaster® shoe company and steal some shoes! Ausra: Oh yes, but then I would have to go to America, and it would be too expensive! That’s just a joke. Vidas: You don’t have to explain to people that’s just a joke--it’s not a joke! It could be a real plan, right? Ausra: Well, you could write a story about that. Vidas: I may, sometime! Ausra: It will become a bestseller. Vidas: At least, in our circle, right? Ausra: Yes. Vidas: I will have at least one reader. Ausra: Sure. Vidas: ...And that’s you. Ausra: Yes. Vidas: Good. So guys, what about playing in your socks? Have you played in your socks? Ausra: Yes, I did that a few times. Vidas: Did you like it? Ausra: Well, it’s okay. It’s better to play in your socks than to play with uncomfortable, unfitting shoes. But definitely if you are playing modern and Romantic music, then you will hurt your ankles so badly, because you will have to turn your feet a lot. Vidas: I think too much, probably. Ausra: Yes, too much, and it will be very uncomfortable. Vidas: True. Ausra: But for example, what I experienced when I played in wintertime in an unheated church--when it’s very cold, then it’s better to play in your socks. That way your toes will not freeze so much. Vidas: Exactly. And your socks could be thick, right? Ausra: Yes, like wool. Vidas: And you could add a special leather sole to it, right? Ausra: Not necessarily. It could be just regular old socks. Vidas: Uh-huh. Alright, so people can try out what they like, especially in winter. But most importantly, rule number one is: have your shoes or socks or whatever you wear cleaned. Ausra: Definitely. Vidas: Because dust and dirt will definitely damage the action of the organ. Thanks, guys, for listening! And 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 89 of #AskVidasAndAusra podcast. Today’s question was sent by Anne, and she writes:
“Hi, I really enjoy watching your videos and have found them very instructive. I am an organist/pianist/violinist. However, I've recently been diagnosed with an ulnar compression which is affecting the sensation and dexterity of my ring finger and little finger on my left hand. It is also causing me issues in using the pedals because I am finding that, when playing the organ, I cannot move or sit in an optimum position. I have been told by my physio that this is from wear and tear from playing and practicing, and I was wondering if you know of other musicians who have had a similar problem? Although I am doing exercises to try and relieve the compressed nerve I have been told that to resolve it I will probably require surgery. The only other choice would be to stop playing, which obviously I cannot do. Do you have any suggestions? I'd be very grateful to hear your thoughts. Thank you, best regards, Anne.” So: nerves, sensation in her ring finger and little finger in her left hand, affecting her dexterity of the fingers. This might be a serious problem, right? Ausra: Yes. Vidas: Have you ever had problems with fingers and wrists, and things like that? Maybe ankles? Ausra: Yes, with wrist I have had problems, way back in the Academy of Music when I was playing very much, and doing hard music such as Reger. Vidas: And...did you go to a doctor? Ausra: Yes. Vidas: And what did he recommend? Ausra: Well, there were discussions between doctors: one advised me to do surgery, and one did not. So I did not do that surgery--wrist surgery. And I’m still playing! I’m still feeling all my fingers. Vidas: Uh-huh. So basically you had to somehow adjust your practice procedures. Ausra: Well, yes; and I realized that for me, swimming is very beneficial to relax all my muscles. Vidas: Do you think that Anne could also try swimming? Ausra: Could be; or some other physical therapy exercises. But everything is individual for each person. Vidas: She has to try out a lot of things and then discover what works for her, basically. Ausra: Yes. But if that’s a problem of nerves, she might have to have real surgery. Vidas: Depending on how far advanced this ailment is. Ausra: Yes. Vidas: I see. In high school, I also had problems with my little finger--I think with the right hand--because of playing Scriabin etudes, I think. So at this time, my teacher gave me to play left hand etudes, and I didn’t practice with my right hand for three months, maybe. And after that, of course, the pain stopped. But I had to be much more careful with my playing. Ausra: And I often tell my students at Čiurlionis Art School, that the most important class for them is actually physical exercise class. And they laugh at me! They just think, “Oh, she’s crazy haha, she tells us in a school of music that the most important class is physical exercise.” But I seriously mean it. Because if you don’t exercise enough, you will not strengthen your muscles, and just practice for long hours. And Anne told us that she plays three different instruments. Vidas: Yeah. Ausra: Including violin. It means that your body has to adjust to all these instruments. And if you don’t exercise enough, in time you might encounter various health problems. Vidas: You’re absolutely right, Ausra. Ausra: Because even while living healthy and exercising enough, it’s hard to prevent your body from damages. That’s what happens when you practice for long hours. Vidas: When was the time when you first understood that physical training is important for musicians? Ausra: Actually, it was in America. Vidas: Me too. I had all kinds of exercise equipment in my home, but I never really took advantage of those. And I never really developed a habit of exercising. Maybe I could do some sporadic exercises; but it didn’t count, basically. But what you’re saying is I think very common for musicians-- Ausra: Yes. Vidas: Because all they want to do all day long, really, is play! Ausra: Yes, yes. And I mentioned swimming, earlier; I think it’s very beneficial for a musician to swim; because, well, you cannot hurt yourself while swimming. It really makes your body relax and release all the tension, and you will not hurt your fingers while swimming. Vidas: Even people with older age, with joint problems, knee problems… Ausra: Yes, and maybe not to swim, but do some exercises in the water. That’s very beneficial, too. Of course, you have to consult