Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 615 of Secrets of Organ Playing Podcast. This question was sent by Graham, and he writes about the video where I introduce my Hauptwerk set-up on YouTube. Hauptwerk set-up and streaming set-up, to be precise. He writes, As others have already commented, Vidas, a really useful and helpful upload explaining how you produce such wonderful recordings - though as amazing as all this technology is, it would mean nothing if it was not for your truly fabulous playing and teaching! As you know, I am a big fan of James. He recently played some Clementi on the organ and I commented with a reference to the contest between Mozart and Clementi in 1781. So I am going to make the same judgement as Emperor Joseph II, who diplomatically declared a draw between those two great composers. I declare a draw between the massive amount of wiring and equipment both you and James have. Just looking at all those 'tripping hazards' gives me palpitations. At least my humble Viscount Chorum just plugs in and plays . . . but of course, does not give me access to some of the greatest organs in the world! Thank you, Vidas. V: That’s a nice comment. A: Yes, it’s a very nice comment. V: Graham is very good with words, and writes very colorful comments on YouTube, and I’m very grateful, because this kind of engagement really is very supportive and makes you feel appreciated. A: Yes. And stops me from throwing the Hauptwerk out of our house. V: (laughs) Did you have some ideas about that, Ausra, earlier? A: Yes, basically every time when we are cleaning our house. Because honestly, how, do you imagine how much time it takes to clean it all? Of course you do some cleaning, too, but I counted that at home, we have seven keyboards that I have to clean. V: (laughs) Seven...seven! A: Yes, it’s one on the regular upright piano, and two on the tracker organ, and four on the Hauptwerk. And imagine dusting all those wires. It really takes some time. V: So we have as many keyboards as the largest pipe organ in the world has, right? A: Yes, we just don’t, haven't put them all together. V: Maybe we should. A: Maybe not. (laughs) V: Hm. Yeah, that would be a good thought, to have seven keyboards in one place. I do the cleaning of pedals, and Ausra does the cleaning of keyboards. A: Yes. V: If any of you are wondering how we divide the work. A: And actually, really I cleaned pedals as well, but I, you know… V: Gave up. A: Yes, I gave up on this. You know, “do something yourself as well!” So now Vidas took over the pedal cleaning. V: But it’s unfair because there are only two pedalboards and seven keyboards. A: Well life is unfair, too. V: (laughs) So actually, we have more keyboards than the greatest organ in the world, because it only has one pedalboard. A: Are you making some kind of record? V: I suspect some people have monsters in their music room that we don’t have to compare to. What stops people from having 7 or 8 or 9 keyboards? Nothing, really. A: Yes, but some people probably have just the normal people surrounding them. And because we are both sort of crazy a little bit, so nobody stops us from doing that. V: Are you calling yourself crazy? A: Yes, after living for so many years with you! V: Is this my good influence on you? A: I guess so, yes. V: What kind of influence have you been leaving on me? A: Well, some good influence as well. V: Like what? A: Like for example, yesterday I came back from work and you were taking care of dog, and you were doing things in the garden, acting like a normal man. V: Mowing the lawn? A: Yes. V: Oh that is the pinnacle of my work, mowing the lawn! (laughs) Too bad that lawn mower is too hard to move for you, because… A: Yes. V: You wouldn’t need me. A: Well, good for you - now I need you for something. V: You also need me to set up cameras. A: Yes, that’s right. No, actually I can set up cameras for myself, but I still haven’t figured out the easy way to record on YouTube. V: Yeah. I haven’t talked in detail, actually, what it takes, once you have connected all the cameras, you plugged in all the cameras to the computer, they would serve as webcams. And webcams work for streaming. So maybe I could, given the time that we have here left on the podcast, yeah a few minutes, so I could describe in detail the steps I take that, to create a live stream on YouTube. Would you like that? A: Yes, you could do that. It would be helpful. V: I would think so, too. So first of all, step number 1, I plug in Hauptwerk into the power outlet, entire computer, right? And all the wirings are already connected, so computer plugs in, all the keyboards and pedals are already lit also. So then I turn on the button of the computer, step number 2, and wait until it powers it up. Then step number 3 would be I open Hauptwerk software. Step number 4 would be, I click on the desired organ sample set that I’m going to use, let’s say Velosovo sample set or Cavaille Coll sample set from Caen - we have quite a few to choose from. All right? Are you keep counting? What step? A: Number 5, I believe. V: Number 5, okay. You keep counting. A: But actually, that’s an easy step. I can do that myself so far. V: Okay. What’s next, cameras? A: Well yes, you have to turn on all your cameras. V: Step 6, yeah. Turn on all the cameras. A: You can do that. V: They are also connected to the computer, so you don’t have to unplug them. They are always connected. Step number 7, turn on the lighting. We have additional LED lighting. A: Well, you can play in the dark if you wish. V: Yeah, but nobody will see your beautiful hands and feet. And face. A: Okay, okay. V: Step number 8, I open OBS Studio program on the computer. A: And this is the part where I am already getting lost. Starting from the OBS Studio. V: Yeah, it’s very, you have to download it from the internet, install it on your computer, beforehand. And then if you have done that, so you have to add all the cameras as video sources. Just additional steps. They have plus (+) signs. Add video capture device, or audio capture device for a microphone for example, and configure them how you would like to use them - which camera goes where. Which on the top, which on the bottom, which on the left, which on the right, you know, if you have more than one. You can adjust them, the size of them, with your mouse, actually. It’s very intuitive. A: But I think, that scares me is how you put all those end keys, and what else? V: Stream keys you mean. A: Stream keys, yes. V: So that, yes. A: This is the hardest part for me. I cannot figure it out. V: Okay. It’s step number 9 would be to go to YouTube, to your own YouTube Channel, or to my YouTube channel if I’m streaming to mine, right. And then open this channel, and on the top right corner of the screen, there are a few signs, and one of them is “live,” YouTube Live. You click that basically, this is step number 10 probably. A: Well, and if you click on that, will you be live right away or not? V: No, no no no. A: Okay. V: You just click and a separate window appears, and this window appears where you enter all the information about your stream: the title, the description if you want something, what else, the thumbnail, the picture that would be provided to entice your viewers to watch, you know, you can have your own picture, or keyboard picture, or music picture, or organ picture, whatever. A: Okay. V: You know, what we do sometimes, we take a screenshot of OBS Studio screen, what cameras are filming at the moment. Sometimes we look at the cameras this way, we pose, sometimes we play, that way we can have what we want, you know, what kind of thumbnail. Okay? And you click “done,” I think. You click done. It would go live, but before that, step 11 has to have. Step 11 is on the left side, there are some strings of characters, keys, like hidden numbers and letters. You just have to copy one string. It’s called “stream key.” You copy stream key. And then step number 12 would be go back to OBS Studio, and on the lower right corner, there is a column of various words, and one of them is “settings.” You click on settings and another window appears, and on the top, I think top, second from the top column will be stream settings. You click on “stream” and then you will enter the stream keys, you paste those stream keys from YouTube to that separate field and click “apply” and “Ok” That screen disappears and you are now again back to OBS Studios. And this is step number 13. A: Yes. V: When you are ready to start streaming, go live, you click “start streaming” in that lower right hand corner. A: I know this step. The first time I used to do it. V: But before that, you have to check the microphone if it’s working. A: Sure, if you want to speak. V: If you want to speak. If not, it’s connected to Hauptwerk, you have to play a few notes to see if that microphone is responsive, you see. And also configure the volume level. Play the loudest part of your piece and see if the microphone levels don’t go to the red. Red is too much. Green is very good, yellow is still okay, but red is too much. So then if it’s too much, you lower the handle in the mixer, they have audio mixers so you just mix things up this way. Does it make sense, Ausra? A: Yes. V: When I explain it. A: Yes. V: Now it’s your turn. Today when we will record something, I will supervise you, and you will do all those 13 steps by yourself. A: Oh no, oh no. V: No? A: Oh no. V: Okay. So guys, go ahead and check yourself out if you want to start streaming. It’s not that difficult. You don’t have to have Hauptwerk by the way. You just have to have a webcam. If you have an iPad, for example, that could serve as a webcam as well. A: If I can do it, you can do it, too. V: Yeah, definitely, sure. IPad, you can connect iPad with this lightning cable, and just you have to install additional app, but you can search the internet how to, how to, what are the keyboard, connect iPad as a webcam - how to use iPad as a webcam, for example. Or your phone could be as a webcam as well. Anything could be, anything that has a camera can be a webcam, you see? A: Sure. V: All right, guys. I hope this was useful to you. This was a long episode, but quite informative, right, Ausra? A: Yes, even I learned something new. V: And that happens quite rarely these days. A: Yeah. V: Because you have a doctoral degree. A: (laughs) Because I am smart by birth. V: Yes. So please send us more of your questions and take a look at this video, if haven't seen it already. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
