Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 637 of Secrets of Organ Playing Podcast. This question was sent by Rosemary, and she writes, Hello Vidas Firstly can I thank you for the wonderfully informative emails you have sent during the last week, To date I have found them very helpful and thought provoking. A good beginning to the information I need to develop my study for the next 12 months. In reply to your first question. My goal for this coming year is a 30 minute lunchtime recital on 8 October 2021. My practice situation is a small instrument, one manual with a full pedal board and 5 stops in our local church (country town). The recital is on an instrument 8 times this size in a provincial city 45 km away. Aug 2019 I was included in the programme and played an all Bach programme (BWV 554, BWV 555, BWV 604, BWV 536 and BWV 570 ) I lacked confidence and found it a rather tough experience and have resolved to better the experience. Important aspects to address. Developing a plan for the year's study. Developing the programme. (Bach again as his music is a passion of mine, or a European tour, (Boellmann, Faure..Italian school, and Bach ) The learning of a piece, bringing it up to concert standard and maintaining the standard for the recital date. Work on analysing the piece, Your email of Dec 1st has been a great catalyst. Maybe this is one of the secrets to understanding the piece and gaining confidence in performance. Additionally, I have shortened the length of the fragments I learn at a time and have resolved to trial your suggestions. The content of the material you've sent seems like a good foundation. I need all these tips and more. I have had no formal lessons on the instrument, gathering knowledge through reading, listening and suggestions from colleagues in recent years. More information on ornaments, (BWV 555 do you include the marked trill on the resolution of the prelude.) The French Noels how do you fit in the mordants and how are they played, Currently I am learning Priere a Notre-Dame L Boellmann your copy with fingering and pedaling, Sicilienne OP.78 G Faure Sonata 5 BWV 529 Bach third movement I am particularly interested in your copy of Ich ruf' zu Dir, Herr Jesu Christ BWV 639 where you have written out the interpretation of the ornaments and how they fit in. More on this please. Time I stopped, I have gained regular access to the organ for the recital determined to be more familiar with the instrument, I have considerable support and assistance from the regular organists especially with choice of registration. A big learning curve. Hopefully this finds you and yours well, a strange year with so many new challenges. Every good wish for this festive Christmas season. kind regards Rosemary V: First of all Ausra, I recommended Total Organist Program to Rosemary, because her goals are very ambitious, and she would really benefit from our ambitious program. And she just signed up yesterday, I think. A: Wonderful! Congratulations to you both. V: Welcome Rosemary to Total Organist. So Ausra, going back to her experience and feedback, what would you notice at first? A: Yes, that she’s very much determined and motivated, and I think she will succeed, because it seems like she has a clear plan and she’s very persistent and hard-working, so I think she will succeed in playing that recital on the 8th of October in 2021. V: Uh huh. It’s interesting the pieces that she mentioned on the program that she already played in August 2019 was BWV 554, it’s D Minor Prelude and Fugue from the Eight Little Preludes and Fugues; 555 is E minor; 604 is something from the Orgelbüchlein, let me check.... 604 is Gelobet seist du, Jesu Christ. And then 536 is A Major Prelude and Fugue, and 570 is C Major Fantasia without the Fugue. So, well polyphonically, these pieces are, with the exception of A Major Prelude and Fugue, I would say basic level. Not even intermediate, right Ausra? A: Yes, maybe between beginning, beginner and intermediate. V: A Major Fugue is more complex. It’s a minuet probably, and dancing rhythms 3 part, 3/4 meter, kind of tricky to get, because sometimes they have canons in the middle. So it’s maybe intermediate piece. Good that she is determined to learn a new program for October, right? Hopefully she will adapt to a new instrument eight times the size of her practice organ. Eight times - so what is this, like 40 stops? A: Yes, that’s a good size organ. V: Three manuals probably. A: Not necessarily. It might be two as well, with pedal, but it might have the third division. V: Mm hm. Yeah. Generally with three manuals you can do a lot, but it takes a little bit more coordination. You don’t have to play all three manuals, though. You can couple the Swell to the Positiv and play like on two manuals, right? Pretend you are playing three. A: Yes, but Rosemary has one manual at her church, so how would you suggest she practice pieces that requires at least two manuals? V: I would either play right hand higher or left hand lower, depending on which sounds better. But you see what I mean, right? A: Yes, on the same keyboard. V: On the same keyboard. It’s like practicing on the piano. When you have to cross hands, but if you move one hand higher or one hand lower, you can effectively play two manual pieces. A: Yes, that’s a good suggestion. As you said it before, I imagined that you would play in the air with your hand higher or lower. (laughs) Do you see what I mean? V: Uh higher, like not an octave higher but a little bit higher. A: In the air, in the air I mean. V: Oh, virtually higher. A: Virtually V: Imagining there is a second keyboard. A: So better don’t do that. V: Actually, I’ve done some practice on our instrument at home, before Hauptwerk, when we only had two manuals, and if I had to make echo passages from second manual to the third at church, I would pretend I have three manuals here at home, and jump from the second manual to the music rack and back and forth. It’s