Good news first:
We've installed Product Reviews app in our Shopify store. If you have purchased any products from us or practiced some training programs and scores through the Total Organist program, we would greatly appreciate you leaving a rating and an honest review. They would help decide future customers if this training is right for them or not. When you go to this page, either scroll down to the score or training that you have or enter the keyword in the "Search" bar above. Thanks for caring. And now let's jump in and get started with the question. Vidas: Let's start Episode 45 of #AskVidasAndAusra Podcast. And today's question was sent by Pat. He writes, that the thing that is holding him back from achieving his organ playing goal is basically time, finding time without interruptions the lack of which causes him to be discouraged by his inability to regain his skill. And he also writes that our lessons are what is giving him exactly what he needs. "Any extra help for a rusty student would be most appreciated. Thank you." So this means that our suggestion to part are helpful, right? Ausra: I hope so. Vidas: And this is good news to the people who are taking action and applying our tips in their practice and if we only talk about those intricate details and nobody pays attention and do those things in their practice, it's a waste of time. Ausra: Sure. And I think about finding practice time - this is a lifelong struggle for everybody. Vidas: I think what it comes down to is developing a habit, developing a small and good habit one at a time. Over a long period of time, finding time, making time. Do you agree with this, Ausra? Aura: Yes, I couldn't agree more. Vidas: Well, for example, regular practice is just like any other activity that we do every day, hopefully every day. And when you make the time every day, just a little bit, maybe 10 minutes, 15 minutes, 30 minutes or whatever you find in your day, it becomes easier and easier. Ausra: Definitely. And it should be a part of your routine, just like brushing your teeth or taking a shower or eating 3 times a day. So should your organ practice. Sometimes it might be a problem when you don't have an instrument at home. Then if you have to go somewhere to play to perform or practice, it might be an extra trouble. What do you think about it? Vidas: I agree with you, of course and also think it takes about 2 months or maybe a little bit more to develop a habit. I've read it takes 67 days to build any type of habit you want, good or bad habit. Definitely you want to build a good habit. Ausra: Well, definitely to build a bad habit takes a shorter time than a good habit. Vidas: So for Pat and everyone else listening and struggling with finding time it's good news because you only have to persevere for only 2 months or 67 days. And after that it's just downhill. Ausra: And I think that at the beginning you might practice for a shorter period of time, if it's hard for you to find time or you're too lazy to play for a long time. For example, start with 20 minutes or half an hour and later on you will add more time. Vidas: Exactly. It's like with exercising. Like with running, for example. Some people want to run a marathon. But you never start with marathon. You start with maybe 15 minutes or 10 minutes or maybe just walking around your block. And that would be enough for starters, don't you think? Ausra: And you also should find out what type of person you are, morning person or a night person. The best thing would be to practice when you are the most productive. Because some people are like owls - they can stay up very late at night and work and do things and some are only working in the mornings. Vidas: For example, I feel very much refreshed in the morning. I can practice starting from 8 AM and I can do a quality work until around maybe noon. With frequent breaks, of course. But these 4 hours every day is like my golden time. What about you, Ausra? Ausra: I would say, it's probably the same with me. But I can’t work very hard in the morning because it's difficult for me to get up very early. For example, 6 AM is a nightmare for me to get up but that's what I have to do. 7:30 AM is the best time for me to get up. Vidas: It's always light at 7:30 AM. Winter or summer and you feel refreshed. Ausra: But of course, if you have to work late hours, I realize that physical exercises help me a lot. Going to a gym or a swimming pool gives me extra energy and prolongs my day. Vidas: That's I think very good idea to advice for people to do some form of exercise every day in addition to your hobby or professional activity, like organ playing. Do some kind of physical activity that gets you sweaty, elevates your heart-beat. It doesn't have to last very long, does it, Ausra? Ausra: Sure, especially at the beginning. Vidas: Maybe 15 minutes or even if you like doing push-ups, do a set of push-ups to gets you exhausted and you’ll feel much better after that. But of course you have to warm up and cool down and do some stretching to not hurt yourself. Ausra: Sure, we don't want you to hurt yourself. Vidas: Great. Back to this question of finding time for organ playing. Pat is also struggling with time without interruptions. I can guess that family obligations or his job activities also tend to interrupt him. When he gets back from work, maybe he thinks that "Oh, I have lots of things to do." He faced lot of stressful situations over the day and these thoughts interrupt his quality practice. Ausra: Well, then just try to do your organ practice as some sort of meditation which would calm you down and you could relax during your practice. Don't make it another job, make it a pleasure. Vidas: What do you mean when you contrast a job and pleasure? How are they different? Ausra: Oh, they are very different. Vidas: Let's take organ playing, of course. How would you imagine work or job in terms of organ playing? Ausra: Well, when you do routine work. For example, you work in church when you have to play this service stuff, maybe hymns that you don't like all the time. And to play them over and over again. This might be a routine. And when you're learning new music - it's exciting. This could be like a pleasure. Vidas: You have responsibilities. Ausra: Sure. Vidas: And you don't necessarily love those responsibilities. Maybe you know you need to do them to fulfill your duties but they're not your sweet spot. Ausra: Sure. Vidas: And for pleasure, as organist you would love to do other things. Like what? Ausra: Maybe improvise or learn new music that is not so suitable for liturgy. Vidas: Good advice, I think. You have to alternate. If you are serious about your organ playing future and your goals, you definitely need to think about deadlines, maybe set yourself a deadline and learn a piece or two and perform in public. Ausra: Yes. Vidas: But that's a responsibility. And for the pleasure part, it would mean like Ausra says, to improvise a little, play what you definitely love. Maybe your favorite organ piece that helps you relax. Ausra: Yes and I hope these tips will help you to find time to practice and enjoy it. Vidas: And of course, guys, let us know how you apply those tips in practice this week. And send us more questions. And the best way to do this is by subscribing to our blog at www.organduo.lt (if you haven't done so) and simply replying to our messages. Wonderful. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen. PS Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until August 9. If you have already read it, we would appreciate if you left a rating and review.