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Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 614 of Secrets of Organ Playing Podcast. This question was sent by Ian, and he writes: “The organ world needs more videos like this - however experienced and skilled you are, practice is sometimes slow, difficult and/or frustrating. It helps everyone if we're open about it. Thanks for sharing!” V: Ausra, do you have a feeling of what he is writing about? A: Yes, I guess that’s about my video where I tried to practice Alain’s Litanies. V: Yes, this is the correct video. I will include the video in the description of this conversation so that people can see for themselves what happened. So was it normal for you to record such a video? A: No, it really wasn’t. V: Why? A: Well, because I usually just record normal videos—make normal videos—live performance when it’s polished and nicely done. V: Can you tell us what have you done in this video? A: Well, it’s hard to describe. I think it’s better to watch it. V: But you remember something, right? A: Yes, I remember it. Yes. V: You’re not in the trance. A: Actually, at the end of it, I think I was. V: Is it scary for you to watch a rerun of this video? A: Yes, actually I watch this once, only, and I’m not going to do it again. V: So, why do you think Ian is thanking you for sharing this video? A: Well, because I think no one is perfect, basically, and this video, of course, shows it. I’m not claiming that I was perfect at any part of my playing, but I just mean that if you are a professional or non-professional, you still have sort of struggles on each level of your performance. V: For people who haven’t watched this video and are wondering what is happening, Ausra practiced Litanies by Jehan Alain, and I think in the second page, there is this nasty line, three measures or so…. A: No, basically it’s less… there’s one measure that’s... V: One measure, maybe two. Let’s say it’s two. A: Well, no, that one is still okay. V: Uh-huh! So one measure that she couldn’t get it right. Right? And what did you do to get it right? A: Well, I practiced it over and over and over again, and I still could not get it, and in a slow tempo, it’s just fine, but when I want to speed it up and I still cannot do it that well. And, I started to hit the keyboard after I lost my temper. V: Too bad the microphone was muted. People could not really hear what you were saying! At the time she was saying something. A: Well, but I wasn’t cursing actually, so… V: You might have been screaming, too. A: Yes, I was screaming. V: Screaming at the keyboard, or at the music, or at me or what? A: At you all! All together. V: Yeah. As embarrassing as it might seem to share this video with the world, actually, on YouTube, this video resonated with many people. The ratio of likes vs. views is unusually high—well over 10% I think. So, it means that a lot of people felt what you did, also! A: Yes, I think it was the right decision to share a video like this. It doesn’t mean that in the future I will make more videos like this—it would be too embarrassing, but at least once to show what you have to struggle with, I think it’s good. V: If Bach lived in a time where technology were available, would you give something…. What would you give to watch him fail at the keyboard, strive, struggle, fail at the keyboard, strive, struggle, get frustrated, curse, hit the keyboard, etc.? A: I would give a lot! Maybe my all year salary! V: All year salary! Hmm… too bad I cannot have a time machine. But for example, a person whom I very much respect improviser, Sietze De Vries, he posts very professionally done videos on his channel about his organ improvisations, either chorale improvisations or solemn improvisations, so I would give really many many things to see him practice just to get how he is achieving what he is achieving in the end result. You know? A: Well, it wouldn’t be so interesting to watch him now practicing, but I would wish to see how he practiced ten or twenty years ago. V: Yeah, maybe twenty. Year, I think, one is the famous improvisation contest in Harlem in 2002, so around that time, it would have been very interesting to see, although the requirements of the Harlem contest isn’t what he is doing now. They’re mostly contemporary improvisations, and he is focused on historically informed way of improvising on the organ. So, but yeah, it would be very very interesting to see how he got where he is today. A: Yes, it would be really well worth looking. V: What advice, Ausra, would you have for people who are frustrated at the organ and embarrassed that they cannot get one measure right? A: Be patient! Of course, that’s the easy thing to say, but it’s a hard thing to do. And please don’t hit the keyboard! It’s not the right way. I’m ashamed of myself. So don’t hurt your instrument, and basically I hit it because it’s a virtual organ. If that would be my other tracker organ, I wouldn’t do that, because I know that if I will break this keyboard, I can order another one and replace that one. V: Yeah, it costs only around 100€, so we keep extras! A: Yes! So we have four of them, so we almost don’t use the fourth one, that’s just a fancy of Vidas! So we could easily put that fourth on the bottom and replace the broken one. V: And still have four! The lowest broken one would go to the top! A: Sure! V: I see. Yes, it would be… it’s hard to reach that top manual, right? A: It is, and it’s hard to see music because it’s so far away. V: Okay, so please guys, keep your patience up, practice slowly as Ausra did, but if you don’t get it right, don’t feel ashamed of yourself. You know that after a day or two, you will get it right eventually. A: Yes. V: Ausra, have you already mastered this Litanies yet? A: Well, yes, but let’s face it, I will never be playing it as fast as Marie Claire Alain, and already somebody commented in the Facebook on my other practice on Litanies, well… anyway… me is me, and she is she, so… Be yourself! V: Good advice! So guys, please send us more of your questions; we love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 613 of Secrets of Organ Playing Podcast. This question was sent by Robert, and he is a student of Pedal Virtuoso Master Course. And he has a question which sounds like this, Dear Vidas, I just finished the tenth week of your Pedal Virtuoso Master Class. Unlike previous weeks when I come to the last day, I still have issues maintaining a proper sense of balance while seated on the organ bench. This affects my accuracy (I either hit an extra pedal in one foot, miss a pedal, or slide off the correct pedal and into a non chord tone), playing legato (sometimes a major third in one foot is not possible to connect), and playing the pedals silently (as opposed to making a too much noise). Regarding balance, I found in all the previous weeks that I could sit quietly on the bench and avoid having to pull myself back to my normal seated position by shifting my weight from one hip and buttocks to the other. This week, perhaps due to the fact that an octave arpeggio in octaves covers too much space on the pedals in such a short amount of time as well as the fact that two feet moving at the same time reduces the body’s range of motion, playing an arpeggio this week with confidence was not possible. My appearance on the bench was too active as I had to keep adjusting myself when my body would move closer and closer to the console as a result of twisting my body in order to reach pedals. For some of the arpeggios, like B Minor, E Major, and D Minor, not moving on the bench put too much of a strain on my legs and feet that in the end did not enable me to reach the desired pedal in one foot (and occasionally pedals in both feet) with confidence. My remedy this week has been to shift my weight a little bit, however, a precise note to shift on (unlike scales and all previous arpeggios) or even which direction to shift into (left or right side) has not been possible for me to determine. These problems occur when I am playing very slowly in rhythm. Faster tempos are not possible this week. Feel free to contact me. Thank you for your time and thank you very much for designing a wonderful course as well as sharing your knowledge with me and every other organist. Sincerely, Robert V: And does it make sense, Ausra, what he’s talking about? Playing arpeggios in double octaves, very difficult to maintain balance. A: Yes, it is very difficult. And