Vidas: Let’s start Episode 136 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Bruce. He writes:
“Hi Vidas, I'm trying to download BWV 578 (little fugue in g minor), but I don't see it in the list of directly downloadable items on the Total Organist web page. Is this piece available to me with my total organist subscription? If so, I would like to take it with me on my travels. How can I get a copy of it? I would really like to review and understand your recommended fingerings while I'm on the road.” So, Bruce is a traveler, right Ausra? Ausra: Yes. That’s what I understood from his question. Vidas: And he doesn’t always have access to a real organ. Ausra: That’s right. Vidas: Is it okay to study your music on the road? Ausra: Yes, I think so. That’s a very good thing to do, because this keeps you sort of still connected with the music that you are playing. Vidas: Somehow, I sometimes see people miss their practice because they don’t have access to an instrument--somehow either their church is far away, or they travel too much, right? Ausra: Yes, that’s right. Vidas: So...but it’s okay, probably, to simply take your music with you, and practice...let’s say, on the table. Or not? Ausra: Yes, you know, I still remember while studying at the Lithuanian Academy of Music, with Professor Leopoldas Digrys, I remember him talking about practice time, and he would strongly recommend to divide your practice in three stages-- Vidas: Mhm. Ausra: Three periods. And he would suggest to do one part of your practicing on the organ, another on the piano, and the third one--to do mental practice just looking at the score. Vidas: Of the same piece? Ausra: Yes, of the same piece. Vidas: How interesting. So, Bruce should then divide his practice time in three ways, right? Ausra: Yes, I don’t do it so much nowadays, but I did a lot of practice this way when I was still a student. Vidas: Let’s talk a little bit about each stage. While talking about organ practice, we all know it’s very beneficial, right? Ausra: Yes. Vidas: Because it’s organ music, and you adjust to your instrument. What about the second stage, basically piano practice of organ music? Ausra: Well, you know, it sort of helps you to develop technique, especially in Romantic and late music. It’s very beneficial; I remember when Bruce Neswick at Eastern Michigan University--he came to visit our school at the improvisation symposium that Dr. Pamela Ruiter-Feenstra hosted-- Vidas: Mhm. Ausra: And was initial leader of it; and he came to teach, to give some master classes on improvisation, and he also had to perform a recital at Pease Auditorium. And I remember he was playing the symphony by Louis Vierne... Vidas: Mhm. Ausra: And I remember that he did some of his practice on the piano. Vidas: Do you remember which symphony it was, by Vierne? Ausra: I think it was the first symphony. Vidas: The first symphony, and the famous Finale? Ausra: Yes, yes. I love that Finale, it’s so nice. And so, he found it very beneficial to practice that music on the piano. So, it will never hurt, you know; it’s a good way. Plus, most of us have access to piano much more often than organ. Vidas: Mhm. Ausra: Than access to the organ. So I think it might be beneficial, too. It might sort of give you more time to practice in general. And you know, let’s say if you have access, you don’t have a home organ, and you really need to work on your fingering and on technical stuff, you really don’t want to do that at church. I just can’t imagine doing that at church. Especially like in our church, at St. Johns, where there are tourists coming all day round...I would not want...it would be sort of like washing your underwear in front of all people! That’s the same, when you are working on those details, and working on the text. Vidas: Except I would think that a lot of people wouldn’t even understand that you’re washing your underwear. Ausra: I know, but I would understand that. I would not want to show that, you know, my sort of kitchen, in front of everybody. Vidas: Just in case Bruce Neswick comes along, right? Ausra: I...you know, I remember once when I was working on Vater Unser from Clavierubung Part III at Cornerstone, and I thought I was perfectly alone, and nobody was listening to me; and then I just heard that somebody actually is in the chapel, and was listening to my playing! And it was Olivier Latry. And I just felt so embarrassed. Vidas: And why? Ausra: Well...I wasn’t at the concert stage at that time, with my playing. I was just simply practicing. Vidas: But that’s okay, isn’t it? Ausra: Yes, that’s okay, but...you know...that’s not the best feeling. Vidas: You wanted to appear superhuman, in front of Olivier Latry? Ausra: Yes, yes, yes! Vidas: And what did he say to you? Ausra: Well, nothing, you know...but then he played himself, too, and I sort of had a private recital, played by him. Vidas: On the old, ancient organ? Ausra: Yes. Vidas: Mmm, how interesting. Ausra: It was wonderful. Vidas: A lot of people think that Olivier Latry is a master of French symphonic music, but that’s not really the case. Ausra: Well, he’s master of all French music, too, but not only all French music. I think he played Sweelinck, too--“Mein junges Leben hat ein End” from memory and it was wonderful. Vidas: Yeah. These people are masters of everything. So