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Welcome to Secrets of Organ Playing Podcast #106!
Today's guest is an American organist Weston Jennings who is quickly establishing himself as a talented and engaging international performer. We recorded this conversation before his concert at Vilnius University St. John's church which was about a month ago on July 1. On his thoughtful program - works of Felix Mendelssohn, Edwin Lemare, Arvo Pärt, Johannes Brahms, David Conte and, of course, Johann Sebastian Bach. Having first encountered the pipe organ at the Interlochen Summer Arts Camp (Michigan) at the age of sixteen, Weston later graduated from the Interlochen Arts Academy. At the Eastman School of Music, Weston earned his Bachelor of Music Degree and the prestigious Performer’s Certificate. He recently completed two years in England as the Organ Scholar of Canterbury Cathedral and Chelmsford Cathedral. During this time, he was also appointed the first Organ Scholar to the Royal Festival Hall, London. Weston currently studies with Thomas Murray at the Yale School of Music and the Yale Institute of Sacred Music. Former organ teachers include Michel Bouvard, Hans Davidsson, David Higgs and Thomas Bara. Following his recital debut at The Kennedy Center (Washington, DC) in 2009, he has performed across the United States and Europe, including Westminster Abbey (London), Saint Thomas Church Fifth Avenue (New York), The Cathedral of Our Lady of the Angels (Los Angeles), The Cathedral Basilica of the Immaculate Conception (Denver), the Chapel of the Queen’s College (Oxford), Royaumont Abbey (France), and the Berliner Dom (Germany) and St Paul's Cathedral (London). On the Newberry Memorial Organ of Woolsey Hall, Weston has performed with The Philharmonia Orchestra of Yale, The Yale Concert Band, and The Yale Symphony Orchestra. As a part of the London Handel Festival, he collaborated with the Apollo Baroque Consort in a concert of Handel Organ Concertos from Mayfair’s Grosvenor Chapel. Weston is an enthusiastic advocate for new music and has premiered compositions by Molly Joyce, Soosan Lolavar, Mark Carroll, and Allison Willis. His performances and interviews have been broadcast live on BBC Radio 3. Committed to the education of new organists, Weston presently serves as Instructor of Undergraduate and Secondary Organ at Yale College. He has served on the faculty of the Interlochen Summer Arts Camp, the Department of Music at The King’s School, Canterbury, and taught and performed at several Pipe Organ Encounters across America. Forthcoming recital engagements include St. George’s Chapel of Windsor Castle, the Cathedral of the Immaculate Conception (Moscow), Hildesheim Cathedral (Germany), and Kelvingrove Art Gallery (Glasgow). In this conversation Weston shares his insights on finding the right bench height, your favorite repertoire, and letting the instrument tell you what it wants. 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: http://www.westonjennings.com
Vidas: Let's start episode 44 of #AskVidasAndAusra podcast. Today's question was sent by Annunziato.