I think when you have such a difficult exercise or a spot in a real organ piece, I think you might not be following rules so strictly and you might move a little bit more to help yourself to make it possible. Because other way, I’m afraid you might injure your back or your legs. What do you think about it, Vidas? V: Sure. I think at first I wrote him a message that he doesn't have to worry too much about playing in perfect legato fashion or in a faster tempo these difficult exercises, because scales and arpeggios are not the end in itself, right? We rarely find a piece of music which has all the scales and arpeggios in it. It would be artificial and unmusical. A: Sure. Plus I think when we are talking about arpeggios and fast passages, I think usually pieces with extremely difficult pedal part are written in a fast tempo, too. And often when you play in a really fast tempo, even if you won’t connect completely one note to another, it will still sound legato. And believe me, I know it. For example, now I’m thinking about Fugue in B Major, written by Marcel Dupre. You know that famous Three Preludes and Fugues, in B Major, in G Minor… V: The middle one is in F Minor. A: Yes, in F Minor. So I was playing the B Major Prelude and Fugue, and that Fugue really has a fast and complicated subject. And when it comes to the pedal and you still need to play it legato, it gives you a lot of trouble. But because the tempo is really fast, so even if sometimes you won’t play complete legato, as the final version it will still sound as legato. V: So, he wrote back to me that it still doesn’t help, this kind of explanation. And he would like to have my own video demonstration of, let’s say E Major double arpeggio over the tonic chord, and the diminished seventh chord double arpeggio. A: And you made a video, yes for him? V: I made two videos, yeah, for him but also for other people who are struggling with this. So I put it on YouTube, and I will share of course the link in this podcast as well for people to see. Of course, it’s an exception. It’s not a video course, yet. And it’s a PDF-based course, and video exercises don’t belong to this course. They are just extra. I have two other videos - how to play C Major scale, for example, or D Major scale. But they’re extra, bonuses basically, not a part of the material. So I demonstrated, but you have to understand that it’s not the goal in itself to play those exercises perfectly without any glitch, without any hesitation. The goal is to go through these exercises, repeat them let’s say 10 times in a slow tempo, each of them, and then after 3 months, go back to the difficult pedal passages that you were not able to play like 3 months before and check, check your progress to see if you have advanced further. And I can almost guarantee that you will if you are diligently practice every day those exercises for 3 months. It’s like Marcel Dupre was a teenager I think, and he cut one of his wrists badly in a glass, and for 3 months he couldn’t practice with his hands on the piano, so he practiced pedals on the organ, pedal scales and arpeggios. And he wrote in his memoirs that he practiced them with vengeance. And that’s how he became basically invincible in his pedal… A: Pedal virtuoso. V: Pedal virtuoso, yeah. And the secret to pedal technique, perfect pedal technique he wrote is the flexibility of an ankle. Now we might have various different opinions about Dupre and his methods and his let’s say accuracy of historical performance practice, or lack of accuracy, right when he fingers and pedals everything in legato with pedal and finger substitutions for the music of Bach, let’s say - this was his time. But we cannot deny that for his time, playing legato technique, he was a champion of it. And we can learn a thing or two from his method as well. So in this course, the Pedal Virtuoso Master Course, we have a series of exercises over 3 months, with pedal scales and arpeggios of various positions, and people could really benefit from that. But never forget that this is not the end. It’s just the means to the end, right? It’s just an exercise to help you develop this ankle flexibility which will help you perfect your pedal technique and play real organ music. A: So this is just a tool. V: Tool, yes, tool. And I would even, like Ausra said, don’t worry too much about obsessing about perfecting those exercises. You better spend like 15 minutes or half an hour at the most with them per day, and then do something else with your organ playing that day if you have time. Like playing real organ music, mastering harmony, maybe improvising. Things like that. Hymn playing also. And watch for not straining your legs, your ankles. It’s very important to warm up before playing scales and arpeggios. These are strenuous exercises. We have to emphasize that. A: That’s right. Especially if you are practicing early in the morning. V: Right. So, go ahead and watch those videos. These will be very helpful for people to see how I play them myself. And please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying SOPP612: “I don’t really understand the difference between open and closed position chords”9/5/2020
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 612 of Secrets of Organ Playing Podcast. This question was sent by Diana, and she writes: “I don’t really understand the difference between open and closed position chords.” V: The context for this question was that I think I talked about harmonization in one of my recent videos on YouTube when I was trying to harmonize some chorale tune in either 22 ways or 28 ways, either in two, three, four, five, or even six parts. Do you remember those videos, Ausra? A: Yes, I remember you doing them. I haven’t watched them very closely, so I don’t know what you have been talking about. V: So one of the versions is to play soprano in the right hand and the bass in the left hand. That’s a two part version. A: Oh, okay. V: And then the voices can switch, and then gradually we come to the three part version, soprano in the right hand, alto in the left hand, the bass in the pedals, or soprano in the pedals, alto in the left hand, and the base in the left hand again. It could be this way, various dispositions, but again, it’s possible to do this in four parts, and the first exercise is to harmonize in closed position; one voice would be in the left hand part in the bass, and three upper voices would be in the right hand. Does it make sense? A: Sure, of course! I’ve been teaching harmony for many many years, so it makes sense. V: What is easier for you? Open or closed position? A: Well, it doesn’t matter, actually. V: Anymore. A: Well, if I want, of course, to make things easier, then I think closed position is more comfortable. V: That’s because you only worry about one voice in the bass. A: Especially if you are playing organ. You could play that bass with the pedal, and play the other three voices with your right hand, and you can just rest your left hand, which is so nice. V: Turning the pages. A: Sure. But anyway, if, you know, such question rises that you don’t know what the open or closed position is, then what can I say. It looks like she doesn’t have any formal musical training, because even in the music theory courses, people find out what closed and open position is. And for my students in the harmony course, I teach this thing during the first lesson, because basically the closed position is when the intervals between alto and tenor and alto and soprano voices don’t exceed the 4th. V: Interval of the 4th. A: Yes, the interval of the 4th, of course. V: For example, from C to F. Right? A: Well, yes. V: Or from D to G. A: Yes. Well, if they exceed the 4th, it means it’s an open position, that the space between the bass and tenor might be really wide or might be really narrow. It doesn’t matter. It doesn’t make any difference for the closed or open position. So basically, I’ll give you and example of a closed position C Major Tonic chord. It’s C-E-G-C. So you have, let’s say, a third between bass and tenor (C-E), then you have a third between tenor and alto (E-G), yes, and you have a fourth between alto and soprano (G-C). Now I will make the same chord and make it an open position. So you would have, let’s say C-G (bass tenor), and then you would have E in the alto, so between G and E, you would have an interval of a sixth. Then E would go to C. E-C would go from alto and soprano, it’s the interval of the sixth. So it’s open position. V: So in other words, an open position is C-G-E- and C. A: Yes, but this is only one example of closed and open position, because if you would take any root position chord, you could have like six basic general positions. Three would be closed and three would be open. But if you would have the first inversion of a root position chord, then you would have even more options, because you could also have positioned this which is neither closed nor open. It would be like a mixture of both. V: Mixed position! A: Yes, mixed position! And basically, every six chord has 10 positions, how you can place it. So it’s an entire science. V: I mean… you mean that the distance between three upper parts in the six chord can be either a third and a fourth? A: Well, it can be unison, too! V: Unison, yeah. Or it could be a fifth and a unison, which is also a mixed position. So many many versions. But I think for now, Diana doesn’t have to worry about first inversion chords. The six chord root positions are quite enough trouble already. A: Well, it depends on what your goal is. I cannot comment on that. V: I know she has ordered a harmonization book by Sietze de Vries, which starts with those simple root position chords and teaches people to harmonize easily various melodies. And, this is the first step for people who want to improvise. So, of course, we need to talk about other things, which this book doesn’t cover, and we have harmonization of the bass in the “Harmony for Organists” course level 1, and obviously other courses connected with Hymn Playing, or Harmonization, or Improvisation as well, so you can check it out. But yes, harmony starts with the first thing, and you have to understand open and closed positions. A: That’s right. V: Thank you guys! This was Vidas, A: And Ausra! V: Please send us more of your questions; we love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying SOPP610: “Can finger substitutions be used in slow baroque music, such as Kyrie by Cabezon?"9/4/2020
