Vidas: Hi guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 266 of Secrets of Organ Playing Podcast. This question was sent by Dan. He writes, in response to my question about how he became fascinated with the organ. So he continues:
 
For me, I’d say even back then when I was really young, I had an interest,  and fascination in the organ. And as I still do to this day, whenever I’d hear the organ played at the church i’d attended at the time, which had really nice, excellent acoustics, i’d listen to every little detail of the organist’s playing.  Some friends of ours had one of those little spin it organs, made by a company who I don’t think was really known for making stuff like that - Electrohome.

Whenever we’d go over there, I’d never want to get off of that instrument. It was one of those that had slightly shorter manuals than a conventional 61 key manual.  They only went down to an f, so they were shorter on the bottom end, and only 13 little short, tiny pedals, which you could only play one note at a time on.

But back to that organ in the church i’d attended, I one time, had attempted to talk to the organist, we’d went up to the console after a service, and I’d asked if I could take a look at the instrument, it was a two manual Allen organ, from the late 1980’s I think.  She’d pretty much said no, that I couldn’t, but i managed to get a finger onto the bottom notes of one of the manuals. She’d either totally turned off the organ, or just didn’t have any stops on, I’m not sure which it was, as when I’d pressed the keys which I did manage to touch, I didn’t hear any sound at all.

​I was disappointed, after we’d left there. I think it’s important, for organists to show people, no matter how young or old they are, the instrument, if they’re interested.    I later did get to try that organ, but that was a couple of years later, after that first experience.
Dan
 
V: So, Ausra, I think the main idea that Dan is trying to communicate is his disappointment in the situation that the local organists didn’t show him the organ.
 
A: Yes, it’s very disappointing, you know, for a kid.
 
V: Did you have something like that in your life when you were growing up? You said your first experience with the organ was in Nida, right?
 
A: Well, when I heard the homeland organ recital, yes.
 
V: Did you want to go upstairs and try out the instrument yourself?
 
A: No, because I think I was just too shy for such a thing, but I remember that recital. It was really something! And then also afterward, I finished my first grade of elementary school. We had our choir concert at the Philharmonium building in Vilnius, which has this big Schucke instrument. And Bernardas Vasiliauskas, actually, he was the man who played that organ recital in Nida at the first organ recital that I have ever heard, he actually showed us that organ from inside, and I just remember that feeling—it was so fascinating. I just could not imagine that there could be so much space in the instrument, so…
 
V: Ausra, now tell us a little bit… how did you become a professional organist? How did you decide to become a professional organist? Who suggested for you this idea?
 
A: Well, it was actually by accident, I think, that I became an organist.
 
V: Right, so….
 
A: Because simply, I graduated from National Čiurlionis Art School, where I teach now, and I didn’t want to go the Acadamy of Music, because my major at the time was choir conducting, and I didn’t want to lead a choir. And, I wanted to study history at the University of Vilnius. But, then I met one professor, a piano professor from our Academy of Music, and he listened to my piano playing, and he told me that I should study at the Academy of Music, and if I don’t want to study choir conducting, I could study the organ.
 
V: That’s right. And you said yes, right? Did you spontaneously agree, or did you….?
 
A: Well, yes, I almost spontaneously agreed, because I have never thought about that possibility, but since childhood, the organ fascinated me. And then, he told me about this possibility, I was sure right at that moment that it’s the right path for me.
 
V: So you say that when you said “yes” to that piano professor, in your memory, this Philharmonium Schucke organ experience came out, right?
 
A: Yes, and the Nidas recital, too. So, I think it’s very important, what you experience as a child.
 
V: Imagine that  Bernardas Vasiliauskas would have been busy or not there, and didn’t show you this organ from inside. Your curiosity about this instrument might have not been great at that moment.
 
A: That’s true! That’s true, because I think that children are the most eager to accept things and to experience things, not an adult. I think so many adults with the years just lose the curiosity, and it’s just too bad.
 
V: And when my teacher were at the academy of music because of the organ, too.
 
A: That’s right.
 
V: So, we probably wouldn’t be speaking today to you guys, if not for Ausra’s first grade experience, right? When someone really great introduced the organ to the entire class, group of children, and for me, probably, too! If my mom didn’t show me the instrument in our summer place where we stayed—small village church, anonymous builder organ without pedals, and she pumped the bellows for me by hand—I probably also would have chosen a different path, maybe choir conducting!
 
A: Yes.
 
V: Because, I had probably a stronger interest in choir conducting than you at that time.
 
A: So, I think it’s a good lesson from Dan’s letter that we can learn, all of us, you know who are organists and have access to an instrument, that if somebody, especially children, show interest in the organ, we need to show them around. Let them play. Of course, not damaging the instrument, but you know, really, we need to guide them, and to show them the instrument, because one day, maybe they will decide to learn this profession! And I think it’s so important nowadays when organ art is slowly dying.
 
V: And, for example, if you are doing organ demonstrations to a group of kids, it’s really a great idea to let them draw the organ. Not only play, but draw. So, maybe one or two are playing at the moment, sitting on the bench, or sometimes even three, but the rest of them could draw with pencils or with crayons, or pastel, something that you could all bring together, like a story about the organ, and that way they will internalize the instrument and experience much deeper.
 
A: That’s right.
 
V: Thank you guys, this is a lot to think about for us, and hopefully for you, too. And please keep sending us those wonderful questions, we love helping you grow. And remember, when you practice,
 
A: Miracles happen.

This blog/podcast is supported by Total Organist - the most comprehensive organ training program online. 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...

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Vidas: Hi guys, this is Vidas.

Ausra: And Ausra.

V: Let’s start Episode 265 of Secrets of Organ Playing Podcast. This question was sent by Andrea. And Andrea writes:

Hello Ausra and Vidas,

Thanks for your hints and the talks you share with us!
I would like to know your opinion about the prelude in D, BWV 532, from JSB, a piece I run into a few days ago, after years of oblivion past the days I studied it... As we know, the piece is divided into three parts, the second of which is marked Alla breve. What do you think about the tempo to be kept in this section? Shall we keep "Alla breve" as an indication of style, i.e. the Stylus Phantasticus, so to be played fast and virtuoso, or shall we think of it as a tempo indication, so to played crotchets in the region of 60-66?

I would like to know your ideas about this...

Right now I'll go playing, because "when we practice, miracles happen"!!!

Have a nice summer!

Andrea

So Ausra, we’re looking at the score now, right?

A: Yes.

V: And what do you think, for starters?