yes, guys, remember that sometimes the master himself, or herself, might be appear to be listening when are alone in your practice room. And don’t neglect your piano practice. Ausra: Yes, it’s very important. And also, you know, if you travel a lot, then just look at your score; you may play on the table, or you may just sing the lines in your head, or out loud if you can. Vidas: From my perspective, I can remember that whenever I have trouble with my technique of the manual parts, whenever I play them repeatedly on the piano--especially in a slower tempo--my technique really improves on the organ, too, of the same piece. It really helps. I remember practicing this of the concerto of Handel--one of the concertos, I think it was...this it was in... Ausra: G minor? Vidas: F Major. In Nebraska. Ausra: Mhm. Vidas: So yes, this helps. And whenever I travel, sometimes there is not enough time on the real organ, to practice for you. I remember practicing in my hotel room on the table, putting those thick pillows underneath me so that it would be like the organ bench height, and practicing my recital pieces. This was in Paris, in Le Madeleine Church, and the recital was quite, I think, normal...It wasn’t a scary feeling at all, even though I had like maybe 45 minutes or so to prepare. Ausra: Yes, because that mental preparation is very important. Vidas: Mhm. You can even prepare for a recital at home, while looking at the specifications, and prepare those registration changes in advance; and when you get to the real organ, you will be almost ready. Ausra: That’s true. Because it’s the most important thing how much time you will spend with the actual piece. Either way, playing on any instrument, or singing it, or just looking at the score. Vidas: So, mental practice is one of the ways, right? Ausra: Yes. Vidas: I wouldn’t even say it’s less important than instrumental practice. Because, remember that experiment with basketball players? Have I told you about this before? Ausra: I think you mentioned it, but you can tell it to our listeners, too. Vidas: Some of our subscribers know this story, but I think I will remind you, because it’s appropriate right now. There was an experiment with a control group of basketball players--it was in America, I think. Some of them were divided into parts, and one part was directed to play basketball, and shoot the basketball from one position for one hour every day for 30 days. So basically, for one month, they shot the basketball from one position for 1 hour. And the second group did this only by imagining: imagining the ball, imagining picking up the ball, and targeting the basket, and releasing the ball and imaging, visualizing, the path of the ball, and imagining the ball hitting the target--and so forth, basically, for one hour every day. And the third group, they were directed not to practice basketball at all--just forget about it for one month. And do you know what happened, Ausra? They afterwards compared the results… Ausra: So, how were the results? Vidas: Okay...This group which practiced with the real basketball, right, physically--they developed their technique, results, by...I would say like, something like 28%. I might be wrong, but somewhere around there. Ausra: What about the other groups? Vidas: The group which didn’t practice basketball at all--they sort of, after one month, stayed more or less the same. It’s interesting, right? Imagine not playing the organ at all for a month, and your level will stay almost the same, approximately, according to this basketball study. But the most surprising result was for people who only visualized playing basketball. They developed their technique...by 25%! Ausra: Wow. Vidas: Almost the same as those who practiced real basketball, physically. Ausra: But I hope you’re not suggesting to our listeners to just, you know...practice mentally! Vidas: No, but you could do the same experiment, if you don’t believe me. For example pick three pieces of approximately equal length, and equal importance and equal level of difficulty, and do this experiment for yourself for one month, right? One piece you play physically; the second piece, you do it mentally while looking at the score; and the third piece you simply...heh, forget it for an entire month! Right? Don’t look at the score, don’t practice it on the organ at all. So...And then report to us after one month--we’ll be eager to find out. It will be very interesting to report the results, right Ausra? Ausra: Yes, yes. Vidas: Wonderful. And please send us more of your questions; we love helping you grow. And we might be right about this experiment on the organ, and we might be wrong--right? So if anyone is brave enough to try, please send us the results. Ausra: But I think the combination of these three things--practice on the organ, practice on the piano, and mental practice--this is a good combination, so I strongly recommend you try it. Vidas: Excellent. And of course, BWV 578 Little Fugue in g minor is now available on the Total Organist dashboard, when you sign in as a member; and you can easily download it and start practicing, whether physically or mentally! Thanks, guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
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Remember how I wrote I have to play at a friend's wedding last Saturday?
