We're excited to announce that on the 333rd birthday of J.S. Bach our 7th e-book has finally seen the light of day!
I Find It Hard To Think Of Chord Progressions This is a collection of transcripts from #AskVidasAndAusra Podcast (107 pages). Vol. 7. (PDF file). For students who want to have all our ideas in one place. Here’s what you’ll learn in this e-book: 1. I FIND IT HARD TO THINK OF CHORD PROGRESSIONS 2. I DON'T HAVE A HOME ORGAN 3. MY CHALLENGE IS WITH CONFIDENCE 4. HOW TO EXECUTE THE B MINOR ARPEGGIOS OF TONIC CHORD OVER TWO OCTAVES? 5. MY DREAM IS TO BE ABLE TO PLAY ANY HYMN FROM OUR HYMNAL 6. I’M NOT TAKING ENOUGH TIME EVERY DAY TO PRACTICE 7. I NEVER HAD A TEACHER OR LESSONS 8. I’VE RECENTLY CHANGED CAREERS FROM WORKING IN IT TO NOW A FREELANCE ORGANIST/PIANIST 9: IS IT OK TO NOT FOLLOW WITH BOTH LEGS IN ORGAN PEDAL ARPEGGIOS? 10. HOW CAN I UPLOAD ONE OF MY PIECES TO MUSICOIN? 11. I HATE MOST MODERN ORGAN MUSIC 12. WHEN IS IT TIME TO STOP PRACTICING YOUR ORGAN PIECE? 13. WHAT ARE SOME OF THE BEST AND WORST STOP COMBINATIONS? 14. THERE IS A GREAT AND PROFOUND JOY IN PRACTICING AND PERFORMING ON THE ORGAN 15. SHOULD YOU KEEP YOUR ORGAN PLAYING GIFT A SECRET? Until March 28 this e-book is available for the low 2.99 USD price. If you liked our other e-books from #AskVidasAndAusra collection, I'm sure you will enjoy this one too. Check it out here Free for Total Organist students
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 183 of Ask Vidas and Ausra podcast. Today is a beautiful Wednesday, right Ausra? A: Yeah. V: Do you feel that Spring is coming in Vilnius, to Vilnius? A: Well, not yet but from tomorrow I think Winter will join us again. V: Do you, are you fed up with Winter? A: Yes. V: Me too. I somehow long for more green colors. A: Yes and no. The snow is getting awful. V: So guys I hope you have enough green in your part of the world right now and that you feel the Spring returning. Of course, if you are in Australia for example, then there is or in the summer hemisphere somewhere then it’s Autumn, right? A: Yes. V: After Summer and temperatures might be dropping a little bit too. A: That should be nice I think. V: OK. So let’s talk a little bit Ausra about organ playing. Today were going to go to our church to practice for the first time actually together our program for J. S. Bach’s three hundred thirty third birthday recital which will be in what, in less that two weeks from now. Were recording this a little bit earlier than you are probably hearing this. And of course, we’ll be playing organ duets, right, that I have transcribed or sometimes were using the original score. By the way do you like playing from original score Ausra, the Aria? A: Well it’s OK although I have to play from soprano clef. V: I have to play from two bass clefs. And you have to play from soprano and treble clef, right? A: Yes. V: Which C clef is your favorite? A: Now it’s soprano because I’m playing from it, so. V: Yes, soprano is kind of nice. A: But otherwise alto is OK too. V: You mean where C is in the middle? A: Yes. V: Not too bad I think. Was that always the case for you? A: Actually alto was my favorite first. But now it’s soprano. V: Is it because you play more on the soprano clef? A: Well I think it’s easier for me to transpose a third than a second. That’s funny but that is how it is. V: What about a perfect fourth? Do you like those clefs which let you transpose a perfect fourth? A: No, I don’t like those. V: So. A: It’s harder then. V: So if you transpose from a treble clef that would mean G on the second line would have to become C, right? A: Yes. V: And this would be what, mezzo-soprano clef. A: Yes. V: Do you like it? A: Not too much. V: Why? Because it’s far away from the original. A: Yes, that’s true. V: It’s very old clef. I don’t think it’s used often enough today. A: I don’t think either. I think two clefs are used nowadays, that's alto clef and tenor clef. V: Tenor clef, right. Cello is playing from the tenor clef sometimes. A: Trombone I think. V: Bassoon too I think. A: Yes. V: Sometimes in the upper range. And who plays from the alto clef. A: Viola. V: Viola. Is that all? A: Probably not but that’s the instrument I know the best that plays from alto clef. V: And of course singers, right? Alto. A: Of course. V: If they sing from original scores. A: Sure, but singers use all those C clefs if they use the old scores. V: Um-hmm. Yeah. A: Even Mozart’s Requiem is you know original is written in C clefs except bass, of course. Bass is I think is in the bass clef. But other three voices are written in C clefs. V: Yeah. Bass has its own clef. F clef. And Ausra, from your solo compositions that you are playing. You are playing Bach’s BWV 552 E flat Major Prelude and Fugue. What is the most frustrating part for you? Everything or not so much? A: I like this piece so much although sometimes I get frustrated by the length of the prelude. Sometimes right in the middle I just feel that you know wow. There is still so much music to go. V: Do you lose your concentration? A: Sometimes yes. V: What do you do then? Regain your concentration? A: Yes that’s what I am trying to do. V: What helps you to regain your concentration? A: Just think about music what I’m playing right now because sometimes my mind just travels somewhere. V: To warm places? Warm Spring? A: (Laughs) Not necessarily. To somewhere else. V: To the Caribbean. A: Well, no. V: Caribbean beaches where you can sit and drink Margaritas. A: I never was there. V: That’s why you dream about it. A: No, no, no. V: OK. Then for me, do you know what I’m playing? A: Yes I know what you are playing. V: Tell us. A: Passacaglia. V: OK. What else? A: And three chorale pieces from the Clavierubung Part III. So actually that’s what we are doing. I’m playing Prelude and Fugue and then playing three chorales. The Kyrie, Christe and Kyrie. V: And guess what is the most challenging for me? Which piece or a few pieces? A: I think all three of them are quite challenging. But the first Kyrie is my favorite, the first chorale. Especially that it is so chromatic. I love it. V: Do you feel Ausra, that the more you play the E flat Prelude and Fugue the more relaxed you are and the more you can enjoy it. A: Yes, of course but I don’t know how I will do in actual performance because when I played it a year ago it was, well it was a nightmare. I don’t remember actually how I did do it in performance. You said it went well but I just can’t remember it. I was so scared you know my mind just shut down. V: So when you say you sort of panic but it didn’t seem too obvious. A: But actually I played it on my auto-pilot. V: So you almost memorized it then. A: Well, I don’t know. Don’t ask me. I don’t remember how I did it. V: We could consult the recording. A: Yes. But actually that was because I haven’t played that piece before the last recital for what, like ten years. And that’s a long break for any piece. Especially so grand as this one. But now because I played it last year so I don’t worry about this year so much. Because if I could play it last year so now definitely I would be able to play it this year. V: That’s what I mean. The more you play the more you can enjoy it. And for me I don’t remember if I have ever played in public those three Kyrie, Christe, Kyrie. A: That’s a new piece