a professional, in order to learn those exercises. Vidas: And as I was saying, even people with joint problems or knee problems, they cannot really take a walk or run, or do other kinds of exercises that other people can, but they normally can swim. Ausra: Yes, and our host family--the mom of our host family--she had knee issues, way back in Michigan (we were living with an elderly couple for 2 years). And she had both her knees replaced. And actually, at quite an early age; she was still young when she had that surgery. And after that, she never felt good in her life. And she could hardly walk. She would be walking, but it would give her a lot of pain; so she could not take long walks, or run, or do other exercises. But she could swim; and that’s what she did every day. Vidas: True. I hope that people in our Secrets of Organ Playing community--they are from all backgrounds, not only professional musicians; and a lot of them are from different professions-- Ausra: Yes. Vidas: And hopefully they do understand the importance of moving. Ausra: Yes. Vidas: And stretching, and things like that. Ausra: And as for a physician, it would be definitely good to find a physician who specializes in people with special needs--people like musicians. Because when I consulted doctors, way back when I was young, they could not help me much, because they just kept complaining that, “Oh, you musicians, you have everything developed so strangely in your arms…” Vidas: Mhm. Ausra: So...they are like a different world. But if you live in a larger country, you have more physicians, and more choices. So try to search for a good one, for somebody who specializes… Vidas: To sum up, of course, our recommendation: not only do you have to consult a physician, and of course do some exercises that they recommend, but you have to practice in a different way now. So look at your feeling… Ausra: Listen to your body, basically. Vidas: Yeah. Do you really feel pain all the time, or just when practicing for a longer period of time? If that’s the case, then maybe you could stop practicing before the pain arrives. Ausra: Yes. Because what Anne wrote about...I think it might be because of the violin. Vidas: Left hand, you’re right. Ausra: Yes, I get that feeling, that it’s because of playing violin. Vidas: You might be onto something here. So maybe violin is not very healthy for her in the way that she’s currently practicing. Maybe she can practice for shorter amounts of time and take longer breaks, relaxing her arm. Ausra: I remember I once had a student who was a violinist, and she had to graduate in a couple years. And she started to have hand problems; and she went to doctors, and she was diagnosed with--overuse syndrome, sort of she already overused her arms. Vidas: So that’s what Anne is talking about--wear and tear. Ausra: And actually, she had to switch her major, and I think she graduated as a composer from our school. Vidas: I see. Ausra: And I think she didn’t go to the Academy of Music later on. Vidas: She didn’t pursue a professional musician career? Ausra: Yes. Yes yes yes, because of that. Vidas: I see. Well, as Ausra says, listen to your body and consult your physician. That’s the best we can advise, right? Excellent. Please, guys, send more of your questions; we love helping you grow in any way we can. We don’t always know all the answers; but we maybe help you understand some of the problems, and maybe direct you to real professional help. Excellent. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 88 of #AskVidasAndAusra podcast. Today’s question was sent by Daniel. He writes:
“Hi Vidas. In my church in Watertown, SD, I have 2 organists, whom I don't think ever got trained to be church organists. I can tell that very easily, because their way of playing hymns sound tired and funeral-like. They have been with my church for a long time, longer than me. I got really tired of listening to them playing hymns. So, what I do is sometimes I go to another church as a guest musician to play music there. And sometimes when that church has no need for me, I attend the contemporary service. In order to understand what I am saying, you and Ausra may need to sometime come to my church and listen to those organists. They also don't play background music during prayer time, which as a result the prayer time sounds empty and meaningless. There were several people, including me, who complained about one of the organists. Have you and Ausra encountered such organists in your area?” What do you think, Ausra? Ausra: Oh, yes. Vidas: What’s the situation with church organists in Lithuania, in general? Ausra: Well, now it’s maybe changing a little bit, but in most churches--in most, almost all churches--we don’t have professional church organists playing for church services. So you can find all kinds of variety in the church. Vidas: Because, of course, the Lithuanian Academy of Music now has graduates--I don’t know how many, 40, 50, maybe 80 graduates, over decades, right? And a lot of them stay in Vilnius and work in churches here in this area. Ausra: But actually, only a few work in churches, out of them. Vidas: So in general, in the capital, the situation is much better than in the provinces, right? Ausra: Yes. But in the provinces, in smaller towns we encountered, there are sometimes music teachers from high schools--that play organ in church services; so you can find all kinds of funny things--I hear all kinds of funny things. Vidas: And we have to be fair: there is a number of people who are good organists, even when they are amateurs. Ausra: Sure. Vidas: Never trained professionally--they try to improve over time. There is a number of those. But they’re not in the majority, I would say. Ausra: Yes. Vidas: What’s the funniest thing you heard them play? Ausra: Well there was this nun in Tytuvenai and it was Easter time, and Catholics have these long answers of Alleluia around Easter time. Vidas: At the end of the mass. Ausra: At the end of the mass, yes. And it was so funny, when she tried with one finger to play that answer on the organ and to sing it...and it was out of tune, with wrong notes, and big pauses in the middle of it...it was just so funny! Vidas: So, in Latin it would be “Deo gratias, alleluia.” And