Since the ceremony took place in a side chapel but I played the main organ, I had to use some signs about the timing of the music - I simply didn't know what was going on at the chapel. The solution was simple - they rang a bell for me. My friend didn't want any traditional wedding music so I had to improvise which was nice. His only request was that the prelude and postlude would be joyful and the first interlude - calm and peaceful. I recorded all the 5 pieces that I played. Hope you'll find them interesting: Wedding Prelude Wedding Interlude 1 Wedding Interlude 2 Wedding Interlude 3 Wedding Postlude Welcome to Secrets of Organ Playing Podcast #128!
Today's special guest is John Higgins, who is the organist at St Andrew's Presbyterian church in Morwell, Victoria, Australia. John has been a guest a while ago on our podcast. We talked when he was living in another state of Southern Australia, in a small town called Whyalla. He has a tradition of playing Christmas concerts for his former congregation at Victor Harbor. John has been our loyal subscriber since the very beginning of this blog in the early 2012 and has since resurrected his passion for music and specifically for organ. He's an engineer by profession but through these years of organ practice, he's grown so much that now he has the skill to play for liturgy as well as recitals. Currently John is living in Traralgon, Victoria where he has moved with his family and I'm very excited to be able to talk to him about his recent Christmas concert that he played at Victor Harbor. Make sure you listen to the very end because you will get a lot of inspiration from John for the New Year. By the way, John will be coming to Lithuania! Yes, it's NOT a typo. He's scheduled to play a recital at Vilnius University St John's church this April. Ausra and I are very excited about being able to welcome him in Vilnius. Listen to the conversation And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. If you like it, feel free to subscribe to our channel on Musicoin. By the way, you can upload your own recordings to YOUR channel to maximize revenue. If you have some audio recordings of your organ performances, you can do the same. Feel free to use my invitation link to join Musicoin: https://musicoin.org/accept/MUSICa45e5f26ede2be5dd4411747 Thanks for caring. Relevant links: You can reach John Higgings by email: john dot eliza dot higgins at gmail dot com and on Facebook. Can you guess what gives this organ improvisation a Middle-Eastern flavor? Can you smell the camels? Can you feel the hot sand?
The Three Wise Men Vidas: Let’s start Episode 135 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Mike, and he writes:
“When and When NOT to play the "Amen" of a Christmas Song/Carol? This has been a discussion. Some Christmas songs have an Amen at the end of them, some don’t. When playing one during a regular Church service, that has it at the end, I believe you play it. However, if you are playing this as a Christmas Carol, say for a choir to sing, then you don’t play it. Is this correct or not? Thank you very much.” Ausra, do you think that this question applies to any hymn or chorale--not just a Christmas song with pedal? Ausra: I think you may say so, because often, church songs/hymns have “Amen” at the end of them. But I think it’s sort of a broad question, because I think it depends on the denomination that you’re playing in; it belongs to the tradition. Vidas: What do you mean? Ausra: Well...the more liberal churches are, I think, the less they use the word “Amen” at the end of any hymn. Vidas: Oh, that’s right. Remember, we played from the Lutheran hymnal that is in the Missouri Synod, right-- Ausra: Yes. Vidas: --From the 1940s, I believe. This hymnal always had “Amen” at the end of every hymn. Ausra: Yes. But that’s because the Missouri Synod is sort of, you know, of the conservative lot. Vidas: Yes. Ausra: Not the most conservative, but on the more conservative side. Vidas: And what about, for example, more liberal Lutheran hymnals, like ELCA? Ausra: I think they don’t have Amen at the end of...at least of Christmas carols...so… Vidas: Yes, you’re right. It depends on the tradition of your congregation. Ausra: Yes. Vidas: Normally, I would say, more and more denominations don’t use Amen at the end. I would say. Ausra: Although I don’t see anything wrong with this word; you know, it’s a nice word. It doesn’t mean anything bad; it just confirms whatever you said before. Vidas: Mhm. Ausra: It’s like confirmation of what you sang, what the words were about. And that’s it. Vidas: It’s like at the end of the prayer, we would say, “Amen.” Ausra: Yes, yes. Vidas: Mhm. Ausra: So I don’t think it’s a word that you need to avoid; but in order to do things right, you just need to figure out what the