A: I don’t think it’s related to stilus fantasticus--this particular episode. I think that the previous one was more in the stilus fantasticus style, and I think that in this particular spot, alla breve means that...At the beginning of this prelude, we had the meter...common meter, yes?

V: Yeah.

A: It meant that we have 2 strong beats in a measure: on the first beat and the third beat. But starting from the alla breve section, we have only 1 strong beat per measure. It means that from that particular spot, you have to play everything...double as fast as it was before.

V: Twice as fast.

A: Twice as fast, yes, twice as fast. It means that if previously you had 16ths, so now your…

V: 8th notes.

A: Your 8th notes have to be played as the 16ths were.

V: Mhm, that makes sense. And for people who want to be really virtuosic here and play really fast, they need to start really fast the Praeludium, the pedal scale in D Major. And then keep the same tempo in alla breve, but twice as...fast.

A: That’s right. So you really need to think carefully before taking the opening tempo.

V: Right. Umm...Those tempo relationships are very important in Baroque music, right Ausra, because in sectional pieces, if we play separate episodes in a variety of tempi, then what happens?

A: Well, the piece might lose unity.

V: Because it lacks unity anyway, and we need to keep at least something unified; so one of the elements is tempo.

A: That’s right; and I think it’s a question that raises so many questions and so many discussions. And think even about the Fugue, like in E♭ Major, yes? from part of Clavierübung by J. S. Bach. I have heard so many discussions about that, how to put all those 3 fugues together in terms of the right tempo, what their relationship between fugues should be. But obviously, this is...you know, the style of Bach, it’s just still young Bach; so you have that Northern German feeling in it.

V: Like Buxtehude, you mean?

A: That’s right. Like Buxtehude.

V: This is directly related to Buxtehude’s style, too. Probably he picked up this writing when he went to Lübeck.

A: Yes, I guess so.

V: On foot.

A: Yes.

V: How many miles?

A: Well, many many miles!

V: 250. Somewhere...like 450km, I think. On foot.

A: No wonder his trip lasted longer than he expected! That he even lost his job!

V: Yeah, his church officials weren’t particularly pleased that the main organist of Arnstadt Church had left--for the holidays, for Christmas--the church to the substitute.

A: That’s right.

V: Mhm.

A: But anyway, this piece, this Praeludium and Fugue in D Major, is a very exciting piece. Especially Praeludium.

V: Right. And not particularly easy to play, in general, this cycle, Praeludium and Fugue. What are some of the difficult spots here?

A: Well, you know, I remember myself playing this piece, and I remember that I often messed up right at the beginning.

V: The pedal scale, you mean?

A: Yes. I don’t know, it gave me such nerves!

V: Did you play with toes only, or with heels?

A: No, I played with toes only.

V: I see.

A: Because I worked on this piece when I studied with Dr. Pamela Ruiter-Feenstra at Eastern Michigan University, and she would not allow me to use heels. Thanks for her!

V: We have prepared this score with pedaling and fingering here, and looking at the choices of D Major scale ascending version from the beginning here, it looks strange for many people, right? To play toe-toe, for the left foot; and then right-left, right-left, right-right. It’s really strange for people who never touched a historical pedalboard.

A: That’s right.

V: What’s the strangest feeling about this passage? What is different than people would normally pedal it?

A: Probably that you have to use the left foot right at the beginning, hit the D, and E.

V: And in the same manner as at the end, C♯ and D are right-right.

A: That’s right.

V: Why is it so important to do this? What do you think?

A: I think it’s important because it gives the right articulation. And in this case, you would be able to play it on the historical instruments, or replicas built in a historical style.

V: What would happen if people started to play left-right, left-right, left-right, left-right? Why can’t we play it like this?

A: Hahahahahaha! Well, I think you would just fall down on the pedal, if you would play like this! It’s possible, but--

V: It’s POSSIBLE…

A: But, but--Yes, it’s possible, but I wouldn’t do it.

V: But the grouping of notes is different, right?

A: Yes, because if you think about playing that F♯ with the left foot, and then you know, crossing legs...I don’t know.

V: Uh-huh.

A: I think it would be too hard.

V: Plus, in this grouping, you always play the stronger beat with the left foot, if goes upward.

A: That’s true.

V: So D should be stronger than E. But it’s the opposite, right? It’s E that is stronger than D. Therefore we reserved D and E for one foot. Right? Left-left. And from E we start to do alternate toe pedaling.

A: That’s right. Well, at least that passagio, you know, which goes down from the broken arpeggio--that is easier, at least. You know what to do: it’s left-right, left-right, and so on and so forth.

V: To me, alla breve seems kind of slippery to play, because it’s so rhythmically consistent, and there’s no way to slow down here and adjust the tempo.

A: That’s true, and that’s often the case with the stilus fantasticus pieces, because if you would look at Buxtehude’s Praeludium, he often mixes these strictly rhythmic episodes with those free episodes.

V: Fugal, plus free.

A: Yeah.

V: Fugal and improvisatory episodes.

A: Yes. And even in Bach’s other earlier pieces, you can find that like, in A Major Toccata, for example. And Fugue. It also has something there, you know, Northern German-ish. Don’t you think so?

V: Could be. So guys, approach this piece with caution; don’t play it too fast, because it’s risky!

A: It is. I never went back to this piece, and it’s just too bad, maybe. I need to repeat it at some point.

V: Maybe for the next Bach’s Birthday.

A: Hahaha! Could be. It would be fun.

V: Right. What would you recommend for me to play, then?

A: Well, I don’t know. Maybe 6 trio sonatas!

V: Too much!

A: Hahaha! I’m just joking. G Major, of course.

V: G Major! Let’s start from the last one! Not the last one. The last is--The last is G Major!

A: Yes! It’s G Major, yes.

V: Oh! So..

A: Well, my first was C Major, which is the fifth sonata, so…

V: Mhmm...We need to do pedaling and fingering for those remaining sonatas, because up till now we have E♭ Major prepared for people.

A: That’s right.

V: I guess that would be helpful. Thank you guys, you gave us a lot of ideas for the future. Please keep sending us those questions; we love helping you grow. And remember, when you practice…

A: Miracles happen.

This blog/podcast is supported by Total Organist - the most comprehensive organ training program online. 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...

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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime.

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I am learning greatly from the sharing of other organists on their experiences with composers, some of whom are new for me.  I find inspiration from them, too.  Total Organist is a community builder.  (Ruth)

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Have you ever observed kids play? You surely have noticed the amount of focus and immersion required in these fun activities. And the same amount of focus for them goes into drawing, reading a comic book, or building something.

