Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 221 of #AskVidasAndAusra podcast. This question was sent by Ron. He writes: Hi Vidas, I signed up for Steemit 15 days ago; they verified my email but haven’t sent me a password yet, so I couldn’t get into the contest site to upload on Dsound. Anyway, for what it’s worth, here is my recording. It is very simple, but I learned a lot, having forced myself to stick within the FGAC theme. A very interesting exercise. I actually did another one, for 6 minutes, and made no note mistakes (!) but didn’t want to force anyone to listen to something that long. What I tried to do with this one was 1) stick to the notes 2) keep fair time 3) allow myself to play with resolution and not 4) allow my fingers to play fairly disciplined, and then more-or-less spasmodically—which gave me a feel for that “other” side of playing and what we fear to do… Anyway, you don’t have to listen to this or upload it—but you can if you would like; the site won’t let me yet. I do intend to enter these contests, I haven’t “forced” myself to do anything quite like this an a long time! I especially wanted to let you know that I did a recording, and that it was a big step forward for me. I appreciate what you are doing! You and Ausra are going to have WAY too much to do in your 100s, heh, heh. Cheers, Ron A: That’s a sweet letter. V: Ausra we hope that Steemit will facilitate registration process for new users and send passwords quicker, right? A: Yes, we hope so because now it’s quite annoying when you have to wait for a password for a week or even longer. V: For longer. He wrote that he signed up for Steemit 15 days ago. A: Wow, that’s more than two weeks. V: And some people never get their passwords with this system but I heard that a new hard fork is coming when the registrations will be automatic so maybe then it will be all easy to sign up and fast. A: Let’s hope for it. V: Because all those benefits that Steemit platform provides it’s all for nothing if legitimate users cannot sign up. A: True, true. V: They will never come back. A: That’s true. So, what is your impression about his improvisation. V: We listened to it, yes, just a moment ago. First, let me congratulate Ron for being brave and submitting his playing. It feels like he hasn’t been doing this for many years, right. He’s just experimenting and finding for himself what is possible. A: True. V: I think the theme, four notes, F, G, A, and C is simple enough for anyone, even a beginner, really, who never ever played the organ experiment with those pitches in any order, in any rhythm, in any octave, in any meter, in any texture and registration. And even form you can mix up things to do interesting stuff back and forth, right Ausra? A: True, yes. That’s quite a nice motive you know to improvise. V: Um-hmm. And this week, for week second, I also chose four pitches but they are different. D, E, F#, and G#. Like lydian, lydian tetrachord. A: I think this improvisation will sound more modal. V: The first week with F, G, A, and C is like pentatonic almost. A: That’s why it sounds so calm and down. It has no tension. V: No tension, exactly. I think Ron did a good job of doing this for the first time and the second week even if he doesn’t enter the competition if he records himself and let’s say sent this recording to us or uploads it online for anyone to listen he will discover something new about himself, about this music, and about this instrument that he is playing probably at home. A: Yes, sure and you know you could use like more varied dynamics you know because varied can be really from the pianissimo to fortissimo and try to explore different registrations, and you know to play not only one octave but keep range varied from the lowest notes to the highest notes. V: Let me tell everyone a little secret how it’s so easy to make a fantastic improvisation on those four pitches. I will tell you the secret in a moment and you will think how didn’t you think about this before. And once you apply my tips in your next improvisation you will not reach level 2 but you will reach level 10 I think right away. A: Wow, tell us about it. V: (Laughs). I’m curious myself now. A: I know. It sounds so unrealistic so. V: It is. A: I’m wondering what you are talking about. V: For everyone it will be different because everyone’s passions is different. For example take you favorite organ piece that you are practicing right now. It could be, I don’t know, Orgelbuchlein chorale prelude by Bach, or some romantic work, or some fugal work. Any type of composition that you enjoy today playing. And you know the intricate textures and details well enough. OK? And then second step