He writes, "Hello Vidas and Ausra Motuzaite. I hope that this email finds you both well. First of all, I would like to thank you for the mails you are sending me. There is a lot to learn. I wish you every success in all your dealings. The podcasts are very interesting. Thanks for giving us the opportunity to ask you questions. Currently, from the end of last May, I am playing a Sicilian pipe organ, builder Santucci, period 1775. We having one manual, 53 keys, 17 pedal notes, 15 manual stops, three pedal stops and two accessories. At the right column stop list among covers are interesting markings as individual stops. Like in Roman numerals, XXVI and XXIX, XXII and XIX. Can you please tell me what they are? Perhaps they have names like Flauto XXII in soprani and when can I use them? Until I receive your reply, wishing you my very best regards, Annunziato." So wonderful, Ausra, this is Italian organ tradition, to write stops as intervals, basically. Not like German, French or other traditions. Well, maybe English have something like this too, when they write 12th for example or 15th as an organ stop. Ausra: I know since you were in Italy, not so long ago, maybe you could now explain for our friends how to understand it? Vidas: Yeah, it's basically if you take the lowest note, let's say C, right, in the base octave. It is the basis of the principal. They would write "Principale", right, for the principal 8’, but later they would write "Ottava". Ottava means octave, above this principal. So this is like a 4’ stop. Later, instead of adding one of them more, they would write an interval. You have to count interval from the bass note. So what comes next is like 15th and that would be like Roman numeral XV. This means like a 5th, 2 ⅔’. In Italian, Decimaquinta. Then you have another Roman numeral denoting maybe 2’ principal, right? They would not write, "Super-octave", they would write something like XIX. Then maybe a XXII and XXVI. You have to count intervals, basically, back to the bass note. That's how Italians wrote their stops. It's may be confusing, but it's very logical. Ausra: Yes, if you get used to Italian instrument. But if encounter it for the first time, it might be a little tricky. Then just try each stop separately and listen to it. Vidas: Listen to it, which octave are you playing? Ausra: Yes. Vidas: Sometimes you will get an octave sound, but sometimes you get a 5th sound, too. Ausra: Yes, and then you figure it out. You just make yourself like a dictionary in your notebook. Vidas: But if it's an old organ, and it is, right? From 1775. Ausra: It looks like it's very Italian, because it has only three pedal stops. That's so common for Catholic countries, like Italy, or France. Vidas: Yes, it has maybe three pedal stops and maybe the coupler, perhaps I hope, to have a longer sustained pedal point. Or sometimes they don't even have pedal couplers. Ausra: No, you don't use so much pedals in Catholic liturgy. Especially in those times, in those days. Vidas: You only have 17 pedal notes, this means that you have incomplete pedal compass, like 1-1/2 octave perhaps, right? So you don't play a lot of Reger. Ausra: Oh, definitely not. Probably some Frescobaldi, Fiori Musicali. Vidas: Or improvisation, improvisations could sound really well on these type of instruments. He told me he has one manual, right? Some stops might be divided as he writes. "Flauto in Vigessima Seconda" means flute in twenty second, but only in soprano, which means that only the right hand starting from C can play this. So in the tenor range, it doesn't sound. Only in the soprano range with the right hand you can place the flauto. Vigessima Seconda. Now let's calculate 26 from the bass. 26, 24, 26, 7, 8, 8, 16, 8, two octaves, right? It's a 5th. It's a 5th, I think, but not 2 ⅔’ but 1 ⅓’. It looks like this. Very high-pitched flute. Ausra: High-pitched flute, yeah. Vidas: But as a flute, not a principal. So it doesn't fit with any Ripieno sound at least, I think. The Ripieno is another tool entirely in Italian organs. It's a handle. You take out this handle and entire row of principal stops like a plenum sounds are present and could be sounding. It's like a mixture, organ Ripieno. Full principal chorus if you use this piano handle. But remember in Italian, organs they don't have a mixture sound per se, you have to assemble mixtures. Ausra: Yes, you have to pull it out from the organ, yes. Vidas: Pull everything together. Sometimes everything together if you want a big sound, and sometimes just a handful of stops. Ausra: Yes, because sometimes they have full Ripieno, and sometimes you have just smalller Ripieno. Vidas: Yes. Maybe it's for a later conversation because it's a long subject but every mode in this tradition have different type of registrations. Sometimes one principal would be enough for one particular mode, sometimes a flute, sometimes principals 8’ and 4’ for another mode. We will discuss it another time, I think. Wonderful guys, please send us more questions. This was very interesting. We hope this is useful to you and you can do this by subscribing to our blog at www.organduo.lt and reply to any of our messages. And remember, when you practice - Ausra: Miracles happen. PS Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until August 9. If you have already read it, we would appreciate if you left a rating and review. #AskVidasAndAusra 43 - What practice methods do you suggest for simple fugal improvisation?8/4/2017
Vidas: Let's start episode 43 of #AskVidasAndAusra podcast. And this question was sent by Lilla, and she writes, “Dear Vidas, if you could accept my question, here it is. What practice methods do you suggest for simple fugal improvisation? It might be a good idea to practice it in your writing as well. A good source material method would be tremendous help and would be greatly appreciated. Thank you for all your work. Sincerely, Lilla.”
