Would you like to master Three Part Sinfonia No. 14 in Bb Major, BWV 800 by J.S. Bach?

I have created this score with the hope that it will help my students who love early music to recreate articulate legato style automatically, almost without thinking.

Thanks to Jan Pennell for her meticulous transcription of fingering from the slow motion video.

Basic level. PDF score. 1 page.

Check it out here

This score is free for Total Organist students.

Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 442 of Secrets of Organ Playing Podcast. This question was sent by Erika, and she writes:
 
“I’m working on the choir piece for Easter. Beautiful piece. Quite a bit trickier than I usually do. It’s become an Easter tradition. A couple of sections are like a fugue and there is one section that I didn’t practice as I should have when I first learned it several years ago. So now I have to drill it every year or my fingers seem to fall into the wrong place at the wrong time.”
 
Ausra, does it sound familiar?
 
A: True! It sounds so familiar.
 
V: Why?
 
A: Even painfully familiar. Because, that’s what I did in my youth when I would learn music incorrectly, or wouldn’t work on certain spots as well as I had to. And I have said this many times already, but I will repeat it once again, that it’s easier to learn a new piece than it is to correct an old one that you have learned incorrectly. Don’t you agree?
 
V: Exactly. If you imagine teaching your dog some tricks, it’s easier to teach a new trick to your dog than to change some variation of the same trick to the same dog.
 
A: Well, I’m not a dog trainer, so don’t know, exactly.
 
V: But you’re training me!
 
A: Well, it’s a hard job!
 
V: How is it going?
 
A: Not well! So far not well! Not too much progress!
 
V: But you are a good coach, right?
 
A: I don’t know. I’m not sure.
 
V: You give me treats!
 
A: I’m not sure.
 
V: Treats in the form of sweets!
 
A: Well, that’s not a good way to train anybody, you know, because you might get diabetes!
 
V: Exactly. You have to punish for mistakes, instead of rewarding them. Right Ausra?
 
A: I think you are nonsensical!
 
V: Excellent! So, do you think Erika could reward herself a little bit for her achievements on some piece? Do you think that this would help her develop good habits?
 
A: That might be a case, but I’m wondering, since it’s not a new piece and she’s repeating it not for the first time and she still struggles in the same spots, I would suggest strongly for her to rethink her fingering, and to restudy those spots, because something might be really wrong with them. Because it shouldn’t be like this, if you are repeating this piece over for many years.
 
V: Yes, that’s what she writes; she “has to drill it every year, or my fingers seem to fall in the wrong place.”
 
A: Or it could be that those particular spots are just really difficult, and simply you have to work more on them.
 
V: Even for choir accompaniment, sometimes it’s important to write down fingering.
 
A: True, and since it’s accompaniment, you could actually change it a little bit. You might omit or rearrange some things if it really gives trouble.
 
V: I agree.
 
A: Of course, to give more specific advice, I would have to check the score for myself, and then I could suggest what you could omit or do another way or differently.
 
V: Yeah, it’s hard to be specific when we don’t even know the name of the piece.
 
A: Because you know, if an accompaniment is originally, let’s say, composed for the organ, then it might not be a good idea to play it differently. But often, the case of accompaniment is that the piece wasn’t composed originally for choir and organ. It might be composed for a choir and piano, or choir and orchestra, or choir and instrumental ensemble. So, you really need to check the origin of the piece.
 
V: It might have been a piece for choir and orchestra arranged for choir and piano.
 
A: That’s right. So, in that case, if it’s not an original piece, you are free, actually, to do things that you need for the accompaniment to make it to fit the organ and to make it comfortable for yourself.
 
V: Exactly.
 
A: Because if you are accompanying choir or ensemble or any other instruments or soloists, and if you will not feel comfortable with your accompaniment, it won’t be good, because it’s you who are giving support, who are basically leading the entire choir.
 
V: You’re right, Ausra. Can it be done on the spot, or do you have to write it down.
 
A: Well, I would do it on the spot. Maybe I would add some markings in the score, or cross off some things.
 
V: I think  this would….
 
A: But I would not rewrite the entire score.
 
V: I think we will put it to practice this summer, as well, because we are committed to performing a symphonic poem by a Lithuanian Romantic composer and painter, Mikalojus Konstantinas Čiurlionis, and this symphonic poem is called “In the Forrest,” and we are playing from the arrangement for two pianos. And we are sitting on one organ bench, performing on separate manuals, but on one instrument, and not the piano, and on the organ. So, obviously, we will have to adapt it to fit the texture of the organ. But, we’re not going to write it down; we are doing it on the spot.
 