for you. V: And I’m not feeling too relaxed with them. I have to work. A: But you know since I played entire Clavierubung way back for my last degree recital in Lincoln, NE I think these three Kyrie, Christe, Kyrie I wouldn’t say that the easiest of entire Clavierubung because each piece is challenging in it’s own way but, but, but, sort of I felt quite secure about playing these three particular chorales because there are some much trickier ones as for example Allein Gott this is you know trio texture. V: That’s what I am playing next. A: I know and for example Vater Unser. V: Um-Hmm. A: Those are more challenging I think, than these three. Kyrie, Christe, Kyrie. Because you know tempo is not so fast in them and you could feel quite secure when playing them. V: Bach was a master of writing advanced music and although it sounds simply you know it isn’t. In reality it is quite complex. Polyphonically, rhythmically, metrically, and organistically, right? Excellent. What about the Passacaglia, do you think that I’ll be able to play it better than last time? A: Now remind me when was the last time you played it? V: (Laughs) I don’t remember. A: I don’t remember either, so. V: I might have played it from the eighteenth century score, but that was very foolish idea of mine. So now I’m playing this from the regular score. A: I think you will do fine. V: Will you help me playing if I panic. A: I can sing. V: Which voice. A: Bass. V: Bass, that’s my part. A: I’m just making fun of you. V: You know sometimes I sing together with you the duetto part. A: And I hate it. V: Why? My voice is like a Nightingale. A: (Laughs.) Wow. V: If not a Nightingale then which bird you would compare it to me? A: You know that black one. V: So you like crows? A: I’m just pretending that I don’t. V: So you say that my voice is like a Nightingale then? A: Maybe like a cuckoo. V: So I can sing a minor third down. A: Well cuckoo not only can sing this interval. Sometimes it’s major third. Sometimes it actually augmented fourth. V: And what birds voice remind you when you sing? A: I don’t know. I don’t have a nice voice. V: Today when were going to play in church I’ll try to encourage you to sing and we’ll find out which bird you are. OK? A: I think if we both try to sing we will kicked out from the church and we will scare tourists. V: But then we tell all about that in the next podcast conversation, right? A: Yes. Of course we are making jokes because when we work in church we often sang Psalm. Our voices are not so bad. V: Don’t spoil everything. Don’t reveal the punch line. OK. Thank you guys. This was Vidas. A: And Ausra. V: Please send us more of your questions because we love helping you grow. And remember when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 182, of #AskVidasAndAusra Podcast. This question was sent by Robert. He writes: Hello from America (Illinois). My name is Robert and I am learning Clerambault - Basse et Dessus de Trompette. I am using Trumpet for the Basse (Swell) and a Cornet for the Dessus (Choir) against Soft Stops on the Great. A few questions: How fast do you play this? I listened to a few recordings and it was sometimes played so fast that it was un-musical. At the end, it has a marking "Ensemble" what does this mean? Do you couple the Swell and Choir to the Great and finish with both hands on The Great? Or, are there other options? Thanks so much for your work. Robert V: Excellent. So this was a question about Clerambault. We’re looking now at the score, and this piece is from the first Organ Book by Clerambault, 1st Suite, and it’s called Basse et Dessus de Trompette ou de Cornet Separe (forgive my French) En Dialogue, basically in dialogue. So what does it mean, Ausra, in dialogue? A: It means that the trumpet is dialoguing, with the cornet. V: Right. Sometimes solo is for the left hand of the trumpet, sometimes the right hand plays with the cornier. A: Yes. Actually it’s very common, you know, writing style in French. V: Mmm, hmm. A: This type of composition when you have the dialogue between two reeds played on two different manuals. V: But not reed because cornet is, A: Yes, yes, but, but, V: It reminds of reed. A: It reminds of the reeds. Yes, cornier is a combination of principle stops. V: Or Flutes. A: Or Flutes of various pitch. V: Which ones? 8’ A: 8’, 4’, V: 4’, A: 2’ V: 3’ first, a fifth, right? A: Yes. V: Then, A: 2 & 2/3 V: And then, 2’ as you say, and then a tierce. A: That’s right. V: So five ranks—cornet. A: And sometimes you have to, you know, just add a single stop because you have a cornier already in your organ. But sometimes if you don’t have a cornet stop, you have to, make it from different stops. V: Right. So in your case, if you have an organ with cornier stop, you can easily use it, right? But if you don’t you can combine different flutes. A: Yes. V: Make it from the flute combination. V: Here the meter is 6/8, right? And the moving, the main, uh, unit of smallest rhythmical value is 16th note. A: 16th note. V: So it’s quite a lively piece. A: Yes. But you know as Robert said, where he listened to some recordings that played very fast and he didn’t like it, so I don’t think it should be so fast that you could not hear what is going on. You still has to be able to control things, and to hear what you are doing. I would think that, you know, tempo mark Gayement is not only the indication of a fast tempo but it’s more like a character mark. So as long, you know, as you playing it joyfully, I think it’s, it’s fine. V: It doesn’t have to be, A: Presto, V: Presto, prestissimo. A: Yes. V: Mmm, hmm. A: Of course it should it should be not a slow tempo, fast tempo, but still not, you know, sort of in a reasonable sense. V: Sometimes the trumpets, French trumpets are very very strong in the bass. And that’s why they have dialogue in the bass for the left hand in the trumpet, on the trumpet stop. But some organs from the modern day, they have more power in the treble. A: That’s true. V: Can, can we adapt, somehow to reinforce the, the bass stop? A: Well maybe you could add something to the trumpet. That’s a possibility but you need to be careful and listen how it sounds. V: Mmm, hmm. A: But also you know, talking about tempo again; you have to be able to, you know, to articulate. I think it’s very important when you are playing on the reeds, that you would keep articulating. V: Actually, yeah. That’s a good idea. It doesn’t say anything about articulation. Even though we’re looking at the score from the 19th century from the Guilmant edition. And were he was quite honest about his work and he didn’t have any, or two many unnecessary additions of his own, right? And at least he wrote them in parenthesis, with asterisks, and you can read about that. His registrations suggestions for example. You know clearly that it’s not original from Clerambault’s time but from Guilmant’s mind, right? All those manual indications are in parenthesis too. So he didn’t write legato anyway, slurs, which is nice. A: Yes. Very nice. V: Even though it was in 19th Century. We could say in Germany, like maybe beginning of the 20th Century Karl Straube would write everything with legato, right? Even though Baroque chorales, and now days if you play from that score you could think ‘oh maybe baroque composers wrote legato