Interesting question right? Ausra: Yes. Vidas: Not many people ask us question about the improvising fugues. Ausra: Sure, because not many organists improvise them. Vidas: Not many people are brave enough even to try. Ausra: Yes, sure. But as Lilla mentions in her question, that's a good way would be to write it down first of all, or basically start to analyzing other composer's fugues, just to know how they are constructed, then try to write some of them down, and then just go to the practical work. Vidas: Yeah, exactly. What Ausra is mentioning is, before you had any treatises, before you had any method books, and exercise books, what did composers do? They studied other works, they studied a compositions of previous masters, who lived before them. And they, of course, analyzed them and copied them note by note, and maybe arranged them for organ, for other instruments. Like, Johann Sebastian Bach arranged for harpsichord, I think Hortus Musicus by Johann Adam Reincken, these were for string quartets, also contrapuntal works and Bach studied this way. So, before somebody even wrote a treatise on the fugue, or even on contrapuntal imitation, improvisation, they worked practically, analyzing things and writing them down. Ausra: Sure, and you know later you could take Weimar Tabulature by Johann Pachelbel, (not to be confused with Weimar Organ Tabulature) that's an excellent source for improvising. Easy fugues, fuguettes I would say. And then the next step would be, probably to take the Handel's book. Vidas: Exactly, Continuo Exercises According to George Frideric Handel. Ausra: At the beginning, he gives the number to exercises of basso continuo, and later on he gets to the fugues, to improvising fugues based on the basso continuo. Vidas: What do you mean probably is like partimento fugue. Ausra: Yes. Vidas: Where you only have the bass line, and the entrance of the subject notated in the bass clef. Sometimes the clefs change, but they also notate which voice has to enter and according to the principals of polyphonic imitation you add other voices, based on intervals. Ausra: Actually, yes. And after Handel you could proceed to the Langloz Manuscript. And actually this is much harder, much more complex than Handel's book. But after Handel you definitely can try to do it. Vidas: It's a very interesting collection of contrapuntal fugues, which are also simplified in notation, just like Buxtehude would write in his organ praeludiums and toccatas. Those intricate fugal sections, but you could write them in one line, in bass line, they're very lively, fast moving instrumental type of fugues, just like Buxtehude and his friends. Therefore, they're more difficult to play than Handel's. Ausra: Definitely. I remember doing them and that's very hard. Vidas: Yeah. Ausra: Very hard. Vidas: But if you practice them diligently (it's a big collection), if you do all of them, one by one, it gets easier. Ausra: Yes, definitely, just don't practice them all in a given row. You just pick up the easiest first. Vidas: Yeah, with slower note values. Ausra: Yes, definitely. Vidas: And also, these are primary sources, right? Ausra: Yes. Vidas: Composer's at the day, in the 18th century wrote them as exercises for their students. What about a little bit later collections and exercises that people could practice? You know there's a student of Bach, Friedrich Wilhelm Marpurg I think wrote- Ausra: A big treatise, yes, I remember that. Vidas: Treatise on the Fugue. Ausra: Yes. Vidas: That’s in English and in German it's Abhandlung von die Fuge. It is like an analysis of many, many, Bach's fugues, basically Well Tempered Clavier and even Art of Fugue contrapuntal pieces, it's like a predecessor of modern Treatise on the Fugue, and many modern Treatises on the Fugue method books, are based on this, right? Ausra: They are based on Marpurg. And because Bach hasn't left any written sources, Marpurg's book is actually about Bach's legacy. Vidas: Now based on Marpurg is a collection of exercises, which were practiced at the Paris Conservatory in the 19th Century and into 20th century too by Andre Gedalge. It's called Treatise on the Fugue, it has 11 or 12 chapters, and each chapter is based on one particular aspect of the fugue. Like the theme, the counter subject, an answer, episodes, stretto, things like that. It's indispensable for any serious student of fugal improvisation. Ausra: Yes, and good luck with that. Vidas: Now, do you think that people could benefit from practicing Marcel Dupre's Treatise on Improvisation Vol. 2, where he has an entire chapter on the Fugue? Ausra: Definitely, yes. Vidas: But it's for later, because Marcel Dupre himself advises people to go back to Andre Gedalge’s Treatise on the Fugue first, and write down exercises, on the paper with pencil first, and only then try to improvise on the organ from Dupre's treatise. Ausra: So basically, there are three steps. Analyze other composer's work, then try to write Fuges down by yourself. You can compose your own subject or you can pick up some subjects from real fugues and then try to improvise it. Vidas: Three steps. Very good, Ausra, I hope people can take advantage of this, and let us know what specific step is your favorite from this podcast conversation, what would you apply this week, and let us know how it works. And please send us more of your questions, and you can do this easily by subscribing to our blog at www.organduo.lt and replying to any of our messages, we'll be glad to help you out. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen. PS Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until August 9. If you have already read it, please leave a rating and review.