tradition is in your particular church--your denomination--and how people accent it. So maybe just talk with your priest or pastor, and find out about it. Vidas: And this is true when you play hymns for, let’s say, concerts, or other non-liturgical occasions. Then you don’t actually need “Amen” at the end. Ausra: Yes, and if you sing an original composition with choir, for example, even if it’s based on a Christmas tune, then just look for what the composer suggests; if there is no Amen at the end, then don’t add it. Vidas: Let’s say there is a situation when you have no Amen at the end in your hymnal, but you would like to add it. Do you know how to do it? Ausra: Well, yes, that’s very simple. Vidas: What chords would you suggest? Ausra: Dominant and tonic. What about you? Could you suggest something else? Vidas: Dominant and tonic...On which scale degree in the melody would those two chords go? Ausra: On the fifth scale degree. Vidas: So, if the hymn ends on the fifth scale degree, you normally use dominant and tonic. But if the melody ends, let’s say, on the first scale degree, what would you do then? Ausra: Then you would use subdominant and tonic. Vidas: Subdominant and tonic. Do you know any hymns that end on the third scale degree? Ausra: No, I don’t recall. Vidas: So most often, still, it’s either tonic or dominant in the melody. Ausra: So, if the hymn is a Christmas carol that’s more from ancient time, and based on modal harmony, then you probably want or need to use subdominant and tonic. But if it’s more modern, then probably dominant and tonic would fit better. Vidas: And depending on the mode, too. Ausra: Sure, of course. Vidas: If, let’s say, the hypothetical mode is in C, but ends on G, which is the dominant note, it’s actually not C Major mode, but G mixolydian, I would say. Ausra: Yes. Vidas: Right? So then, dominant G Major chord, right… Ausra: Yes. Vidas: And the tonic chord, C Major, would not even be considered, I think, as a dominant in that mode. Ausra: Yes, it would be more like subdominant function. Vidas: Subdominant. In any case, look at the mode, and choose the chord or two chords which have one common note in them--usually it’s like a perfect fourth or a perfect fifth apart. Ausra: Yes. Vidas: Good, guys. So try this in your practice, if you want to add your own Amen at the end of any type of hymn. Ausra: Yes. Vidas: What kind of position would you usually do: closed position or open position, in those chords? Ausra: I think I would do closed position. It’s easier, and I think more convenient, really. What about you? Would you play it in open position? Vidas: I would say...I would look at the range of the melody. If it’s a high note, let’s say first scale degree but one octave higher, then I would use open position. And if it’s a low first scale degree, then closed position. Would that be ok, Ausra? Ausra: Yes, I think it would be excellent. But now, thinking about that--if you would do Christmas carols with choir and maybe the congregation would join you, I don’t think the sopranos would sing so high that you actually need an open position. Vidas: Mhm. Ausra: But that’s probably just my way of thinking, because I am an alto voice. Vidas: Most of the hymns end on the low first scale degree. Ausra: And when I was doing that workshop for church organists, hymn harmonization seminars, I looked closely at the ELC hymnal; and what I discovered was that most of the hymn tunes are written either in F Major or in G Major. I found some in D Major, but basically F Major and G Major--these are the two main keys that hymnals use. Vidas: And what do you want to say? Ausra: Well, that it’s a very comfortable range to sing, in these two keys. Sort of middle range. Vidas: Especially if you end on the lower first scale degree. Ausra: Yes, on the F or on the G of the first octave. Vidas: And no congregation member would sing higher than… Ausra: I think so, yes. Vidas: Higher than, let’s say, triple C or D. Ausra: Of course, if it’s an original composition written for a choir, then of course it might be high. But in that case, you probably would not add an Amen at the end of it. Vidas: Ah, I see. If it’s a congregational hymn, then yes; but if it’s a choir setting, then probably Amens are not necessary. Ausra: But yes, and of course it’s always a good idea to consult your clergy about these things; because some may not even think about it very closely, but for some it might mean a lot. So you better check it out. Vidas: Thanks, guys! We hope this was useful to you--right, Ausra? Ausra: I hope so. Vidas: And send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. This Saturday my friend Gediminas asked me to play for his wedding at St John's church (I don't usually do this because they have their own wedding organist there).