slurs’, right? If you are not reading carefully. A: Well, Straube allowed himself lots of things, you know. He always dictated Max Reger how he should write. And kept editing his work. V: True. So at the end of this piece, one, two three, four, five, six, seven, eight, nine, ten, maybe, yeah, the last couple of lines, the last episode, is written ensemble. And Robert is asking what does it mean. It simply means, Ausra, what? A: Yes, actually, here is that spot where, you know, trumpet and cornier comes together. So don’t play those two voices on one manual. You still have to keep manuals separate. V: Do you mean that you need the three manual organ for that? For that piece? A: Well, it would be the easiest way to play it, on the three manuals. V: Unless you have an assistant who can change from flutes, soft flutes to cornier. A:Yes. V: Or to the trumpet. A: Otherwise you would have to, you know, play it on a three manual organ. V: Mmm, hmm. I don’t know if Robert has three manual or two manual instrument. A: But even if you have two manual instrument, if you have pistons, you can registrate it yourself. V: Let’s see, well yes, because every change of the C to, of the cornier to the trumpet, is marked by the cadence, by the stop of the texture, so you could at this moment press the piston. A: Yes, but that last episode, it just means that you know, you have trumpet in one hand and cornier in another hand. And you play them on different manuals. V: And since cornier was a descant stop, it wouldn’t play in the bass register. You have to play it with the right hand, basically. A: Yes, and that’s how it’s written in the score. V: Mmm, hmm. Excellent! We hope this is useful to you, guys. This is fantastic piece to learn, if you have never played Clerambault, right? A: Or any French classical music. V: Mmm, hmm. Like Couperin, De Grigny, Raison, Dumage I could keep going with the names but my French isn’t good. A: But it seems that you enjoy it. V: Yeah. I like listening to my voice. (Laughs). A: I hope our listeners too, like your voice. V: If the don’t they could just read the transcriptions. A: Yes. V: Excellent! Please send us more of your questions. We love reading about your organ practice experiences of any kind, funny, frustrating, challenging, so we could help you, right Ausra? A: Yes, that’s right. V: Okay, guys. Don’t forget to practice, now. And we’re going to play today in the church, our duets too. Because when you practice… A: Miracles happen! Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 181 of #AskVidasAndAusra podcast. And today’s question was sent by Lance. He writes: Hi there Vidas. Love your daily posts. Today's one (AVA176) has a double significance to me, as our current Vicar likes the hymns SLOW. We are a combined parish, and he visits us once a month. At other times we have one of his "associate" priests minister to us, and they gladly follow the organist. The other occasion was with our previous Vicar (pre amalgamation), and I miscounted the verses on the last hymn - finished one verse short, closed the hymn book, ready for the recessional voluntary, when Fr David's stentorian voice called out "one more verse to go Lance!" Fortunately, the hymn was one that I had learnt early in my organ-playing career (at secondary school), so I just chimed in again, as I had played it so many times over the years, much to the Vicar's amusement, as he said to me after the Service, "why do you need the music in front of you, you did quite well on that last verse without it." Ahhhhh, praise from a man of the cloth. Cheers and best wishes. Lance Remember, Ausra, I had this situation too, once, but very early in my career--I think I was in the first or the second year studying at the Academy of Music in Vilnius. And I was working as an organist just across the street, in the Church of St. Jacobs and Philips. And there was a very very old priest, like 90 years old maybe, who normally didn’t use a microphone at all, although the church was quite big, and the room was reverberant. And all the other priests and monks from that monastery--it was a Dominican monastery, I think--used microphones. So this old priest, one time, I remember, shouted to me, “Organist! Can you play something for Holy Mary?” A: Hahaha, that’s so funny! I had already forgotten about this, but now, yes, I recall the story. V: Mhm. A: He was a funny old man! V: Did you have similar experiences? A: Yes, I had, actually, when I subbed for you at Eastern Michigan. You know, when I worked at the Christian Science Church, and Ypsilanti Missouri Synod Lutheran Church. And I remember that the pastor was holding a Lent service, during Lent time--like an early morning service for elderly people who cannot drive in the dark. V: Yeah? A: I remember I subbed for you during those early services, because you had some classes at school at the time. So, I remember that the organ was located at the end of the church; and you know, there was a service going on. And during that time, actually, the postman came, and he brought a package of something, but somebody had to stand up for it. And because I wasn’t playing at that time, he saw me, and he came up to me; and I was signing “Aušra Motuzaitė-Pinkevičienė,” and then when that man saw my signature, he could not make it! He asked me to spell it for him out loud, because he was so curious about the strange name--long, double last names...and so I was doing that for him. And during that time, the service was going; and apparently, I missed the hymn! And you know, the postman left, and then I was thinking, “Why such silence in the church?” And the pastor keeps looking at me, angry, and then he said, “And NOW we sing Hymn --!” And then I just played that hymn. But it was funny. V: Mhm. So actually, it feels worse than it is, right? Because people in the church, they sense that the organist is preoccupied, right, and they don’t make a big deal out of it. But when you are in the middle of it, it’s quite embarrassing, I would say. A: I know, I would say especially for your pastor, because he sort of had...you know...different opinions about men and women. V: What do you mean? A: Well, you know...the Missouri Synod is so conservative. V: Mhm. A: And he carries on all those conservative beliefs about how women are different from men, and what they can do and what they cannot do. V: And what can women do in church? A: Well, according to him, they can clean the floor! Hahaha. V: Oh. That’s nice… A: They can play the organ. Actually, it was one of his sermons, also, when I subbed for you. V: Mhm. A: And he said this looking at me--we can play the organ, but we cannot, you know, say the sermon, or lead the service, or read the Holy Scripture. So it was quite embarrassing. I know each church has those, but you don’t have to make them so...so obvious… V: On the nose! A: On the nose--especially when a woman at that time was sitting on the organ bench, and leading your service! V: Maybe he was just trying to elevate you, and giving you privilege, to be emphasized from the congregation. No? A: I don’t know, but before, he told us that women can clean the floor! So… V: And because you weren’t cleaning the floor, you were sort of a privileged member of the community…? A: I don’t know. For me, it seemed like cleaning the floor equals playing