about the same size, so it fits. It’s a little bit maybe higher jump, but teaches you the same physical movement. A: Yes, true. But it’s nice that Rosemary does a lot of Bach’s practicing, and actually you can pretty much play entire works by J.S. Bach just on one keyboard. V: You mean practicing. A: Yes. Not, of course not all of them. Like not ornamented chorales, and obviously not Trio Sonatas, but like all preludes and fugues you can easily do on one keyboard. V: But again, if you want to play Trio Sonata, like she was mentioning Trio Sonata someplace… A: Middle movement, I believe. V: The third movement, actually… A: Oh, the third! V: C Major Trio Sonata 529. She’s currently actually working on that. So I would probably drop the left hand one octave lower. You see, the key with this kind of trick is to check the lower part, the middle part. If it descends lower than the tenor C, if it descends lower, then when you drop one octave lower, it goes beyond the range of the keyboard. Then maybe some notes have to be rearranged, not necessarily entire voice, but maybe a measure here and there, a phrase you know, to make it meaningful. But in general, yeah, Trio Sonatas work on one keyboard if you adjust the left hand one octave lower. A: Is it safe to prepare it for a recital when you know you don’t have much time to play before it, actual performance? V: No, of course not. That’s very risky. Actually, Trio Sonatas in general are very risky, and even if you have a lot of time - myself included. Whenever I played Trio Sonatas in concert, I didn’t have good experience. A: Ha ha ha! V: What? A: But I have a good experience about this particular movement. I played it on my exam for my Bachelor’s Degree at the Academy of Music, so I remember it quite well. It’s not a hard movement, well of course it’s hard, but it’s not long comparing let’s say to the first movement of the same sonata. But it’s trickier than the first movement. V: Mm hm. So the last thing that we need to mention is the ornaments, right? A: Yes, and basically if you know you study well that Vidas’ example of Ich Ruf Zu Dir, I think it’s sort of a key to the rest of Bach’s ornamentation. And Rosemary asked about French Noels and how to ornament them, so basically, Bach used the French ornament tradition. V: It’s actually in the preface to Klavierbüchlein for Wilhelm Friedemann Bach, Bach copied by hand ornament table by d’Anglebert. And you can find this example online, the same ornament table. So basically, you need to just play most of the ornaments from the upper note in his mature works, and there are some other exceptions of course, which we could discuss on a deeper level. Maybe I should do a video or something. A: I think this would be very helpful. V: Okay. Stay tuned, guys. Thank you for listening to our conversation. Please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
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Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. Vidas: Let’s start episode 630 of Secrets of Organ Playing Podcast. This question was sent by Andrei, and he writes: “Hi Vidas and Ausra! I have a question for you: If in a church there is a need for an organist, and the only two keyboardists are a professional concert pianist and a mediocre/intermediate organist, who do you think would be better to play on the organ?” Vidas: That’s an interesting question, right Ausra? Ausra: Yes, but if I would have to choose, I would choose the mediocre intermediate organist, because you can be a perfect professional concert pianist, but that doesn’t mean you will be even a mediocre on the organ if you don’t know how to play it. Vidas: Because let’s face it; piano and organ have similarities, only certain similarities, like the keyboards are the same, right? Sometimes reverse color, but basically the keys are in the same order. What else, Ausra? Ausra: And that’s pretty much all they have in common. Everything else is different. Even the sound is produced by a different principle. Vidas: Yes. On the piano, they produce the sound with the help of the hammers and the strings, hitting the strings, and as soon as the hammer hits the strings, the sound starts to fade. What’s different about the organ, Ausra? Ausra: Organ basically is a wind instrument, because it consists of pipes, and it has bellows, so basically it’s a different kind of instrument comparing to the piano, and the approach to it is very different. Of course, if you have a good piano technique, it never hurts for you, and it would help for you on the organ, but still, it’s not the only thing. Vidas: What if you really are a professional concert pianist and want to play the organ? Is it possible to get used to the new techniques? Ausra: Sure, but I guess you will still have to have some, at least some, organ lessons that will teach you the basic approach to the instrument, because it has pedals, because if you will only play the manual part or accompany hymns on the manuals, it wouldn’t do any good because playing pedal is a crucial part of any organists routine. Vidas: What about if the situation were reversed, and you needed to play professionally the piano and there are a mediocre pianist and then world class concert organist? What’s then? Ausra: Well let’s not bother to turn our heads about that, because this is not our question; not what Andrei is asking. Vidas: But, hypothetically, this situation might arise in some churches if they only have like a piano, and two choices: very poor pianist, poor sight-reading pianist with poor technique, and very good organist. The organist probably would do it. Right? On the piano… Ausra: Yes, I think that’s the easier way than another one. Vidas: So probably organists are in more demand than pianist, right Ausra, because of this? Ausra: Yes, because piano doesn’t require such a good coordination as does the organ. Let’s face it, it’s thinking in sort of steps while playing the organ, and while playing