It will be a special setting: the liturgy will take place in one of the chapels but the organ will sound from the nave. This morning my friend came over to the organ balcony to discuss the order of organ music. Because the ceremony will be in a different room than the organist, I will not have the opportunity to sing Veni Creator hymn and the psalm. Here's what I will play (it will be all improvisations - my friend didn't want any of the Mendelssohn's or Wagner's favorites): 1. The Prelude while people are gathering (2-3 minutes) 2. Interlude 1 before the opening prayer (2-3 minutes) 3. Interlude 2 after the 1st reading (2-3 minutes) 4. Interlude 3 after the 2nd reading (2-3 minutes) 5. The Postlude at the end I'm curious how much organ music do you guys usually play for weddings? PS Here's what I improvised for Gediminas this morning before he left. And here's another improvisation when we first met a few weeks ago (snippets of Mendelssohn March sound here). Before we go to the podcast for today, I wanted to remind everyone that today is the last day you can buy any of our practice scores and training programs for half price (until 9:59 PM GMT).
Discount code Christmas2017 is applied automatically at the checkout in our Secrets of Organ Playing Store. Total Organist is half price also! Happy practicing! Vidas: Let’s start Episode 134 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Bruce, and he writes: “Thanks for extending my review period of Total Organist - it will be a help. I will be traveling most of December, taking care of family, and won't be able to get to the organ much. Thanks for asking what I'm currently struggling with. My main initial goals will be those of a pianist who wishes to extend into the organ. I'm thinking some things will be especially new to me: Pedalwork, of course. It's a real mind twister for me, to play pedals while keeping my left hand doing what it is supposed to do. It's weird, how getting my brain to accept that footwork is necessarily independent of bass lines as processed by the left hand. Fascinating, actually - I'm hoping it will be fun to work this out. From your inventory of teaching aids, I expect I'll start with your pedal course, and also look into your course in left hand skills. And l welcome your advice on how to get started with pedals.” First of all, let’s congratulate Bruce, Ausra, right? Ausra: Yes. That’s a challenge--to switch instruments from piano to the organ. Vidas: A lot of people are afraid of pedal work. And I was afraid, too. Were you afraid, at the beginning? Ausra: Yes, I was afraid of it, yes, very much. Vidas: Have you ever cried because of pedal passages which were difficult to learn? Ausra: Definitely. Definitely, yes. That was my biggest struggle at the beginning. And only later on I understood that Baroque articulation is actually much harder than playing pedal. Vidas: I’m always amazed, somehow, when I see younger students today playing pedal lines without much effort at all; in our Unda Maris studio, for example, or in Čiurlionis School, we had very gifted students, before. But it was not the case for me. It was really, really frustrating. Ausra: Neither for me. I think it depends on how good your coordination in general is; and it’s sort of a thing that you just either have or you don’t; and if you don’t have it, then you have to develop it. There is no other way. Vidas: Do you think, Ausra, that it’s part of human evolution, of the human species, that the next generation can play pedals better than the previous one? Ausra: I don’t know. That’s a good question, that’s a question for scientists. Vidas: Yes, they should compare our DNA, and think if they could isolate the gene for pedal playing. Ausra: But actually, you know, I’ve realized, now, by working at the Ciurlionis Art School for 12 years already, that nowadays kids are much more gifted than we were, actually. And so many have perfect pitch. In my days, when I was studying at the same school, we were lucky if in one class we would have like 1 or 2 students with perfect pitch; that was something. And nowadays, you can have like half of the students in your group that have it. Vidas: Absolutely. So, the human species is really, definitely moving forward, at least in pedal playing! Ausra: But that’s not the case with logical thinking. So I don’t think the human mind is developing as fast as their bodies. That’s my observation, from my experience. Because if you give them, like, logical assignments...they don’t come up so easily. Vidas: I know. For me, mathematical exercises, and verbal exercises, are more difficult with every passing year, I think. And 2018 will be no different. Ausra: Yes. So, what I could suggest for Bruce would be that he would not be afraid of playing pedal. That’s the main thing. It will come