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 610 of Secrets of Organ Playing Podcast. This question was sent by Joanna, and she writes: “Dear Vidas, can finger substitutions be used in slow baroque music, such as Kyrie by Cabezon? Or is it best to stick to articulated fingering even in relatively slow passages?” V: What do you think, Ausra? A: I don’t think you need finger substitutions when playing the music mentioned before. You know, either it’s slow or it’s fast, it doesn’t matter. Baroque is Baroque. V: Well, sometimes Baroque music is really advanced, right, and very thick texture. And then you might end up needing finger substitutions in advanced keys with more than three sharps or flats. Right? A: But still, as I understand finger substitution is mostly used for laying legato, which is needed to play Romantic and Modern music. And because in Baroque music you very rarely play legato, in exceptional cases, therefore there is no need for finger substitutions. That’s my opinion. V: I agree. The composer has to explicitly state that the piece has to be performed, or parts of the piece have to be performed, legato, and not the editor, but the composer. Right, Ausra? A: Yes, because if you would look at 19th century or beginning of 20th century editions of Baroque music, you would find legato everywhere. But it doesn’t mean that you need to use those editions. V: Yes. So Joanna mentions a piece by Cabezón, Antonio Cabezón, a Renaissance Spanish composer, and his music is quite polyphonic in nature, a little bit similar to Sweelinck’s, I believe. Right? A: Yes, but still, I don’t believe his music should be played legato. V: Yeah, definitely, because he doesn’t use... any advanced piece in those days, the temperament was obviously mean tone, and mean tone temperament accommodated only simple keys with no more than two accidentals, probably. Three would be a stretch. But two sharps and flats might be appropriate. Two flats are more commonly seen than two sharps. Right, Ausra? A: Yes, that’s right. V: So, yeah. I would also avoid finger substitution here as well. If this Kyrie, for example, has four parts, right, for example, what’s the best way, Ausra, to discover the ideal articulation? How do you know that you are articulating correctly? A: Well, first of all I look at the meter, because, well, in order to understand early music, you need to look at the meter and then to decide how many strong beats per measure there are, and then that also helps me to articulate. V: And obviously this articulation helps you in choosing fingering as well! A: Yes, that’s right! Because usually, you try to use good fingers on the strong beats and not-good fingers on the weak beats. V: What do you mean “good fingers?” Are there any bad fingers? Can you cut them off then if they are bad? A: No, but look at all those angels playing Portatives, or Saint Cicilia playing the organ. Have you noticed how unnatural their fingers look? Because they use paired fingering very often. V: Meaning that they played with the longest fingers only. Right? 2 and 3 and 4 but not 1 and 5. A: Yes, that’s right. V: That’s absolutely correct, Ausra. I’m glad that Joanna mentioned this, because we can now take a look a little bit deeply at the issue of fingering, because it’s related to finger substitutions, and it’s related to articulation. Right? You said that this legato touch requires sometimes finger substitutions if the texture is very thick. Right? A: Yes, very often, actually, it requires finger substitutions, otherwise you wouldn’t be able to do that. And you even have to slide with one finger to play legato. V: Exactly. From a white key to another white key, or from a black key to another white key. A: Yes, that’s right. V: Finger glissandos, it’s called. A: Yes, finger glissandos. V: But this is for later music. And for earlier music, we use detached articulation, which doesn’t require finger substitution, even in thick passages. A: That’s right! You know, people often forget that they are playing early music, and they still paint the shape with the wrists, which is also not the correct way, probably, while doing that. They forget to shift the entire hand! V: To move one hand from one position to another. A: Yes! Yes, that’s right. V: It’s the same with pedaling, too! We don’t use that feet crossing. We shift both feet together. A: Yes, if we can, we do. If not, then not! V: Ausra is not so convinced about this principle, I see from her expression. A: Well, I don’t know where you have found that holding feet together. I think holding feet together works for later music; for modern music. In Baroque music, you don’t pedal like that, keeping both feet together and ankles together as you like, because when you are pedaling the Baroque music, this is very important to feel the weight of your leg and to put the weight actually on your hip. V: I’m not referring to Baroque music in general. I’m probably thinking about specific passages where the pedal line forms a scale like passage step-wise motion, and you inevitably have to play with alternate toe pedaling: left-right-left-right or right-left-right-left. And what you see happens, I see people sometimes cross one foot behind another. That’s what I’m trying to avoid in these passages. Not in general, but if you then shift both feet together, then you don’t cross them. Does it make sense, Ausra? A: Well, I’m not thinking about that, but I have never crossed my legs while playing Bach’s music. V: I will have to look at the pedal camera when you record videos on YouTube! A: Okay, do that! V: Shall we look together with you on the big screen? A: Maybe not! V: Good! A: You are not my teacher, you know? V: No, I am not? A: No! V: Then who’s your teacher? A: I don’t have any right now! I am teaching myself. V: Autodidactic! A: Yes, that’s right! V: Me, too! Can you be my teacher then? A: No. V: Why not? A: I think you’re already clever enough to manage on your own. V: It’s good to have a teacher and listen to your teacher, and your teacher tells you what to do. You just follow directions and you continue progressing. Right? A: Yes, but sometime you still finish your studies and you have to move on your own. V: I don’t want to finish my studies. I want to be a student all… A: Forever! V: Forever! A: It would cost you a lot. Tuitions are expensive! V: Tuition. Yeah. I will take a second mortgage. A: Okay! V: So yeah. Joanna, it’s the first question that someone asked about Cabezón. Somehow, people don’t play Cabezón’s that often. A: Yes, that’s right. He’s not so popular comparing to, let’s say, Bach. But I think his music is worth playing because it’s so polyphonic and so complex. V: And Cabezón was one of the first Spanish composers that came to prominence. The first really well known organ composers, probably the earliest one. And nowadays, his edition is readily available online, and people could start playing his variations. It’s called “Diferencias.” A: Yes, that’s right. Although I don’t think I would play Cabezón on a modern instrument. Don’t you think so, too? V: Yes, it doesn’t make sense, because if the tuning is modern, like equal temperament, it doesn’t make sense. The colors are not there. But we have a Hauptwerk sample from Spain, I think a “de Palma” model, which we might download sometime and start using it. Would you like to try Cabezón on that? A: Yes, I think it would be interesting to try it. V: And later Spanish music, 17th century as well. Francisco Correa de Arauxo, Aguilera de Heredia (I don’t think I’m pronouncing their names correctly, but…) Pablo Bruno was my favorite. They created Tientos, Versets, things like that. And there are a lot of little gems to be found in those relatively little-played masterworks. A: That’s right. V: Okay guys, thank you Joanna for this question. Thank you everyone who is submitting questions, please do that more often. We like helping you grow! And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 608 of Secrets of Organ Playing Podcast. This question was sent by Paul, and he writes: “Thank you for sending your Organ Duet Recital. Bravo! For the moment my challenge is BWV 564. I am able to play the toccata by heart, Adagio I still need the score and fugue is not yet on an optimal level. I try to realize what you call articulate legato. Best greetings Paul” V: Do you know the piece that he is talking about? A: Yes, it’s famous! C Major Toccata Adagio and Fugue! V: When was the last time you played it? A: Well, I think it was back in the United States. Actually