the pries sings “Ite missa est,” I think-- Ausra: Yes. Vidas: The priest adds “Alleluia” in singing, in chanting; and the organist, or the choir, has to respond with Deo gratias. Ausra: To respond, yes. Vidas: Usually in Lithuanian, of course: “Go, the mass is ended,” basically, it translates, “alleluia.” And they respond, “Thanks be to the Lord, alleluia.” Ausra: Yes. Vidas: And she was completely lost. Ausra: I know, and it was so hilariously funny--I think it’s not nice to laugh out loud in church, but that’s what I did in my mind! Vidas: Another joke we always like to tell is that--I think somebody told us that it’s apparently a real thing--that some village organists play white keys on weekdays, and black keys on Sundays and festivities. Ausra: Hahaha! Vidas: Can you imagine what this sounds like? Ausra: Yes. Vidas: It’s a real thing sometimes. So basically what they think is, “Oh, black keys are more advanced, so basically I reserve them for festivities and Sundays; and regular weekdays I will play just white notes!” Ausra: And I think that’s quite normal, because if you cannot make a living from playing organ in your town, and you have to do other jobs as well (and maybe a few more jobs in order to keep yourself and your family afloat), you cannot spend much time practicing organ and improving yourself; so that’s just too bad, that’s all you have. But definitely, there are awkward choices of repertoire, while listening to the organ in church; poor technique; very slow tempos; and there was in the question a remark about silence during prayer time-- Vidas: Yeah. Ausra: No background music. So, in our situation in Lithuania, very often the priest requires having complete silence for prayer time, and does not allow any music to sound in that moment. So...I don’t know if that’s the situation in that case, but that’s what we have in Lithuania. Vidas: Yeah, sometimes Catholics like to contemplate and meditate in complete silence. But...remember you played in Holy Cross church once, where your priest was willing to hear some meditative chants, maybe hymns, towards the end of prayer time Ausra: Yes, I remember that. Vidas: Did you sing something or play solo music? Ausra: I think I sang something. Vidas: Uh-huh. Adoration. Ausra: Yes. Vidas: Mhm. Okay, so guys, I think the situation is always different in different parts of the world. And I would say that if we went, as Daniel says, to his church in South Dakota, that would be really interesting to hear. By the way, we would definitely go to Vermilion, right? Ausra: Yes, that’s an excellent museum. So if you are close to that area, definitely go to visit it. Vidas: If you are basically in any kind of part of the Midwest, and you have some time--several hours drive--or go to South Dakota, Vermilion is a small town in the middle of the winter time. It was very snowy and cold. But they have...What do they have? Tell us! Ausra: Well, that music instrument museum, it’s just outstanding. It’s one of the best in the world. You can see a variety of harpsichords, organs, string instruments--they have a hold there where you can see 5 Stradivarius! Vidas: Violins? Ausra Yes, violins. And guitars. Vidas: And organs, and clavichords, and harpsichords Ausra: Yes, it’s just amazing. Vidas: From all ages. Ausra: Wind instruments, as well. So it’s just an amazing collection of musical instruments. And actually, I think we went on Friday, if I remember correctly, and they have lunch recitals on Friday--“Brown Bag Lunch Recitals,” so you can just pick up and take your lunch in a brown bag, and eat it during the recital. It’s very fun. Vidas: Did we eat something during the music or later? Ausra: I don’t remember now, maybe we ate something. Vidas: Excellent. That was a great time. Our professors from UNL from the University of Nebraska, Lincoln, George Ritchie and Quentin Faulkner, drove us--took us with the van, I think--from the university, took the entire organ studio-- Ausra: I think we had two cars. Vidas: Two cars; basically a field trip to the music instrument museum. And the importance of this museum can be described in just one sentence: Imagine that the Smithsonian Museum wanted to buy the entire collection and transfer it to Washington! But Vermilion didn’t let it, right? The local people wanted to have it right there, and said, “If you want to visit those instruments, you have to come to Vermilion.” Ausra: That’s a nice thing. I don’t think everything must be concentrated, in capitals or in the largest cities. Vidas: So I hope Daniel has visited this entire fantastic museum many times, and has sat in the Brown Bag Lunch Recitals; and if not, maybe he can do that in the future. And hopefully the organists are better than in his church, and can play not only white keys but also black keys--on weekdays as well! Ausra: Yes. Vidas: Wonderful, guys. Please send us more of your questions; we love helping you grow. And this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 87 of #AskVidasAndAusra podcast. And today’s question was sent by Robert. He writes:
“Hi Vidas, when I purchased your score of music (Bach’s Pastorella) I was out of town and will be till Sunday. I can download it at a later date can't I? I can still get access? Didn't know I had to go away, should have waited I guess”. So, this is an easy question, right Ausra? Ausra: Yes, and I think you could answer it very well, because you are so technologically advanced compared to me! Vidas: Yes, I’m like robot! I’m an android. I have augmented chips implanted into my brain (talking with my robot voice)... Ausra: That’s just a joke. Vidas: No it’s not. Ausra: Don’t scare people! Vidas: Hahaha! Good, excellent, so here’s what happens when you order something from us--a piece or score with fingering and pedaling, or a training program which goes for a longer time (for example, several months): You’ll get, of course, a notification in your email, right, from our online store, with the download link. If the score is a PDF score, we can attach it to the email so you will get this score right away. You just click and download. If it’s a longer course which you need to get emails every week--let’s say, for three months, or two months, or whatever--then you will get not a link to