Dear friends,
I don't know if this is possible but the great organ of Notre Dame in Paris might be saved from the cathedral fire. Don't have any further details. Only saw a message on Facebook saying that the Archbishop of Paris announced it is possible that the great organ is saved. Would be a miracle...
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Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 425, of Secrets of Organ Playing Podcast. And this time, Colin writes: Thank you for the bonus materials for the Pedal Virtuoso Master Course, I shall look forward to working on them. V: Ausra, would you like to take a look at what kind of bonus material I’m sending? A: Sure, of course, I would be very interested. V: Okay. I’m sending three things. Right away when they sign up, or the first day after they sign up, they’re receiving a bonus video training, which is “How to play the C Major Scale on the Pedals”. This is my most popular video on YouTube. A: Ah, interesting. People are interested in fun things. Although it’s not that easy to play, the C Major Scale, on the pedals. I think some other scales are more comfortable. V: Uh-uh. Let me take a look at how many views it has. People are eager to learn C Major Scale but not so much C minor. (Vidas is looking for the video.) It was published back in 2012 and it has 70’223 views right now. A: Wow! If you would live, I don’t know, 500 hundreds more years, you might reach the numbers of Lady Gaga! V: Haha yeah, and Lady Gaga would reach like gazillions numbers! So this is the video sent on day 1, after signing up for this course. Then I’m sending people two more things: 12 weeks and 13 weeks after they sign up, they receive Bonus practice material number 1 and number 2. A: Which is? V: Number 1 is “Pedal Exercitium”, BWV 598, by J-S. Bach and some scientists believe it might have been written by C-P-E. Bach, Bach’s most prominent son. Nevertheless, this piece is a classic exercise for pedal playing. And I have prepared the complete pedaling for this piece, and people have to make sure they use detached articulate style, articulate legato touch which is used for early music. A: I remember I had to play this piece, during my first year of organ studies at the academy of music in Lithuania. And my teacher required that I would play this during my exam actually. I was quite embarrassed actually, because I was the only one that was required to play some solo piece for the exam. But I think I did quite well. And what I like about this piece, beside teaching you to play baroque music, how to articulate, actually it’s quite beautiful in itself. It’s really not a boring exercise. If you listen and study carefully this particular piece, you can find that there’s actually two distinctive melodies in the same piece, even though it’s written in one voice. V: Right. With Bach and other baroque composers, the case is that the less voices you have, the more fluid the melody becomes. And if you have a solo voice, like in the pedals, somehow the composer needs to make sure that the harmony is there, and he makes use of arpeggios, things like that, and sometimes pretends that there’s a second voice in the top and at the bottom. So at the pedals it’s very prominent because you have two legs. A: Well, not so much. V: Not so much, yeah. You’re focusing on the process not on the result. Results probably will come by themselves. A: That’s true. And now that you have started to talk about that, I remember that beautiful cello piece by Bach (the Prelude from the Cello Suite No. 1), that Yo Yo Ma played so beautifully and other famous celloists. V: Do you think that people could play it on the pedals? A: Well yeah I believe so. You could do it on the pedals. But sometimes my students start arguing: “why do I need to learn harmony? What good is it to me?” And usually choir conductors or piano majors understand why we need to understand harmony, because we deal with more than one voice, but flutists or violonists, they don’t think about that. But we really need to know harmony because let’s say you play Bach and have one voice, you still don’t think about it as having just one line, because in itself it contains all the harmony. V: This is true. It would be fun actually to play all the unaccompanied cello suites by Bach on the pedals. It’s a good exercise. It would be interesting to transcribe. A: It’s wonderful how in one voice you can hear so many things and do so many things. That’s the genius of Bach I guess. V: But