What would happen if we didn’t allow kids to play? That’s right, no more running, hiding, fighting, building, exploring, having adventures until they are 18!

That would be insane… In fact, cartoonist Lynda Barry argues that without play, children would go crazy. Maybe that’s one of the reasons why there are dysfunctional families, psychopaths, entire generations and countries where people live in war zones who have seemingly lost their humanity.

Play is a basic human act, primary to our psychological and physical survival. Creativity is primary to our survival too because brain activity when someone writes or draws or plays an instrument is similar to when kids play with each other.

Play inevitably produces laughter which has all kinds of healing benefits. Kids laugh 300 times on average and adults - only 5 times on average. Who is happier on average?

We as adults don’t play that much anymore. If we had to give an answer, the most obvious would be - we don’t have the time. We have to make a living.

I haven’t played for fun a few months now. The last time I remember was with Ausra’s brother’s dog. We ran around our garden like crazy. It was so much fun. Exhausting but really fun. The kind of fun you wish it could continue indefinitely.

Instead of playing, I had to find other ways to have fun and laugh. We watch movies a lot. Especially comedies. After a couple of hours of a good stand up or a comedy, I feel whole again.

I feel the same when I draw Pinky and Spiky comic strips. I like to laugh at those silly characters and their actions. When I start drawing them, at first I don’t know what they will say. But as soon as they appear on the paper, they start interact with each other. Actually, I have to make them stop because they won’t shut up.

I also try to live my days while looking for those moments around me which could go into Pinky and Spiky comic strips. Doing this, also helps me resolve conflicts and dramas with kind of self-irony and don’t overreact, sometimes even don’t engage with toxic people (although I still have plenty to learn in this area).

When I see myself or others do or say something annoying, I make a mental note, sometimes a real note in my notebook and wait for the moment to turn it into a comic strip. It is fun.

I’ll tell what else is fun for me - improvising on the organ. While I do this, I can be myself, completely relaxed, detached from the outside world and forget everything.

Nowadays drawing and improvisation are my favorite forms of play. What is yours?

Vidas: Hi guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 264, of Secrets of Organ Playing Podcast. This question was sent by David. And he writes:
 
Dear Vidas and Ausra.

It seems to me that there are basically 5 types of music that the organist has to be ready to play in church other than accompanying hymns and choir anthems. They are: Preludes, Postludes, offertories, introits, and interludes. Perhaps interludes aren't so common in most churches now.

What are the important aspects to know about each of those in order for the organist to select or improvise an appropriate piece of music for each? Are Preludes usually longer, more meditative? Of course we know that Postludes must be played as loud as possible to prevent idle and rude chatter while the organ is playing (I'm joking, of course). But what makes a piece more suited for a Prelude, and another piece more suited for postlude. Do offertories have special characteristics? When a church uses them, what is appropriate for an introit? Are there any special guidelines that generally can be applied?

Obviously every church and denomination is different, and differing themes and seasons will affect this, but I'm looking for general principals for the average service or Mass.

Thank you,
David

V: What do you think, Ausra?
 
A: Well it’s a very broad question and as David said himself at the end of his question that everything is different in different church. Yes, different denomination, and different tradition, and depending on the season. But if we could give sort of general outline; I think what preludes differs from the postludes. I think preludes must be probably a little bit more solemn in character. And sort of not maybe as fast in tempo as postlude, because prelude is sort of preparation for the service itself. So it should not distract probably as much as postlude.
 
V: Mmm-hmm.
 
A: What do you think about it?
 
V: I agree. And usually, we can take a look at introit and it’s text and it’s melodies. And David here mentions introits. But introits usually are sung, right? So,,,
 
A: That’s right.
 
V: So, if before the mass you sing an introit, it’s a good idea to play a prelude based on those ideas, and melodies and texts, and characters, too. So, sometimes if a Sunday is solemn and festive, introits will be also more festive and preludes therefore will be more festive with loud registration, that’s possible. And depending on occasion, it could be meditative character too.
 
A: What about length? Do you think that preludes should be shorter, or the same as postlude?
 
V: It could be as long as you want, but you have to end in time for the singers to sing. So you have to collaborate with whatever choir is singing at the church, or maybe you are leading your choir too, so you have to count those minutes, how many stanzas there are in your introit, or if you are in protestant denomination, then opening hymn, you have to count how many minutes do you need for opening hymn and then improvise or choose a prelude to fit that timing and end on time. What do you think, Ausra?
 
A: Yes, I think that’s a very good suggestion. Well, then let’s proceed further.
 
V: Mmm-hmm.
 
A: What about offertory?
 
V: Offertory in Catholic Mass, has it’s own text and melodies, so if the choir is not present, you can improvise something based on those Gregorian Chant melodies, suited for that particular mass and liturgical calendar.
 
A: What if you are in protestant church?
 
V: In Protestant churches, I think it could be longer. Because the offerings are usually collected during that time, right?
 
A: But what about character? Should the offertory be loud or quiet or soft or meditative?
 
V: Remember in Baroque times, 18th Century, Cuperin and French classical composers created offertories very long…
 
A: Yes. I think the offering was the longest part of organ composition for the mass.
 
V: So that meant that at that time, before probably Vatican II, you were allowed to play almost non-stop during the mass, except perhaps for the Elevation, and then shortly picking up after that. So offertories could have been much longer and louder that way. Today, it’s different, right? I think today could be, depending on the length of the offering itself, you have to choose probably quieter character. What you think?
 
A: Yes, I think so. I don’t think it would be suited in church to play offering loud.
 
V: What about Ausra, communion?
 
A: Well, communion, well, could be I think a little bit maybe louder than offering but also quiet, not too loud.
 
V: I see what you mean. Because people are walking in the church, right?
 
A: Yes. So you need to sort of cover that noise.
 
V: Mmm-hmm.
 
A: Step noise.
 
V: And usually they’re longer than offertories because it takes a while for everybody to take communion.
 
A: Well, and if choir sings during communion, that often happens. organist has to fill in after that.
 
V: Right. So choir could sing a hymn or two, and organist could gently continue in the same mood as the last hymn.
 
A: Yes, I think the selection of repertoire suited for service is nice if you play for your all the parts of the service something related to the hymns of that day. I think it’s very nice.
 
V: Right. Can you play Gregorian Chant melodies during the communion?
 
A: Of course you can do it. Why not?
 