the organ! V: Ahh. I see. A: That’s how it felt, is what I’m saying. V: I see. But he was a nice man otherwise, right? A: Heeheehee, yes. V: He had funny manners, but otherwise, quite friendly. A: That’s true. V: Yeah, I think everyone who plays in church long enough can really find such experience, right? One way or another, in many churches, right? Because every pastor or priest has character traits that no one else has, right? And sometimes they become more or less apparent, and in funny situations. A: I know, yes; you could write a book including all those stories. It would be fun. V: You know, it’s hard sometimes to not take those remarks personally. But I’m sure he didn’t mean, personally, to offend you. I think he just expressed his opinion about women--it wasn’t about you. It was about him, actually. Do you think…? A: Well, who knows what he really believed, himself. I just felt sorry for his wife at that moment. V: Was his wife sorry? Did she seem sorry, or sad at that moment--do you know? A: I don’t know, but it seems for me that she just worshiped him. V: Mhm. A: She was sort of that kind of woman where, you know...very kind and gentle... V: Mhm. A: Always supporting him. V: Whatever he says! A: Yes. V: Mhm. Pastors’ wives...okay. But, so guys, if you have similar experiences in your life--funny situations, or embarrassing situations--or maybe frustrating situations, when the priest or a pastor says something to you, right, and you don’t know how to make it out--how to figure out what he means, actually--maybe write to us, and we can discuss. That would be interesting, too. A: Or we can share, and laugh together! V: Right. At least we can laugh, right? A: Sure. V: If you can laugh at the situation, then everything is sort of...not so serious. Right? What would we do without humor? A: Yes, it would be bad. V: People would go crazy, actually. Because life is full of uncertainties and challenging situations, and things I won’t even mention! Right? Okay. Hope you enjoyed this conversation, and don’t forget to practice, right? Because when you practice… A: Miracles happen. AVA180: I'm not sure if F# major key would sound well on the organ with Kirnberger III temperament3/17/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 180 of Ask Vidas and Ausra podcast. This question was sent by John and he writes: Hi Vidas, Thanks for your encouragement, my main concern with the repertoire fitting the organ is Festive Trumpet Tune, which is a modern piece, and near the end it has a trumpet fanfare and then modulates from F major up a semitone to F sharp major, and the main theme at from the beginning repeats up a semitone. I'm not sure how this unusual key would sound with Kirnberger III temperament, which I have never heard of before! On equal temperament organs it sounds fine. V: So John is coming to Lithuania in just four weeks I believe and he’s preparing to play some beautiful organ music on Kirnberger III temperament and one of his problems is this “Festive Trumpet Tune” which modulates to the tonality of six sharps which would might sound harsh or too harsh on our organ. Don’t you think or not? A: Well people used to play even you know harder music on our organ. V: It wouldn’t be a problem? A: I think it should be OK. V: Remember you played your Vierne Symphony Number 3 there. A: Oh no. I would never do it but still I played it and it was fine. V: It’s in F sharp minor but it has obviously segments in F sharp major too. A: Sure. And so many diminished chords. Like diminished chords one after another, long sequence of diminished chords and no resolutions. V: And I suspect that his trumpet tune in F or F sharp major wouldn’t be as harsh because it’s not as dissonant as Vierne’s harmony. A: Yes, that’s true. I think it should work OK. V: It totally has some basic tonic, subdominant, dominant chords probably. Maybe some modulation in between but not too chromatic. A: I know and since it’s not entire piece it should work just fine. And talking about that I played Vierne’s symphony, you played Messiaen “Diptyque” on that organ. V: I did? A: Yes, on that organ. V: Oh, I never… A: Do you think it sounded better? V: I never would repeat this piece on that organ today. I was young and stupid. Now, I’m just stupid. A: Not young anymore. V: Yeah. Whenever I improvise on this instrument sometimes I use different modes and jump from one key to another and I definitely use F sharp major from time to time. But then I always listen to what I play how it sounds right? And it does make a difference on this temperament this type of key. It’s a little bit more colorful that F major. F major is very calm and peaceful. F sharp major is more dramatic. But maybe it’s a good thing. A: Yes, that’s what I like about Kirnberger III. But you can play quite a lot of music on it. But it sounds much more interesting when in equal temperament. So it’s real nice. V: What other surprises this organ might throw at John? A: Well, don’t ask me. V: John also wrote that he is worried about sharps and natural keys being in reverse colors. C sharp is for example white and C is black. And he has never played this type of layout before. A: I don’t think this will be a problem you know. I never even thought about things like this. V: But do you remember the first time you played this type of keyboard? A: Yes, I remember. V: At musical academy right? A: No. V: No? A: At my school, National Ciurlionis School of Art. On that small organ. V: So you practiced in the practice room. Was it a weird feeling for you after playing piano for a lot of years? A: Actually it was a nice feeling. V: Nice or weird? A: Well, nice. V: Nicely weird? A: Nicely weird. Yes. V: Or weirdly nice? A: Whatever. But it was a nice thing. My piano teacher, since I played Bach well you know on the piano so as an award of that she allowed me to play it on the organ. V: Um-Hmm. A: Which stood in her classroom. V: It’s a nice award, right? I think all the teachers could have this type of award. For example if they work hard enough with their students their students could let them play the organ. Instead of getting the salary. The principal of our school could have the system, would be cheaper though. A: (Laughs.) Do you think he would still be able to keep his employers? V: Oh, some of them yeah. Some who pay for this privilege to play the organ. Would you pay? A: Well not for that organ that the school has. V: No, it’s too boring I believe. A: Too shabby. V: Yeah. But now I think John will have many more problems than just adjusting to the different layout of the colors. A: Yes, I think colors should be still fine, you know it shouldn’t bother. I think maybe during the first ten minutes of his practice. But then it’s just fine. V: I remember my other students who first tried the organ at school with sharps being white. Some of them said “Oh, it’s interesting feeling.” But nobody really messed up with their pieces or played incorrectly because of that. Maybe it was a weird different feeling, but it didn’t distract them too much. What will distract of course John, is the heavy mechanical action. A: Yes, I think this will be the hardest thing to manage. V: If he is used to you know, maybe lighter mechanical action organs in Australia. But also if he can play piano in between now and his coming that