the download of the scores, but to the registration page of the scores. Basically, I’m attaching a sheet of paper, a PDF file, where you will find a link to click and enter your name and email address to register, to get those training materials week by week, on a weekly basis. And here’s the thing: these things are available to you all the time. It doesn’t matter if you ordered it last week, and went out of town right away, and couldn’t download right away--just like Robert, he was away and purchased Bach’s Pastorella. But he can click on that initial email that he got after payment confirmation--click on that download link, and download that Pastorella. So, all those scores and trainings are available for you as long as we are in business, right? And all those video courses, which are also training materials--they will be available to you as long as we are actively involved with training organists. And we intend to, don’t we? Ausra: I hope so! Vidas: Because your support means that we can keep going, okay? This is very very beneficial to all of us, right? You give us support, and we support you with our training, and it’s a win-win situation--we love helping you grow. And we help a lot of people around the world from different countries. Last time I looked, it was 89 countries. Ausra: Wow, that’s so interesting! Vidas: We even have student subscribers from Madagascar, I think! Ausra: Yes. Vidas: Two of them. Of course, subscribers and paying customers are not the same, right? Many more people read our trainings and listen to the podcast than purchase training materials. What I mean is, really, the reach of our advice is probably across the globe. If you want to see the map of our Secrets of Organ Playing community, just click here. Ausra: Yes, I think so. Vidas: And it’s very nice to hear when people write from Canada, from Australia, from Nigeria, from Japan, from Argentina, from Spain--from all over the world. I won’t even begin to describe the corners of the earth! Wonderful. So guys, please keep us busy with your questions you send us, when you subscribe to our blog at www.organduo.lt: just simply reply to our messages, and we will be delighted to help you out. Okay! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 86 of #AskVidasAndAusra podcast. Today’s question was sent by Neil and he writes:
“The only thing I struggle with now is my age. I am not able to play fast complex pieces any longer. My coordination is beginning to fail, so I just stick to easy, slower, less complex pieces. Mostly hymns and ballads. However, I really do enjoy listening or reading what you bring up on organ playing. I do learn things, and I also am reminded of things I already knew, but just forgot over time... Please keep doing what you are doing, it is appreciated. Neil” So, age, right Ausra--do you think people can still improve with old age? Or can they just repeat things over and over that they already knew, and basically enjoy older pieces that they learned at a younger age? Ausra: I think it’s possible to learn something new in old age, but it might take more time and more effort. Vidas: With old age, you have to realize that you don’t have to rush anywhere, right? Ausra: Yes. Vidas: You don’t have to compete with someone, you don’t have to compare yourself with the masters anymore. You yourself are in a position where you can enjoy what you are doing. Just like Neil is writing, probably. But perhaps even at this age--I don’t know what he means with “old age.” Some people write that they’re old when they’re 65, and some people write that they’re old when they are 85, right? It’s a big difference. Ausra: Yes. Vidas: And we do have people playing the organ at the age of 86, late 80s. I think one was even early 90s--91, I think. Ausra: Yes. Vidas: So people are still trying to improve at this age. Do you think it’s healthy for your brain to keep busy with reading music and coordination? Ausra: Definitely. And if I were a neurologist, I would do some extensive research on playing organ and about how your brain works during that process, because I think it’s very beneficial. And I strongly believe that it might slow down such illnesses--or prevent such illnesses--as Alzheimer’s or Parkinson’s, and so on and so forth. Vidas: Even at my age--I’m forty, what, forty-two now… Ausra: Forty-one. Hahaha… Vidas: Forty-one. Good. I forget my age! Ausra: Well, you definitely have to practice more! Vidas: Or maybe happy people don’t think about their age. So, but, you see what I mean. Even when I improvise--there was a period of time when I played those long improvisation recitals--storytelling events exclusively. And during that time, I didn’t play from the notes very much. I was very happy to improve my fancy and create in the moment. You know what I noticed? I noticed that my concentration did not improve, but deteriorated during that time; and it was more difficult for me to focus and to read, in general, long-form texts or books; because reading music is also related to those things, don’t you think? Ausra: Yes, definitely. Vidas: So, I started sight-reading more. And I do this now much more regularly, and I think it’s healthy. Do you think for people of older age like Neil, it’s good to sight-read also? Ausra: I think so, yes. That would help, too. Vidas: Keep your brain busy with unfamiliar musical ideas. Ausra: Yes. I think in general, reading new music and playing old pieces--it all keeps you in good shape: your muscles, your coordination, and your brain. Vidas: Yes. When you play old music, your muscles and coordination work, yes? But when you read new music, also your brain develops a little bit more, I think. You constantly get to think, mentally, about what you are doing--not from muscle memory positions, but mentally. Ausra: And when you are old, I think the most important thing is maybe not to develop something, but to prevent from damaging your body and your brain. To keep it in a current shape, I think, is the main goal. Vidas: Exactly. Do you think Neil can also exercise physically, or do some stretching, like sometimes people do easy moving--sometimes we do Pilates--or something else besides organ practice? Ausra: Well, I remember seeing sometimes a very elderly lady in our gym, and I think what she did is she went to yoga. Vidas: Yoga? Ausra: Yes and then to swim in the pool. And she seems very healthy at a very old age. Vidas: So it’s never too late to improve, basically. Ausra: Sure. Vidas: As long as you’re moving, you’re alive. Ausra: Definitely. Vidas: So keep moving, guys--keep your hands moving, keep your feet moving, and keep your brain moving! Ausra: That’s right. Vidas: Excellent. And please send us more of your questions; we definitely love helping you grow--it’s really fun! And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 85 of #AskVidasAndAusra podcast. And today’s question was sent by Bruce. He writes:
“Greetings Vidas, Thank you for your mailing list and your fine resources for organists. I am a big fan of J.S. Bach, a fairly proficient pianist, pretty knowledgeable about theory and acoustics, conduct a community chorus and orchestra (focusing on Bach cantatas), and am a big fan of the organ. I have recently been given access to a fine organ, and would like to give it a try. I know that finding a good teacher is important, but before I do that I would like to look at a few Bach pieces to get me started. I know Klavier-Ubung 3 - is there something in there to try, or is there something more appropriate and possibly less intimidating for a beginning organist? I would like recommendations for some pieces with interesting pedal parts, that are accessible (either with cantus firmus in the pedal, or with something like what I naively believe pedal parts are like). What would you start with if you were me? I've been starting with Bach chorales, but I would like something more like a chorale prelude or fugue, if possible. Cheers, Bruce.” Interesting question, right, Ausra? Ausra: Yes, very interesting. Vidas: Not too many people would like to start playing the organ with Clavierübung Part III. Ausra: Yes, that’s definitely not a good cycle for a beginner. Even though the short chorales have no pedal, some of them are very hard to manage; not talking even about the long chorales, and Prelude and Fugue in E♭ Major, which might be really challenging for even advanced organists. So I would suggest for Bruce to start with some other cycle, or some other pieces. Vidas: Orgelbüchlein probably would be appropriate for him. Ausra: Yes. Vidas: Because he has, probably, fairly well developed finger technique already. Ausra: Yes. Vidas: What’s the easiest chorale prelude, from your experience, in Orgelbüchlein? Ausra: I don’t remember now which is the easiest--which was the easiest for me--but definitely the nicest for me was “Wenn wir in höchsten Nöten sein”. Vidas: Slow notes... Ausra: Yes, very beautiful melody. Vidas: Maybe ornamented chorale is not that easy to manage to play, for the beginner. Ausra: But because of the slow tempo, I would say it probably wouldn’t be so hard to manage the pedal part. Vidas: And “Ich ruf’ zu dir” of course--it only has 3 parts, and it might be a possibility to start with this too. Ausra: Yes, it’s an F minor piece. I’ve done analysis of it. Vidas: That’s right. And in general, you can basically take any chorale prelude from this collection you want, and it will not be that far away from your current abilities, right? If you are at the level that Bruce is. Ausra: Yes. And for starters, I think that invention, like the one in C Major, BWV 772 would work well for the organ. Of course, you don’t have the pedal part; but if you have well-developed manual technique, I think inventions could be a good way to just get familiar with the organ and how it works. Vidas: He says he’s practicing Bach chorales--4-part chorales, probably harmonizations. Ausra: Yes, that’s what I understood. Vidas: That’s not a bad thing, either. Ausra: That’s a good way, yes. Vidas: This is more complex than playing hymns in four parts. Ausra: Yeah... Vidas: Because the inner parts are more moving-- Ausra: Yes. Vidas: And the pedal part is more advanced; and therefore, basically, the voices are more independent. Ausra: Yes. But as he mentioned, some of the chorale preludes, Orgelbüchlein; and later maybe like Great Eighteen, also called Leipzig Chorales. Vidas: Or maybe, let’s try to recommend him Schubler chorales, too. Ausra: Yes, but some of them have like, trio texture that might be challenging. Or I don’t know, maybe not. Vidas: He will find out for himself, I think... Ausra: Yes. Vidas: Sooner or later. If he starts, let’s say, with “Wachet auf,” and discovers that it’s too difficult to add the tenor voice in the LH, then he can go back to the easier pieces. Ausra: Sure. “Wachet auf” is not that bad, except for the cadences; the cadences are quite tricky. Vidas: Yeah, somewhere in the middle. Ausra: But the beginning of “Wachet auf” is very good for a beginner to learn the pedal part. Vidas: Yeah... Ausra: Because there are only two voices, pedal and RH. Vidas: The entire page is without the tenor line, and the tenor line doesn’t come in until after the initial Ritornello--after 12 measures or so. Wonderful. So, that’s a good start for him to undertake. And Ausra, in your opinion, how many pieces should he play from the easier collection, like Orgelbüchlein--to then be ready for the next stage: more advanced chorale preludes? Ausra: Like, you mean, the third part of the Clavierübung? Vidas: Yes, yes. Ausra: Well, I would say to play the Clavierübung Part III, it would take, I would say, 4 years of very extensive practice, at least. Vidas: So in this time, he will probably master the entire Orgelbuchlein… Ausra: Yes. Vidas: Or all the Schubler chorales, even Great Eighteen chorales-- Ausra: Yes. Vidas: Some of them are much easier than Clavierübung Part III. Ausra: Because when I think about some chorales from that collection, Part III--you know, like “Vater unser,” the long one, or “Jesus Christus, unser Heiland”--you know, it just makes me shiver. They are very complex, very difficult. Vidas: Or the one with six-parts, double-pedals... Ausra: Yes, “Aus tiefer Not.” Vidas: Also very difficult and dense texture. Right. Good, guys, I think you have good tips now to get you started; and if you have more questions, please send them to us. We love helping you grow as an organist. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #115!