the pedaling has to be adjusted somehow. I believe that toes-only technique wouldn’t be easy to do. A: True, true. V: Because sometimes you need to play with big leaps and almost legato so then heel and toe technique needs to be adjusted because it’s rather advanced. A: But I guess it would be OK because it’s not originally intended for organ pedals so we could give us more freedom. V: Right. So guys, if you need something for the pedals, extra-exercises, go take a look at 6 unaccompanied Bach’s cello suites, and if you need some help from us, like extra pedaling let us know. Maybe I could create some videos and send them to our team to transcribe, and prepare the score this way for you. That would be a good exercise for early music Pedal Virtuoso Master Course. A: And what is your last bonus? V: Bonus number 2 is a piece by Charles-Valentin Alkan, who was a 19th century French composer and virtuoso pianist, and he created many etudes for piano but also for the organ pedals solo, I think 20 pedals solos. And I prepared a score with pedaling of the first one. It’s again a very advanced piece but now we are dealing with the legato technique and you can play with heels and toes. And if you don’t feel right about some markings, you can adjust, because some people have smaller feet so they have some problems. A: But it's nice because it teaches different technique compared to Pedal Exercitium by J-S. Bach. V: Yes. Again, if you would like to learn all 20 of them, let me know and I could prepare those videos for our team and this way you would get transcribed scores with pedal markings as well. Alright, so take a look at our Pedal Virtuoso Master Course, it has 12 weeks of material + bonus exercises, as we were discussing a moment ago. At the end of the course you’ll really start to feel that you gained greater flexibility of the ankle, which is the secret of the perfect pedal technique. At the end of the course you might be not be able to play anything that is written for the pedals, just yet, but I can guarantee that if you go back to some of the pieces that you could not play three to six months ago, you would definitely see some genuine improvement. Right Ausra? A: Yes, I’m pretty sure about that. V: People have written multiple times about that, about seeking improvement, and not one person said “No, after 3 months of practicing pedals I didn’t see any improvement!”. People who didn’t finished this course, it was for different reasons: perhaps it was too difficult for them, or they were not into exercises at all: they might prefer genuine organ music. And that’s OK, there are several types of people. But for those who like it, scales arpeggios etc, it is a perfect opportunity to get flexibility of the ankle. OK guys, this was Vidas. A: And Ausra. V: Please send us more of your questions, we love to help you grow. And remember, when you practice… A: Miracles happen! DON'T MISS A THING! FREE UPDATES BY EMAIL. Thank you everyone for participating! You all made us very happy with your entries.@laputis and I selected the following winners. You can congratulate them here:
https://steemit.com/@organduo/winners-of-secrets-of-organ-playing-contest-week-15
Have you ever wanted to start to practice on the organ but found yourself sidetracked after a few days? Apparently your inner motivation wasn't enough.
I know how you feel. I also was stuck many times. What helped me was to find some external motivation as well. In order for you to advance your organ playing skills and help you motivate to practice, my wife Ausra - @laputis and I invite you to join in a contest to submit your organ music and win some Steem. Are you an experienced organist? You can participate easily. Are you a beginner? No problem. This contest is open to every organ music loving Steemian. Here are the rules DON'T MISS A THING! FREE UPDATES BY EMAIL.
Would you like to master Wer nur den lieben Gott lässt walten, BWV 642 by J.S. Bach?
I've created this practice score (left hand in alto clef) with complete fingering and pedaling so that our students could master this chorale prelude from the Orgelbuchlein efficiently, saving many hours of frustration and achieving ideal articulation - articulate legato. Thanks to Jeremy Owens for his meticulous transcription from slow motion video. Basic level. PDF score. 1 page. 50 % discount is valid until April 21. Check it out here This score is free for Total Organist students.
DON'T MISS A THING! FREE UPDATES BY EMAIL.
Vidas: Hi guys! This is Vidas.