V: Like Ubi Caritas.
 
A: Yes.
 
V: Or something suitable for that occasion. And every Gregorian Chant collection for the, from the Gradual of the mass, it has the place for communion too and you can choose the melodies and text for the service and liturgical calendar. And then, you could improvise, right? I always tend to look what Charles Tournemire did with his l'Orgue Mystique collection. He composed organ masses for every Sunday of the year, basically.
 
A: So you could just take his collection and use it.
 
V: You could. And Introit, Gradual, Offertory, Communion, four pieces are shorter and easier to play. And the last one, Postlude is long and elaborate, like fantasia.
 
A: Don’t you think it’s sort of pity that the postlude is place where organist can show himself, what he’s capable of, and not so many people will hear it because so many people after service just want to quit the church as fast as possible.
 
V: It is. And you have to sometimes get used to that congregation. Sometimes, make them, or help them trust you. Maybe talk to them afterwards in general, basically. Keep in touch with them. So then they will react to your playing more personally and don’t neglect it.
 
A: Yes. Hopefully. So let’s then conclude that preludes should be not as loud maybe and not as fast as the postlude. And if it’s occasion is solemn you could play a march too, solemn character. And then of course the all middle service might be played softer and slower.
 
V: And the postlude of course, has to be quite probably joyful, right Ausra?
 
A: Yes. Definitely! Of course if it’s Lent, maybe not as joyful, but anyway, it’s character must be more vivid than communion and offering.
 
V: Thank you guys. Please send us more of your questions. We love helping you grow. And remember, when you practice...
 
A: Miracles happen!

This blog/podcast is supported by Total Organist - the most comprehensive organ training program online. 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...

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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime.

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Here's what one of our students is saying:

Very happy.  It's helping to keep the organ in front of me every day.  I have a tendency to procrastinate, and when I procrastinate enough, I forget.  This helps a lot.  I like the course I'm taking right now on transposition, and look forward to others in the future.  Thank you, Vidas and Ausra! (Laurie)

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Vidas: Hi guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 263 of Secrets of Organ Playing Podcast.  This question was sent by Ron.
 
Hi Vidas,
Do I have this right?  Pedal point, as the vertical column of numbers below the chords, which can be 3s, 5s, 4s, 6s, 9s., flat whatevers to the root?  Also, more than one, even two, three, four pedals held down at a time, sustained over the chords or measures?  So, a 4 below a 6 in CM would be the F and A pedals, held down?  A 5 and a flat 9 (flat 2nd an octave lower) would be G and D flat, maybe held down under some other dissonant chord like fourth degree (F) chord?  Is my terminology correct?

Thanks!

V: Let’s talk a little bit about pedal point and what they mean and how they are constructed.  First of all, he is right; pedal points are vertical compositional device when a composer wants to hold one note or a few notes over a longer period of time, right?  I think Ron over-complicates things here a little bit.
 
A: Yes, actually I haven’t understood his question.  Maybe you could help me understand what he wants because I could not understand what all those fifths, thirds, fifths, all those numbers are.
 
V: Intervals probably above the pedal.
 
A: Why?  If you have a pedal point it’s a pedal point.  It’s written in the pedal and that’s it.
 
V: You have separate harmonies in the hands then.
 
A: Well, OK.  So what does that have to do with this all thing?
 
V: I guess we have to help him understand that pedal points need to be regarded in addition to anything else that is happening in the hands.  So for example, if the piece is written in C Major and you have a long sustained pedal C note which means a tonic pedal point in the hands you can have anything you want, right?  In C Major.  Most of the time you can have G Major chords, F Major chords, C Major chords, it will sound nice because it’s a tonic pedal point or not.  Am I thinking…
 
A: Well not exactly.  I don’t think that for example the dominant chord will be so nice sounding if you will have C in the pedal.
 
V: It depends on the style of course.  If you are using classical style you will need to use harmonies in the hands which would work with the note C.
 
A: Yes and with the sub-dominant or tonic.
 
V: Because C Major chord has three notes, C, E, G.   So C in the pedals would work with C Major and F Major chord as Ausra says sub-dominant, F, A, C, has also three notes and has a common note, C with the pedal point so it will also work.  Those two functions, tonic and sub-dominant, they usually are used in the classical style tonic pedal point, right?
 
A: Yes.
V: What about dominant pedal point, Ausra, what happens there?
 
A: Then you would have to have dominant chords in the hand.
 
V: Which is in C Major…
 
A: G, B, D, or G, B, D, F, if it is a 4th note chord.
 
V: And a G in the pedal.
 
A: That’s right.
 
V: Anything else in the hands too?
 
A:  Well you could have also A in the hands too.  It would be a dominant 9th chord.  G, B, D, F, A.
 
V: Is there another chord in C Major which also has G in the contents.
 
A: Yeah, of course.
 
V: Which one.
 
A: Well, it would be the third scale degree chord.
 
V: What about tonic?
 
A: Tonic too.
 
V: So dominant, tonic, third scale degree would work for dominant pedal point, right?
 
A: Well, not so much tonic.
 
V: Why not?
 
A: Because it has C as the bass.
 
V: G in the bass would be right.
 
A: Yes.
 
V: And that would be tonic 6-4 chord.
 
A: That’s right so it wouldn’t have the same function as the tonic chord.
 
V: It would be probably sub-dominant 6-4 chord of G Major.
 
A: Well yes and it would be G, C, E. It would be a Cadential 6-4 chord if it’s like a final pedal point and you are going close to the resolution.
 
V: Ausra do know the expression EAIF in English. EAIF.
 
A: No, I know expression TGIF.
 
V: No, that’s not it.  EAIF means “explain as I am five.”  Imagine I am five years old and explain me that I could understand.
 
A: What, exactly?
 
V: What you just said before.  Pretend I’m your nephew or grandson.
 
A: Well, if you are my grandson, then go wash the dishes! So, if you are in the key of C Major and you have G note in the pedal, you can not have a tonic chord in the root position because you have G in the bass.  In order to have tonic chord in the root position you will have to have a C note in the bass because basically bass dictates what kind of inversion of the chord you have.  And if you are in the key of C Major and you have G in the pedal you can have dominant root position or you could have dominant 7th chord or you could have dominant ninth chord or you could have tonic 6-4 chord but not a tonic chord.
 
V: Well that’s confusing for a five year old.  (Laughs)
 
A: Well just wait for a few years then. Until then keep washing the dishes... hahaha!
 