A: That’s right, because we don’t have time to rewrite it all, so…
 
V: “Necessity is the mother of invention,” as they say. So maybe Erika could also develop the skill of rearranging a little bit, some things. Thanks 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.

Would you like to master Alle Menschen müssen sterben, BWV 643 by J.S. Bach?

I've created this practice score (left hand in alto clef) with complete fingering and pedaling so that our students could master this chorale prelude from the Orgelbuchlein efficiently, saving many hours of frustration and achieving ideal articulation - articulate legato.

Thanks to Gerrit Jordaan for his meticulous transcription from slow motion video.

Basic level. PDF score. 1 page.

Check it out here

​This score is free for Total Organist students.

Vidas: Hi guys!  This is Vidas.
 
Ausra:  And Ausra.
 
V: Let’s start episode 437 of Secrets of Organ Playing Podcast.  This question was sent by May, who is our Total Organist student.  And she writes:
 
Hi Vidas, Thank  you again for addressing to my concerns in details!  I have not had the time to spend on the 3 to 4 rhythms yet. In fact, I had to put the sight reading courses aside in order to focus on the harmony (which has been taking 1.5 hours each day from my practice time).  I simply don't have the time for writing out the chords beforehand (it would have taken me at least another 45 minutes each day to do so).  In your week 11 video, you said it would be easier if we write down the chords before doing the hands on practice.  How could practice in writing makes playing easier (for we are not looking at our chords when we play the harmonization anyways)?
 
And, she has questions on the week 11 of Harmony for Organist Level 1 video and exercises....
 
1. When you demonstrate exercise 1, you say aloud each chord (and how it connects to the next chord).  For the first 3 chords in the 2nd half of exercise 1, I think I hear you say "subdominant".  Should they be tonic?
 
2. In exercise 8, the 2nd note (A) in measure 3 belongs to tonic chord, and the 3rd note (D) belongs to the subdominant chord (See attached).  They are apart by a 4th.  In what way should they be connected using our rules?
 
Thanks in advance for your help.  
 
May
 
V: So, primarily, May is interested in harmony, right?  And I wrote to her my answer: 
 
Dear May,   Writing in practice makes playing easier, because it helps us think faster.  But not writing the chords is also fine, but you are exercising a different skill, basically, improvisation on the spot.
 
Answering questions:
 
1. Yes, in measure 5 and 6, these 3 chords should be tonic.  You have a good ear and eye.
 
2. In measure 3, yes, A-flat is the tonic and D-flat is the subdominant.  Do you know skips of the thirds?  It means the 3rd in the soprano or the tenor of one chord can jump to the 3rd of another chord, which is a 4th or 5th apart.  Common notes are held constant, the 3 voice goes to the nearest chordal note, and the bass jumps to the root of the next chord.  Position changes from closed to open and vice versa.  Starting from the bass, these 2 chords are spelled F-A-F-A-flat – one more time, F-C-F-A flat, and B-flat-B flat-F and D-flat.  Hope this helps. 
What do you think, Ausra?
 
A: Well, I’m thinking that, you know, you need to know the theory very well, and have quite a good performance skills in order to be able to understand the benefit of knowing theory.  I think for beginners, sometimes it’s very hard to understand why we at all need it.
 
V: Mm hm.
 
A: But really, knowing structure of the piece, knowing chords – it really helps.  But you need to reach a certain level to feel the benefit. 
 
V: And that’s why your kids at school are revolting sometimes?
 
A: Yes, and that’s why, you know, wanting to quit my job almost every day, after you know, teaching for a few hours.
 
V: But if you taught, let’s say adults, who are motivated, they come to you voluntarily?
 
A: Well, you know, I think each age group has its own problems.  Because like, kids sometimes don't have motivation but they are very good material to teach, because they can learn things very fast, not realizing that themselves, sort of they take everything from their surroundings.
 
V: Like a sponge.
 
A: That’s right.  And for adults, it’s another strength and another weakness.  Because we usually don’t question things, why do we need it, because we are more motivated, you know, of learning things.  But let’s face it, I feel it on myself, that with age, you lose ability to learn things as fast as you know, let’s say in your teenage years.
 
V: Mm hm.  Well, you have to have a constant habit of learning.  And many people who are adults quit learning after school.  Therefore, one of the reasons it’s harder, it’s just, they don’t exercise this muscle, don’t you think?
 
A: Well, yes, but…
 
V: And I’m not talking about organ or harmony, but in general.
 
A: But I think if you keep learning all your life, you know, you keep learning new things, I think you will be better than other adults that stopped learning, let’s say after high school or after university.
 
V: Definitely.  What stops people from teaching themselves something?
 