Good news first:
Our first e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old" is available here for a low introductory price of $2.99 until August 9. If you have already read it, please leave a rating and review. And now let's go to the question of the day. Vidas: Today's question was sent by Robert and this is Episode 42 of #AskVidasAndAusra podcast. So, Robert writes, “While comparing two versions of Franck's Offertoire in Eb Major, from the organist I noticed there are some differences in the score, hearing there they have naturalized the odd note here and plus other variations. Is that normal? I suppose they modify as to difficulty or based on level of competency. Thanks again, Robert.” Do you know this collection, Ausra, L'Organiste? Ausra: Yes, I know it. Vidas: Ever played yourself a few of the suites? Ausra: I have played them before. Vidas: For people who haven't played mastered or even sight-read this wonderful collection, can we recommend really looking at it and playing a few times, it's it worth it? Ausra: Yes, it's very worth it, especially for those who work at church, so they are suitable pieces for liturgy. Because they are not long, not too complicated and actually very beautiful. Vidas: Yeah, it's constructed very interestingly. It's sort of multi sectional organ suite and there are seven of them? Ausra: Yes. Vidas: Seven and each of them starts on each note C and C#, D and D#, Eb and E, F and F#, G and G#, Ab and A, Bb and B, sort of chromatically, but sometimes they are put together into each suite and each episode can be played for any particular spot for the liturgy, right? Ausra: Sure. Vidas: It's like an organ mass, right? Ausra: Basically it is. Vidas: And it's all without pedals or maybe pedals have not complicated, you can add the lower part, the bass note if you want to do this optional pedal line, but you could play everything without any pedals? Ausra: Yes. Vidas: What Robert is asking in this additional Franck's Offertory in Eb Major, he noticed some notes are different from other editions, so is this normal, does this happen in your case, have you noticed these things and why? Ausra: Yes, actually, I had noticed it so many times, because what you will have to do would be to compare maybe another edition and to look to which one of those two or three editions is the most scholarly based. Vidas: Yes. Ausra: And then you would also read an editorial word, what editor has to say about things and know sometimes those scholarly editions are very expensive, so what could you actually could do is just go to a library to see that edition and then maybe know to write down, to take some notes to your own score that you own- Vidas: Yeah- Ausra: To do some corrections. Vidas: Circle some notes- Ausra: Yes, circle some notes, add some flats or sharps- Vidas: In red probably- Ausra: Yes, yes. Vidas: Remember Ausra, we did that with Klaus Beckmann's edition of Organ works by Tunder, I believe. Ausra: Yes. Vidas: When we studied with Pamela Ruiter-Feenstra at Eastern Michigan University, she had this collection and we played also from it, so she advised us to do this very scholarly work, or was it Reincken? Might have been both, right? Ausra: Both, yes. Vidas: Because, we played a lot of North German music- Ausra: We did both, yes. Vidas: So what Klaus Beckmann did in his time, in this edition, he changed some of his Tunder’s and Reincken's original manuscripts. Ausra: Yes, because some editors wanted to know to make that music to sound more like modern, more normal I could say. And that's not the right way to do it. So we tried to get back to the original resources. Vidas: Yeah and remember when a few years ago they discovered a copy of Reincken's “An Wasserflüssen Babylon”. It was Johann Sebastian Bach's copy. Basically it means that Bach studied Reincken's work and mastered them and assimilated this style and was influenced by Reincken. But what I mean that Bach's handwriting had those mistakes that were also present in Reincken's autograph that Klaus Beckmann corrected. Ausra: Yes- Vidas: And that means that they're not mistakes probably- they're original. Ausra: Reincken intended is pieces to sound like this. Vidas: What Beckmann did sometimes if you have a sequence and this sequence sounds like this and you transfer and transpose the sequence into other keys, so you maybe expect to do this every time the same in modern terms, but in those days composers did whatever they wanted and the fragment of the sequence might be a little bit different. Ausra: Because for our modern ears we listen to that major and minor system, like harmonic minor for example, we've raise the seventh scale degree, but in those days, you know the modal harmony was still very common, you know and all those ancient modes, Phrygian, Dorian and so on so forth so basically many compositions were based on those modes. Of course, they’re very influenced by major minor, but not as much as classical music or liturgical music. Vidas: Exactly, modes were still very common an everyday tool for composers. So in Franck's case modes were not necessarily the very prevalent tool. But think about this, this way, there are a number of Franck's editions and the first edition is maybe based on the autograph from the 19th century and then later in 20th century other publishers reissued Franck' works and published them again and some of them are based on the autograph and some of them are based on the first edition. Ausra: Sure- Vidas: And this is different because the first edition might have done mistakes. Ausra: Sure, definitely. We really need to be careful about editorial mistakes because humans make mistakes so that's natural. Vidas: Or sometimes Franck himself in his autograph might have made mistakes, but you never know, which is what so you really need as Ausra says to read the editorial comments. Ausra: Yes. I think that's the best way to do it. Vidas: So we hope this answers your question and for other people who are listening, please send your questions to us and the best way to do this is through our blog at www.organduo.lt. Please subscribe to get our daily messages or weekly messages, and you can choose basically the time that you can get them. You can reply to our messages this way and send us more questions and we'll be very happy to help you grow. Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember when you practice ... Ausra: Miracles happen.