would help. If he would play with couplers that would help too. A: Sure. V: Excellent. So we hope people will not be too disturbed if they travel for example anywhere and discover a different layout. It’s good to see different kinds of layout, right? White-black, black-white. A: Yes, or sometimes you could get like brown keys, like in our home. V: Brown and browner. A: Yes, sort of dark brown and light brown. V: Yes, or in my house, my former house where my Mom now is, she has a piano with colored keys now. And that helps her to memorize where C-D-E is. A: Outrageous... V: She puts stickers, colored stickers on top of keys. A: If she would be my kid I would punish her for doing it. V: But you know she is a graphic artist maybe she thinks in colors. A: I know. V: Alright guys. We hope you can experiment with different kinds of colors and layouts and don’t be too distracted by them because the most important thing is not to get attached to anything. The organs are as magnificent instrument as they are because of variety, right Ausra? A: Sure, so you have to adjust each time, but that’s the beauty. V: And each time you play those kinds of instruments you will probably make a small discovery about yourself, about this instrument, and about the music that you are playing. A: Yes, and at the end of your life you can write wonderful memoirs. V: Maybe ten volumes of them. Or even start memoirs now like a diary and publish them on Steemit and earn rewards and maybe in time those rewards can become your additional stream of revenue. Thank you guys. This is Vidas. A: And Ausra. V: And remember when you practice… A: Miracles happen. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 179, of #AskVidasAndAusra Podcast. This question was sent by John. He writes: Hello Vidas and Ausra, About your last post – someone who is legally blind would, as Tony stated, not be able to read music notation, and may have used the assistance of one of his friends or loved ones to write the message to you, unless he used some magnifying device in front of his monitor or used large font to send the message. You can get large magnifying screens from various Blind Institutes, but it wouldn’t make reading music much easier, let alone playing at the same time. So a different approach may be needed, possibly a bit like blind organists, like Louis Vierne and others, who would also have been legally blind or fully blind, and who may have mastered the art by sheer perseverance, and help from others, I presume. V: So, Ausra, remember we talked about helping Tony, when he wrote ‘legally blind’, but we didn’t really understand what he meant. A: Well, he put it in the quotation marks. V: Uh, huh, so… A: So he never sort of, if you know, if you put something in the quotation mark it means just the opposite. That’s how our language works. V: Right, so we understood that he could read music, he could see music but he couldn’t read the music, you see. A: Yes. V: That’s how I understood it. A: So if, you know, it would be like legally blind without quotations it would mean you are blind, or almost blind. But if it’s in the quotation mark, it means just the opposite. That, you sort of, you know, can see but you are bad at reading music. V: Exactly. So now that we know what Tony meant, right, and thanks to John who, who corrected us. Now we can um, discuss a little bit situation for the blind people, right? What they could do, how to play the organ. Of course, one way would be to improvise. That’s definitely the case for a lot of blind organists in France, I believe. A: Yes. V: Or the Netherlands too. They have a great tradition of improvisation. Mmm, and then another option would be to, to get a very large, mmm, font of your sheet music and enlarge them. If you can see something at least. Remember like our professor Leopoldas Digrys before the eye surgery he used to see very little and he had enlarged a lot of his scores. I don’t think that would for Tony because he is legally blind so he cannot see anything. A: Yes, and he actually puts that music rack adjusted in front of his eyes. V: Mmm, mmm. A: He would sort of well, the special device that would make the music stand closer to his eyes. V: And it also depends, if you are blind from birth, or you, I don’t know, had an accident or illness, and gradually become lost sight. A: This, you know, would mean you know, a difference way how to approach music because one ways is you know if you learn how to play being blind, and another if you know learn in your early age how to read music. V: Mmm, hmm. A: And only then you lost your sight. V: But definitely a German organist Helmut Walcha for example would be a great example for this, right? He would ask his students to play an excerpt of maybe two measures of a polyphonic composition but not all voices together but just one voice, single voice. And then he would repeat it several times and then he would ask another voice, right Ausra? A: Yes, and this an idea that you know, you learn single voice and then you put voice together after earning each voice separately. V: But then you have to have help all the time. A: Yes. V: Which could be possible now a-days. You know how? A: You could ask if somebody would record, you know, like a piece. V: In separate voices? A: In separate voices. V: Exactly. A: And then you could learn from recording. V: Even our students for example, that would be a, our readers who are listening to us from all over the world, if they are practicing in single voice combinations, slow enough. They could record themselves and let’s say, and put the recording online. I bet some blind organist would even want to pay for that, right? A: Yes. V: As a practice aide. A: That’s true. V: Umm, exactly. What else? MIDI system could help too. Remember you could put music in the MIDI notation and then play it in various speeds, play back and the organist could play from, from, from listening to the recording. A: That’s true. V: What would you do if you suddenly lost your sight? Would you play from the sheet music or would improvise or something else? A: I don’t know, I don’t thought about it. V: I know what I would do, I would probably improvise. And since I’m improvising every day it would just mean I would just improvise more, you know. A: Well the I would probably have to improvise too. V: Mmm, hmm. I had one experience of being blind for one day. Did you have this experience? No. I haven’t told you. A: For an entire day? V: A little be less. It was an experiment. I was in the summer camp with young people and in the middle of the woods basically, this camp was for a couple of weeks, I believe, I remember in Inkunai. And one summer they had a few blind kids and everyone else in the camp had an assignment to put, to be blindfolded, right? To put like a scarf on your eyes, and to walk around without being able to see. So, so in order to feel a little what blind people feel all the time. So we, we walked around for maybe 30 minutes or so, just a little bit, you know. It was really, really difficult not to bump into trees and things like that. A: Well I had sort of, you know, experience, but not for such a long time, and you know, because of the health condition, not because of some experiment. Because I have terrible headaches, called migraine, and sometimes before that