with this Toccata, I was accepted to a few different doctoral programs in the US, so although I haven’t played it for many years now, I know this piece very well. V: Do you have a wish to play it sometime in the future? A: Well, yes, I was thinking about it, but it’s not on the top of the list of my wishes. But definitely, I think I will play it again someday, because it’s a beautiful of music. V: Yes, I will also try to refresh it. I played it probably at Eastern Michigan University? Maybe… A: I highly doubt it, because that’s where I played it, so I don’t think we both did it at the same time. V: Oh, I thought you were me! A: Oh…. Ok…. Should I look at it as a compliment or not? V: Yeah. So then, I might have played it even earlier than you. A: I think so. I think you played it earlier, before our studies in the United States. V: In the Masters program at the Academy... A: I think so, yeah. V: ...of Music in Lithuania. So of course, we are glad that our organ duet recital was liked by Paul. A: Yes. It’s really exciting. V: When people send us feedback and positive feedback, it only helps us to keep going, right? A: Yes, it’s a big motivation, actually. V: Imagine, Ausra, if everybody who wrote you would have written negative comments. A: Well, I would have stopped playing, probably by now. V: Definitely. Me, too! But since we know that some people appreciate it and in the future, people who have not yet discovered those videos, maybe, hundreds of people… thousands maybe in the future, it helps us keep going and plan for future recitals, too. A: Okay, let’s talk now a little bit about this Toccata Adagio and Fugue! How do you like it? Do you think it’s a difficult piece of music or not? V: It has some, let’s say, nasty parts. A: I would say that probably it’s the hardest out of all five toccatas by J. S. Bach. V: Not nasty, I should say, tricky parts. There’s nothing nasty about it. A: Yes, it’s very beautiful, actually. I think that Especially the Adagio section is probably one of the most beautiful pieces of music ever written. Don’t you agree? V: Yes, it’s worth it to be sent out to the outer space as a specimen of human accomplishment. A: Yes, and I love that Toccata so much, because it has such excitement in it—all those fast passaggio—especially the pedal solo part is really exciting. V: The pedal part you mention here is a good way to get a little bit deeper into this. It has triplets… not triplets, but those three note motifs, you know what I’m talking about… A: Yes… V: ...and since early pedaling is mainly alternate-toe pedaling, left-right-left-right, or right-left-right-left, three note motifs like this pose considerable difficulties. Don’t you think? A: Yes, yes! V: I’ve seen people do it with heels, I’ve seen people do it with left-right-left, right-left-right, crossing their feet and then stumbling… A: And you know, right now, talking about this piece, I remember that actually I also played it in Lithuania in the Academy of Music when I was a student, and I used the heels and all that kind of stuff, and then in America, actually, I relearned it in the historic performance practice way. V: In Lithuania you had a heel loving professor. A: True, as did you! V: Yeah, we both did. Different professors, though, but actually… A: I think they all loved heels! V: Yeah. So, yeah. In my score that I prepared, I have, of course, pedaling written in, so anybody who’s curious can check it out. A: Yes, and I’m thinking about this fugue, which is so exciting, too, because it has such a fast tempo, and it’s basically a dance! What kind of a dance is it, Vidas? V: The fugue? Oh…. I always like to say that it’s a gigue! A: Yes, actually, it sounds like a gigue! At least the tempo is almost like a gigue! V: But remember, there was a funny story with Guy Bovet and this fugue? A: Yes, I remember when you were translating what he is talking about, and you added your remarks as well to his text! That wasn’t very nice! V: Yeah. I thought everybody in the world knows that this is a gigue fugue, but apparently it wasn’t the main point that he was thinking about. That was back in 2007 he was visiting Lithuania and played a concert in our church, and I was translating from English into Lithuanian. Actually, this was one of the few concerts in this church that people came to see in droves! They flocked to the church! It was fully packed! More than 300 people were sitting. A: I think not everybody got a seat! I think some of them were standing up because they could not be seated, there were so many of them. V: Yeah, the ticketing process was not over in 30 minutes, which is unheard of in a situation like this for organ concerts. So basically, he played all kinds of repertoir. It was really nice. By the way, this was the time that he played Mendelssohn’s Adagio in D Major variations that Ausra loves so much! A: Yes, and I just fell in love with that piece! I think it sounds just so beautiful at St. John’s Church. In general, the more I live, the more I think that Mendelssohn sounds particularly nice on St. John’s organ. V: I played Mendelssohn today, there. Yeah, second Prelude and Fugue. I was just practicing, testing my live streaming, too. So but anyway, I think, getting back to this C Major Toccata Adagio and Fugue, I think in Adagio people should add more flourishes and ornaments and improvisation. Don’t you think? A: Yes, I think so! V: It’s very appropriate. A: It is. V: Because there are quite a few repeats. A: Definitely, I think it sounds better when you repeat something in a little bit different way than you played at first. V: Yes. I think I’ve heard Ludger Lohmann on CD improvise wonderful passaggios there. You remember that CD recording? A: Yes, I remember that. V: It’s very appropriate. So from hearing his recording, I got many ideas of my own and started adding flourishes in many other places of Baroque music, and it just feels natural to add something in a musical style where adding was like the right thing to do. A: Yes. V: Wonderful. So guys, please keep sending us your question; we love helping you grow. And check out the score for Adagio Toccata and Fugue… no… Toccata Adagio and Fugue in C Major, BWV564 if you need fingering and pedaling. Of course if you can figure it out for yourself, it’s okay. And if you can figure it out the efficient way to produce articulate legato especially not thinking about it but naturally—automatically, basically. For this, my score is very helpful. Alright, and remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 611 of Secrets of Organ Playing Podcast. This question was sent by Kaki, and Kaki writes, Thanks for the upload! I remember when I was learning the whole suite, always loved Krebs and this Courante was my favorite. There aren't many videos if any at all on this Clavierubung #2 and you uploaded the whole suite! Thanks so much, I enjoyed listening (: A little gem in the sea of youtube videos! V: And, Ausra, Kaki is referring to my recording on YouTube that I made of Krebs’ Courante from his Clavierubung Part 2. Remember our project at the beginning of quarantine, can you share us what led us to record entire Clavierubung Part 1, 2, and 3? A: Well, at the beginning of the quarantine, we had only one manual of the Hauptwerk, so we looked for the manual stuff at the beginning. So that’s when we started to record that Clavierubung. V: Yeah. We couldn’t go to the church anymore. I haven’t received any of multiple keyboards yet, or pedalboard, and Ausra wasn’t even aware that I ordered multiple keyboards and pedalboard. And bench, another bench, right? A: Yes, true. V: So it was like our little project to record Krebs’ works together every day and upload them on YouTube. At first, we did that as simple audio files, because Hauptwerk generates two files right away, if you want to record, make a Hauptwerk recording. It generates a MIDI file, which you can then manipulate into music notation of any kind, or playback that MIDI file on the same Hauptwerk sample set. And it also generates WAV file, which is high quality audio, uncompressed audio file which could be edited later, and then made into MP3 or into other formats and then uploaded into internet. So but Ausra, I’m interested into specific angle here: Why did you choose Krebs over, I don’t know, other composers, to record on this manual? A: Well first of all, I had the score of this volume of Clavierubung, and I have already played, like five pieces out of it for, during various occasions. V: Mm hm. A: Well, and I realized, Why not to learn and record the rest of them? Plus, I love them - really, I think this collection of music is great. Not offending that your Clavierubung, but I prefer my Clavierubung, that I played. V: That’s right - you’ve been playing Clavierubung Part 1. It has, I think 13 collections, 13 sets of chorale settings, each having three verses, right? A: Yes, and the first one which is my favorite, Allein Gott, it has even more. It has four parts, because it has not only Prelude but also Fughette, and then Chorale, and Chorale Alio modo. V: So it seems to me that Krebs started really advanced version with basically Prelude and Fugue, and then later his forms got simpler and simpler. A: But what I like about Clavierubung Part 1, that it’s very well suited for church musicians. Because all these based on different chorale tunes, and you can decide which one to play when. For example, that Erbarm mich is beautiful too, for example for Lent, and Allein Gott I think is well