V: What if I’m old but don’t understand what you’re saying.  What if I’m 42, like now.
 
A: Then you have to take a harmony course then.
 
V: Which one?  Do you have something to offer?  Of course we do.  Guys if you’re interested in knowing more about harmony and music theory we recommend checking out either Basic Chord Workshop to start and then later Harmony for Organists Level 1.  Ausra has a few harmony lessons that she also offering so you could check out in simplified terms.  They’re very simple to understand.  But I think people need to understand harmony, right?  And Ron’s question about pedal point is right on point.
 
A: Yes.
 
V: Because if you just play what you see on the sheet of music but don’t understand what is there you miss a lot of interest there.  You just know that it sounds nice but you don’t know how and why.
 
A: That’s right.  Knowledge never hurt anybody.
 
V: All right.  Please guys send us more of your questions, we love helping you grow and we hope that you can try to explore some harmonic progressions today.  Simply mastering a cadence or two like for example dominant 6th chord and tonic chord in C Major would be B, D, G (dominant 6th) and tonic chord would be C, E, G, and play that with either one hand or both hands, up and down the octave, first of all without adding any accidentals.  The first chord will be 6th chord, the second will be resolution root position chord.   And you go up and up the keyboard until you reach one octave higher dominant 6th chord and C Major chord again.  And then do the same backwards, the same motion.  Is that a good way to start, Ausra, your harmonic journey?
 
A: Yes, that’s a good progression.
V: That’s how we all teach our students in ninth grade, right?  The first lesson when they get from us about sequences, that’s usually this chord.
 
A: Yes, it’s often.
 
V: Why not root position dominant chord?
 
A: Because it resolves to the tonic 6-4 chord, not to the tonic root position chord and the 6 chord resolves to the tonic.
 
V: And it’s easier to find on the scale.  7th scale degree is easier to find that the 5th scale degree of the dominant.
 
A: That’s right.
 
V: OK guys, so try this experience and experiment never hurts.  You can transpose to other keys, right?  In flat keys, in sharp keys, in minor keys.  What about minor?  You should add probably 7th scale degree at least in the beginning and in the end.  And remember when you practice…
 
A: Miracles happen.

This blog/podcast is supported by Total Organist - the most comprehensive organ training program online. 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...

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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime.

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Vidas: Hi guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 262 of Secrets of Organ Playing Podcast. This question was sent by T. P. Johnston, Jr. He writes:
 
I'm age 66. Was a professional organist during my high school years. Had been away from the organ for about 40+ years until our church purchased a new Hauptwerk Virtual Pipe Organ, 4 manuals. Very nice instrument. So I've been working to rebuild my skills. They are coming back, but very slowly. Am only able to practice for 1 - 1/2 hours, 3 days per week, so probably won't ever get all my skill level back. But I'm making progress. Your materials are helping a great deal.
​
V: So Ausra, he seems to have spent a lot of time without an instrument, right?
 
A: Yes, that’s true.
 
V: That should be hard for people who practiced in their high school years, in their youth, a lot. Do you remember, we have Mindaugas in our studio, Unda Maris at Vilnius University, who spent with us, maybe, four years?
 
A: That’s right. All his undergrad studies.
 
V: But now, he is transferring to another city, and I think he found a job, and I think no longer will be able to play regularly with us.
 
A: True.
 
V: It’s not clear to me, if he will continue to practice as hard or not, right?
 
A: Well, who knows.
 
V: Who knows. So, it could happen that Mindaugas, just like T. P. Johnston, Jr., will have to spend many years without the organ, and this calling perhaps comes back after a few decades. Because, I think it will come back, don’t you think?
 
A: Definitely, especially when he says he was a professional organist. I think it will be easier for him to get his shape back, compared to somebody who decided to learn to play the organ at an old age.
 
V: So even having the electronic or virtual organ at home is very practical. You can work on your terms, but you can disturb you; if you are working late at night or early in the mornings, you can even use headphones…
 
A: But actually, I understood that the church purchased that instrument, not T. P. Johnston, Jr. himself.
 
V: Right. But at any rate, he has access to it, right? It’s nice. So, I guess the main issue that he is having is that he is slowly rebuilding his skills. I think he wants to progress faster.
 
A: Well, you know with 40 years without playing, that’s a long time! A long period of time! You cannot expect that after practicing for, I don’t know how long he started to practice again, but well, you could not regain your previous skills in let’s say, half a year.
 
V: But it’s good that he’s using our materials, right, because with guidance, with correct practice methods, efficient practice methods, he can progress much faster.
 
A: Definitely.
 
V: What happens when people study on their own without any guidance? Can they intuitively learn from recordings and videos?
 
A: I think we can, but of course, the practice will not be as sufficient as it could be. Our progress will be much slower.
 
V: That person has to learn from their own mistakes, right?
 
A: True.
 
V: And those mistakes sometimes will be so difficult to overcome, and some people will quit because of that.
 
A: That’s right.
 
V: Because they won’t believe they can overcome those difficulties. But luckily, T. P. Johnston, Jr. has advice from us, and can work through our material. That’s very beneficial. He doesn’t say what he wants to achieve, right? What kind of skills does he have to regain? Hymn playing, repertoire playing, pedal playing, or all of the above? What do you think, Ausra?
 
A: Well, probably all of the above. All those things that you mentioned, since he’s a church organist. He needs all those skills.
 
V: And he said that he was a professional organist during his high school years, so it probably   meant that he could play the repertoire, too. So, his practice schedule, then, today, might look much different than from 40 years ago. Because, now, he has, perhaps, more time. He is 66. If that’s the case, Ausra, let’s talk a little bit how he could divide his practice time.
 
A: Well, first of all, I would suggest that he would practice every day. Maybe not for an hour and a half, but that way he could rebuild his skills faster.
 
V: If he practices three days a week, as he says, an hour and a half, could he practice like 30 minutes or even 15 minutes the rest of the week, but every day, would that be better than skipping practice altogether?
 
A: I think that would be much better.
 
V: Because on those days when he has only 15 minutes to practice, he can repeat previously mastered material easily. And the next day, progress could be faster.
 
A: Yes, but still, I don’t think it’s enough to practice 15 minutes a day.
 
V: When a person says that he’s only able to practice 3 days per week, he means, probably, that he is able to gt to church 3 days per week, right?
 
A: Could be.
 
V: The church won’t let him use the organ more often, probably.
 
A: Could be.
 
V: Are there any options for him to practice every day, not in the church?
 