I sort of get, uh, very, very weird experience, and some of them are related to my eyes. And I had once, I almost lost my vision, you know, in the middle of the street and I, you know, it was very hard for me to find my way home. V: Was it a scary experience. A: Yes, it was a scary experience. V: Because you didn’t know how long it would last. A: Yes, and this was the first time it happened so it scared me a lot. But somehow I reached home and you know, maybe after ten minutes being at home, I had this sudden headache and then I just understood that it’s related to, to things losing vision and headaches. And then I had this actually this year at school. During playing dictation for my senior students. And you know, it’s a big part of dictation so it sort of V: Difficult. A: Quite, difficult yes, to play, and suddenly I lost my vision too. V: Did you have a headache at that time too? A: Later on, yes. It comes later on. It doesn’t come at the same time. V: So you can’t predict what will happen next. A: So then I just finished the class, you know, right on time. I didn’t want to scare my students so I didn’t tell anybody anything. And then I somehow managed to go to my colleague next door and, and actually she took me to the teachers green room, where we have coffee machines, so I bought a coffee, you know a strong coffee, and it helped a little bit, yes, for my vision, and then I had that horrible headache. But vision came back. V: Mmm, mmm. Yeah. It’s scary! A: I don’t know what I would do if this would happen during my recital. V: And driving. A: Or driving. V: Mmm, mmm. A: Well if it would happen during driving, you would just you know, V: Stop. A: Stop. V: Is it sudden or gradual loss of sight? A: Well, it’s, it’s, you know, it’s, it’s sudden but it’s not like you know, you can not see anything. I mean you see dark for example, yeah. I sort of, you see all kinds of rainbow colors. V: Mmm, mmm. A: And they keep flashing very fast, in front of your eyes. V: Right. A: So you cannot see anything because of all these sparks, and spots and colors. It’s hard to describe. I think you have to experience it in order to understand how it works. V: I bet some people write some comments for us afterwards because they might have something like that. A: Because I had migraines all my life since I was probably ten or eleven years old but I never had this kind of stuff before. V: Mmm, mmm. Well good news is that life always finds a way, right? And look what Beethoven did,,, A: Yes. V: at the end of his life. Right? He lost his ability to hear, but he wrote music anyway. A: Well I think that losing you know, hearing would be easier problem for me compared to you know, losing the vision. V: Okay. I’m typing now into Google, blind painters. Let’s see. And there are ten amazing blind painters, right away, the second hit. Or visually impaired artists, you know. And look! They’re really beautiful! And somehow you can see the colors in your mind, you know. Or combinations of the colors. A: It’s the same as you know, with, with Beethoven. Except, you know, he lost not his vision but his hearing, he could still music inside of him. V: Mmm, mmm. So please don’t be too discouraged. I know it’s not a regular situation. It’s not like, like you will walk the street with, with optimism and you know, um, all the time. Because yes, it’s frustrating and the situation is very difficult to cope but if you have a dream which is big enough, you can always find a way. A: Sure. V: Sometimes people climb mountains without their legs, right? A: Yes. V: Sometimes people in wheelchairs who can only move their tongue I believe, right, they are paralyzed from neck down. They can write books and inspire other people because they have really sharp mind. Look what scientist Stephen Hawking does all the time. Right? Look him up. A: Sure. And you know that Bach got blind too at the end of his life. Now you know scientists believe that it was because of diabetes. V: Yeah. A: So, nobody is sure for, you know, one’s health. So it just love yourself you know, and take it easy. V: You know, they say that a person has to have some level of security, physical and mental security in order to be creative, in order to pursue their dreams, right? To have a secure house our home, to have food, right? Shelter, enough money to survive, right? And then they can be creative. And then they can play. And then they can express themselves. And then they can follow their passions. Which is true in most of the cases but not all, right Ausra? Because sometimes people can overcome those burdens and challenges, despite them become successful in life and become inspirations for others while being in a wheelchair, while being blind, while being challenged in one way or another. Because what does it mean, challenged? It means that you cannot do something better than someone else, right, something. If you are visually challenged you cannot see as well as someone else can see, right? But in a sense that’s the same situation with everyone of us, right? I cannot do everything as well as you can do, right? Remember Quentin Falkner, our professor? He called himself with humor, technically challenged, right? Although it’s just probably his own expression but, yes, it’s true. There are people who can play organ better than us, right? We could think like that too. A: Yes, but not everybody is in the same position, so, V: But I think it gives hope, this sort of, um, mentality that you don’t compare yourself to others, right? And try to make best of the situation. A: That true. V: Thank you guys. This was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen! This is a collection of transcripts from #AskVidasAndAusra Podcast (120 pages). Vol. 6. For students who want to have all our ideas in one place.
Here’s what you’ll learn in this e-book (you'll receive PDF file): HOW TO LEARN TO READ AND COUNT MUSIC WELL I’M 75 YEARS OLD MY DREAM IS PLAYING IN SUCH A MANNER, THAT PEOPLE WHO LISTEN TO IT WOULD LIKE TO HEAR THIS KIND OF MUSIC IN THE FUTURE IS FINGERING IMPORTANT IN IMPROVISATION? MUSIC FOR OPENING AND ENDING OF EVERY SOP PODCAST I NEED FINGERING FOR HALLELUIA CHORUS BY HANDEL I'M SPENDING TOO MUCH TIME WITH LEARNING THE PIECE I STRUGGLE WITH EARLY FINGERING AND ORNAMENTATION I DON'T KNOW HOW TO FULLY APPRECIATE EARLY MUSIC LEARNING HOW TO IMPROVISE IN THE STYLE OF J.S. BACH I FIND IT HARD TO GET IT FAST AND SMOOTH PLEASE TELL ME HOW TO USE THE BOTH FEETS HE IS A VERY POOR SIGHT - READER AND AND LEARNED BY EAR HOW DO YOU DEAL WITH THE ORGAN LOFT GETTING COLD IN WINTER MY CHALLENGE IS WITH CONCENTRATION Until March 22 this Ebook is available for the low 2.99 USD price. If you liked our E-books from #AskVidasAndAusra collection, I'm sure you will enjoy this one too. Check it out here Free for Total Organist students Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 178 of #AskVidasAndAusra podcast. Today’s question was sent by Michael. He writes: Dear Ausra and Vidas, First of all let me say thank you for all the valuable information you are generously sharing with us - this is so helpful and inspiring. I would like to address a problem I have with hymn playing in a church with rather long reverb. At the console I hear the congregation sing with a delay of about half a second. I think this is the time