Ausra: And Ausra. V: Let’s start episode 424 of Secrets of Organ Playing Podcast. This question was sent by Irineo. He writes: Hello back there maestro! Now that was an interesting discussion you had. But I wonder, which other clefs are there besides two G, two C, and one F? Those are the ones I’m familiar with. And while transposing, you mean when you’re writing a score or improvising? Thank you. Very truly yours, Irineo V: Interesting that Irineo knows two G clefs, right, Ausra? A: Yes, because that other one, old-fashioned G clef is not common nowadays. V: Mm hmm. We could actually survey all ten clefs, right? A: Sure. V: Remind people to take a look at them and pick and choose. Sometimes they’re useful, right? Ausra, did you use some clefs today? A: Yes, I used one of the C clefs today. V: On what occasion? A: Well, we were playing Bach’s aria from one of the cantatas. V: Mm hm. Mein gläubiges Herze, right? A: That’s right. And we had to play soprano parts. So it was written in soprano clef, so. V: And my part had the bass clef in the left hand and in the right hand bass clef, but somehow it changed constantly between bass clef and tenor clef, I believe. So, starting with the G clefs, we have to, as Irineo says, the first one is well known violin clef, where G is on the second line. Treble G. A: That’s right. And we are always counting the lines from the bottom. V: Yes. As Ausra said, if you have G on the first line, that’s called an old French clef from the 17th century, for example. A: That’s right. And it means that the G note is on the bottom line. V: Mm hmm. And it was popular for string music, right? Violins played from such a clef. So, it’s actually higher than normal violin clef. Because the lower the clef, the higher the sound. A: Yes. That’s how it works. V: And clefs are used to avoid ledger lines. A: That’s right. V: Mm hmm. A: So, especially in the old time when paper was very expensive, people wanted to save space, and instead of writing extra lines, we would just change a clef. V: Then we have the familiar F clef, where on the fourth line, we have, what, tenor F? A: That’s right. V. Mm hmm. Which is called bass clef. A: Yes. Probably it’s the most common after the treble clef. V: Mm hmm. A: So it’s used quite a lot in music, for the keyboards, and for some of the strings, and for some of the wind instruments. V: Mm hmm. But actually, there are three F clefs, from the history of music. A: So tell us more about the other two F clefs. V: Mm hm. If you put the F on the fifth line, you have the baritone clef. So, it’s the same like bass clef, the figure of the clef, but put two lines higher, on the top line. On the fifth line, right? So, which means that on the fifth line, you have tenor F. What else? If you have the F clef on the third line… A: Yes, the middle line. V: Middle line. Then you have basso profondo clef. Which is lower than the normal bass clef. One third lower. Right? But, strangely, if you look at the similarity between F clef and G clef, imagine you have F on the middle line, then there is no similarity. But if you have baritone clef on the fifth line, you know you, we have violin clef, second octave F too. So people can use in their mind, transposition to the violin clef, but very high. Two octaves higher. And that would be much easier than reading from the baritone clef. A: Well, for me I would say it’s fairly enough to have [one] treble clef. One F clef and five C clefs. It gives me plenty of opportunities to transpose, and to sightread music. V: What about C clefs? I talked about G clefs and F clefs. I give the C clefs to you. A: Well, I use them every day. V: Okay. So, tell us more! A: Well, there are five C clefs, and each of them marks the note C. And if we start at the bottom line, we have soprano clef. And if we go up, we have mezzo soprano clef. And on the middle line we have alto clef. Then tenor clef. And on the upper line is baritone clef. And it always marks the note of the C of the first octave, of the middle octave. V: Mm hmm. A: And these keys are very, you know, fun, and very easy to use to transpose things. V: So you are saying baritone clef is on the fifth line. A: That’s right. V: So I was wrong, actually, when talking about F clef, which was called baritone. In F clef, baritone should be on the middle line, then, right? I said on the fifth line. A: Okay. V: On the fifth line is basso profondo. A: Basso profondo, yes. V: So, it’s kind of confusing sometimes, if you don’t use it every day. But for which occasion those ten clefs can be used? I would say for two occasions. If you want to improvise based on the theme transpositions, like maybe a few, you’d have to constantly change the key of the subject, then you don’t have to remember the subject itself. You just look at the score and change the clef itself, right? It sounds difficult, but after a few months of work, it’s not that hard. A: Yes, because I think you have to be quite advanced in order to manage all these clefs very easily. V: And the second occasion I think is for geeks. You know what a geek is? A: Yes, I know what a gig is. V: Geek. G-e-e-k. A: No, I don’t know that. V: Computer geek, for