would be to analyze a little bit what is happening in terms of texture, rhythm, dynamics, registration, where the melody goes up or goes down, what does the pedals do, OK? So that composer, let’s pretend the composer was Bach and he created chorale prelude from Orgelbuchlein. And he does all kinds of wonderful things and the theme is in the soprano perhaps or in the alto sometimes. It doesn’t matter. What matters is you now know the secrets behind this composition well enough so you put the music in front of you just like you would be playing it on the organ, but instead of playing this piece you’re using only four pitches, right? Either F, G, A, C like in Ron’s case or D, E, F#, G# like for week 2. Imagine that. But you are keeping your model intact. Your basically doing everything that your master did three centuries ago but with four pitches, you know? You could do that on paper first of all. Just write down similar things you know to see if this works well enough. But if you are brave enough you can actually play it. Four pitches is not too much in both hands and pedals and in various octaves. And because Bach made the music interesting enough you could also do interesting stuff too keeping similar procedures. What do you think about it? A: Very interesting. Now I’m working you know I’m repeating the Chorale in B Minor No. 2 by Cesar Franck and I’m thinking how it would work with it. V: B Minor, OK. A: Because it has that you know sort of not passacaglia theme but something similar to passacaglia style a little bit. V: You keep everything similar, not the same though but similar in your own imagination. But you only use those thematic pitches. A: But what to do with those modulations, no? Because like Franck used so many of them, and sudden changes of the keys to extreme you know to foreign keys, and enharmonic modulations. V: Let me ask you this question. If Franck wrote everything in one key, just in one B Minor key with two sharps right? And he only used what, seven notes, not four notes but seven notes. Do you think this music would be absolutely boring? Not really, right? A: Oh yes, but somehow it’s hard to imagine Franck not using modulations. V: No, no, no. Of course he will use modulations and of course it’s normal. But, if we just omit those modulations and key changes for a second in our mind there are plenty of other musical elements which are being varied at the same time as modulations. Rhythms are changing, right? Perhaps texture is changing, dynamics are changing too, registration is changing too. So those four at least things could be used as in Franck’s model but with your own theme. A: Yes, could be very interesting. V: Yeah, and it could be done not only with Franck but with Buxtehude, with Sweelinck, with Tournemire you could you know open any score that you like and experiment with what you can extract out of that score and make it your own. And of course if you are you know more experienced with this you can add a second section with another set of four pitches and then a third section where you come back to the first set of four pitches then you will have ABA form. A: Yes, with a nice simple few parts piece. V: Maybe it’s not for that contest, not for this competition but it’s a principle that you could easily follow. Anyone can do this actually just I’m especially certain that now if Ron is listening to this and taking this tip seriously his next improvisation will be in level 10 and not in level 2. A: That’s true. And I think it’s very nice to take a set of like four notes and to improvise something for the church especially when you don’t have much time to prepare for it. You know and to learn some difficult organ music. I think it would work quite well for communion, let’s say. V: Exactly, like a meditation. A: Yes. V: By the way, here is Ron's entry for the contest the following week. Listen to it here. Thank you guys. I really hope this was useful, don’t you think Ausra? A: Let’s hope for it. V: And let us know if this helped and please send us your recordings maybe next time we could listen to it and discuss your feedback as well with your questions. This was Vidas. A: And Ausra. V: And remember when you practice and share your art… A: Miracles happen.
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Secrets of Organ Playing Improvisation Contest Week 4 is open. The deadline is Monday, May 28 at 12:00 PM UTC.
Here are the details for entering. Hope to see you on the inside! Congratulation to the winners of the previous week! Please click on the above link if you want to hear their improvisations. Would you like to master Puer natus in Bethlehem, BWV 603 by J.S. Bach from the Orgelbüchlein?