suited for solemn occasions. V: Mm hm. That’s right. At first we didn’t even use the camera to record ourselves, just the audio. A: Yes. V: And we added pictures in the video editing software. Specifically, we’ve been using iMovie. A: Yes. But Kaki’s talking about the Second Clavierubung. Obviously he or she liked your Krebs better. V: Maybe she hasn’t discovered your channel yet. A: I don’t know. Well anyway, is your Clavierubung Part 2 of Krebs suitable for church music as well? For church services, or not? V: Not so much. Because it’s a dance suite. A: Well, that’s what I thought. V: Dance suite, it’s in what, maybe 12 parts, 12 movements I think? Something like that. It’s all in C Major, and it has all those traditional dance suite movements, like Allemande, Courante, Sarabande, Gigue, Prelude and Minuet, what else? Probably Gavotte. Yeah, Gavotte and some others. Maybe Bouree. It’s really wonderful setting, this Clavierubung Part 2. I think the quality of the music is exceptionally high, just like in the part 1. A: Yes, it’s really nice. I remember a couple of those pieces that you had practiced. They sound really very nice. V: We’ve been recording each piece every day, and we tried not to cut and paste things together, and tried to learn entire piece and record it in one sitting, which wasn’t very easy at the beginning, because we were not used to this kind of live recording of music on Hauptwerk, right? The keyboard was still new to us. Felt quite strange, this light touch, plastic keyboard, and we spent a lot of time on each piece, even though each movement might not be longer than one or two minutes. A: That’s right. Anyway, if you want to do something with high quality, you need to put some effort into it, obviously. V: Good point. Do you remember Ausra, how much time you would spend on average, on each piece? A: No I don’t recall it. V: At least half an hour probably. A: Well yes, probably yes, at least. V: Even as simple as chorale harmonization, which is the last portion of each chorale, took you at least several tries. A: Well yes, because you need to think about harmony too, because Krebs provides only two voices, you know, soprano and the bass, and you still have to fill up yourself alto and tenor. V: Fill in. A: Fill in, yes. V: And there is this Clavierubung Part 3, which has six sonatas. A: (laughs) Are you going to record that as well? V: No, I already did. Remember, you recorded Part 1, and I recorded the rest. A: Yes, I remember it. V: Each of those sonatas have three movements, so six times three is eighteen movements. A: What about Clavierubung Number 4? V: I don’t think he wrote Number 4. A: Ha ha ha! V: It’s just three parts. Bach wrote four, I think. A: That’s right. V: Johann Sebastian Bach. A: (laughs) V: Yes. But you don’t regret recording Krebs. A: No, I love Krebs, really. V: We, while recording and uploading Krebs, we stirred, we caused a lot of problems on Hauptwerk. Hauptwerk-related audio platform called ContraBombarde Concert Hall. Remember, Ausra? A: Yes, I remember that. V: Because we’ve been uploading what we have created, and sometimes multiple uploads, multiple tracks per day. Like, I remember uploading yours and mine, like six Krebs sections per day - your six and my six - so twelve Krebs from both of us. And when they figured out that we are both husband and wife, so they got furious and they changed the terms of service and regulations. Now users are only able to submit three tracks per day only. A: Yes, we made history! Sometimes I think people hate us. V: Oh yeah, those who cannot produce so much, they feel inferior. A: True. V: Yeah. Funny. But I encourage Kaki to take a look at both Clavierubung Part 1 and Clavierubung Part 3. Not only take a look at Ausra’s and my videos, but also try to play those pieces. It’s really worth it. A: Yes, they are worth consideration. V: Thank you guys. This was very interesting discussion. We appreciate your questions. Please send them to us. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 606 of Secrets of Organ Playing Podcast. This question was sent by Laurie, and she writes: “Hi Vidas, Be sure you are sitting down to read this. ? I have no objection to the study of articulate legato touch for early music, but my question is, why MUST we use it? I understand it was the practice in the time of Bach and early music, but wasn't that true because the tracker instruments lent themselves to that sort of touch? And the flat pedalboards could be navigated easier with all toes, rather than using heels. But if we have a modern instrument that does not have "tracker touch" and has a concave radiating pedalboard, why not lend new interpretations to these masterworks? It could give new life and new understandings to old music. I'm sure you have heard Cameron Carpenter play. I'm not always a fan, but I learn something new about the construction of the music when I listen to his interpretations. For example, here he is playing the Bach B Minor Prelude and Fugue on a modern organ, making full use of colorful registrations and expression pedals. https://www.youtube.com/watch?v=jixCGS_AAG8 Isn't this improvisation in its own way? What do you say?” V: And by the way, Laurie is on the team of people who are transcribing these podcast conversations, so she’s also, then, a member of the Total Organist community as well! So, Ausra, what comes to your mind when you’ve listened to this? A: Well, of course you are free to choose. You live in a democratic country, and you can interpret music as freely as you want, but if you are thinking that this is something new, to play Bach legato and on a modern instrument, this is not a new way, because that ordinary touch about which Vidas and I are talking and advocating so much, actually it was sort of recreated and rediscovered, and only, I would say, 40 years ago, maybe, if I’m correct. And it all came with people like Harald Vogel, who advocated to play the Baroque music on the Baroque instrument and early music on the early instrument. And how I see things is that after you try to play it in the ordinary touch and using only toes for the pedalboard, you will never go back to playing otherwise. And the advantage of what we are advocating is this: If by chance in life you will get access to a historic instrument, you will be able to play it, and if you will only use only modern techniques and play Bach legato and use your heels while playing Bach, you will never be able to play on the historical instrument, because you will sit down at the organ bench, and you will see that it’s simply impossible. Okay, let’s hear what Vidas thinks about it! V: I have a few things to say. I think if Bach lived today and played those modern instruments, he might have written a completely different kind of music, right? And not necessarily in his own Baroque style. He might not have been an organist at all in this day and age. Right? It’s very idiomatic to his period that he became what he became, actually, and not even talking about Bach, but any other master from the past. So, when we encounter masterpieces from those days and we try to recreate how they might have sounded today, we always make some compromises, because when we are on a modern instrument, we don’t have those sounds available, or even the intervals available. The tuning system is different, and then we’re hearing a little bit different harmonies—not as pure, for example, not as colorful. But then the advantage to the modern era is that composers can modulate to any key they want and each key sounds exactly the same. It’s from the color perspective, but it kind of ties to this performance practice, and in forming performing practice, we’re not advocating that you should necessarily play everything with toes only, but you should know how it’s done, and then you are free to choose, and not only know, but I think you could try and practice and spend some time, and when you master one, two, three, or five pieces this way, try to do an experiment; try to learn something else from this period but in a legato fashion, with heels, for example. Try your own pedaling and fingering with finger glissandi and everything, and then go back to this historically informed technique in the way you play it, and see if it sounds more convincing. You see? The style of music lends itself to this kind of articulations, and if you use modern pedaling, you have to think about articulations. But if you use early pedalling and fingering, then it works automatically. You can recreate it automatically. You don’t even think about it. A: Well, and as I mentioned before, don’t think that what Carpenter does, that this is a new thing, because Marcel Dupré actually toured America many years ago during his lifetime, and he plays all Bach, complete works by Bach, and I believe he even played from memory, and of course, he used the legato techniques and toe and heel techniques on the pedalboard, so it’s nothing new, what you are talking about. Well, okay. V: And so, just try different approaches and then choose the one that sort of works for you in your situation. We just don’t want you to relearn the same piece twice. If you ever have the chance to play a tracker instrument, which was inspired by Baroque techniques, or an actual Baroque organ if you go to some church which has… some organs in the United States have historically based organs… and you might have a chance to play them, and what would you do then? Would you play legato, or would you try to relearn it the second