A: Well, I think sometimes some of them maybe just, you know, already created comfortable life, and they are satisfied with it.
 
V: Living in their comfort zone, and don’t have the need to step out of it.
 
A: Yes, but some of them actually have you know, desire to learn new things all the time. 
 
V: Mm hm.
 
A: And some are put in the situation that we have to change something in life to learn new skills, let’s say to find new jobs.  So, there are, I think, different situations for different people.
 
V: And people who are comfortable where they are right now, I think they miss opportunities, right?  Because every day, we make choices to do this or to do that, to learn something or not learn something.  And if we stay where we are, we never reach a high level of our potential.  Never realize our potential.  And I think we will never reach our potential anyway, because life is short, and we as humans, are…
 
A: Limited…
 
V:  Not…I’m using a different…I’m looking for a different word.  We tend to save ourselves much more than we should, probably.  I’m talking about myself, Ausra, of course. 
 
A: (Laughs)
 
V: And you can talk about you, but I’m not forcing you.  But yes, I’m tending, I tend to be gentle with myself too much.  And therefore, I am maybe not pushing myself that hard, or harder.
 
A: Well, I’m always too hard on myself.  So if we would mix our skills together, we would get, you know, like a perfect person.
 
V: I don’t know.  I don’t know.
 
A: Very well balanced.
 
V: Never tried to mix two people together, so, two people’s skills together, so it’s really hard to imagine. Okay.  But anyway, May’s on the right path with her harmony studies, I think.  Even if she struggles with some weeks more than with others.  I think her brain will thank her in the long run.
 
A: Let’s hope for it.
 
V: Because constant learning postpones aging and cheats death, too, by proxy.  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.

Would you like to learn to play the famous Carillon of Westminster by Louis Vierne?

You can do it much faster with my fingering and pedaling.

Thanks to Alan Peterson for his meticulous transcription from my slow-motion video.

Free for Total Organist students. PDF score (11 pages). Advanced Level. ​

Check it out here

Right now I'm going home after organ improvisation recital "Passion of Christ" based on the paintings of Aloyzas Stasiulevicius at St Joseph church in Kedainiai on the occasion of the opening of his exhibition. The challenge was to fit the style of the paintings with my improvisation on a one manual organ with 10 stops. Went better than expected.

Had only a short try on this organ after which discovered that 3 out of 13 stops are heavily out of tune. Local organist thought I was going to play at a Mass, haha! Had a nice walk in this town when we arrived.

After the concert the mayor of Kedainiai invited everyone to dinner. One of the symbols of the town is cucumber because they have this preserve factory. So they gave us cucumber ice cream, among other things which was kind of refreshing...

From the talks with the head of cultural center it looks like I'll have a chance to come back here with organ demonstration or organ duet recital...

Hope you will enjoy the video and if you want to see more photos from this trip, check out this post.

Have you ever wanted to start to practice on the organ but found yourself sidetracked after a few days? Apparently your inner motivation wasn't enough.

I know how you feel. I also was stuck many times. What helped me was to find some external motivation as well.

In order for you to advance your organ playing skills and help you motivate to practice, my wife Ausra - @laputis and I invite you to join in a contest to submit your organ music and win some Steem.

Are you an experienced organist? You can participate easily. Are you a beginner? No problem. This contest is open to every organ music loving Steemian.

Here are the rules

Would you like to master Three Part Sinfonia No. 9 in F Minor, BWV 795 by J.S. Bach?

I have created this score with the hope that it will help my students who love early music to recreate articulate legato style automatically, almost without thinking.

Thanks to Jan Pennell for her meticulous transcription of fingering from the slow motion video.

Basic level. PDF score. 2 pages.

Check it out here

This score is free for Total Organist students.

Vidas: Hi guys, this is Vidas.

Ausra: And Ausra.
 
V: Let’s start episode 428, of Secrets of Organ Playing Podcast. This question was sent by Ariane. And actually it’s not a question, but a feedback, because Ariane is one of our Total Organist student, and once a month they get this question where we ask them “How is Total Organist working for you so far?”. And Ariane wrote:
 
Joining Total Organist is the best thing I’ve done since Christmas, and I keep telling everyone I know how amazing this program is.
 
A: Wonderful.
 
V: Hmm. This sort of feedback is so amazing to get, right Ausra?
 
A: Yes, it is.
 
V: Because, of course we love seeing people praising our program, that’s common sense and human nature, but also when we see people improve themselves, and become more advanced in their playing and reach another level faster than they would on their own. And with Ariane’s feedback, it’s quite obvious that she’s very happy about that and motivated to reach even further.
 