I've created this score with the hope that it will help our students who love early music to practice efficiently and recreate articulate legato style automatically, almost without thinking. Thanks to Mark Downey for meticulous transcription of fingering and pedaling from the slow motion video. Basic level. PDF score. 1 page. 50% discount is valid until May 28. Check it out here This score is free for Total Organist students. Vidas: Hi guys, this is Vidas
Ausra: And Ausra. V: Let’s start Episode 220 of #AskVidasAndAusra podcast. This question was sent by Jan, and she writes: Dear Vidas, Thank you for asking how my practice is going today. Today I am struggling with hymns. I am not very competent with the pedals. I practice separately...pedals, RH, RH and pedals, LH, LH and pedals, RH and LH, RH LH and pedals. I also write in the pedaling and fingering. It seems to take me ages to learn a hymn; especially as playing a hymn on the piano is very easy. Perhaps I need to do more slow practice and perhaps I need to do more separate practice rather than playing the hymn together over and over again. On a more positive note...I have been playing in church for a year now and my playing has definitely improved. I am very pleased. It has been worth all the hard work. Thank you for your help over the last year. Kind Regards, Jan Ausra, do you think that playing hymns is the easiest part of organists’ work? A: Well, I don’t think so. I think it’s quite hard to play hymns, because you’re accompanying the congregation, and you never know what will happen during the service and during the singing, because when you are playing a solo piece, then you are only responsible for yourself. V: Mhm. A: But when you are playing hymns, you are responsible for the entire congregation, and I think it’s quite demanding. V: Right. I think playing the hymn nicely, in time with the congregation--and actually leading it, not following--it’s a tricky skill to have and develop over time, but very handy. And I think the first step would be to--in addition to knowing all the parts--probably know all the harmonies, too. A: Yes, this might be helpful, too. V: Because when we compare 2 people who can play about the same level, and one can do only the music without understanding what is going on, and the second one can also analyze all the chords, and chord progressions and modulations (if there are any), and cadences perhaps, then the second person will definitely have an advantage. A: Yes, I couldn’t agree more; knowing theory helps a lot, especially in tricky situations. V: So Jan should take up, at first probably, music theory practices; and also, later, harmony, once she’s familiar with the chords. A: I think it would be very beneficial. V: So, our course which is called Basic Chord Training would be helpful for her to get familiar with all the basic 3-note and 4-note chords, in a position to be played with one hand only. A: Closed position. V: Closed position. But then, afterwards, I think she could progress to Harmonic Studies. A: Sure, definitely. And because, you know, hymns are nothing but 4-part harmonization sets. V: Mhm. A: So it’s very well-connected with hymn playing. V: Do you think, Ausra, that at this stage of her development, Jan could supply her own harmonizations, with pencil for example? A: I don’t know how well she can harmonize, but… V: She could try. A: But yes, she could try, why not? V: Following examples of well-known hymns-- A: That’s right. V: From the hymnal. A: But you know, for Jan, I think--because she’s already an organist for many areas--I think the second year will be getting easier, because some of those hymns that she worked on in the previous year will repeat. V: Definitely, yes, I too agree with you here. And also, I think practicing 7 combinations as she does, instead of 15, is probably perhaps not enough for everybody. Maybe she could try to do SATB alone, instead of RH, LH, and pedals alone, and then to do all kinds of 2-part and 3-part combinations, too. Don’t you think? A: Well, it might be beneficial, if you would keep the same fingering--then yes; but if you would play with different fingers, then it would be not so beneficial. V: Ausra, what about hymn sightreading? A: That’s very beneficial, definitely. V: Take an unfamiliar hymn--one hymn a day, at least--and sightread it; and if you cannot play 4 parts together very very slowly without mistakes, then you could play just 1 voice. A: But yes, as Jan said herself, maybe her problem is that she practices too fast; because she says that she needs to practice slower. V: Mhm. A: So yes, the tempo might be the issue. V: Usually people who say they might need to slow down--not only are they practicing too fast, but I think WAY too fast. When they will slow down, it will be too fast even then, I think, usually. A: Yes, that might be… V: Let’s say at quarter note at 30bpm would be the fastest available tempo for her, I think. Right? A: Yes, I think so. V: Not 40. 40 is a little… A: Yes, there is no need to rush. V: Mhm. A: Because, in any case, you will dictate the tempo for the congregation that they will sing, especially if you will play the organ loud. V: Yes. So, sightreading hymns, then music theory, and harmony later on...and of course, regular practice. A: Sure. In a slow tempo first. V: Never skip 2 days in a row. You can skip 1 day, but 2 days in a row is not good. Right, Ausra? A: That’s true. V: Because when you skip 1 day, then you can make it up the following day by practicing a little bit more; but when you skip 2 days in a row, to make up for those 2 days on the following day will be much harder. You will be tired! A: That’s right! V: Excellent. So Ausra, I think this is useful advice for people who want to improve their hymn playing. And for closing, what would be your last piece of recommendation? A: Well, practice every day; practice in a slow tempo; know what you are playing about, what the music is, how it’s put together; know the text of the hymn--that might help, too. V: And practice, probably, changing registrations between the verses by hand or by pushing pistons in rhythm. A: Yes, that’s a very good suggestion. V: If you mess that up, you can miss the entrance of the next verse, or make a mistake. A: True. V: Okay guys, this was Vidas. A: And Ausra. V: Please send us more of your questions; we love helping you grow. And remember, when you practice… A: Miracles happen. Would you like to master Jesu, meine Freude, BWV 610 by J.S. Bach from the Orgelbüchlein?