time? We advocate that you don’t have to relearn it. You can do the same thing the right way right away, and then it would sound convincing on any instrument. The last thing, Ausra, if we consider this. If you play with articulation on a modern instrument, does it sound bad? A: Well, no, it doesn’t sound bad. V: Does it sound bad if you play with toes-only technique on a modern pedalboard? A: No, I have never noticed that. V: But the other way around, if you play on a historical instrument and you play legato, does it sound less convincing? A: Sure! Definitely. V: You see? It’s kind of self explanatory. This technique doesn’t go both ways. You can play with articulation and with toes only on any instrument, not only with a Baroque instrument. But when you go to the Baroque instrument, legato technique doesn’t work so much. I mean, there are some instances and exceptions, but in general the rule is articulate legato like string players would articulate with their bows, or with their tongues for wind instument players. Flutists, for example. A: Yes, I think that’s a very good insight you are talking about. V: Alright, guys! We hope this was useful to you! Please send us more of your questions; we love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 609 of Secrets of Organ Playing Podcast. This question was sent by Robert, and he writes, Dear Vidas, Thank you so much for the video of you working on Vierne Final, sym 1. Within just the first 3 minutes I learned so much about how to practice properly, the key word here is properly. I, of course, practice (and I'm a slow learner but I get there) usually sections at a time and slowly but watching you slowly and what appears to me slight hesitation at certain points to read ahead. I may be misinterpreting what you're doing but it makes sense and allows for a much smoother transition from section to section until the full work is learned and brought up to speed. I've listened to more than 3 minutes but not the complete video which I will do now. I can't wait to see what's ahead that I will learn. You are such a good human being and make the world a better place. Thank you. Warm regards to you both, Robert A: What a nice letter to write. Thank you very much, Robert! V: Of course, Robert refers to my recent video where I show my own practice method, how to master Vierne’s Final from the First Symphony in 11 steps. What do you think about my method, Ausra? A: Well, I think it’s working obviously, because we see the results of your playing. But I don’t have so much patience as you do. V: Oh, that’s strange. Because I always knew that I’m the impatient one. A: Not in practicing the organ, obviously. V: My mind is scattered all over the place, and I jump from one hobby to the next, faster than you can think of. But you are such a steadfast and very stable. Do you think you can’t spend like 30 minutes with one step or two? A: Well it surely would be very hard. V: Why? Can you share with us your hesitation? A: Well, I’m not sure that I could play throughout the piece and stop, let’s say what you do, every other quarter note, or whatever. V: It’s systematic, right? First I stop at every quarter note, then at every half note. Then every measure, two measures, four measures, one line, two lines, one page, two pages, four pages, eight pages, and so on. If the work is longer than 8 pages, then basically you need 11 steps. A: Well, but you see, have you ever tried this method on a completely new piece to you? V: Definitely. I learned Mendelssohn’s Prelude and Fugue No. 1 in C Minor this way. A: Because definitely this piece by Louis Vierne, this Final, is not a new piece for you. You are sort of repeating it. V: Yes. You can trace it back in my YouTube channel. It’s one of the first pieces I put there. From back in 2006, I think. I brought the recording from University of Nebraska, Lincoln. It was one of my doctoral recitals, right? A: Yes, I think so. V: And I’m refreshing this symphony right now, working on every movement, and I think I haven’t done the tutorial on how to master the third movement yet - what it’s called - Cantabile, or something - or Siciliana maybe. But it’s in 6/8 meter. It’s a very nice, not very slow movement, but sort of moderate slow in tempo. And I also intend to do this in 10 steps, too. A: But don’t you think that this method of learning might influence some people to not being able to play correctly in the right rhythm after practicing like this? V: I see your point. At first, I stop at every quarter note. A: Yes. V: Or, if the beat is let’s say eighth note, then I stop at every eighth note - even smaller segment. And then you think that people will have a hard time to practicing in the right rhythms, right? A: Yes, that’s what I’m thinking. That’s why I like to practice slowly, but in a smooth sort of tempo. V: That’s one way of looking at it, of course. But remember the second step is already largely in the first one. And stopping at half note values makes the quarter notes already at the right way, right? A: But it takes so much time. V: And we don’t have much time? A: Yes. V: Doing what? (laughs) A: Doing everything as well. V: Such as? A: Well, I’m not, I won’t start naming them all, because I do a lot in life. V: And I don’t, of course, because I just play and think all day long. A: Like Mary, yes? Or like Georgiana from Pride and Prejudice. V: Yes, that was a great movie. I see your point, actually. And that’s where we are different, right? In this way, I am very methodical, but I’m not always practicing in this way. Only in certain pieces when I’m having difficulty. Or when my due date is approaching, deadline is approaching, and I know I don’t have a lot of time, and my method is faster than playing without a system, right? So it actually shortens the process if I do this methodically. But I can also understand why it’s hard for people to focus and stay focused for let’s say two weeks with this method and one piece. It takes about that. Because one step, it requires at least three correct repetitions in a row - each step. So it’s a little bit unrealistic to do one step every day. You know, step every day. I think you have to spend maybe three days per one step, don’t you think? A: Yes. But usually, I’m really happy if I can play all my pieces that I’m working right now one time in a slow tempo each day. It’s already an accomplishment for me. V: Twice would be better than once. A: Sure. V: Now this how you, you’re practicing for example now, Franck’s A Minor Chorale, and Litanies by Jean Alain. And whenever you don’t have time to do it twice, then you feel a little bit, how would you say, unsatisfied. A: Yes, because then the next day, it’s almost like repeating the same practice as I had yesterday. Sort of like, you look with new eyes at this same piece. V: Yes. If you play it twice every day, then all things being equal, it will take twice as little of time. A: Yes, but if you have to practice solo pieces and church pieces at the same time, then sometimes you just simply don’t have time or energy left to play such a big piece as let’s say Franck’s Chorale twice. V: Joseph Kraus said, “That’s life in a big city.” A: True, but it also hurts hands. V: Can you tell us who Joseph Kraus is? A: Yes. He was our theory professor at UNL when we were working on our doctoral program, and actually, we both worked as Vidas and I were both his T.A. V: Teaching Assistants. A: Yes, Teaching Assistants in the theory field, so. And this was a man with a sad face, which he draw at one of his assignment lists which was very hard, so this man was wearing that and the picture said, “That’s life in a big city.” V: Yeah, if you are not rushing, if you’re not doing things more than you think you’re capable of doing, then probably you’re not living in a big city, right? A: Yes. V: Where life is much slower. A: And actually during the quarantine, we haven’t lived in the big city because we didn’t have to go to the city every morning and return home every evening. So we saved a lot of time, and we could practice more. V: Do you feel refreshed because of that? A: Well, yes and no, because today I was catching myself thinking how nice it would be to go to school back in September 1st, and it never happened to me before. V: You want to go to school? A: Yes, I want to go to school! V: Basically to work. A: Yes. V: And not to stay here and do online teaching. A: Sure. V: That’s interesting. Hopefully, your wish will be granted in September. A: Well, looking at the new numbers of corona situation right now, I doubt it. Maybe at the beginning of September, maybe October, but then, who knows? We might be staying at home. V: And also, who knows what our government will decide, if they will announce the quarantine or not. Because if they announce the quarantine, that will hurt the economy, and we don’t want to do that too much. A: Sure, it’s really scary. So I just hope the vaccine will be developed pretty soon, and all the intelligent people might get it. V: With intelligent people, you mean people who believe in vaccines? A: Yes. V: I see. A: Who believe in progress. V: And science. A: Sure. V: And reason. A: True. V: And that the earth is not flat. A: Do you think there are still people who believe that, that the earth is flat? V: Just Google "Earth is flat" and you'll see. A: And that the stork brought you? V: Just Google, “Earth is flat,” and you will be surprised. Um, I think there is a movement, growing movement of people, who believe that earth is