example. A: I know g-i-g. V: Yeah. Computer geek is a guy usually, with very thick glasses, and he knows everything about computers, but nothing about anything else. Like a connoisseur about certain subjects. So if you are very deep into early music, for example, and you always prefer to practice and sightread from facsimiles, from old manuscripts and old prints, modernly, in modern times reproduced. Then you need those clefs because people were writing. A: Well, and still, even if you know you work on, not exactly like very old music, but in some editions, some nineteenth century editions, of, let’s say Bach. V: Mm hmm. A: You can find pieces that are written in clefs. V: Oh, yes. A: For example, Peters Edition, I have played myself, you know, the third part of Clavierübung in Academy of Music when I was studying. And one of the chorales was, you know, written in C clefs. V: Mm hm. A: So what I had to do, I was too lazy to transpose them, I mean, rewrite them down in, you know, like treble and bass clefs. So I just played in clefs right away. V: And also, if you study Bach from that Bach Gesellschaft Ausgabe, from the nineteenth century edition which was started with Mendelssohn times, right? And it was widely used in the nineteenth century, those original clefs, they didn’t change Bach’s clefs. They used Bach’s notation. And since Bach used C clefs, Bach gesellschaftausgabe also used same kind of clefs. A: Plus, if you study music, let’s say Mozart’s requiem, for example, famous piece. It’s all written, actually he used three C clefs and bass clef. V: Right. Soprano, alto, tenor, and bass clef. A: That’s right. Because it’s written for four voices. So, and sometimes it’s good to study old scores. Compare them to the modern editions. V: Yes. Not only it’s a good exercise in the mind, but you get to know the composer deeper. A: It’s true. Plus there are instruments like cello that use C clef constantly, and other instruments, wind instruments for example. V: Yes. Orchestral instruments sometimes use C clefs. And then, for example, if you play Brahms. Chorale preludes by Brahms. From nineteenth century, right? But because he used polyphonic techniques that he loved from Bach’s times, plus, he added some chromatic harmonies of course. He used actually, C clefs. Even in today’s editions, you will find C clefs in Brahms’ compositions. So you need them. A: Well, yes. If you don’t want to be sort of challenged. V: Clef-challenged. A: That’s right. V: Yes. At first, we all are clef-challenged, and we only know treble clef in the first grade, right? But somehow, six months later, we manage to play with the bass clef starting. It’s not that easy, and we struggle for a few years, actually, we struggle with bass clef. A: Well, it comes easier for some and harder for others. V: Mm hmm. A: It’s, you know, a very individual thing. V: When I was sightreading Art of the Fugue by Bach, original notation, I discovered that you need about one month for each particular clef to be comfortable with it. So if you have ten clefs, you need ten months. And that’s it. Plus, if you need combinations of clefs, for two voices, or three or four voices, then you need additional time. But if you are just sightreading one voice, you can do it in ten months, pretty much, without any struggle. A: That’s right. Which is your favorite clef, Vidas? V: Soprano. A: Mine, too. It’s easier. V: Mm hm. But for awhile you didn’t like soprano. A: I know. I liked alto. V: Mm hm. A: That was my first choice. But now I think I prefer soprano. And then probably tenor in the third place. V: Do you think that soprano clef could unlock the doors of our house? A: I don’t think so. V: Alto maybe. A: I don’t think so. But we can unlock very interesting music for you, very beautiful music. But anyway, Irineo asks, do we need to know transposing using clefs in writing or in improvisation? So, I would never mean that you would need to write down your transposition. I don’t see any sense in doing that. V: As an exercise, you have theory classes, right? A: Well, but it takes only like one lesson just to try to do it. Because the most important part is that you could do it live, so you need to do it as a transposition of real music piece by playing it. V: And plus, there are now computer notations, all those softwares that do automatically for you, everything transposed, and change clefs automatically, so you don’t need that. But, if you want to play, yes, you do need. A: And it’s a very useful skill, especially is you are a church musician. And especially if you are working with choirs, and if you are working with your soloists with bass clef figures. Because you never know what we might want you to play. V: I remember exactly one wedding when soprano was sort of sick, and she asked me to transpose one third lower. So I used simply C clef in the right hand part and soprano, and treble clef in the bass, in the left hand. Soprano and treble, and that’s it. Very easy. A: True. V: Okay. This was Vidas A: And Ausra. V: We do hope this was useful discussion. Please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. DON'T MISS A THING! FREE UPDATES BY EMAIL.