in time--maybe not as fast as he would wish, but overall, if he will practice daily, I think he will succeed. Vidas: Do you think, Ausra, that Bruce could think about pedals--his two feet, basically--as an additional third hand? Ausra: I never think about it, myself; but that’s a possibility. Why not? Vidas: Because usually, people play a solo line on the pedals, not double intervals--although there are pieces which require octaves and parallel intervals and double pedal lines--right? But even then, it’s really possible to play two voices with one hand. Right? It’s possible. Ausra: Yes. Vidas: So I think it’s not far from the truth to say that your pedal work should be treated as an extra hand. Ausra: Yes. Vidas: What that means, then, is that you simply look at pedals from the perspective of your hand playing. Imagine if you spend time developing your hand technique for several years as a pianist, right...And then, suddenly, you discover, “Oh, by the way, I have a third hand here. And I can use it!” So at first, it’s really difficult, right? Playing with your feet. Ausra: Yes, yes. Vidas: But little by little...It’s like going back to the first grade of piano playing, for your feet. Ausra: That’s right; but you know, my suggestions would be to find the right spot on the organ bench, to play in a slow tempo, and to work in combinations. Never play--especially if you are a beginner, and you have trouble playing pedal--never play all the voices together. Because in that case you will not have good results. Vidas: Do you think that the Pedal Virtuoso Master Course pedal scales and arpeggios would be beneficial to Bruce? Ausra: Sure. I think they would be beneficial to any organist. Vidas: Even for beginners? Ausra: Well, yes...maybe he could not do all the exercises right away, and maybe not play them in a fast tempo, but definitely he would find some useful stuff. Vidas: I think he has to combine exercises with repertoire, too. So, in order to feel the progress and a little bit of joy, too, because out of exercises, not too many people can stick with them for a long time and still feel joy, right? Ausra: That’s right. Vidas: So you have to supplement them with, like, additional treats--to give treats for yourself, like beautiful music, in addition to bread and salt and butter. Ausra: Yes, and for that repertoire, maybe that could be pieces at the beginning where it just has a pedal point. There are some pieces like this, especially in Italian music. Think about such composers as Domenico Zipoli, for example. Vidas: Yeah, 2 notes for the entire piece. Ausra: Yes. Like tonic and dominant, and back to tonic. Or you know, there are also other pieces that don’t have such a hard pedal part, but have some beautiful melodies. Vidas: If you were starting today, Ausra, playing pedals and organ, and going back in time--and now you know so much, right? How would you learn differently, or would you learn differently or not? Ausra: I don’t know. You know, for me, I realized that if you come to the organ after playing piano for some time, it’s easier to start with Romantic and later repertoire, where you use basically legato technique, which is so similar to what you did on the piano, or more similar. But you know, because I started with Baroque music, it was very hard--I found it very hard to grasp and digest all that Baroque articulation, together with pedal part and playing polyphonic music--that’s a challenge for beginners. Vidas: Maybe it’s because your teacher was so demanding, and gave you quite advanced pieces right away. Ausra: Yes, that’s true, too. Vidas: Well, that’s understandable, because you studied at a higher institution, right? And institution of higher learning--the Lithuanian Academy of Music. So above that it’s only heaven, right? So basically they needed you to push forward. But for people who are studying for their amusement: you don’t have to play Bach’s Toccata and Fugue right away--or even any type of fugue right away. You could play a small chorale prelude, just like “Ich ruf’ zu dir” by Bach. Ausra: Yes, that’s a nice piece. Beautiful, and not that hard! Vidas: Mhm. Exactly. So please, guys, apply our advice in your practice--it really helps when you do the steps, when you take it to the next level, and try to incorporate that in your daily routine. And send us more of your questions, right Ausra? Ausra: Yes. Vidas: Do you have fun answering them and helping people grow? Ausra: Yes! It’s really fun, and especially it’s fun to receive responses to our answers. Vidas: When somebody has applied them, and it worked out well, and they have progressed, and see success, right? Ausra: Yes. Vidas: Feedback. Ausra: That’s the most gratifying thing. Vidas: Excellent. And guys, don’t forget, because when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 133 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Bruce. He has a challenge with finger substitution to improve line. He writes:
As a pianist, I'm rather used to the sostenuto pedal, to the extent that I probably overuse it and it can be a bit of a crutch. Nothing like this pedal on the organ, of course, so I expect it's all about finger substitution, learning how to do this in a natural way. I expect there are exercises for me to pursue, and could use recommendations and support on this. On my own, for starters, I have been looking at BWV 639, as you and Ausra suggested in podcast #85. I am looking forward to looking at Ausra's analysis of this piece. I am also working on BWV 578 (g minor fugue) and BWV 659 (Nun komm der Heiden Heiland). And I have fooled around with Contrapunctus 1 from the Art of the Fugue a bit. And sight-reading some of the easier pieces from the Orgelbuchlein, without being too hard on myself over my current pathetic pedal ability. In the short term, it would be nice to see your first week of pedal work (from your pedal virtuoso master course) - or something you think would be more appropriate for a novice - and to download your fingerings for 578 and 659, and to look at Ausra's analysis of 639. Thanks again, and I'm eager to get started, in earnest, after the beginning of the new year. And look at the above items while I am able during December. Thanks! Cheers, -Bruce So basically, Ausra, he struggles to play legato lines, right? And he feels that he needs to learn to apply finger substitution, because unlike on the piano, organ doesn’t have sostenuto pedals. You have to do legato simply by applying fingers. Is it right? Ausra: Yes, that’s what I understood from his question. But actually, also, there is another side of this question; because the pieces, actual pieces that he mentioned in his question were all Bach pieces--all pieces written by Bach. So I don’t see how the first half of the question is related to his repertoire. Because I don’t know about you, but I never substitute fingers while playing Bach, because the technique when you use finger substitution is required for later music. Vidas: You don’t play legato--Bach? Ausra: No, you don’t play Bach legato. So you don’t have to use fingers substitution, because you play articulate legato, or quasi-legato, or non-legato. And you have to detach each note--not to play staccato, of course, but to detach each note, so you don’t have to substitute it. Vidas: I don’t know if Marcel Dupré would agree with you. Ausra: Well, it’s how things are nowadays. And it’s based on playing on historical instruments. So basically, what I would suggest for Bruce is to improve his finger technique in general; because I have seen many piano majors who cannot play well on the organ because they don’t have fingers muscles developed enough. And that’s because of overusing the sostenuto pedal. So even while playing piano, I would suggest for him to take some Scarlatti sonatas, and to play them without any pedal. Vidas: It would sound like harpsichord. Ausra: Yes, yes. Then it would improve his muscles. Then it would be easier for him to play on the organ. But definitely, when playing Bach or any other early music, don’t play legato; don’t use finger substitution. Vidas: I agree, too. I kind of tend to articulate perhaps even too much, and whenever I write down fingerings in my pieces, or for other people in early music, I tend to use the system which allows them to play with correct fingerings and correct articulation without even thinking about it. Let’s say, in one hand, you have a line of ascending parallel intervals, like parallel thirds or parallel sixths--that would be often the case, right Ausra? Ausra: Yes. Vidas: So, a lot of people try to play one three two four, one three two four, one three two four, or one four two five, for the six. It’s very inconvenient, and sometimes even use fingers substitution. But it’s not necessary, because parallel intervals--the rule is that they normally are played with the same fingering. And then you don’t have to think about articulate legato. Ausra: Well, unless there is like a special sigh motif, that is often used in Baroque music: then you have slurs where you have two notes attached-- Vidas: Exactly. Ausra: Then you would play with that kind of fingering; but not so many cases, you know... Vidas: There are always exceptions, right? Composers sometimes notate their own articulation, like legato, because it’s an exception to the rule of ordinary touch--that’s what they called it back in the day. And if a composer wanted smooth legato, they would notate a slur. Ausra: Yes. And you never should forget that organ is actually a wind instrument first of all. And while playing polyphonic music--and all music by J. S. Bach is basically