the piano you have only one keyboard, of course it’s much wider, but still, you don’t have to coordinate so much. You just have to coordinate between your right and left hand, but with an organ you also have plus two feet, two manage, too. Vidas: And we’re not talking about the most advanced piano repertoire. We are talking about general basic piano repertoire that could be played in a church setting, liturgical setting. Of course, the organist will have an easier time adapting, but what’s different with the organist is the organist will then have to learn how to use the sustain pedal—the right pedal—from scratch. Right? But usually, organists play piano before starting to play the organ. Right? Ausra: Yes, so I don’t think that’s a real problem. I think it’s harder to go to play the organ if you only took piano before. It takes a while. It takes a while to find the right touch and to manage to coordinate everything. Well, because, you know, just don’t think that if you are a good piano player that you will sit on the organ bench, you will do exactly the same thing that you did on the piano and that it will work. No! It will not! Definitely it will not! Vidas: So you need some basics, basic foundation techniques to learn about the organ, get used to it, maybe observe a real organist working on the organ for starters, and then a little bit later, ask permission to play a short piece here and there with the guidance from a real organist. Ausra: You know, I have happened to observe a few times in my life as the good pianist comes to the organ, for example, to accompany a choir. That’s a very common situation. And he or she sits down at the organ and starts to play and starts doing all these twists and elbows motion, and using your shoulders, and basically it’s so different from the organ, and they try to force it as they do on the piano to make the sound deeper or louder, and it’s just not how it works. Instead of that, you just have a slower tempo and a really big mess! Vidas: Yeah, one of the most crucial differences on the organ from the piano is that you have to control your releases very much—the endings of the chords. When you release both hands together or not together, it’s really audible on the organ, much more so than on the piano. Ausra: Definitely. That’s because the sound doesn’t die on the organ. Vidas: Right. But that’s a good question. Sometimes really churches have to pick which one they would find more usable in a liturgical setting—professional concert pianist or a mediocre organist. Ausra: Well, though in Lithuania, usually the church organists don’t get paid well enough, so I think even to have a mediocre or intermediate organist is too good for the salary that usually organists in Lithuania get, so… Vidas: Yeah, the salary that they pay is usually only for showing up. Right? If you showed up, I think that’s good enough for that salary. But if you want to play something in a Western society, it would be just not enough to survive. Ausra: Yes, but let’s say if that professional concert pianist is young and is willing to learn, I’m quite sure that with time, he or she could adjust and become an excellent organist, as well. And if that organist, let’s say, is older in age and is only mediocre and intermediate level and doesn’t want to improve, then I think it would be harder to achieve a higher level. So it depends on the situation, and of course it depends on what the church needs, actually, what kind of music they need to support their liturgy. Vidas: Yes, whether they need more organ music or keyboard music. That’s the big big difference. Right? If they need the piano music more than the organ, then… you know. Ausra: But if they do a lot of congregational singing and value the hymns, then I would say that an intermediate organist works better than a pianist. Vidas: Agree. So 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, Ausra: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying Welcome to another online recital that we have prepared for you! This time Vidas and I will play Clavierübung Part I by Johann Ludwig Krebs, one of the most famous students of Johann Sebastian Bach. He can easily be called as the last great master of the Baroque period who also transitioned into the Galant Style. This collection has 13 chorale preludes, each consisting of a Praeambulum, Choral for 2 or 3 parts and choral harmonisation called Choral alio modo. I will play the first 6 chorales and Vidas will play the rest. Hope you will enjoy the sounds of Martinikerk organ sample set from Groningen on our Hauptwerk setup.
Score: https://www.sheetmusicplus.com/title/chorale-arrangements-first-part-of-the-clavier-ubung-sheet-music/17398218?aff_id=454957 Program: 0:00 1. Allein Gott in der Höh' sei Ehr 9:30 2. Wer nur den lieben Gott läßt walten 14:33 3. Jesu, meine Freude 21:40 4. Christ lag in Todesbanden 27:58 5. Ach Gott, vom Himmel sieh darein 37:35 6. Auf meinen lieben Gott 44:24 7. Vater unser im Himmelreich 49:40 8. Sei Lob und Ehr dem höchsten Gut 56:35 9. Was Gott tut, das ist wohlgetan 1:01:42 10. Erbarm dich mein, o Herre Gott 1:10:06 11. Von Gott will ich nicht lassen 1:15:18 12. Warum betrübst du dich, mein Herz 1:21:40 13. Jesus, meine Zuversicht Thanks so much for your support! You get early access and we get to keep going. https://www.buymeacoffee.com/organduo https://www.patreon.com/secretsoforga... My Hauptwerk setup: https://www.organduo.lt/tools.html Total Organist - the most comprehensive organ training program online: https://www.organduo.lt/total-organist O Morning Star, How Fair And Bright | WIE SCHÖN LEUCHTET | Harmonic Analysis | Hauptwerk Groningen1/8/2021 Epiphany was this week and today I thought it would be very appropriate to analyse O Morning Star, How Fair And Bright (WIE SCHÖN LEUCHTET) hymn setting. In this video I will talk about each chord, modulation and cadence. Hope you will enjoy the sounds of Groningen Martinikerk sample set on my Hauptwerk setup!