Today's guest is a young a talented American organist Katelyn Emerson. She performs throughout North America and Europe, showcasing repertoire from the 14th-21st centuries with “impressive technical facility and musicianship” in performances that are “thrilling from beginning to end” (Cleveland Classical). Upcoming and past recital venues include such illustrious locations as Walt Disney Hall (Los Angeles, California), Hallgrímskirkja (Reykjavík, Iceland), Cathédrale Saint-Omer (France), Kurhaus Wiesbaden (Germany), the Riverside Church (New York, New York), the American Cathedral (Paris, France), Musashino Civic Cultural Hall (Japan), Krasnoyarsk Philharmonic Hall (Russia), Cathédrale St-Quentin (Hasselt, Belgium), the Hauptkirche St. Petri (Hamburg, Germany), Merrill Auditorium (Portland, Maine), Bradford Cathedral (England), the Cathédrale Poitiers (France), Severance Hall (Cleveland, Ohio), among others. As first prizewinner of the American Guild of Organists’ (AGO) 2016 National Young Artists' Competition in Organ Performance (Houston, Texas), the Guild's premier performance competition, Katelyn will be honored with a recital at the 2018 National Convention of the AGO in Kansas City (Missouri). She received the Second Jean Boyer Award in the 2014 Fifth International Organ Competition Pierre de Manchicourt (Béthune and Saint-Omer, France), the second prize of the 2015 Arthur Poister Scholarship Competition (Syracuse, New York), and the third prize of the VIII Musashino International Organ Competition (Tokyo, Japan). Katelyn was awarded the title of “Laureate” and Third Place, among other prizes, in the VIII Mikael Tariverdiev International Organ Competition (Kaliningrad, Russia). Winner of the 2011 Region V AGO/Quimby Regional Competition for Young Organists (Lexington, Kentucky), she has also received a number of scholarships for her musical and academic work, including the 2013 M. Louise Miller Scholarship and the 2015 McClelland Community Music Foundation Scholarship. Katelyn Emerson released her first recording, Evocations, on the Pro Organo label in May 2017. Her interviews and performances can be heard on radio programs on such programs as Radio Russia, NPR’s Pipedreams and Radio Présence Toulouse, France. As recipient of the prestigious J. William Fulbright Study/Research Grant, Katelyn studied at the Conservatoire à Rayonnement Régional in Toulouse, France for the 2015-2016 academic year with Michel Bouvard, Jan Willem Jansen and Yasuko Uyama-Bouvard. In May 2015, she graduated from Oberlin College and Conservatory (Oberlin, OH) with double bachelor's degrees in organ performance and French as well as with minors in music history and historical performance (fortepiano). During her time at Oberlin, she taught music theory at the Oberlin Community Music School, received the Selby Harlan Houston prize for distinguished work in organ and music theory, and was inducted into Pi Kappa Lambda, the national music honors society. Katelyn began her organ studies in 2005 through a scholarship of the Young Organist Collaborative (Portsmouth, New Hampshire). She has studied with James David Christie, Olivier Latry, Hans-Ola Ericsson, Ludger Lohmann, Marie-Louise Langlais, Ray Cornils, and Dr. Abbey Hallberg-Siegfried. She has also studied organ improvisation with Jeffrey Brillhart, Marie-Louise Langlais, and Bálint Karosi, piano with Arlene Kies, fortepiano with David Breitman, both harpsichord and continuo with Webb Wiggins, flute with Trisha Craig, and voice with Ellen Hargis. In addition to her travels, performances, and teaching, Katelyn is Associate Organist & Choirmaster at the Church of the Advent (Boston, Massachusetts), where she works with the historic Aeolian-Skinner organ, the professional Choir of the Church of the Advent, and the volunteer Parish Choir. From 2010-2015, Ms. Emerson was music director of St. Paul Lutheran Church (Amherst, Ohio). In January 2012, Katelyn served as the Oberlin Sacred Music Intern under music director Keith Tóth at the Brick Presbyterian Church (New York, New York), where she also substituted for Mr. Tóth for the months of July 2012-2015. Katelyn has been on the faculty of the McGill Student Organ Academy (Montréal, Canada), numerous AGO-sponsored Pipe Organ Encounters, and the Oberlin Summer Organ Academy (Ohio). She regularly presents masterclasses on organ interpretation and church music for AGO-sponsored events and was invited to present workshops on recently published organ music for church services in the 2013 Regional Convention of the AGO (Hartford, Connecticut) Regions I & II, and the 2015 Northeastern Regional Convention of the AGO (New Haven, Cnonecticut) and serves on both the Executive Committee of the Boston Chapter of the AGO and as an officer of the Northeast Division of the AGO Young Organists. Katelyn Emerson's North American appearances are managed by Karen McFarlane Artists, Inc., www.concertorganists.com. In this conversation, Katelyn shares her insights about dealing with wrist pain, panic attacks and unpredictability of rehearsals before public performances. Enjoy and share your comments below. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. And if you like it, please head over to iTunes and leave a rating and review. This helps to get this podcast in front of more organists who would find it helpful. Thanks for caring. Listen to the conversation Related Link: https://www.katelynemerson.com
Vidas: Let’s start Episode 84 of #AskVidasAndAusra podcast. Today’s question was sent by Dan, and he writes:
“Vidas, I have been purchasing materials from you. I have about 3-4 years experience on the organ. I am using your resource for 8 Preludes & Fugues. I am only starting the 8 P&F series and have not mastered them. I also purchased BWV 565. I am trying to learn 8 P&F and BWV 565 all at the same, time taking bite sizes out of each one. Is BWV 565 too advanced for my level and should wait on this until after 8 P&F? Thanks Vidas”. Good question, right? About the ordering of your study when you master pieces by Bach, especially not based on chorale melodies. Free pieces like preludes and fugues, toccatas, fantasias, passacaglias, chaconnes, and things like that. So Ausra, the end of the collection is the eighth prelude and fugue--which is in Bb Major, right?-- Ausra: Yes. Vidas: Imagine that Dan has already mastered 8--will he have sufficient experience to tackle the long Toccata and Fugue in d minor? Ausra: I don’t think so. I think he has to learn something else first, before moving to d minor Toccata. Vidas: Because the Fugue is especially complex and virtuosic. Ausra: Yes. Vidas: Toccata might work… Ausra: Yes, Toccata might work but not Fugue. Vidas: Toccata is just three pages. But then, students should learn maybe more shorter fugues. Ausra: That’s true. Vidas: Like BWV 578, which is g minor Fugue; or preludes and fugues which are shorter. In e minor, BWV 533… Ausra: That’s a good choice, yes, Vidas: Or Prelude and Fugue in G Minor, BWV 535. I don’t know if we have fingering and pedaling created for this piece yet. Ausra: I don’t think so. Vidas: Probably not yet. But in general, in shorter preludes and fugues--you see, you have to understand that the Eight Little Preludes and Fugues, each probably lasts not more than...let’s say, three minutes? Ausra: Something like that. Vidas: And Toccata and Fugue in d minor lasts, what, ten minutes? Ausra: I think a little bit more--maybe twelve. Vidas: Maybe. Depending on who’s playing, and where you are playing it. Ausra: Yes, that’s true. Vidas: So, you have to have something in between, then: maybe a 5-minute piece, maybe 7-minute piece, a little bit longer. Even Pièce d’Orgue by Bach, BWV 572, is easier than Toccata and Fugue in d minor, probably. Ausra: Yes. Vidas: Because it doesn’t have that many virtuoso pedal passages. Ausra: That’s true. Vidas: Even though the middle section has 5 voices. Ausra: Yes. Vidas: So guys, please learn more shorter pieces by Bach. Ausra, would you think that chorale preludes also facilitate the learning process, too? Ausra: Of course. For example, if you would play Orgelbüchlein, you would learn all kinds of Baroque passages and figures. It would be a great help for you, when later on playing flashy pieces. Vidas: You have to remember that Bach created this entire collection--which, by the way, is not finished: he planned to finish 143 chorales, I think, but finished only 45 or 46--basically with the intent of covering an entire range of techniques, right? Ausra: Yes. Vidas: And you can discover the same techniques in free pieces, in preludes and fugues, as well. Ausra: That’s true. Vidas: So if you like Bach’s music, don’t neglect the shorter chorale preludes from the Orgelbüchlein collection as well. And there are longer of them, right? Like Schubler chorales. Ausra: Yes. Vidas: And Leipzig chorales, also. They all work to the perfection of your organ technique, probably. It’s a mix; you have to understand that your organ repertoire has to be quite varied, right? Ausra: That’s true. Vidas: Do you think, Ausra, that people should also practice Romantic music, with legato technique? Ausra: Yes, of course! Vidas: Why? Ausra: Well, you don’t want to play only one composer. Unless you are obsessed with it, I don’t know. But in general, you want to present various musical styles, from different times. Vidas: And of course, you go to different instruments... Ausra: Definitely. Vidas: And one instrument would be more suited for Baroque music; and another more for symphonic music, and for Romantic music, maybe; and the third instrument might be quite eclectic, and suitable for any kind of music rather well. Right? So...it’s like food, probably. We don’t eat just one sort of meal every day for months. That would not be healthy, probably, Ausra? Ausra: Yes. Vidas: We have a variety of meals throughout the day, and we mix them up during the week; and in general, that’s a quite healthy approach, I would say. Ausra: I think so, yeah. Vidas: And then some people have to take vitamins and supplements--in organ terms, it would be what--exercises, probably? Ausra: Yes, that’s true! Vidas: Exercises, and scales, and arpeggios, with your hands and feet. Ausra: And usually when you receive basic training in organ performance, you play various musical pieces. You must do that, you know: your program requires that--that you would play everything from like, late Renaissance to 21st century. But later on, when you graduate, then you will play what you want. And most of us focus more on, let’s say, Baroque music, or Romantic music, or modern music; but still we have to play various musical styles. Vidas: Exactly. For Dan--and others who (probably) are studying for their own enjoyment only, and don’t normally play, for example, in public very often, or in church services--can we suggest, Ausra, arranging a few possibilities to perform those pieces in a public setting, as well? Ausra: Yes, sure. Vidas: Would that be beneficial? Ausra: Yes, that would be very beneficial. Vidas: Like Dan says, he’s starting with 8 Preludes and Fugues; and once he has a couple of them mastered (or even one-), maybe he can go to a church in his town, get to know the organist, introduce himself...and ask to play on that organ. Maybe not in public first; but just play it through, to get familiar. And if the organist would approve of that, maybe in a couple of weeks, he could play that prelude and fugue as a postlude. Or prelude. Ausra: Definitely, yes. Vidas: That would be great public playing experience, which would probably enable Dan to go on to the next level much faster than just playing on his own. Ausra: That’s true. Vidas: Ok guys, please send us more of your questions; we love helping you grow as an organist. And you can do that by replying to any of our messages that you are getting as a subscriber to our blog at www.organduo.lt Wonderful! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 83 of #AskVidasAndAusra podcast. Today’s question was sent by Radavia, and she writes that she is a beginner already, in advanced age--55 years old--in piano, and she loves organ. Radavia writes further:
“I have a virtual organ in my house (Grand Orgue software). My aim is to learn simultaneously the technique of the two instruments. I depend on reading (still easy) scores and I would like to memorize them, but I have some difficulty with this. Do you have memorization tips to achieve this goal? PS. Your site is very cool, but many of the techniques presented are still difficult to understand, for MY level of learning. I hope someday to get there ... with your help, if possible. Thank you very much, from Brazil, Radavia.” Wonderful, people are learning organ playing from different corners of the world, right Ausra? Ausra: That’s true! Vidas: Even though she’s a beginner, and some of our techniques and trainings are more advanced, I think she can really find out more for her level, right? But first let’s talk about what things would help her, when she would like to train herself how to memorize organ music. Ausra: Well, you have to memorize short passages. Vidas: Fragments of pieces? Ausra: Fragments, maybe just one measure at the beginning, and then add the second measure to that first measure; and so on and so forth. It’s a long process. Vidas: Remember, Ausra, when we were just starting playing the organ, nobody really taught us these things, and we didn’t have to memorize organ music... Ausra: Yes. Vidas: It wasn’t required. But piano-- Ausra: Piano, yes. Vidas: It was required. How did you feel about memorization in piano? Ausra: Actually, difficult. Vidas: It was difficult for me too. Ausra: I was always scared that during the actual performance I would have a memory slip. Vidas: I struggled with memorization a lot during these days, because my teacher would normally say, “Ok, next week, learn and memorize...let’s say…hands separately.” Or, “In two weeks, the entire piece both hands together.” That’s it. She didn’t somehow teach me a precise technique how to do this. There are various ways to do this, right? Ausra: That’s true. Vidas: Remember when we got to the states and George Ritchie told you about Walcha’s technique. Ausra: Well, because Walcha was a famous German organist and composer, and he was, unfortunately, blind. So he had to actually play from memory all the time. And learning a new piece, he would be learning it voice by voice. Somebody of his students or colleagues play for him one line of his piece, and he would memorize it. Vidas: A couple of measures, probably, first. Ausra: Yes, and then he would add the second voice, and so voice by voice he would memorize the entire piece, and learn the entire piece; so he would know it so well. And George Ritchie often used this method for learning music, himself. And I think this is a fascinating way. Maybe, of course, it’s time-consuming; now, in our modern times, we might not get so much free time to do this kind of thing. But that’s a good way to learn a piece really well. Vidas: The advantage of this technique is that after decades of not touching this piece, when you come back and play it from memory, you will discover that you almost can do this perfectly, except a few strange spots which you have to just double-check. Like, in one measure, is it a quarter note or an eighth note and eighth note rest in one voice? You don’t remember those exact details, maybe, after years of not playing this piece. Ausra: Yes; because, there are a few types of memory, actually, in each person. There is, this muscle memory, that works--let’s say, you keep repeating the same piece like a hundred times, and then your muscles, your fingers, will just remember. You can play it from memory even not thinking about it; but that’s probably not the best way to learn it. You can really use your brain to do it--understand how the piece is put together, how the structure works, which key you are playing in, what sequence you are playing in… Vidas: You mentioned key sequence--so people should also know music theory, probably? Ausra: I think everything should come in some sort of package. Vidas: That’s why we teach Total Organist concept. Ausra: Yes. And I think, with small kids--when they start learning, it’s harder to do that, because they don’t have the brain of an adult, and it’s harder for them to understand theoretical stuff. But if you are an adult, then things are easier. Vidas: Of course, maybe your hands will not move as fast. Ausra: Yes, that’s true, that’s two sides of the same coin. Young people have one advantage, and adults have another advantage; but I think we have to use that advantage that we have. Advantage of who we are. Vidas: And kids don’t usually have the inner motivation, perhaps? Ausra: Sure. Vidas: They need a push from external sources: teachers, parents, competitions, right? They want to win trophies and prizes, be first-prize winners, and basically be successful artists… I’m not saying that adults don’t want this, but they also have this inner motivation to perfect their art and skill; and sometimes it’s the only thing you need to keep going. Ausra: Yes, and learning music from memory, you just have to be patient, and to memorize it measure by measure. And then to learn some spots which would be easier for you to start over, if something happens during the performance, and you will have some breakdown so that you could pick up at another spot and play fluently, further. Vidas: Well, exactly. There is another technique that sometimes I like to use, which Marcel Dupré recommended in his Preface from 79 Chorales. He writes that it’s best to memorize all parts together at the same time right away, but memorize just one measure at a time, in groups of four-measure episodes. So you take measures 1, 2, 3, 4, separately, and memorize them. Then, you do 2 measures at a time--1-2, 2-3, 3-4; then you memorize 1-2-3, 2-3-4, and then 1-2-3-4 together. That’s your first fragment. When this is done, you can take a break, or come back the next day, maybe repeat the same thing a little bit, and then learn the next fragment of four measures similarly. Ausra: That seems very logical because a four-measure musical excerpt is a sentence, actually. And each sentence consists of four measures; and these four measures consist of two phrases; each phrase has two measures. And then, each phrase consists of two motives, and a motive is usually a measure long. So that’s very logical. Vidas: Exactly. Can we recommend people another course that we have created, remember “Memorize Easier?” Ausra: Yes, I think this course might help. Vidas: We describe various ways of memorizing organ music effortlessly; and we discuss that in greater detail in the videos, which you can then really apply in your practice, if you’re struggling with memorization. So guys, we hope this was useful to you; please send us more of your questions. This was Vidas. Ausra: And Ausra. 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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