A: Yes, and I can believe it because Total Organist comprehend so many issues that are important to each organist, both church organists and concert organists, because it includes everything: hymn playing, sight-reading, improvisation, repertoire playing, and so on and so forth. So everybody can find something to improve in this program.
 
V: I think it’s modeled after us, after our vision of the organist itself. What kind of person does the organist have to be? What kind of specialist? Is it enough just to play the hymns if you’re a church organist? Is it enough just to play the repertoire if you’re a concert organist? Is it enough just to play your favorite pieces if you’re playing for your own enjoyment? Our vision is something more: you always try to do a little bit more than you’re capable right now, challenge yourself more, stay curious and open new horizons. Hence, we incorporated almost anything that is possible in organ playing. We’re not expert in every field, but we have good knowledge in many fields, and people also can choose: sometimes, if you’re not motivated to do all the things that we’re offering, maybe you can do some things, find some angle of organ playing that suits your goals and vision. And in general it’s much better than just sitting on the organ bench and playing without any goal, for example.
 
A: Yes, because in general I see the organist as a central figure in the church. Not replacing the priest you know, but like a cultural center of the church. So he has to communicate with the church staff, and also with the congregation and choir members, and conduct choir.
 
V: Plus, organists are most often the second if not first most educated person in the parish.
 
A: That’s right, so you need to be a learned musician yourself so that you can inspire other people around you, maybe teach some kid, give some lessons. So I think organists are a crucial figure in the church, especially in remote areas, where churches are a cultural center for the congregation and the town.
 
V: And for an organist to grow, for each of us to grow, we all need three types of people, not one, not two, but three I would say: this idea comes from James Altucher. He’s a blogger, podcaster, marketer and entrepreneur. And he says basically that we need people that are at our level, above our level and below our level, in our life. So of course we need people who are equal to us, sort of on the same boat, because we keep motivating each other right? For example, you and I Ausra? Do you consider me below your level or above your level? Or equal?
 
A: Hahaha, that’s a tricky question! Because in this question I have like a triple answer to you.
 
V: OK, give all of them.
 
A: Because if we would take musical level, I would consider ourselves on the same boat, except that I’m not a good improviser as you are. So in improvisation level, I see you above myself. But if we talk about domestic life and our sort of daily routine, cooking, cleaning etc, I would say that you’re quite below me. What do you think? Do you agree?
 
V: I couldn’t agree more. But I have to contradict you with improvisation. You think you’re below me in improvisation because you’re afraid to try. And when people are trying new things, they start to develop themselves much faster. If they’re afraid to try, they start to discourage themselves and think that they’re not worthy, or somebody else is better. And I’m not specifically talking about you, I’m talking about everyone that I know, including myself. Because even though I improvise, there are plenty of people I know that are better than me, like those masters you here sometimes in recitals. But that’s OK because I’m not trying to be like them, I’m trying to be like me, and that’s what I suggest to you and others as well. So Total Organist helps to stay on track and motivated by finding our peers on that program. On BaseCamp we have this chat everyday, and questions being asked, and people can really support each other. We also need people that are above our levels like masters, who could be beacons in our life, right? And hopefully, for our students, we should be beacons, because they look up to us, right? But also for us, we need other people that are above our level as well, right? Other masters from around the world, or maybe famous composers that have lived before us, that could be an inspiration as well. And then, we need people below our level, whom we could inspire and teach and elevate, and motivate to grow. And that’s what our community is all about. All those 3 types of people are present there, plus, minus and equals.
 
A: Yes, and helping each other, which is so important.
 
V: Yes, that’s according to James Altucher, very good idea I would say. No one is living in a cave, alone, like a hermit. And we need to stay in a group, in a community, even though we might never see each other physically, but today with technology we can easily connect with just about anyone on earth. So I’m really amazed by Ariane’s response, and I’m really happy that she’s happy. And she’s telling everyone she knows about our program, she’s evangelist, our ambassador, which is really great.
 
A: True, because when you praise your own program people might get suspicious but then somebody else says a nice thing, which is very pleasant.
 
V: Hmm. But sometimes we need to tell good things about ourselves as well. IF we know that this program is really working, is great and suitable for many people, why should we stay silent you know?
 
A: True.
 
V: In a perfect world, our students could spread the word for us, but it doesn’t always work that way, because our students also look up to us: if we’re not confident about our program, they won’t be confident either haha. So we’re telling everyone right now that this program is working. Ariane and tenths of other people around the world are a proof of this, and if you want to grow faster in your organ playing than on your own, consider joining us. We’ll see you on the inside. And remember, when you practice…

A: Miracles happen!