Thanks so much for your support! You get early access and I get to keep going. https://buymeacoffee.com/organduo https://patreon.com/secretsoforganpla... My Hauptwerk setup: https://www.organduo.lt/tools.html Today is Epiphany and it seemed very fitting to record this beautiful prelude by Maurice Durufle. I chose Cavaille-Coll organ sample set from Caen on my Hauptwerk setup. Hope you will enjoy it!
Score: https://www.stretta-music.com/en/prel... Thanks so much for your support! You get early access and I get to keep going. https://buymeacoffee.com/organduo https://patreon.com/secretsoforganpla... My Hauptwerk setup: https://www.organduo.lt/tools.html Vidas:
1. My Hauptwerk And Streaming Setup 2. March from Scipio (George Frideric Handel) 3. Easter Oratorio: I. Sinfonia, BWV 249/1 (Johann Sebastian Bach) 4. [Hauptwerk-Martinikerk/Groningen] Liebster Jesu, wir sind hier, BWV 731 (Johann Sebastian Bach) 5. 12 Steps in Mastering Toccata by Eugene Gigout 6. Playing BWV 645 on 3 keyboards as organ duet 7. Organ Duet Recital | Hauptwerk Velesovo | 2020-05-31 8. Organ Recital | Hauptwerk Rotterdam | 2020-06-13 9. Water Music Suite in D Major: Ouverture (George Frideric Handel) 10. Viešpaties Angelas (Angelus Domini) 11. Ach Gott, vom Himmel sieh darein (Georg Friedrich Kauffmann) 12. Australian-Lithuanian Organ Trio: Trio Sonata No. 1 in Eb Major: Part I, BWV 525/1 (J.S. Bach) 13. How to Master Boellmann's Toccata in 11 Steps 14. The Mass started when I was playing Mendelssohn 15. Gymnopédie No. 1 (Erik Satie) 16. Pedal-Exercitium, BWV 598 17. Toccata and Fugue in C Major, BWV 566a (Johann Sebastian Bach) 18. Ubi Caritas (Organ Improvisation) 19. 10 Steps in Mastering Prelude and Fugue in C Minor, BWV 549 by J.S. Bach 20. O Mensch, bewein dein Sunde gross, BWV 622 by J.S. Bach 21. Military Polonaise in A Major, Op. 40 (Frederic Chopin) 22. Ave verum corpus, K.618 (Wolfgang Amadeus Mozart) 23. Trying Out Hauptwerk Salisbury Cathedral Sample Set 24. Organ Recital | Hauptwerk Rotterdam | 2020-06-06 25. Largo from Serse (George Frideric Handel) 26. Arrival of the Queen of Sheba (G.F. Handel) 27. Es ist ein Ros' entsprungen, Op. 122 No. 8 (Johannes Brahms) 28. Voluntary in C Major (Organ Improvisation) 29. Mastering Allegro assai by Johann Ludwig Krebs 30. Bridal March from Lohengrin by Richard Wagner 31. Ein feste Burg (Georg Friedrich Kauffmann) 32. Lauda Sion Salvatorem (Organ Improvisation) 33. Marche pour la Ceremonie des Turcs (Jean-Baptiste Lully) 34. Organ Recital | Hauptwerk Rotterdam | 2020-07-18 35. How to Play D Minor Toccata and Fugue in 60 Seconds or Less #shorts 36. March from Scipio (George Friderich Handel) 37. That's What I Do When My Wife Is Not Around 38. Waltz No. 2 Shred (James Flores Video) 39. Scherzo in C Major by Johann Ludwig Krebs 40. St Anne's Vision, Op. 72 (2020) for organ by Vidas Pinkevicius 41. How to Play E Major Arpeggio With Double Pedals on the Organ? 42. Organ Recital | Hauptwerk Billerbeck Dom | 2020-06-27 43. I Forgot the Music in Bach's C Major Prelude from WTC I 44. 11 Steps in Mastering Final from Symphony No. 1 by Louis Vierne 45. To a Wild Rose (Edward MacDowell) 46. Prelude and Fugue in C Major, BWV 545 (Johann Sebastian Bach) 47. Christ the Lord Is Risen Today (Vidas Pinkevicius) 48. Organ Recital | Hauptwerk Rotterdam | 2020-11-14 49. 10 Steps in Mastering Prelude And Fugue in C Minor, BWV 546 by J.S. Bach 50. This is how you sing Agnus Dei when the microphone is not working 51. Ave Maria (Franz Schubert) 52. Sonatina Seconda: I. Allegro (Johann Ludwig Krebs) 53. Hymns We Like to Sing - Vidas Pinkevicius (2020-06-21) 54. 9 Steps in Mastering Nun danket alle Gott, Op. 65. No. 59 by Sigfrid Karg-Elert 55. Organ Book: I. Prelude (Jean Langlais) 56. Organ Recital | Hauptwerk Caen | 2020-10-31 57. The Organ Caught Fire While I Played Bach's Toccata And Fugue Super Fast #shorts 58. Advent Hymn Improvisation Recital | Hauptwerk Salisbury Cathedral | 2020-12-19 59. I have 5 keyboards now! 60. [Hauptwerk-Rotterdam] Prelude No. 3 in G Major (Juozas Naujalis) 61. Chlebie najcichszy (Organ Improvisation) 62. Gymnopedie No. 2 (Erik Satie) 63. How to Master Prelude and Fugue, BWV 531 by J.S. Bach in 9 Steps 64. 