I've created this score with the hope that it will help our students who love early music to practice efficiently and recreate articulate legato style automatically, almost without thinking. Thanks to Jan Pennell for meticulous transcription of fingering and pedaling from the slow motion video. Basic level. PDF score. 1 page. 50% discount is valid until May 26. Check it out here This score is free for Total Organist students. AVA219: Would a given piece of music have the same "feel" if transposed to a different key?5/18/2018 Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. Vidas: Let’s start Episode 219 of Ask Vidas and Ausra podcast. This question was sent in by Russell, and he writes: Greetings, Vidas. I found your course while searching for guidance as how to educate myself in music theory. I have a piano and an old Hammond organ, but I am not a musician. I read music, but only with difficulty. I desire to learn music theory because I do not understand many things about music. Most importantly, would a given piece of music have the same "feel" if transposed to a different key? For example, why did Bach choose D-minor for the Toccata & Fugue, BWV 565, and C-minor for the Passacaglia & Fugue, BWV 582? Would music written all in the same key be boring or tiresome? Or does the key (other than major or minor) enhance the effect of a particular piece of music? It seems to me that, for me, a good starting point would be to practice and memorize scales and chords. I love classical organ, but I wonder how an organist manages to keep track of multiple voices, such as in a fugue. I wonder whether some brains are "wired" with this capability and others are incapable of playing polyphonic music. By the way, are organists typically ambidextrous? At age seventy, I do not expect ever to become proficient on the organ, but I do find your instruction enlightening and welcome. Russell Harris V: Ausra, this is a nice account of Russell’s experience because at this age when he’s 70 years old and still is interested in music theory, it’s a great gift! A: Yes, you know, and I appreciate his question because some even professional musicians, they, you know, play for like 20, 30 years, and they never raise for themselves similar questions. So this is, I think, a very nice example of how people can, you know, think. V: Obviously, if pieces are written in different keys, there is a reason for that. A: Sure. And just a couple days ago Vidas and I gave a lecture at our school of art about historical temperaments. And, that’s why I think originally musical compositions were written in different keys, because each key had a different meaning, because each key sounded different at that time. Because before the beginning of the 20th century, you know, the A of the first octave wasn’t tuned in 440 Hz. V: Mhm A: And it could be higher. It could be lower, and the half steps wouldn’t be equal, and we have many many historical temperaments. And, in Bach’s time, for example, there were, like, Kirnberger II, Kirnberger III, and Werkmeister, and Rameau, and all those other temperament systems. So, and it makes sense why Bach wrote his compositions in different keys. Because each of it’s keys had its own unique character. V: And symbolism, too. A: Yes, that’s right. V: So, the difference between D minor and C minor was very apparent in those days---not so much in our time, if you play on a modern tuned instrument. A: True, because, you know, D minor was a more common key at that time, and it sounded a little more like a regular D minor key, especially because most of Baroque music still had like a D minor sort of Dorian feeling. V: Mhm A: It often had a raised 6th scale degree, not B♭ but B natural, as in the Dorian mode. V: Mhm A: But for example C minor, it had more accidentals, so it sounded more dramatic! V: Yes. The more accidentals you have, the more colorful the sound---sometimes dramatic, if it’s a minor key, and sometimes more joyful, I think, if it’s a major key. A: True! For example, E♭ major, that’s a very, very joyful character. V: Or A major. A: Yes. A major was suited more for, like, pastorale scenes. V: Mhm. A: And E♭ major was considered, because it has three accidentals, it was connected with the holy trinity. So, this is a whole different world beneath those keys. V: It’s connected with musical rhetoric, and musical affects theory, but Russell is, of course, on track here, thinking