Vidas: Let's start Episode 41 of #AskVidasAndAusra podcast. And Ron sent this question to us:
"Hi Vidas and Ausra, You are the best teachers. The pedal training is really helping me to integrate my entire body into organ playing. It is a slow process, but well worth it. As you learn to slow down and get things right - which doesn’t happen overnight, especially since the learning process is very biological and physiological—it is as if you are learning to keep your feet underneath you, metaphorically. Practice goes one step at a time, and life goes one step at a time. I have a question, rather questions. When playing on the pedals, for instance, E flat then D, then C sharp then D, the D sounds different in each sequence. There is a sort of shift of frequency in the mind—the D sounds higher in the first as compared to the second of the sequences. However, if you start on the D and go to E flat, then D to C sharp, the D sounds just fine, the same frequency. I realize it is psychological. It reminds me of the phenomenon of comparative colors, where one color seems shifted a bit depending on which other color it is next to. Is there any explanation for that? Does it affect ear training? Is there an exercise to practice discerning notes like that? The most interesting part about learning the organ can be these small things. Thank you for your great programs!" So, interesting question, right? Ausra: It's a very interesting question. Vidas: Not too many people bother about those intricate details. Ausra: And not many people actually notice them. Vidas: What I think is maybe it has something to do with temperament? Remember, a few weeks ago we played in Stockholm on the old organ at the German church and it had this mean-tone temperament. And in mean-tone temperament, when you play chromatic scale, certain notes basically sound higher and certain notes - higher. Ausra: Yes. Vidas: So if you play D, as Ron says, and then Eb and then D and then C#... C# would sound lower. Ausra: Sure, that's right. Vidas: Even though in D minor it would be like a leading tone, but C# is lower in mean-tone temperament and Eb is sort of closer to D. Ausra: Yes, and it also might be related to the position of the pipes in the organ case, too. Vidas: Exactly. I don't know what kind of organ does he play but if we have this classical C and C# pipe organ layout, then pipes are positioned in diatonic steps: C-D-E-F#-G#-Bb are on the left side and C#-D#/Eb-F-G-A-B are the right side. Ausra: Sure. Vidas: So, this means that D is one side and C# and Eb are on another side. Ausra: And depending if you're ascending or descending from that D it might sound different while going one way or another acoustically because pipes are standing on another side of an organ case. Vidas: That might be it. Ron also writes when you play D and go to Eb and then to D and C#, D sounds just fine, the same frequency. It's a different feeling when you go upward or downward, for him. But maybe it has something to do with some kind of physiological feeling what kind of note is next to each other? Ausra: That's true. For example, when I practice on the pipe organ, sometime I hear a principal chorus. For me it's the same as there would be human voices singing. Vidas: Yes. Ausra: I get this feeling. It's really strange. Vidas: And some people can really discern colors from chords. Ausra: Sure, like Olivier Messiaen. Vidas: And Stravinsky. And maybe Ciurlionis. Ausra: I don't know about Ciurlionis. Vidas: His musical works are so influenced by his paintings and vice versa - paintings are influenced by music. So the second part of Ron's question is "Is there an exercise you can practice discerning notes like that?" Can you develop through training where you can hear the sounds differently? Ausra: Well, some people might, some - not. Vidas: Yeah. It depends on the personality probably. Ausra: But I think Ron would be an excellent organ tuner. He could tune organs very well because he hears these vibrations. So that's an excellent skill. Vidas: Right. And of course it's not easy to hear it for regular people, so if Ron hears this, it's a gift. Ausra: Yes, definitely. Vidas: Keep it and practice by hearing vibrations even more. The more you practice, the better you become by listening differing vibrations. Even if you go to the church where somebody else is playing, walk around because you will hear different vibrations. Ausra: Sure. Vidas: For example, have you ever walked around when myself or other people were playing in our church? Ausra: Yes, and it sounds very different actually from different angles of the church. Vidas: How different? Ausra: Well, very different. Vidas: And what is different? Ausra: Well, everything. Vidas: Like what? Ausra: The power of the organ. The sound actually in some places is really loud but in other places it's quite soft. And in some parts you can hear different organ stops. So it's very interesting. Vidas: And even different pitches making themselves louder than others. For example, under one balcony or one column you can hear Eb, I remember very well. Or when you climb the organ balcony on this staircase, you can hear the pedal voices very well. Ausra: Sure, it's very interesting. Vidas: Acoustical marvels. Ausra: I wish modern architects would think about acoustics when they are building new churches because some of them have dead acoustics. Vidas: Oh, this is too much to ask, I think. A lot of architects even don't think about organs. Ausra: Sure, definitely. Vidas: Don't leave the space for organs when they plan the space. Excellent, guys. Please send us more of your questions and the best way to connect with us is through our blog, subscribe at www.organduo.lt and reply to any of our messages and we'll reply to your questions on this podcast. And make sure you also practice pedalwork, like Ron. By the way, do we have a course recommend to people who want to improve their organ playing? Ausra: Yes, we have. Vidas: Like Organ Pedal Virtuoso? Ausra: Sure. Vidas: Because Pedal Virtuoso Master Course is designed for you to be able to play any type of pedalwork easily and without struggle. At first it might be difficult, right, Ausra? Because when you play those scales and arpeggios some people send us their feedback and they want to quit. And some people do quit but those who persevere later are very very joyful about this course because you can play scales and arpeggios legato, right? This is the basis for the modern technique and then you can really master any type of organ pedal line in organ composition without any struggle at all. Ausra: Sure. Nothing comes easily at first but you must put some efforts and then you will have an excellent result. Vidas: Wonderful. So guys, this was Vidas... Ausra: And Ausra. Vidas: And remember, when you practice... Ausra: Miracles happen. #AskVidasAndAusra 40 - Identification of sounds to the appropriate chords is a problem for me8/1/2017
Vidas: Let's start Episode 40 of #AskVidasAndAusra podcast. And today's question was sent by Parvoe who writes, “identification of sounds to the appropriate chords is a problem for me”. Could you explain how do you understand this question Ausra?