polyphonic music--it just sounds bad when you’re playing it legato. Pipes don’t speak in that way. So, and even if you practiced on the piano in that way or on the electric organ, you still should keep in mind that your final goal is to play a pipe organ. Vidas: Mhm. Ausra: To perform it on a pipe organ. Vidas: Exactly. Ausra: And to articulate as if you would be playing it on the pipe organ. Vidas: And don’t use dynamics on the piano, as if in a normal piano composition. Piano, forte, mezzo forte, crescendo and diminuendo--it doesn’t work on the organ, right? Ausra: Yeah. Vidas: The touch should be always kind of a soft mezzo piano, I would think-- Ausra: Yes. Vidas: Without any accents, or too much force. Ausra: Yes. But of course, if Bruce will pick up some compositions by Romantic composers or later composers, then yes, definitely he will have to learn how to do finger substitutions. And that might be tricky, too, at the beginning, especially when you have thick texture. Vidas: I agree. And for closing advice, I would think that playing like string instruments--imagining how a violin would play this line--is also helpful. Ausra: Yes. Vidas: Not only flute, not only oboe, but also string instruments. Imagine there is a single melodic line in the Baroque style; and violins, would they play it like 4 notes legato, with the bow downward, right, or 8th notes downward? Of course not. They would do down, up, down, up, down, up--especially in a faster tempo, if it’s an allegro character--a fast-moving piece. Then, what that means is that at the moment of the bow switching direction, there is an almost imperceptible rest. Right? And that means there is articulation. For us organists, we can also leave a very small, insignificant amount of silence in between the notes, then. That’s how they played it on the wind instruments--by tonguing, and also with string instruments. So keyboard is no different, actually. Ausra: Yes. You have to listen to some good recordings of for example, Bach cantatas, where you can hear string player playing, or woodwinds playing. That might give you some idea what this style is. Vidas: Mhm. And for later music, as Ausra says, of course apply finger substitutions, but not too much. I don’t think you ever need to use fingers with finger substitution on a single melodic line. Ausra: Definitely not, but if you have thick texture, then yes you have… Vidas: Thick chords, maybe intervals, then maybe yes. We mentioned earlier the thirds would be easier to do: 1-3, 2-4, and here substitute 1-3 again, and then 2-4 to the next interval. Ausra: And then you can do 3-5, too. Vidas: 3-5, if it’s convenient, right? The same is for 6ths: 1-4, 2-5, substitute to 1-4 again, and back to 2-5. And vice versa. Ausra: Yes; and then substituting in later music, you have to learn everything in a slow tempo. That will help you. Vidas: I think one of the best exercises for Bruce, if he really needs to learn finger substitution, let’s say for later music, is to play scales with double thirds and sixths. Slowly at first, of course, in many keys, in all major and minor keys. This is part of the Hanon pianist virtuoso routine. It’s already in Part III, I believe, so it’s quite advanced technique; but it’s indispensable for later Romantic and 20th century and modern organ music, too. Right? Ausra: Yes! Vidas: So, do you think that people will find this podcast conversation helpful? Ausra: I hope so! Vidas: Excellent. Please, guys, send us your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Happy New Year!
Ausra and I want to wish everyone in our Secrets of Organ Playing community to try to increase our physical, emotional, mental and spiritual health just one percent every day. Suggestions: Physical health: Walk 10000 steps every day or do some other form of exercise to break sweat, give your dinner to others, turn off all screens after 8 pm, sleep 8 hours minimum at night, floss your teeth (maybe just one tooth for starters). Emotional health: surround yourself with people you love and who love you. Avoid toxic people. Mental health: create something every day, write down 10 ideas a day, read, practice organ playing. Spiritual health: find things to be grateful for, say "I Love You" more often, breathe. If we perfect ourselves in each area just one percent, every 72 days, our results will double. After a year it will be 3800 percent increase! We are so looking forward to helping you grow in 2018 as well. And remember, when you practice, miracles happen! Heavenly Host Sings "Glory to God in the Highest" PS Thanks to Kae for this Bear in the picture whom we received from the sunny California! |
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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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