that it shouldn’t sound the same when transposed to a different key. And, he wants, of course, to learn more about music theory, and Russell suggests he would practice memorizing scales and chords. That’s probably one of the first steps, Ausra, right? A: Yes, I think it would be helpful. V: Not only will it improve his own technique, but his own knowledge of other keys, and the system of circle of fifths. Things like that will help him understand how pieces are put together. He should not stop here, though. Even if it’s a slow practice. But, I think in the not too distant future, he will be able to expand his knowledge into, let’s see, cadences, modulations, A: That’s right.. V: Things like that. And then the last part of his question is really intriguing. Russell asks whether some brains are wired for understanding and playing polyphonic music, and others not. A: <laughs> I think maybe for some people it maybe easier than for others, but, I think for everybody it’s quite hard and it needs some special training, and it needs time. V: But, for some people it’s easier than for others. A: That’s true! V: Who can coordinate and do two things at once. A: Well, and he asks about if the organists are typically ambidextrous. That’s a very nice question, actually. About that, that people can be ambidextrous, I found out about 10 years ago, only. Before that, I thought people could only be either right handed or left handed. But, you know, I am right handed, and so is Vidas! V: I even am right footed! A: <laughs> I don’t know about that, but, for myself, yes, I’m right handed, but since I have played starting from the age of five, in time, over the years, I think I improved my left hand enough. V: Mhm A: For example, in the summer time, sometimes I go to the forest to pick berries, for example, lingonberries or blueberries, and I can do that equally well with both hands. And other members of my family are wondering how I can do that so well, and I think its partly because I’ve played the instruments all my life: organ, piano, so… V: I also eat berries with both my hands! A: <laughs> but I’m telling you about picking them. V: Oh no, I prefer eating to picking! A: I know that, so that’s why I have to pick berries with both my hands, so that you could have plenty of them to eat! V: Yes, big stomach! And then, of course, we have to think about if some people develop this ability faster than others. What about, Ausra, your parents. Can they use their hands equally well or not? A: Well, probably not. V: Not so much. A: Not so much. Yes. And I think that it’s important, because you know that one part of the brain is responsible for math and science, and another one is for more responsible for arts V: Mhm A: and probably languages V: Creative stuff. A: Yes. So, and it’s important that if you are right handed that you would work more on your left side of the brain, and vice versa. V: To compensate? A: Yes. So I think for right handed, it’s a good way to learn arts. V: But actually, Ausra, you’re sort of… you have to add… because… it’s a mixed connection. The right side of the brain controls the left side of the body. A: Yes. V: Mostly. In motor skills. And vice versa. The right side of the brain controls the left hand, for example, more. A: That’s right. V: So, what does it mean? I think that you have to do both things at the same time sometimes. Improve both hands. To coordinate both hands. It’s wise to develop these skills especially in organ music because we have so many melodies moving independently at the same time. A: That’s true. And that’s why it’s so beneficial to play the organ, because it keeps your brain in a good shape. V: Yes. And, if Russell is 70 years old, he will find out for himself very soon that practicing actually organ music and analyzing organ music is even better than solving sudoku puzzles or crosswords from developing Alzheimer's to prevent such diseases, too. It’s like always engaging your brain, always exercising your brain when playing the organ. A: True! V: Wonderful. Thank you guys for listening to us and for applying our tips in your practice. We hope this has been helpful to you, and we also hope to receive more of your questions to help you grow further. This was Vidas, A: And Ausra. V: And remember, when you practice and share your art, A: Miracles happen. Would you like to master Nun komm', der Heiden Heiland, BWV 599 by J.S. Bach from the Orgelbüchlein?