the sound needs to reach the front wall, to become reflected and to reach me at the console in the rear. That makes it difficult to assess whether I am too fast or to slow for them to sing. This is absolutely no problem for me in smaller rooms with less reverb. Last Sunday my wife sat in the nave and said that she had also problems to adjust to my playing. I have been playing the organ for more than 40 years and - although being an amateur - I would call myself an advanced player. I am used to soloing out hymn melodies in the soprano or tenor and have no problems in leading the congregation. It is just this church where I substitute from time to time and experience these problems. Do you have any idea what to do? Thanks a lot. Michael Ausra, have you had this experience before, where the delay and reverberation is huge, and you seem to drag a little bit with your liturgical playing? A: Well, not so much with congregational singing. But I had that problem actually in Biržai, the northern city of Lithuania... V: Right. A: Which has a 3-manual pneumatical organ. Actually, I remember playing there a sort of huge program and recital together with you, remember? V: Mhm. A: And that time, I didn’t know what to do, because the sound of the organ actually would be delayed. V: About what? How much? A: Well, it’s hard to tell, but you know, I just could not manage it at that time. And it was a disaster, because I thought if I will hit the keys harder, the sound will come sooner! But actually, it was even more the opposite. The harder I tried, the more delayed the sound would become. V: And the slower you played. A: And the slower I played, yes. V: It seems it’s a problem of a lot of historically-built pneumatical organs which are not in good condition, right? Because the air pressure in the tubes is not strong enough. A: You know, but it’s an interesting thing, because when I returned to that instrument maybe after 10 years of a break, I didn’t have that problem. V: Did this instrument have any restoration in between that time? A: I don’t think so. V: So you changed your approach somehow...? A: Yes, I think I changed my approach--simply, I tried more various instruments in those 10 years, so...probably I became just a little better. V: I see. A: But in Michael’s case, yes, it might be a problem when you don’t hear what the congregation sings, and the church has reverberation. But I think there are ways you can improve that and make life for yourself easier. V: It’s the same as in pneumatical organs, right? You have to lead with your fingers, and you have to not listen to what you are hearing, but rather imagine you are playing ahead of them, a little bit. A: Yes. Actually, what I would do in a case like this is, I would try to articulate more. V: Mhm. A: That might help, for clarity, in a church with reverberation. Also, I would definitely sing together with my playing. Not necessarily aloud, but maybe in your mind. But just keep singing. It will give you a good idea of what the tempo should be, and how the congregation will sing. And I would keep the accompaniment as simple as possible, in a church like this. And Michael mentioned that he’s already an advanced player, having played over 40yrs. That’s excellent. But maybe you know that...making the melody in the soprano or in the tenor, or an ornamented version or another elaborated version--I would keep that for a drier acoustic, and the churches where he plays more often, and the congregation is more accustomed to his playing. But in this particular case, I would just keep the accompaniment as simple as possible. That might make things easier. What do you think, Vidas, about it? V: I agree. And I would just imagine that Michael has to lead--not follow. A: Yes, yes. Don’t wait for them! V: Because they are waiting for you, and you’re waiting for them… A: Yes, they need to follow you. V: And everything gets slower and slower. So what it means, practically, probably--it will not be a pleasant experience for you to play a little bit ahead of them. Maybe half a quarter note ahead, maybe something like that--always leading them, right? It’s a similar situation when you have a slow response in low-pitched pedal pipes. You have to play the pedals a little bit earlier, like subbass ‘16 sometimes, soft. But soft and slowly speaking pipes, especially in the bass register, you have to lead them a little bit with your feet; and it’s not easy to do. A: I don’t like that feeling, when it seems that you have to play pedal almost a quarter note off… V: So what it means is, you have to lead with your feet, then. A: Yes, that’s right. V: Right. So then, in Michael’s case, he has to lead, perhaps, with his fingers, right? And imagine jumping in a little bit ahead of the congregation every time. A: Yes. And you know, it would be nice if he would have an opportunity to listen to how the organ sounds from downstairs, when the congregation is singing. Maybe when another organist plays in that church, he could come and listen from downstairs. V: Or ask his wife to record. A: Yes, recording would also be a good idea. V: And then, listen to this recording almost right away--after the service, preferably, when the impression is fresh in his mind. Right? A: That’s true, yes. But it’s always hard to be an organist, because you sort of have to divide yourself. Half of you sits on the organ and plays, and the other half is downstairs, and listens to what you’re doing, and what the final result is. V: And if the church is big enough, the sound will travel rather slowly; and people sitting in different positions of the church will hear differently, too. So perhaps people sitting in the front of the church will find, then, “Oh, the organ now is on time!” But then, people who are sitting in the back--“Oh, the organist is always sort of rushing!” Maybe people in the middle will find a balance. So you also have to find a balance between rushing a little bit and dragging. Or playing on time, I don’t know. But as Ausra says, record yourself, and listen to the recording, and then you will know how much you can anticipate the congregation. A: Yes, that’s true. V: Thank you guys. We hope this was useful to you. These kinds of questions are really fun to discuss, and they’re very practical, and a lot of people have the same frustrations that Michael has. So we really hope that you apply those tips in your practice; and if they do work for you, let us know. If they don’t--if you have some different experience or perspective, also never hesitate to write us. Thanks, guys! This was Vidas. A: And Ausra. V: And remember, when you practice… A: Miracles happen. Would you like to master Prelude and Fugue in C Major, BWV 531 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 Alan Peterson for his meticulous transcription of fingering and pedaling from the slow motion videos. Advanced level. PDF score. 7 pages. 