Vidas: Hi, guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 423, of Secrets of Organ Playing Podcast. This question was sent by Damian, and he writes: Hi Vidas, I've been catching up on podcasts lately and I'm very pleased that you've touched the topic of my little device. It is a very simple solution from the technical side and there is nothing revolutionary in it, maybe only the application is unusual ;) In Poland, displaying song text in churches is very popular, at least in my area there is a display in every church. The ways are different, from the old school slide projector, through the large TV, to the LED displays, assembled by specialized companies in this field. I also know that in some regions of the country the organist only displays the number of the song, and people have the books in which they find the text. A separate topic is how much such displays help in singing. Decades ago, we didn't have such inventions, and people sang much better. It was because they wanted to sing and sang a lot, and what follows, they knew the lyrics by heart. I do not know how it is in Lithuania, but in Poland, the desire to sing in the church is getting worse, especially among young people. Indeed, displaying the text helps if you sing a less-used song, or further verses, but only to people who want to sing. Sometimes I get the impression that these displays try to "improve" the singing, make people sing more and "as before". Nevertheless, in my opinion, they will not encourage people who do not want to sing anyway, and the problem lies in the fact that contemporary people sing less and less. Thus, technology helps, but to a limited extent, and unfortunately it is not easy to eliminate the unfavorable changes taking place in singing in parishes. Damian V: Well, this is a deep question, right? Even a little bit... A: Yes, it’s a very broad and deep question. V: Yeah. About our civilization too. A: True, and I don’t think that actually Catholic church in general was intended to sing. V: Didn’t think that parishioners were encouraged to sing over the ages? A: Yes, because mass in a native tongue was only held after the Vatican 2nd Counsel, and that wasn’t so far back. And before that what? There were psalms, Gregorian Chant, but they were intended only for clergy. V: Mmm-hmm. A: And clergy assistants. V: And choir. A: Yes. And cantor organist, whoever helped priest to read the service. And in Lithuania for example, we had this strong folk tradition of some folk hymns that people knew by heart and we sang them well, especially elderly women, as I remember them from my childhood. But now this tradition is dying. All those elderly ladies are already pretty much gone. V: So the songs, these songs, were probably older than Vatican too. A: Yes. I believe they were older. And I don’t think that they sang before, in a mass itself. Maybe before mass or after mass. V: Mmm-hmm. Like devotional practice. A: Yes. That’s right. So especially in the months, for example, like a May, which is… V: Dedicated. A: Dedicated to Holy Mary. V: Mmm-hmm. A: So we had special songs for Holy Mary and sang them entire month, I think at the end of each day. And I know that there were gatherings started in church but in peoples houses, were, let’s say entire village would gather in the house and they would sing these sacred songs. V: Mmm-hmm. On Saturdays maybe. A: Yes. V: Mmm-hmm. A: I know that it would be in the evenings after all the work was done. V: Yeah. In May, they would call it something like, May services. But then in peoples houses, not in, not necessarily in the church. But today, it’s more like in the church, at the end of each mass, during the month of May. And I could say the same thing about the month of June, dedicated to the heart of Jesus. A: That’s right. Sacred Heart of Jesus. And then of course, November for All Saints and the Eternal Church. V: And October for the month of rosary, probably. A: So we have all these occasions to gather together and to sing, but now I think all these old traditions are dying. A: When I was a little, somewhere around 1985—I still remember—at one place visiting my grandparents, during the month of May. It was probably end of my primary school, you know, students in primary school had earlier vacations, recess, right? Their school year ended, would end earlier than other people, other older students. So my mom would take me to her parents village earlier then in the summer. So I still remember during that time, one particular May service held in our place, around 1985, where neighbors gathered together, and mostly elderly people, but not necessarily all were old, but some were middle aged, but younger people were playing outside, like myself, for example. And afterwards they were talking and chatting. It was a nice tradition which was very active before Second World War, I would say—independent Lithuania tine. And the people would dance after, even after those services, right? Your parents should remember this too. A: Well, how could we remember what was in between two world wars if we were born after that? V: Ah, right. A: So you are really funny. My grandparents might remember that but they are dead already so I can’t ask them. But anyway, nowadays, people sing less and less and that because of the technology. They don’t have that need to sing. V: Because technology entertains them very well. With the stroke of the finger, you can scroll the screen and find entertainment all day long, and all night long. A: I know. And like earlier, at least you had to have like, CD or vanilla… V: Vinyl. A: Vinyl, yes. V: Mmm-hmm. A: Or something. And now you don’t need that anymore. You just need to have your phone and that’s it. And you can be entertained at any moment to find any song that you want and to think about those programs that can identify any music for you, if you play it to that program. V: For example, when two musicians are in the family like we, can we entertain ourselves more than other people? A: Of course, I think. But, do we do it? V: Yes. We play organ together. This is sort of entertainment too. A: But it’s also our profession. V: It’s even better, right? You get paid to do what you love! A: That’s right. But anyway, I was surprised how well equipped Polish churches are... V: Uh-huh, with screen and projectors. A: Yes, I know. You wouldn’t find that in Lithuania. V: No! A: That would be more like an exception, but not a rule. And, well… V: The best people have, is probably numbers on the board of hymns, that they could then search in hymnals. A: I wonder how Lutheran churches are doing [in] English tradition, that had stronger support of congregational singing through ages. Are they still singing? V: When we were in America, we had also numbers. A: And hymnals. People had hymnals. V: Yes. I once visited our Lutheran church, and saw numbers too—not too long ago. A: But I wonder if we are singing during service—every member of congregation. V: Ah. We need to go. A: We need to go and check. V: Yes. We need to go to Lutheran services in Lithuania too. Alright! So, guys, maybe you could also send us some feedback about your place. What, or how strongly people are singing in your country, and how is it varying from denomination to denomination. That would be interesting to know, right? A: True. And do you yourself think it’s important for congregation to sing, or not? V: Alright guys, this was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember; when you practice... A: Miracles happen! DON'T MISS A THING! FREE UPDATES BY EMAIL.