I've created this score with the hope that it will help our students who love early music to practice efficiently and recreate articulate legato style automatically, almost without thinking. Thanks to Jan Pennell for meticulous transcription of fingering and pedaling from the slow motion video. Basic level. PDF score. 1 page. 50% discount is valid until May 24. Check it out here This score is free for Total Organist students. Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start Episode 218, of #AskVidasAndAusra Podcast. And this question was sent by Bruce. He writes: Hi Vidas and Ausra, I am working on BWV 615 (In dir ist Freude) from the Orgelbüchlein, and I have a question about possibly moving a measure or two written for the pedals and taking them in the left hand instead. In measure 8 (and later, equivalently in measure 24, and also possibly 4 bars from the end), it seems to me that the quasi-Alberti figure in the pedals could (and possibly should) be taken by the left hand. In terms of registration this also makes sense to me (allowing the pedals to have a 32 foot stop, and individuating the left hand from the pedal with a 16 foot stop in the left hand). Also, by doing this, the pedal part that is established in the wonderful figure in the first measure (and found throughout the piece), can be given it's own character. Besides, to be honest, my pedal technique still isn't quite up to a full measure of 8th notes yet ... A few quick questions then: 1) Is it a common and acceptable practice for an organist to essentially move parts between manuals, and between manuals and pedals? I feel somewhat uncomfortable doing this (after all, who am I to alter Bach's written score?!). 2) I'd like to hear your suggestions on registration for this work, if you would care to share them. 3) As I am new to pedal work, can you suggest appropriate pedal footwork for the predominant figure in the pedals in this piece? (And yes, I am working on my pedal technique, it's coming along, thanks to your pedal power course ... slow and steady ... it's a miracle.) Cheers, -Bruce V: So, Ausra, we have a score in front of us, right? A: Yes. V: And what can we say? I think he refers, Bruce refers, to the first passage of the pedals which has eighth notes, throughout one measure—this is measure eight. Before that it was mainly quarter notes and then ostinato figure in the, in the, in the pedals, right, which obviously is repeated. But what happens then is arpeggio figure in the pedals. What do you think about it? A: About what? If it would be possible to play that measure in… V: In the hands. In the left hands. A: Well, technically, yes, it would be possible but I wouldn’t do it. Because, you know, Bach was really specific about what he wrote down in each of his pieces. And sometimes, you know, he even wrote a riddle in his pieces, and various symbols, religious and his personal symbols in the pieces. So I, I, I would not mess up this, you know, what he originally wrote. Because if he puts those figures in the pedals it means that he wanted them in that place, be played with the pedals. V: I can understand Bruce while he, why he would want to do this because it’s very high in the right hand, in the, in the tenor range, extreme right, right of the pedalboard and it’s really uncomfortable, right? And if he is just struggling with his pedal technique and, and still has ways to go, then playing eighth notes in, in rather fast tempo, as it is with ‘In dir ist Freude’. It’s a struggle. A: Well, but since, you know, you have a so many rests in that measure in the hand part, maybe you could, you know, shift a little bit, you know, higher up and look at the measure before. You again, in the pedal part, you have like a, a half-note D, D and C and that’s the highest notes in the pedal, on the pedalboard, basically. So you are already, have to be in the right position. V: Right. A: So I don’t think it would be so hard to play that next measure. Of course you have to practice it in a slow tempo and find the right position—comfortable position. I, I still think it should be okay, and I think it would take, you know, less time to learn it correctly with the pedal, than, you know, rearranging it and playing with manuals. V: And think about this: what happens in a few years, when Bruce is really advanced and can play almost anything, and he comes back to this beautiful piece, I’m sure he would want to repeat it, right? And, and suddenly he sees himself playing left hand with this measure. At that point in a few years, I think his mind will change. A: Sure. V: And his abilities change. He would be able to do so much more, right? A: And you know, somehow, in, in