A: Well, if you have an instrument at home, then yes, you can do it. If not, then it’s harder.
 
V: Let’s say he doesn’t have an organ at home. I would probably practice on the table on those days. Do you think it would work?
 
A: It might work for somebody like you, not for everybody, maybe.
 
V: Why not?
 
A: Not everybody has a good inner pitch and can hear what he’s playing on the table.
 
V: You’re right. When there is no sound, you have to imagine the sound in your head. But if you know the piece from recordings, maybe this helps to imagine what you’re playing on the table.
 
A: True.
 
V: Is it good to practice with recordings, Ausra? On top of recordings?
 
A: I don’t think so… I think that’s a bad habit.
 
V: Why? Why do other people do it, then, and like to do it?
 
 
A: I don’t know, you tell me! You started this discussion, so maybe you have some thoughts about it.
 
V: Of course I do. I think people like to get a feeling that they can play an entire piece without stopping, just like in the concert, even though they couldn’t. Right? Remember, you played with a clarinetist.
 
A: Oh, I remember.
 
V: A long time ago.
 
A: I try to forget it.
 
V: So tell us a little bit, what happened. 
 
A: Well, we were playing a sonata by Brahms, and that’s a tough part for pianists, not as tough for clarinetists. And, when we got together, we could not play together, because simply, she could not keep the right rhythm. And we tried to figure out what is happening, how she learned the piece, and she told us she simply played together with the recording. So, she simply hadn’t counted, and basically learned somebody’s interpretation. But the problem is that I learned the music as it’s written out, and not by that recording.
 
V: You’re right and you couldn’t fit together.
 
A: Yes, because she could not count. She could not play what it’s written out.
 
V: So, guys, if you do use recordings for playing, and sometimes I record those slow motion videos, right, then people people say they like to practice while looking at my hands, and do one more thing. You have to keep counting yourself, right? Don’t rely on that recording of my playing, let’s say, or anybody else’s playing. And the difference between my recordings in slow motion and the recordings that Ausra was talking about earlier is that probably this girl played in concert tempo all the time...
 
A: Yes!
 
V: ...with concert recordings. And that’s not a good way to practice. If you want to practice with the recording, slow down the video to half speed at least. That helps you to concentrate and count, and it will not sound like a performance, it will be practice. Right? So, we hope this was useful for you and everybody, and please send us more of your questions; we love helping you grow. This was Vidas.
 
A: And Ausra.
 
V: And remember, when you practice,
 
A: Miracles happen.

This blog/podcast is supported by Total Organist - the most comprehensive organ training program online. 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...

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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime.

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Here's what one of our students is saying:

Very happy.  It's helping to keep the organ in front of me every day.  I have a tendency to procrastinate, and when I procrastinate enough, I forget.  This helps a lot.  I like the course I'm taking right now on transposition, and look forward to others in the future.  Thank you, Vidas and Ausra! (Laurie)

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Today I'd like to let you know that our newest e-book ​"THE AMOUNT OF TIME WE WASTE ON THINGS IS FRIGHTENING" is here. It is Vol. 9 of the collection of transcripts from our podcast. For students who want to have all our ideas in one place.
​
Check it out here

If you decide to buy it, please let us know what is No. 1 idea from this e-book you are going to try in your organ practice this week.

Vidas: Hi guys, this is Vidas.

Ausra: And Ausra.

V: Let's start Episode 261 of Secrets of Organ Playing podcast. This question was sent by Neil. He writes:

Hello Vidas. Thank you for all the wonderful fingered compositions you publish on your store for which I have purchased a number of. I’ve decided to purchase an iPad with a hope to play a number of the pdf files via Forscore. I wonder if you have had the experience of playing music from a tablet?

Actually, I did. Just before our concert trip to St. Paul's Cathedral in London, I got this Huawei tablet--not a large one, but just 10 or 11 inches of screen. And I tried it out: I downloaded some music to sightread, and put it on the music rack as PDF files, and played it through.

A: So, how did it go? Did you like it?

V: Well, at first, I think, you have to get some experience with this. At first it's kind of tricky. Apart from being tiresome for your eyes, it's tricky to manipulate the score, because you have to slide your fingers up and down...I just used a simple PDF program to read those files, because it's not an iPad--forScore doesn't work for it. I've heard they have special bluetooth pedals for pressing and changing the pages; it helps a lot.

A: So, would you prefer to play from the tablet or from the actual score?

V: Well, it has some nice features. I like the fact that I don't have to print out the music, right? For example, that I can just download from the internet, and sightread if I want publicly available scores, like Bach for example. And I think it has some negative effects, too, not to mention the thing that you have to constantly use your eyes and look at the screen. Maybe it works for iPad--maybe the screen on an iPad is better. But after a few or 15 minutes of looking at the screen intensely, right, when you sightread--

A: Uhuh.

V: You cannot look away. When you use a computer, you can type and look away, because nobody is disturbing you; you're working on your own speed. But when you sightread or play from the music on the tablet, you constantly have to look at the screen; and that is not healthy for you eyes, I think.

A: That's true.

V: But then, you have to calculate what is more important: your eyes, or printing out scores of music constantly.

A: But I know that now, even some orchestras are actually not playing from published scores, and are playing from tablets.

V: True. Maybe they use iPads. Maybe they're better for your eyes, I guess. I guess there is some device which shields you from this blue light, some special goggles...But I'm not sure if orchestra members use special goggles for that...

A: I don't know! Hahahaha!

V: It would look funny! Hahahaha!

A: It would look funny, yes!

V: But yes, I tried it out. Would you like, Ausra, to try it, and maybe get your own experience?

A: Maybe not yet. Because I still have trouble with my right eye, even looking at the regular score.

V: Mhmm. I guess those technologies develop and advance with time; so later on, maybe it will be easier to play and look at the screen than now. So yes, it has some advantages over paper. Of course, we have plenty of normal scores to choose from and open a real collection of Bach's music and sightread. But I feel that carrying a tablet to the church, let's say, and playing it from this machine is easier than carrying an entire collection in a thick volume of organ compositions.

A: I think it's nice when you travel, too.

V: Right.

A: To have your music in one tablet.

V: I had this idea of copying our concert repertoire before going to London--those 4 pieces. And having it on the tablet just in case.

A: Well but you know, playing organ there is really tricky; we'd have to have 2 tablets, because otherwise...how do you imagine it?

V: Yeah, because on one tablet the music sheet that is readable is only... even smaller than 1-page format, right? Layout. And when you have organ duet texture you need at least 2 pages, one for the left and one for the right. So if you want to have a 2-page layout, you have to put it horizontally. But then, the music is twice as long.