11 Steps in Mastering Toccata by Dubois 65. Gavotte in C Major by Johann Ludwig Krebs 66. Did you know about Hauptwerk shortcut Ctrl + right or left arrow? #shorts 67. Piece d'Orgue, BWV 572 (Johann Sebastian Bach) 68. Ottorino Respighi: Suite in G Major for Organ and Strings 69. (LIVE) Nearer My God to Thee (Organ Improvisation) 70. Organ Recital | Hauptwerk Billerbeck Dom | 2020-07-04 71. Came to check on our pipe organ at the church... 72. How to Improvise a Fughetta in 3 Parts 73. Organ ABC: 10. Jungfrauenregal (Vidas Pinkevicius) 74. Victimae paschali laudes (Organ Improvisation) 75. Pahonia (Organ Improvisation) 76. Adagio für die Flötenuhr, WoO 33/1 (Ludwig van Beethoven) 77. We are now at the largest pipe organ in Lithuania (organ demonstration) 78. Prelude in C Major by Johann Ludwig Krebs 79. 11 Steps in Mastering Crown Imperial by William Walton 80. Fixing the Swell Pedal in the Organ 81. Allein zu dir, Herr Jesu Christ, LV 25 (Friedrich Wilhelm Zachow) 82. How to Improvise on Psalm 2 83. Sonatina Seconda in D Major: II. Andante (Johann Ludwig Krebs) 84. Organ Book: II. Pastoral Song (Jean Langlais) 85. Mein Jesu, der du mich, Op. 122, No. 1 (Johannes Brahms) 86. Msza I: Baranku Boży (O. Józef Ścibor C.CsR) 87. Marija, Marija (Česlovas Sasnauskas) 88. Winter (Largo) from "The Four Seasons" by Antonio Vivaldi 89. How to Transpose A Hymn from C Major to A Minor Key 90. Organ ABC: 11. Krummhorn (Organ Improvisation) 91. Organ Recital | Hauptwerk Chemnitz | 2020-11-28 92. Don't Count the Ornaments In This Piece 93. Coro from "Water Music" (G.F. Handel) 94. Practice in Quarter Notes: Prelude and Fugue in C Major, BWV 531 (Johann Sebastian Bach) 95. Canon in C Major, Op. 56 No. 1 (Robert Schumann) 96. Testing New Wooden Frame for Our Hauptwerk Setup 97. Jesu, Joy of Man's Desiring (J.S. Bach) 98. 7 Steps in Mastering "Nun komm, der Heiden Heiland", BWV 599 by J.S. Bach 99. Adagio (Tomaso Albinoni) 100. Sonatina Quarta: I. Vivace (Johann Ludwig Krebs) Ausra: 1. Chorale No. 3 (Cesar Franck) 2. Organist Gets Frustrated While Practicing Litanies by Jehan Alain 3. Organ Duet Recital | Anyksciai | 2020-08-01 4. Trumpet Voluntary - Prince of Denmark's March (Jeremiah Clarke) 5. Ach Gott und Herr, BuxWV 177 (Dieterich Buxtehude) 6. Liebster Jesu, wir sind hier, BWV 731 (Johann Sebastian Bach) 7. Sonata for 4 hands in D Major (Wolfgang Amadeus Mozart) 8. Arioso (Johann Sebastian Bach) 9. 2nd Kyrie: Fugue on the Trompette (Francois Couperin) 10. Does This Krummhorn Sound Like an Oboe to You? 11. Prelude in C Major, BuxWV 137 (Dieterich Buxtehude) 12. Organ Recital | Hauptwerk Rotterdam | 2020-06-18 13. Choral Was Gott tut, das ist wohlgetan (Johann Ludwig Krebs) 14. Practicing Prelude and Fugue in Eb Major, BWV 552 (J.S. Bach) 15. Brandenburg Concerto No. 1 in F-Major: I [Allegro], BWV 1046 (Johann Sebastian Bach) 16. Adagio für die Flötenuhr, WoO 33/1 (Ludwig van Beethoven) 17. Ein feste Burg ist unser Gott, BuxWV 184 (Dieterich Buxtehude) 18. Auf meinen lieben Gott, BuxWV 179 (Dieterich Buxtehude) 19. Christmas Organ Duet Recital | Hauptwerk Salisbury Cathedral | 2020-12-26 20. Praeambulum supra Sei Lob und Ehr dem höchsten Gut (Johann Ludwig Krebs) 21. Praeambulum supra Von Gott will ich nicht lassen (Johann Ludwig Krebs) 22. Brandenburg Concerto No. 1 in F Major: III. Allegro, BWV 1046 (Johann Sebastian Bach) 23. That's What I Do When My Husband Is Not At Home! 24. Morning from Peer Gynt (Edvard Grieg) 25. Es ist das Heil uns kommen her, BuxWV 186 (Dieterich Buxtehude) 26. Organ Recital | Hauptwerk Caen | 2020-07-11 27. Organ Duet Recital | Rokiskis | 2020-08-23 28. Choral alio modo Vater unser im Himmelreich by Johann Ludwig Krebs 29. Christ, unser Herr, zum Jordan kam, BuxWV 180 (Dieterich Buxtehude) 30. What Made It So Hard to Record This Piece? 31. Litanies (Jehan Alain) 32. Sinfonia from Easter Oratorio by J.S. Bach for organ duet 33. Praeambulum supra Erbarm dich mein, o Herre Gott (Johann Ludwig Krebs) 34. Organ Duet Recital | Hauptwerk Rotterdam | 2020-07-25 35. Ach Herr, mich armen Sünder, BuxWV 178 (Dieterich Buxtehude) 36. Prelude in C Major, BuxWV 137 (Dieterich Buxtehude) 37. Analysing Hymn Abide With Me (EVENTIDE) 38. Gelobet seist du, Jesu Christ, BuxWV 189 (Dieterich Buxtehude) 39. Brandenburg Concerto No. 1 in F Major: II. Adagio, BWV 1046 (Johann Sebastian Bach) 40. March from Scipio (G.F. Handel) 41. Choral Warum betrübst du dich, mein Herz (Johann Ludwig Krebs) 42. Why Did I Agree to Sight-Read This Piece in Public... 