this particular measure, pedal part is written in such a way that actually it has two melodies; one is played with left foot and other one is played with right foot. You need to hear them both, and I think the, the left one is more important so you have to lean more on it. Yes? V: You are very, very right here, Ausra. Because if we see what’s happening one measure before the pedals are playing half-notes, D, D, C. And then if we continue just this model of noticing half-notes, the next important pitches in the pedals would be B half-note, B and A. So what does it mean? It’s a, it’s a choral tune. A: That’s right. V: Its a choral tune. If you suddenly drop this choral tune to the left hand, it sort of breaks up a little bit, right, half of the tune is in the pedals and half of the tune or the theme is in the left hand. It doesn’t make sense in this case. A: So, yes. So I would just you know, leave it in the pedal. I’m sure you can manage it, you know, after a while of you know, correct slow practice. Just be really patient. V: Mmm, hmm. Exactly. The next measure after this arpeggio figure in the right hand demonstrates exactly what is happening with the tune in the right hand; D, D, C, B, A, G. So these are the pitches that are present in, in, in the pedals as well. And I think it makes sense to keep them in the pedals as well. A: Yes, that’s what I think too. V: But,,, A: True, and maybe then you play pedal part like that, maybe you need you know, to underline or, you know, to make in circles those most important note. Like in this hard measure it would be B, B, and E. V: Mmm, hmm. A: And you would lean more on those notes with your left foot. And this might help too; look, don’t try to push hard each of those eighth notes. That might, you know, make also it technically challenging. But if you will focus on those three most important notes, I think the others will be played easier. V: Mmm, hmm. You’re right. And we should point out, that the right place to switch direction to the right, is right after you finish the ostinato figure in the bass on the note G. A: That’s right. V: Right? You have one measure rest then. And when you release G with your left foot, afterward, you have to push off with the left foot to the extreme right. A: Yes, to shift your body to the right side. V: Your lower body will be shifted to the right and your upper body will be facing straight to the music rack. A: That’s right. V: That’s the most comfortable way, actually, and the most efficient. And now let’s see if Bruce wants to hear our suggestion about registration. Registrations of course should be played with Organo Plano, don’t you think? A: That’s what I think because this choral has such a joyful, joyful and confident character. So that’s what I would do, I would play it Plano. V: Would you a add 32’ in the bass? A: Well,, V: If it’s not too muddy, right? A: Yes. If it’s not too muddy. If acoustic is, is, is dry enough I would add 32 probably. V: Mmm, hmm. And in the hands, the lowest principle should be 16. A: 16 yes, if you use 32 in the pedals, then yes, you need to have 16’ in the manuals. V: Uh huh. And don’t forget to add all kinds of principles; 16, 8, 4, a fifth, 2 2/3, principle 2, and then probably mixture. A: Yes. V: And maybe, possibly coupling the manuals and adding another plenum from the Positiv let’s say. A: True. V: To the Great. With the higher mixture. A: And look this also sort of massive registration, it will, you know, slow down, slow down your tempo a little bit, because you don’t want to play fast with a registration full like this. V: Mmm, hmm. And of course, a third stop, 1 3/5 is appropriate in Bach’s area because it was included in the mixture composition too. A: That’s right. I like actually to use third in Bach’s work. V: It’s like a little bit of pepper in the dish. A: True. True. V: Then of course, Bruce asks is it’s possible to rearrange and move part between manuals and pedals in other pieces, right? There are some instances in other composers. A: Well, yes, yes, yes, and, and no. Because for example, let’s say take a music for example for, of Cesar Franck, and I think everybody knows that the picture on the Dover’s Edition of Frank’s complete organ work. V: Mmm, hmm. A: Which shows, you know, Franck sitting on the organ and pulling of one of the stops and it shows his hands very nicely. And everybody can see how huge his hands were. And thinking about that you understand why some of his range in the manual was just simply almost impossible to play legato. Think about such pieces in E Major Choral, Choral #1, yes, or Priere and some of his other organ music. But you know, I heard in some conferences