Would you like to master Ach wie nichtig, ach wie flüchtig, BWV 644 by J.S. Bach?
I've created this practice score (left hand in alto clef) with complete fingering and pedaling so that our students could master this chorale prelude from the Orgelbuchlein efficiently, saving many hours of frustration and achieving ideal articulation - articulate legato. Thanks to Alan Peterson for his meticulous transcription from slow motion video. Basic level. PDF score. 1 page. 50 % discount is valid until April 18. Check it out here This score is free for Total Organist students. DON'T MISS A THING! FREE UPDATES BY EMAIL.
Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! V: Let’s start episode 418 of Secrets of Organ Playing Podcast. This question was sent by Ariane, and she writes: I started hymn improvisation week 5 where I am playing 8th against the hymn tune. I am just not sure what exactly the notes should be apart from the fact that the notes on the beat should be consonant. Do they have to be steps or can you jump up and down? V: So, imagine, Ausra, this is like a two voice counterpoint that she’s working on. One voice has the hymn tune, let’s say the right hand, and the left hand should play eighth notes, so two notes against one. And, she’s wondering what kind of notes to play. Right? Can you make leaps, or do they have to be stepwise motion, musically speaking? A: Well, if you would create a melody in the right hand and the hymn tune would be in the left hand, then I would suggest that you wouldn’t use leaps, because leaps in the melody don’t always sound nice. But if it’s a bass, then leaps are more appropriate. So, it depends on the situation. What do you think about it? V: If we look at the real piece of music, for example, “Basse de Trompette” that Couperin or de Grigny have created in the 18th century, we see that, as you say, trumpets in the left hand tend to have leaps much more often. Of course, they don’t usually, or not necessarily, move in eighth notes, but the principle is that you can create arpeggios more frequently in the left hand. In the right hand, I would say that if you need to use leaps, maybe compensate them by leaping downward, as well. A: Well, that’s always the case in any given voice. Even in the bass, if you leap up, then you have to leap down. V: Or even if you leap up, then resolve this to stepwise down. That’s better. A: That’s right, because it sounds not as good if you leap twice in the same direction, or if after leaping in one direction, you move the voice in the same direction. It’s inappropriate. V: So, by week 5 in the hymn improvisation course, Ariane can already play, I would say, four variations. Note against note: That’s two. Right hand has the hymn tune, and left hand has the hymn tune. And then, eighth notes against the hymn tune in week five, a couple of more versions. So, from one hymn tune, she could really create, probably, four minutes of piece, at least four minutes, because if she plays it slower than a hymn tune might last, more than one minute. Right? A: That’s right, yes. V: So, five minutes, just from improvising simple two voice counterpoint. I think it’s really an interesting technique and skill to have. Not only can she introduce the following hymn, but she could really start creating her own music. A: Yes, I think that counterpoint is the basic of composition and of understanding how music is written. V: I’m really glad that she is doing this and hopefully she can play it in public, maybe in her church or for friends and family. A: True. V: Okay guys, so, if you want to take a look at this course, check out my “Organ Hymn Playing Master Course, Level 1.” It only deals with two voices, and we start with note against note counterpoint, of course, and progress through various subdivisions, and it gradually becomes faster and faster moving passages. Alright, thank you guys for listening. This was Vidas, A: And Ausra, V: And remember, when you practice, A: Miracles happen! DON'T MISS A THING! FREE UPDATES BY EMAIL. Would you like to master Vater unser im Himmelreich, BWV 636 by J.S. Bach? I've created this practice score (left hand in alto clef) with complete fingering and pedaling so that our students could master this chorale prelude from the Orgelbuchlein efficiently, saving many hours of frustration and achieving ideal articulation - articulate legato. Thanks to Gerrit Jordaan for his meticulous transcription from slow motion video. Basic level. PDF score. 1 page. 50 % discount is valid until April 14. Check it out here This score is free for Total Organist students. |
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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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