Ausra: Well actually I think if I understand it right, that when he learning maybe a new music. It’s hard for him to tell by listening to those chords, if the notes are appropriate or not. So he is playing basically a correct chord, I think that's the problem. Vidas: So that's the hearing problem right? Ausra: Yes. Vidas: So imagine you are playing a piece, let's say by Bach Chorale Prelude, and in other words he cannot understand what does this sound, this note mean. Which chord would go with this sound, with this note? Does this make sense? Ausra: Well yes and no. The trouble might be, I see a double problem in this type of question. One thing might be that he does not know the keyboard harmony well enough and another thing that his harmonic pitch might not be developed enough yet. Because sometimes people can have a perfect pitch, and very good melodic hearing, but they cannot have like no harmonic pitch. That's different. Two type of different hearing of music. Vidas: Do you think that one is born with this pitch, harmonic pitch, or one can develop this over time? Ausra: Well, some people, of course we are born with that kind of pitch, but I think you can develop it and for people who play melodic instruments, like violin, flute, oboe and so on, usually they develop better melodic pitch. But people who play piano, organ, harpsichord, even choir conductors they develop harmonic pitch too. Vidas: Even guitar. Ausra: Even guitar, then you have sort of chordal structure, you can develop well the harmonic pitch. Vidas: So basically what you are saying, organ playing really helps to develop harmonic pitch. Ausra: Yes. But of course if that's trouble for you, if you cannot hear, if that note belongs to that particular chord, that means that you have to analyze music that you're playing. So just to study the harmonic progression. Play those chords separately. Maybe write the names down and that should help, I think. Vidas: Well exactly. What kind of chords are the most crucial in any tonal composition? What kind of type of chords? Ausra: Tonic, subdominant and dominant. Vidas: Three chords? Ausra: Yes and of course three versions and then all kind of other modifications of these chords. Vidas: Here is the thing guys; if you know the key of the piece that you are currently playing, and you know the circle of fifths, and you know those three types of chords as Ausra was mentioning earlier, tonic, subdominant and dominant, you can basically identify the meaning of any given chord. Not necessarily it will be very precise, you will not necessarily be able to identify diminished seventh chord and it's inversion or let's say six scale degree first inversion chord, but when you know tonic, subdominant and dominant, and you compare those three chords to any given chord that you are playing in your music, you will see that some notes will match. Am I right Ausra? Ausra: Sure. Definitely. Vidas: And then you can say, oh this is a tonic function, or this is dominant function, or this is the subdominant function. That's enough for starters don't you think? Ausra: Yes, that's definitely enough. And just be careful when you are learning a new piece of music because it’s very easy to learn it in incorrect way, the wrong notes, and then it will be very hard for you to correct it. So just be very careful at the beginning. Vidas: It's always very good to basically lead with your mind and not with your finger. Ausra: Sure. And in any given piece of music usually you start on one key and then the key switches, it can switch for a short time, but it can modulate for a longer time and then go back and travel through keys, so just know that tonal structure of your piece this will help you too. And write it down in the score, it will help you to learn the text correctly. Vidas: And to understand the meaning of the notes. Ausra: Sure. Vidas: And basically we will be thinking like this composer who created this masterpiece. Ausra: Yes, and after a while you will see some sort of tendencies like cadences, you will start to identify them and know infrastructure also help you to play music in the right manner, not to play like robot, but to play more musically. Vidas: Do we have any trainings that we could recommend for people to improve their harmony and analytical skills, Ausra? Ausra: Yes. We have some of them. Vidas: The one for example, Harmony for Organists, if you want to start from the beginning, Level 1. Or, Hymn Harmonization Workshop I think that would be helpful too. Or even Bach Chorale Analysis Workshop where you will learn to analyze four-part harmony found in Bach's chorales. Ausra: Yes, or you know you can on youtube just find my videos, with harmonic exercises which will be I think very helpful for you to try to play yourself some sequences or modulations. Vidas: Yes. Ausra: Or basic cadences. Vidas: Excellent. So guys please apply our tips in your practice and let us know for example, what was number one thing which was the most helpful thing to you this week and you applied it in your practical playing this week. This is really helpful. We would appreciate it and this of course will help us produce even more helpful podcasts for you. And please send us more questions that you might have, more challenges. We love helping you grow. The best way to do this is through subscription to our blog when you go to www.organduo.lt you enter your email address and you become a subscriber and you will receive this free ten-day organ playing mini course with our lessons on how to master any organ composition. This is very helpful in the long run. And then you can reply to our messages... ...Oh, you can hear our dog barking in the background. Ausra: Yes. Vidas: Somebody is coming. So, we better run to check. Okay. This was Vidas. Ausra: And Ausra. Vidas: Have fun practicing. Welcome to Secrets of Organ Playing Podcast #105!