flat, people never went to the moon, and so on. A: I remember that old movie about one African guy, very nice guy who, I don’t remember what was the name of his tribe, but he found a bottle from Coca Cola… V: Yes. A: And he was travelling to find the edge of the earth to throw that bottle down, and actually found it. V: Like a cliff. A: Yes. And he was very happy. V: Oh yeah. It’s, it was one of the bush people. A: I think so. V: In Kalahari. A: Yes. V: Great. So guys, we hope this conversation was useful to you. Please keep sending us your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 607 of Secrets of Organ Playing Podcast. This question was sent by Richard, and he writes, I am a pianist and I’d love to get the pedals working when I sit at the organ. I also struggle with improvisation which can be a real hindrance during church services. V: So two things, Ausra. Richard wants to play with pedals more, probably more effectively, and also improvise during church services. What do you say? A: Yes, I guess if you are playing the organ, then feet pedal is essential part of playing it. Because otherwise, you could just play on the piano. But because as we understood from your question, you are playing at church, yes, and during services it means you are accompanying congregational singing or a choir. And that way you really need to support it by pedal playing, because it consists of 16’ sounds that are crucial in accompanying singing. At least that’s what I think. V: So what’s the first step in playing the pedals. How to not get scared. A: Well, just to play more with it. Just to choose that, since this day I am always be playing with my pedal, too. Because especially pianists, they tend to select repertoire without the pedal, which is not bad sometimes, but you will not improve your pedal technique if you won’t use it often enough. V: Of course, don’t think that the only way to play the pedals is to play Toccatas and Fugues right away and jump straight to the most advanced techniques with the pedals. No, you can just gradually wade your way into pedal playing, selecting easy pieces, or maybe even hymn playing, playing soprano line in the pedal, like an exercise. A: Well, or just to play all of the hymns with the pedal, because some of the organists tend to omit playing the bass line in the pedals, too. I think that’s quite a good start, if you will play all the hymns with the pedals. V: This is really difficult, you know, if you have very fluid pedal line, or bass line, and to put it in the pedals right away will take at least a few days. And if an organist has four or five hymns to play that Sunday, I think it’s too much, don’t you think? A: Well, it might be too much, but you could cheat sometimes. You would, say, could learn one hymn just to play in octaves, and you would double everything what you are playing with the pedal. The same melody, you know, soprano line, to play it in octaves, adding the pedal. Other thing what you could do while playing bass line in pedal and playing alto and soprano voice with right hand, you could omit tenor part. Which often gives trouble for beginners especially. V: Yes, and try not to make this crucial mistake: when you are playing the bass line both in the left hand and in the pedals. Don’t double it. Because we tend to learn hand and feet coordination by playing different melodies, not the same kind of melodies, in the hand and feet. So be aware, because I know many people still do this. A: Sure. And then of course you can choose to play organ repertoire with the pedal, too. But for example, if you are not capable to learn the new music every week, maybe you could pick up some pieces that have easy pedal part. Let’s say some of Italian composers, like Zipoli, for example, Domenic. He often uses only one sustained pedal line throughout the piece. Or it goes from C to G and back to C. So that’s really easy. V: You mean like pedal point. A: Yes, like pedal point. V: What about the courses that we offer for pedal playing. Would that be helpful? A: Yes, I think our pedal course is very helpful. V: We have several. For example, you can choose if you are really beginner pedal playing, you could choose 10 Day Pedal Playing Challenge. And for 10 days, you could play those exercises, not a long time, right? To see if it’s doable for you. If you are more advanced, and want to perfect your pedal technique, we recommend Organ Pedal Virtuoso Master Course. Pedal Virtuoso means you would be playing all kinds of scales and arpeggios over one and two octaves, with one or even both feet together. So check them out, and remember that the secret to perfect pedal technique is the flexibility of an angle. That’s what Marcel Dupre said when he wrote his organ method book. And in his memoirs, he wrote that when he was a boy, like teenager maybe, he cut one of his wrists, and it was dangerous, because it was just a centimeter away from very important artery. And for three months he couldn’t play with his hands. But he said for three months he played pedal scales and arpeggios with vengeance. And that’s how he became invincible in pedal playing. A: Excellent story. So now, what could you advise about the improvisation? V: Well, also, we have courses for that. All kinds of courses. You just have to choose which direction to go. Hymn-based improvisation, or free improvisation, or both! For hymn improvisation, we have this Level 1 course, where the hymn melody is in one hand, and the accompaniment, or as we call it, counterpoint, is in another hand. It’s without the pedals for starters, just two simple voices. And it starts note against note, really really simple. One chorale note = one counterpoint note. And then goes a little bit more fluid: two against one, four against one, and then finally, sort of like suspensions and free counterpoint in the free voice. This is really helpful if you want to start creating chorale partitas later on, and chorale preludes in historical styles maybe. What do you think, Ausra? A: Yes, I think it’s really helpful courses. V: I’m kind of applying the same technique now, but more advanced way, when I’m recording videos based on Genevan psalms. And I’m teaching various techniques: how to put chorale line in the soprano with ornamentation, how to put chorale line in the tenor with the trumpets registration, or in the bass, with organ principal chorus mixture sounds, create like a chorale ricercare style. It’s possible to do this. You just have to be patient and scale back a little bit your expectation. And don’t be scared of the unknown. Because every day, when you’re doing this, you discover something new, and this is really fun. What about free improvisation if you were a beginner, Ausra? Where would you start? A: Well, I would probably start by improvising prelude. V: Like a verset? A: Yes, like a verset. Short prelude. V: Yeah. If you want to base your improvisation on a tonal style, before actually doing the verset, probably harmony is the first step. Or even theory - to know all those basic chords - three note, four note chords and their inversions. And then you can go to four part dispositional voices and voice leading of harmony, connecting those chords, like Ausra and I would be teaching in our courses. But then later, you can start kind of making up melodies and making up answers and questions, questions and answers, and expanding those questions and answers into meaningful dialogue between those parts into let’s say, 16 or 20 measure short verset. This could be very helpful for playing a prelude or a postlude for church service, right? A: Yes, or you could improvise toccatas, too. V: Yes, you just have to add some kind of figuration in the hands. And place the tune in the bass line. A: Yes. Or also sustain the long notes in the pedals, too, if it’s hard for you to play pedals for now. V: Or actually have variety of those textures: sometimes pedal line is moving, sometimes it’s stationary, sometimes the tune migrates to the right hand, or even to the left hand if you are more advanced. A: But what would you say is easier for beginner improviser - is it free improvisations or is it chorale based improvisation? V: The way I teach chorale improvisations, it’s obviously chorale improvisations. It’s just two voices, note against note. Anyone can start. If you can read one line at a time, like a hymn tune, if you can play one hymn in the right hand, you can think about those sweet intervals, thirds and sixths, in the left hand part. And then switch. A: Actually, that’s what I was thinking, too, that probably to have some kind of melody, some kind of theme given to you is easier. Because it’s your beginning, you have something to grasp on. V: Yeah. And the harmony would come later. Remember, before there was harmony, harmonic style, tonal style, there was a contrapuntal style with counterpoints. And people first learned polyphony like this, in species counterpoint. 17th century. And then later, in 18th century, more people started writing harmony treatises, based on figured bass. A: Yes. It was very important in the baroque times. V: So all kinds of directions you could take, but choose one path and stick with it for awhile. At least until you get to see some results and decide if it’s for you or not. All right, guys, this was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying |
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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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