A: Yes, and you would have to turn pages a lot, actually, on the tablet.

V: Mhm.

A: Because, like if you are playing from a real score, you could place even 4 pages at the same time on the music rack.

V: Right. But I guess people who have iPads and other tablets should try it, for themselves, right?

A: Sure, why not?

V: It doesn't hurt too much if you just play for a few minutes, right, and you get a feeling of what/how much you can do; and maybe you will find your own way of using it. Maybe not every day, but for some special occasions. That might help, for other people. And I might use it myself, at church, when I sightread. I don't sightread, for example, for hours and hours, right? I change things: I play from my regular repertoire; I sightread; I improvise. So then, I only have to use my tablet for a number of minutes. Not hours. So, 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.

This blog/podcast is supported by Total Organist - the most comprehensive organ training program online. 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...

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... Sign up and begin your training today. And of course, you will get the 1st month free too. You can cancel anytime.

Check it out here

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I am taking a lot away from it.  Pedal virtuoso program has helped a lot with my pedal work, as has the transposition course. I began the prelude improvisation formula, but put it by the wayside for a little while.  Will try to return to it in the fall.  Thank you mostly for the fingering recommendations! 

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Vidas: Hi guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 260, of Secrets of Organ Playing Podcast. And today, Ausra and I are going to talk a little bit about our recent trip to London, to play at St. Pauls Cathedral. Are you feeling rested, yet, Ausra?
 
A: Well, yes. I feel better now.
 
V: Yes. It was a strenuous trip. So what do you think about it? What’s the first idea that comes to mind?
 
A: About London, or about organ, or about St. Pauls Cathedral?
 
V: Both. All. All of it.
 
A: Well, I didn’t like London.
 
V: You didn’t?
 
A: Yes. I did not.
 
V: So, that’s your main idea about it.
 
A: Yes. Compared to Paris (laughs). It’s nothing to compare, actually. I just think London has many beauties but in terms of the whole feeling of the city, everything seems so eclectic, that those nice buildings seems lost for me. And all that modern eclectic styles.
 
V: How did you like the weather?
 
A: Well, it went to extremes. Because on the day that we arrived, temperature reached almost I think, 36 degrees plus, Celsius. (Ed note: 98.6 degrees Fahrenheit). That’s extremely hot.
 
V: And that day on Friday, we spent about six hours on the bus—Golden Tours bus—driving through London on the roof of that bus. And luckily we had some water to drink but not enough, so we had to jump off the bus and buy some water. And there were some traffic jams all over the city and we were moving very, very slowly. It was good for taking pictures of course, but not as good for the tour I think.
 
A: I know. So for me, it seems like London is a strange place. On the other hand, British tried to preserve their traditions so strongly, to keep the queen and the royal family, and Buckingham Palace. But on the other hand we built the glass skyscraper next to the historical building so it sort of an interesting way of living. Don’t you think so?
 
V: I guess you have to get used to that landscape, of the city. Once you get used to it, it doesn’t bother probably people.
 
A: Well, but let’s talk about St. Pauls Cathedral a little bit. It’s a marvelous building. It’s really amazing.
 
V: It’s just too bad that people can’t locate it from the, I don’t know, maybe 200 meters distance to cover it all. Because tall buildings are quite near to the cathedral and there is not much space to look at it from the distance. Surely you could look at the cathedral from the other side of the river, from the Thames...
 
A: Yes I think that’s the best way...
 
V: But it’s a little bit to far, right?
 
A: I know.
 
V: And you want to have the full feeling of the building closer up. So, I think we found a shady place to sit on the bench, on the corner of the cathedral, and it wasn’t that hot in the shade, so that was nice. What did you think about the inside of the cathedral when we went to practice later in the evening?
 
A: Well, to me it’s an amazing building. It’s enormous size, enormous height, and I don’t think I had been in a place so magnificent before.
 
V: What about Notre Dame in Paris?
 
A: Well you get a completely different feeling, because Notre Dame is a Gothic building.
 
V: And darker.
 
A: Yes, and completely different structure. It gets a completely different feeling.
 
V: Hmm-hmm.
 
A: But like in Paris, I felt like I’m at home, actually. Although I don’t know French, although it was my first time in Paris, if I felt like home. Everything seemed so familiar. And talking about Notre Dame, when we went there to the vespers, I felt like I was attending Vespers every night. Sort of everything was so familiar.
 
V: We went to listen to Evensong, just before the concert on Sunday, to St. Paul’s Cathedral. And comparing to Notre Dame, I didn’t enjoy it as much. Did you?
 
A: Me too! Me too, yes.
 
V: Although the musical tradition was great there, amazing cathedral choir was visiting...
 
A: From Seattle.
 
V: From Seattle, for the weekend, and they performed evensongs on Friday, Saturday and Sunday, high quality music, high quality singing. But somehow the feeling was different from Paris, don’t you think?
 
A: Oh yes! Very much different. I enjoyed the Gregorian Chant at the Notre Dame Cathedral much more. And I think at Notre Dame vespers were shorter than evensongs here, in London. And I found some very funny things, actually. Because, for example, when the choir sang Magnificat—and it was actually well developed composition by an original composer—but people had to stand up and listen to it. And it was a long composition. And I found it really strange.
 
V: I don’t know why they do this. Maybe it’s part of the liturgy somehow.
 
A: I know Magnificat is part of the liturgy, but it wasn’t just the Magnificat, it was an original composition, well developed and very long. Not like original Magnificat from the liturgy should be.
 
V: Apart from these things, do you think that, for example, the organ, at St. Paul’s, was worth the trouble going there?
 
A: Yes, it was worth the trouble going there, but let’s say that I prefer mechanical action, tracker action. And this one is not, what I like best.
 
V: You have to know what kind of music sounds best. But I was surprised how nicely Bach sounded there. How nicely Mozart and Beethoven sounded there. Let’s talk a little bit about the program that we played, right?
 
A: Well, if I would go over second time, which I think I will not do, but I would chose the program differently. I didn’t like too much our selection of music, except maybe of your Fantasy, based on the theme of Čiurlionis.
 
V: For me the program was very nice. And look what people said to us, and how they reacted. How many people came to the recital, do you think?
 
A: I would think, 300, maybe.
 