and masterclasses that even in places like this, professionals don’t suggest to put and to play some notes from the manual in the pedals. V: Mmm, hmm. A: Because it’s, it’s sort of inappropriate. You can do things like this easily when you play at transcriptions. V: Mmm, hmm. A: Then yes, you can do whatever, you know, what makes you comfortable. V: What about Ausra, for early music? Is it more acceptable to rearrange parts? For example, for example; take a look at Tabulatura Nova by Samuel Scheidt, right? You could easily play every piece for manuals only, or you could play Cantus Firmus choral melody in the pedals. A: No about early music what I would do. If I would have organ without pedal, then yes, I would play pedal part in the manual. But if I would have organ with pedal then I would play pedal part in pedal. V: Mmm, hmm. A: What about you? What about you? V: Yes, I would probably do the harder, the hard way. I mean what, what would sound best, right? If the pedals would have it’s own stop, maybe with a reed, why not use the pedals, right? So, so the more pedals, the better, in this case. If it’s, of course it’s more, more difficult but it takes time to develop this skills but in a few years, I think Bruce will understand this easily, and,,, A: True. V: And can play almost anything. A: And I think if you, you know, if you will start to avoid pedals right at the beginning of you know, of your career as an organist, then you know, your progress will be much slower. V: Exactly. A: And you may never be comfortable with pedal parts. So I think it’s better you know, to play as much for pedal parts as possible, right, at the beginning. V: The last point, question that Bruce makes is about pedaling the most prominent figure, ostinato figure in the pedals. How would you, would you Ausra, suggest to pedal this opening measure: D, G, B C D, C D, G. A: Well, I would play left, right, V: Right. A: Left Right Right, Left Right, Left. That would be my suggestion. What about you? V: It makes sense. We use alternate toes mostly, in, in early music, except, when pedal part switches directions. Or when you’re playing extreme edges of pedalboards. Or if the notes are very long, you could play with one foot. So, but in this case, it’s left right, alternate toe, then left right, alternate, but then the next note is with right also because afterwards it changes direction. A: And in this place if you will play C and D with right right, you will have a sort of a good articulation too. V: Yes. Before stronger beats, you articulate more. Especially when playing with the same foot. A: And know, and that you know, the tempo is quite fast in this piece, if you will start to alternate between that C and D, you might, you know, mess up. I think it’s easier to play C and D with right right. V: Excellent. We hope this discussion was useful to other organists besides Bruce, who maybe will be taking this piece and practicing. It’s a wonderful choral. A: It is, it’s one of my favorites, yes. V: It’s, it’s very unique in the sense that it’s not a Cantus Firmus choral or a ornamented choral. It has the structure with ostinato figure throughout the piece, but also, it is also fragmented. It’s not entire choral that is heard but just a measure or two at a time. So, we are actually in the process of making videos in the slow tempo. And our team are helping us to transcribe the fingering and pedaling. So in not too distant future, expect the pedaling and fingering prepared for this particular piece too, and maybe this could be helpful for other people. A: Yes, I hope so. V: Wonderful. Thank you guys. This was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember; when you practice, and share your art… A: Miracles happen! Would you like to master Vom Himmel kam der Engel Schaar, BWV 607 by J.S. Bach from the Orgelbüchlein?
I've created this score with the hope that it will help our students who love early music to practice efficiently and recreate articulate legato style automatically, almost without thinking. Thanks to David Poole for meticulous transcription of fingering and pedaling from the slow motion video. Basic level. PDF score. 2 pages. 50% discount is valid until May 22. Check it out here This score is free for Total Organist students. Secrets of Organ Playing Improvisation Contest Week 3 is open. The deadline is Monday, May 21 at 12:00 PM UTC.
Here are the details for entering. Hope to see you on the inside! Congratulation to @hexacyanoferrate and @bee3 for winning the previous week! |
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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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