Today's guest is Arnoldas Leleika. He is our student from Vilnius University majoring in Chemistry but hopes to transfer to Medicine next year. He's just finished his freshman year and right away started playing the organ at our Unda Maris studio from last September and currently has chosen 3 pieces for the upcoming competition for young organists. Arnoldas is very hardworking and motivated organ student and Ausra and I are very delighted that he came and found us in the organ studio. He substituted for me a number of graduation ceremonies and recently performed at Unda Maris organ studio concert. You can read his thoughts about these experiences here and here. In this conversation Arnoldas shares his insights about finding more practice time, choosing your organ repertoire wisely and expanding your musical horizons. 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 go 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 Relevant links: Arnoldas Leleika on Facebook and YouTube Welcome to Secrets of Organ Playing Podcast #104!
Today's guest is my friend and colleague Paulius Grigonis. Currently he is the main organist of St. Joseph church here in Vilnius, member of the Board of National Association of Organists in Lithuania and member of the European Chapter of American Guild of Organists. He started his musical journey in 1989 at Kaunas boys choir school "Varpelis" where he studied until 1997. In 2004 he graduated from Vilnius University with the Master of Law degree. In 2006 he began studying the organ with me privately and in 2007 became the organist at the Holy Cross church in Vilnius. In the summer of 2007 together with me and Ausra, Paulius founded National Association of Organists in Lithuania and was appointed vice-president of this organization. In 2008 he won the 3rd prize at the 2nd Jonas Žukas Organist Competition. In 2007-2010 Paulius led educational organ demonstrations "Meet the King of Instruments" in many Lithuanian churches, participated in masterclasses by Prof. Lorenzo Ghielmi (2013, Vilnius), Prof. Sophie-Véronique Cauchefer-Choplin (2014, Paris), Prof. Maris Sirmais (2015, Kaunas), and Juan Carlos Asensio (2016, Marijampolė) for organists and church musicians. Since 2014 Paulius leads the musical life at St. Joseph church in Vilnius and directs two vocal ensembles of the parish. Since 2017 he is the member of the Board of National Association of Organists in Lithuania and treasurer as well as the member of the European Chapter of American Guild of Organists and is preparing for his Service Playing Certificate test. In about 3 days, Paulius will play a recital at Vilnius Cathedral and in this conversation he shares his insights about his practice procedures and obstacles he has to overcome in order to become a better organist - finding time for practice, setting himself a challenge and discovering as many organs as he can. 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. Thanks for caring. Listen to the conversation Relevant link: http://www.vargonai.lt/grigonis.htm Welcome to Secrets of Organ Playing Podcast #103!
Today's guest is an American organist Daniel Segner, Director of Music at St. Mark's Episcopal Church Glen Ellyn, IL. Daniel is a graduate of Valparaiso University where he earned his Bachelor of Music in Church Music and Organ Performance. Most recently, he served as Principal Organist for First United Methodist Church at Chicago Temple in Chicago, Organist and Cantor at Immanuel Lutheran Church in Downers Grove, and Interim Cantor and Organist at St. John’s Lutheran Church in Lincolnwood. Previously, he served as the Director of Music at St. Paul Lutheran Church in Chesterton, IN. Daniel currently teaches piano, organ, and voice. Including his work as a capable accompanist, some of his notable past performances have included the opening recital for the Pipe Organ Encounter hosted by the American Guild of Organists, guest artist for Paul Manz Organ Recital Series, and recitalist for the organ rededication service at Augustana Lutheran Church in Hobart, IN. Collaborations have included performances with Chorus Angelorum, Civitas (Chicago Symphony Orchestra chamber group), and with the Valparaiso University Symphony and LaPorte Symphony Orchestras. In 2015, he performed alongside the Valparaiso University Chorale in their summer tour of Germany where he played in Luebeck, Jueterbog, and Leipzig. While at Valparaiso University, he received the Ronald G. Reidenbach Prize in Church Music and the Signature Artist Award. He is an active member of the American Guild of Organists, the American Choral Directors of America, and the Organ Historical Society. In this conversation Daniel shares his insights about knowing your instrument, being really good at one thing and becoming an advocate for organ art. 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. Thanks for caring. Listen to the conversation |
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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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