50% discount is valid until March 19. Check it out here This score is free for Total Organist students. AVA177: Does One Need To Fill Out The Harmonies In Baroque Organ Two Part Works (Melody And Bass)?3/12/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 177 of #AskVidasAndAusra podcast. This question was sent by Mark. Hi Vidas, I have a very quick question - does one need to fill out the harmonies in baroque organ two part works (melodie and bass)? Is this a practice that was expected at the time especially with Italian and English organ music? Thank you for an amazing blog! Best regards, Mark V: Do you know what he is talking about? A: Well, I’m not quite sure if he means like Bicinium technique or... V: Chorale harmonizations. A: Chorale harmonizations like in Krebs’ Clavierubung. V: So there are two types of two voice texture, right? If you have a bicinium maybe let’s say chorale prelude where the right hand plays the melody and the left hand plays the accompaniment, but this accompaniment is rather fast and with figuration, arpeggios, and leaps and scales. Then I don’t think it’s appropriate to add alto and tenor. A: I think so too. Because you know sometimes two voices are plenty. For example two part inventions and some dance suites. V: That’s because when you have very thin texture like one voice or even two part texture then composer tends to create or fill in the harmonies with these two parts only so he needs to basically make a lot of arpeggios and produce imitation of the chords, right? A: True. And think for example about string instruments like cello. We have so many nice suites written by Bach where it’s only one voice and it’s fills out space completely. V: So the rule is the more voices you have the less movement between the voices you can supply. Basically if you have let’s say six part chorale prelude with right hand playing two parts, left hand playing two parts and two parts in the pedals can you have a very fast moving independent motion? A: Probably not. V: No, very thick texture. But if you have let’s say one voice or two voice texture then you have all kinds of leaps and arpeggios and runs and flourishes. A: Yes, but if we are talking about chorales, hymns, and you have two voices based on soprano usually no. If it’s intended for harmonization it will have numbers underneath of the bass. V: Or above the bass. A: Or above the bass staff. So and that way it will mean that you have to harmonize and to add two more voices. V: Exactly. So look at the numbers. If you see the numbers above the bass line then presumably you could add, fill in the harmonies or even make a complex version of the chorale prelude by creating four part texture but not necessarily in chordal motion but making figurations and even imitations between the voices like in the Orgelbuchlein. A: Yes, that’s right. V: But that’s the next level, right? The first level should be to add the chordal texture always to simplify things. Wonderful. Do you think that Mark is referring to Italian music as the choral music? I don’t think so. Italians didn’t write that. A: Yes, I don’t think so either. V: So probably he played some Italian biciniums, right? Where figuration and filling in the harmonies is not necessarily a part. A: Sure, that’s true. Bicinium technique was rather important technique in Baroque time. Even you know J.S. Bach included it in his Clavierubung Part III where we have four wonderful duets. V: Exactly. And sometimes biciniums have one voice stationary like a chorale melody in the right hand or in the left hand too. Or you could have imitation and dialogs between each part like in those duets in the Clavierubung Part III. I think we could make fingering for those too. People would enjoy them. A: Sure. V: Because they are not easy. They are like full-blown two part fugues. A: Yes, they are not easy. Definitely I agree with you. V: But they have curious structure because they have repeated sections “A” and repeated sections “B” like ancient two-part forms. A: But I think, you know, that Bach wanted to leave this to us you know, as part of his legacy because this was one of those rare collections which was actually printed out during his lifetime and it means it is very important. All those pieces that he included in these printed out collections. V: Is it more important that Orgelbuchlein? A: I think so, I think so. Because you know, I am still not quite sure about Orgelbuchlein. It seems for me that Bach got bored at some point because he didn’t finish it and because it was not the end of his life, actually. But you know sort of middle I believe, or even earlier age. So I don’t think that it has the same weight as Clavierubung Part III, for example. V: Definitely. Clavierubung Part III. A: Or other parts of Clavierubung. V: It’s a complete collection, right? Part I is partitas, Part II is French Overture and Italian Concerto. A: So you have sort of all these various styles, you know, in Clavierubung. V: Part III is what, organ chorales and E flat Major and Prelude and Fugue and those four duets. And what is in part IV? A: It’s Goldberg Variations I believe. V: Ah ha. So Bach really wrote a compendium of every imaginable keyboard technique that he used at the time. A: So I believe that these four parts of Clavierubung and his Art of Fugue is you know our most important pieces to study in order to understand Bach and baroque music. V: Do you think Ausra that if a person, like any of our listeners would master those four parts, some of them are for the harpsichord or course, some of them for the organ, would they be able to play just about anything from the baroque times? A: Sure, definitely, yes. I know when praising these four parts of Clavierubung and Art of Fugue I don’t want to sort of diminish the Orgelbuchlein. It’s also very important collection especially for beginners when you are just learning the baroque language because it has all those important baroque figures. Like each chorale is you know, devoted to some type of technique, some type of baroque figure. V: Yah, one figure basically goes throughout entire chorale prelude in imitation. It’s basically the second level of choral writing. The first level would be harmonization of the chorale. The second level would be like Orgelbuchlein type of chorale prelude. The third would be with added ritornellos in between the phrases. The next level would be already very advanced. A: Yes, and to some of his chorales from Orgelbuchlein actually, he took one later on in his life and even I think on his deathbed he took the chorale “Wenn wir in hochsten Noten sein” and you know recomposed it with a different title “Vor Deinen Thron.” V: Exactly. “Vor Deinen Thron Tret Ich Hiermit,” basically “Before Your Throne, Here I Come.” A: Yes, so it’s like a final stage of his life. V: Although it was an early version, right? From Orgelbuchlein. Wonderful guys. Please explore more of Bach’s works, Bach chorale preludes, they are wonderful. And biciniums are wonderful too. You can learn so much. In fact, if you just master fifteen two part inventions, and then fifteen three part sinfonias you will be able to play a lot of baroque music too. A: Yes. It’s like you know, baroque ABC. V: Thank you guys. This was wonderful question. We love helping you grow so please send us more questions like that. We will discuss that on the show. And now we are going to play some Bach music because Bach’s birthday is approaching soon and we’ll be celebrating it and hopefully you will be celebrating it as well. And remember when you practice… A: Miracles happen. |
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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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