43. [Hauptwerk-Rotterdam] Mein gläubiges Herze, BWV 68 (Johann Sebastian Bach) 44. Organ Duet Recital | Hauptwerk Velesovo | 2020-05-31 45. Estampie Retrove (Robertsbridge Codex) 46. Descending Diatonic Sequence in G Major ii7-ii65-I 47. Erhalt uns, Herr, bei deinem Wort, BuxWV 185 (Dieterich Buxtehude) 48, 1st Kyrie (Francois Couperin) 49. One-Part Melodic Dictation A.B. 72 (Vienbalsis diktantas A.B.72) 50. Danke den Herren, BuxWV 181 (Dieterich Buxtehude) 51. Harmonic Analysis of OLD HUNDREDTH Hymn 52. Choral Allein Gott in der Hoh sei Ehr by Johann Ludwig Krebs 53. Praeambulum supra Allein Gott in der Hoh sei Ehr by Johann Ludwig Krebs 54. Practicing Chorale No. 3 in A Minor by C. Franck 55. Herr Christ, der einig Gotts Sohn, BuxWV 191 (Dieterich Buxtehude) 56. Choral alio modo Warum betrübst du dich, mein Herz (Johann Ludwig Krebs) 57. Now I Really Could Hear the Pedals! 58. Easter Oratorio: XI. Chorus, BWV 249 (Johann Sebastian Bach) 59. Organ Duet Recital | Vilnius University St John's Church | 2020-10-17 60. Adagio für die Flötenuhr, WoO 33/1 (Ludwig van Beethoven) 61. Is This Your Favorite Hymn Too? 62. How to Harmonize Hymn Tune "Rhosymedre" ("Glory Be to Jesus") 63. Fantasie No. 2 (Jehan Alain) 64. My Husband Cries Every Time He Hears This Hymn 65. An Wasserflüssen Babylon (Johann Adam Reincken) 66. Canzonetta in C, BuxWV 167 (Dieterich Buxtehude) 67. Fuga a 3 in E Minor by Ludwig van Beethoven 68. Mastering Aria in D Major from Orchestral Suite No. 3, BWV 1068 (Johann Sebastian Bach) 69. Sarabande from Almira (G.F.Handel) 70. Praeambulum supra Vater unser im Himmelreich by Johann Ludwig Krebs 71. Laudate Dominum (Hans Leo Hassler) 72. Very Bad Organ Practice Today 73. Three-Part melodic dictation L.958 (Tribalsis diktantas L.958) 74. Veni Creator Spiritus, Op. 3a (Vidas Pinkevicius) 75. One-Part Melodic Dictation A.B. 77 (Vienbalsis diktantas A.B.77) 76. Choral alio modo Sei Lob und Ehr dem höhsten Gut (Johann Ludwig Krebs) 77. Mastering March from Scipio (George Frideric Handel) 78. For 3 Minutes We Didn't Know We Were Live! 79. Do You Like This Registration? 80. Praeambulum supra Jesus, meine Zuversicht, Krebs-WV 512/1 (Johann Ludwig Krebs) 81. Praeambulum supra Was Gott tut, das ist wohlgetan (Johann Ludwig Krebs) 82. One-Part Melodic Dictation A.B. 88 (Vienbalsis diktantas A.B.88) 83. Aria in D Major from Orchestral Suite No. 3, BWV 1068 (Johann Sebastian Bach) 84. Eine kleine Nachtmusik, K.525 (Mozart) for Organ Duet - Practice Session 2 85. Ausra Motuzaite Radio: Buxtehude Organ Music 86. Two-Part Melodic Dictation R. 127 (Dvibalsis diktantas R.127) 87. Reverie (Juozas Naujalis) for organ duet 88. (LIVE) Kyrie, Gott Vater in Ewigkeit, BWV 672 (Johann Sebastian Bach) 89. Practicing Bach's BWV 552, Alain's 2nd Fantasie and Franck's 2nd Chorale - Practice Session 1 90. Adagio (Alessandro Marcello) 91. Choral alio modo Ach Gott, vom Himmel sieh darein by Johann Ludwig Krebs 92. Two-Part Melodic Dictation R. 131 (Dvibalsis diktantas R.131) 93. Choral alio modo Jesus, meine Zuversicht (Johann Ludwig Krebs) 94. Praeambulum supra Wer nur den lieben Gott lasst walten by Johann Ludwig Krebs 95. Practicing 3 Movements from Bach's Christmas Oratorio 96. Easter Oratorio: III. Duetto e Coro, BWV 249/3 (Johann Sebastian Bach) 97. Choral alio modo Christ lag in Todesbanden by Johann Ludwig Krebs 98. Choral Jesu, meine Freude by Johann Ludwig Krebs 99. How to harmonize C major scale in 4 parts? 100. Practicing Le Jardin Suspendu by Jehan Alain
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. Vidas: Let’s start episode 628 of Secrets of Organ Playing Podcast. This question was sent by Stephen, and he writes: “At 72 years of age my goal is to play some of Bach's organ music with musicality and appropriate style...i.e. registration ...trills ..phrasing. I have explored the "Little preludes and Fugues" using Soderlund's book on authentic technique for that period. To be able to continue to practice. (I own an Viscount Digital Organ with appropriate AGO standards. I also studied formally with an organist for 2 years) To be able to improve my pedal technique. I have used your Pedal Mastery Course to help in that regard. I purchased it when you first offered it to us. I would like to know other sources of exercises