V: Yeah. So, nice crowd. And those people who came up to us afterwards, were, I think, particularly happy. And we talked about that, about the program, about their experience, and interestingly, we met, I think two people from the readers of this blog, right, ‘Secrets of Organ Playing’, Brian and Mike, who came to this recital. It was really surprising and a nice moment.
 
A: True, true, very nice.
 
V: To meet our fans in person.
 
A: And there were also some Lithuanians who came out to the recital. That was especially nice, at least for me. Almost made me cry.
 
V: Because you know, there are probably tens of thousands of Lithuanians living in England, and they emigrate from Lithuania for a variety of reasons; for lack of decent job opportunities, for lack of respect, for the person don’t feel at home. And you have to understand that somehow those people get lonely without their country, right? Sure they have their community, but it sometimes, especially on festivities and solemn occasions, they might get lonely. And when they see somebody from their country visiting, let’s say, England, they get really emotional.
 
A: True. True. And it really touched your soul.
 
V: Although my music wasn’t particular Lithuanian—it was Fantasia on the themes by Čiurlionis—but Čiurlionis of course created his preludes, differently. I just took the themes and mixed them up, used different rhythmical ideas from them, changed the modes frequently. I don’t think it was particularly Lithuanian character, what I did with this Fantasia, but for them it was Lithuanian enough, you know. Because it was on the program, Čiurlionis, Lithuania, and they got really sensitive about the feelings and one person even I guess, had some tears on his face.
 
A: Yes.
 
V: Ausra, you don’t think that this program worked well for this organ?
 
A: Well, I think it worked okay. That’s my opinion.
 
V: And I was quite happy, actually, how much of Beethoven and Bach worked. We played at the beginning, a four-hand Sonata by Mozart in D Major. It has three movements; fast, slow and fast. And later we played Beethoven’s Adagio from the ‘Suite For Mechanical Clock’, which was followed by the third movement of the first Brandenburg Concerto by Bach. So obviously, mechanical action organ, was ideal for those sort of pieces. But I really can repeat myself saying that I was surprised. Maybe the registration was done well, or the texture was elegant and not too polyphonically complex, that it worked in this amazing building with at least eight seconds of reverberation.
 
A: Well actually before going where I was afraid of acoustics, of what it might bother me too much. But actually I didn’t feel it so much.
 
V: You didn’t feel?
 
A: Yes. And in general the feeling I got about seeing that instrument is very strange. That proves it to me was the feeling that I got at Eastern Michigan University at Pease Auditorium, where we have that wonderful Aeolian/Skinner instrument. I don’t why but the feeling was a little bit similar.
 
V: Maybe this is because of the action, but...
 
A: Yes because of the action.
 
V: But acoustics and colors are different.
 
A: Yes, true, but somehow it felt a little bit similar, that feeling.
 
V: I’ll you what’s similar: I felt similarly in Detroit, St. Pauls Cathedral, also Anglican.
 
A: Well I felt better in Detroit, actually.
 
V: Mmm-hmm. So, you see guys, we are so different, right? We both like mechanical action organs, but Ausra is more purist in this way, and for me, it was, it sounded surprisingly well, this kind of program. And if I had to repeat this program, I could do it without changing anything too much. Because people deserve to hear baroque music or Mozart or Beethoven.
 
A: Yes, but luckily we haven’t played any fugues. I think fugues would be disaster on that instrument.
 
V: That’s true. That’s part of the reason we didn’t choose polyphonically complex music, because we were experienced enough to know how the pieces will interact with the amazing acoustical environment there. The texture will be lost there, I think. So, yeah, later type of music, Romantic and Modern would sound best. Or orchestral transcriptions from earlier times would sound also well. So that’s what we did. Brandenburg Concerto is an orchestral piece, and lighter texture, not so polyphonic. And classical texture from Mozart and Beethoven fits well the building too.
 
A: I think Elgar would sound best on this instrument, "Pomp And Circumstance".
 
V: Obviously, yes, everything that has not more than three layers of musical melodies. For example, when we played Fantasia that I created, it has a melody, it has a counter-melody that (the) second player plays, and it has accompaniment. So three layers and they both, they all interact with each other nicely and not to difficult to understand. If it was a fugue in four voices, and those voices would move equally, then, I think for this building, it might be too complex, right? Or you would need to create some kind of performing miracle to do it justice, for it.
 
A: So, what was the most interesting experience for you from this all trip?
 
V: Now that you mention, I think that evening when we were finishing the rehearsal on Friday, or Saturday, it was Saturday, yeah.
 
A: Saturday night.
 
V: Saturday night, we were getting ready to go to the hotel, and we couldn’t find the exit.
 
A: Yes. We had to leave through the basement, where the guards are located. And we could not find the exit so we were wandering all those sarcophagus (laughs) and rest in peace of all those things. And seeing those people that are buried in this magnificent cathedral. And I thought maybe we will have to just spend the night next to them.
 
V: Right. But somehow we, after a few round trips through the cathedral, we were lucky to find the gap and opening and go out the right way. So to end this conversation, Ausra, I think it’s time for us to say thanks to the organ scholar, who showed us around on Sunday—Nicholas Freestone.
 
A: Yes.
 
V: And he will be leaving the cathedral very soon but he helped us a lot. And also James Orford, organ scholar there, who met us on Saturday night to introduce us to the organ. He came from Liverpool from his concert there. And we were grateful that he introduced us to this instrument, and it facilitated our practice a lot.
 
A: Yes.

V. Too bad that St Paul's Cathedral doesn't allow to make recordings so we can't show you how it sounded. They don't even allow to take photos (we took a few of them anyway so that we would have something to remember because we were not tourists). We actually bought a set of postcards and a couple of CD's with music from St Paul's there.

A. But they charge people to enter the Cathedral (entrance to the recitals is free, though). Seems not a good way to do marketing in this digital age. Sort of backward-looking. When everybody had to buy postcards or CD's a generation or two before. Because if you can't take pictures or make videos, you can't show them to your friends. If you can't show them to your friends, the word about this cathedral and its influence will not spread as far as it could.
 
V: Thank you guys. This was Vidas.
 
A: And Ausra.
 
V: Please send us more of your questions. If you have any questions that we didn’t talk about our concert trip, that would be nice to get. And we hope you will practice today, right? Because, when you practice...
 
A: Miracles happen!

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Dear Vidas,

Thank you for your email. Yes, I have started BWV 546 and is slowly coming along, thank you. I very much like the historical fingering and pedaling on your scores. Like for example, toes only and 343434 and 121212 fingering in Bach. It definitely helps with the articulation.

Oscar

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