that might help in improving. To be able to memorize even at my age....I find that practicing the organ and piano HELP keep my mind sharp ...Excellent therapy... Stephen” Vidas: So Stephen is 72 years old, and he has several goals. Let’s talk about them in turn, shall we? Ausra: Yes, of course. Vidas: He wants, first of all, to play Bach’s organ music with appropriate sense of style, basically probably historically informed performance practice. That’s what he means, right? Ausra: Yes. That’s what I understood from his letter. Vidas. Hmm. I would suggest, beside Soderlund’s book, which is obviously an excellent manual and resource material, but I also recommend my own video course called, “Bach Organ Mastery, Level 1,” where I teach how to play those little preludes and fugues—Eight Little Preludes and Fugues. It’s, I think, a 16 week course. In each week we learn either one prelude or one fugue. We start, not with the first prelude and fugue, which is not the easiest one, but with the easiest, which is probably G minor, I would say. Ausra: Yes, Prelude is definitely G minor. Vidas: So, that’s my suggestion. I not only teach the techniques, how to master them, but I also teach how those pieces are put together, analyzing them. Ausra: I think this is very important, too, to understand how the music is put together. Vidas: And I’ve got very good feedback from students who watch those videos and say that they appreciate my analysis as much as or even more than my teaching of techniques; how to play them. Analysis is kind of a hidden thing. You can maybe teach yourself how to play the piece, but if you don’t understand how the piece is put together, it’s kind of difficult to analyze it yourself. You have to consult some sources, and one of them is my course. Ausra: Plus, I think a video course is more beneficial because you can see another person playing and how another person sits and touches the keyboard. I think this is very important, too. To see it, not only to read about how it should be done, and to listen to how the final result should be. And another suggestion for Stephen from me would be maybe you are willing to find some kind of tracker—access to a tracker instrument, just to see how it works and to play it, to practice it for a while, because that might give you more idea about how Baroque music should be performed. Because you have that practice organ at home, which is great, because you can do it every day then, but I think getting on the tracker organ would help you to understand the meaning of Baroque articulation and ordinary touch. Vidas: Yeah, speaking about the tracker organ, at home we have a Hauptwerk setup, and also a practice organ with two stops, which is a tracker organ. The keyboards in our Hauptwerk setup have a very light touch. Basically, no resistance at all. So, I made a video a few days ago how to play, I think in 12 steps, the famous Gigout Toccata. It’s not a Baroque piece, but I bring it up here because it’s appropriate, because I started learning it and recording it on the Hauptwerk, on the plastic keyboard. And it went well! I applied my own steps, taught myself… you can watch the video. But then, I think the next day, I sat down on the pipe organ at our house, and it felt almost like sight-reading all over again, and I was scared, because my recital is coming up in a few days, you know, this weekend, of this particular piece I am planning to prepare. Of course, I can postpone it or substitute with another piece (I have plenty to choose from), but I was kind of frustrated because a day before, I was doing well, and now I cannot play it at all! What’s happening? Then the next day, like yesterday, I sat down on the Hauptwerk setup again and tried to play the same Gigout Toccata, and guess what? It wasn’t that bad. It was sort of not perfect, but close to ready. So, my point is that playing on even a small practice organ with two stops which have genuine tracker action is much much more difficult than any type of electronic organ, virtual organ, digital organ, which has very very light touch. Ausra: But you know, yes, it’s more difficult, but at the same time, it’s more fun and it makes more sense, because sometimes when you are trying to do all the Baroque articulation on the light keyboard, it doesn’t make sense, very often. And then you start to think, “Why do I need to do this all? I might just play all things legato and that is comfortable to me.” But when you sit at the tracker organ, you will then understand why all these rules and all this trouble. Then it really makes sense, all those tips. Vidas: Yeah, absolutely, I agree with you on this question. Just understand that even though it’s more difficult to play on the tracker organ, from time to time it’s much more beneficial. If you don’t have access to it every day, going to a church with a pipe organ which has a tracker action from time to time regularly will help you a lot. Right? Ausra: Yes, of course. Vidas: What about improving his pedal technique. Can we talk a little bit about that? He used the “Pedal Mastery Course,” which is of course great to start. He said that he purchased it when I first offered it. He doesn’t say if he completed it. Ausra: Yes, we don’t know about that. Vidas: It’s a long course! It’s… or not. No, it’s not that long. The “Sight-reading Master Course” is 40 weeks long, but pedal mastery course is probably 12 weeks long plus some bonus weeks, bonus material, Ausra: Does that include bonus material right from the beginning of the scores, or did you add them later? Vidas: Right from the beginning, yes, so that people could get extra value. Ausra: Oh, okay. Vidas: So yeah, even those 12 weeks—I’m not sure if Stephen has completed, or how… I offered it a while ago, many years ago I would say. Right? Ausra: Yes, it’s been a while. Vidas: It was one of my first courses, maybe from 2012, 2013, something like that in the early days, and this is 2020. We’re talking about maybe 8, 7, 6 years of not practicing from this course. Maybe let’s recommend that Stephen go back to this course! Ausra: Yes, it might be beneficial to refresh your pedal technique. Vidas: He will be surprised, obviously. It’s not that he would have forgotten everything that he learned if he had completed this course in the early days, but it will be beneficial, nonetheless, to refresh. What about memorization? Can he try to memorize? Ausra: Yes, of course, if he thinks it is beneficial for his brain, then of course, why not? Personally, I don’t memorize music very often, because that way I cannot do as much repertoire as I would want to do, because for me, it’s better to learn more pieces than to memorize one piece during that time. But some day I might change my mind! Vidas: When you have played all of them. Ausra: I don’t think that’s possible. Vidas: Yeah. We have so many scores at home that we will probably never run out of music. Right? Ausra: Yes, that’s right. Vidas: But yes, I agree with you. I also don’t memorize regularly nowadays because my goal is like yours—to master it, and perform in public, to record, to live-stream as much repertoire as I can, and memorizing takes maybe 10 times as much of work with one piece. Right? So I could learn 10 pieces in that period of time. Right? In my case, it’s not worth it. Ausra: Yes, because I think the sight-reading new music, learning new music gives your brain enough of exercise. Don’t you think so? Vidas: Right. Right. Also excellent therapy, like Stephen adds at the end. Vidas: So choose whatever you feel works well for you in your situation at your age, for example. Right? Maybe people who are past 60, let’s say, 65, have different goals than we have right now. Ausra: Yes. Vidas: That’s okay! That’s okay. And maybe our goals will change with time. Ausra: I have no doubt about it. Vidas: So guys, please send us more of your questions; we love helping you grow. And remember, when you practice, Ausra: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying Hope you can join us in the live chat of this duet recital premiere which we are playing at Vilnius St Casimir's church. It is part of the Christmas music festival "The Star of Bethlehem"
ADESTE FIDELIS is surely one of top 5 Christmas carols of all time and today I have prepared a training video for you with my harmonic analysis of this hymn setting. I will look at each chord, and discuss modulations, keys and cadences. Hope you will enjoy Velesovo sample set on my Hauptwerk setup!
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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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