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Have you ever been to recital of organ music where the organist radiates passion for his or her art? Such experience can be a life-changing event for many listeners. An organist who is passionate about his or her music can be a real eye-opener and attract many new organ fans. So how do you play with passion? Read this article to find out my tips and advice.
1. Play what you enjoy. This is probably the most important rule. You have to play, learn, practice, study and perform the pieces that you love. Live is short and there is only so much time in the day so you have to carefully think what you like best and play it. Play only quality organ music which withstood the test of time. So much organ music has been written in the last 30 years or so and a substantial part of it is of low quality (especially in church music field). In general, when you look at the organ piece, see if it has all the features of the quality composition - harmonic, melodic, rhythmic integrity, and balanced formal design, among others. Of course, if you are a student or your experience at the organ is limited, you have to play a wide variety of repertoire in order for your organ education to become complete. But even in this case try to pick pieces which are worth learning. 2. Enjoy what you play. This is the other side of this coin. You have to love, what you play, learn, practice, study and perform. Otherwise you will find difficult to be honest about it and your playing will not be passionate. You have to sincerely try to find all the strong artistic features of your piece and fully enjoy every minute you play it. Remember, practice is a privilege, as my former organ professor Pamela Ruiter-Feenstra always says. Because of variety of reasons, many people who love organ playing have no practice possibilities and opportunities or their practice time is limited. So if you are able to sit on the organ bench and practice, it should feel like a privilege to you. When you understand this, you will be grateful for short or long moments you are given on the organ bench. Such moments you will definitely enjoy. Of course, you might have a question, like "what if I HAVE to play this composition which is not exactly my favorite?". You see, always try to see the features in your piece which you can learn from. I believe every piece has certain elements which you can appreciate. Even if you have to play a low quality composition, ask yourself, "what makes this piece a low quality and uninteresting?" Then you can learn from it and try not to repeat the mistakes this particular composer have done when you create your own music (yes, you should compose music - study the existing compositions and try your hand at it, it's fun and you will learn a lot in the process). As you can see, passionate organ playing shows. Play what you enjoy and enjoy what you play. Then your playing will change lives. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Have you been to an organ recital which lasted too long or too short? I have. For organists the question of timing is really important because if they play a recital which is too short, the listeners will be disappointed and if it's too lengthy - they will be bored and want to leave. If you are wondering what is the optimum length of an organ recital, read this article.
I have found that the optimum duration of a recital without intermission should be around 60 minutes (with stop changes). However, the ideal length of a recital depends on other factors, such as how cold it is in the room. If the recital is during winter time and the church is not heated, it is probably better to make it shorter than usual, perhaps 30-45 minutes. Otherwise, people might catch cold during your playing. If the building is heated all year round, you can make the length of a recital as usual - around 60 minutes. In cases when the program consists of long cycles, such as Clavierubung III, the Art of the Fugue, 18 Great Chorale preludes or other collections by Bach or other composers, you can plan for a longer duration. This is acceptable because people will expect it to be longer. If the recital is with intermission, each part could last around 40-45 minutes (encores not including). This is usually the case in large concert halls. The length of the recital does not matter so much in cases where the organist is of world class caliber. Then the listeners would not want him or her to stop playing anyway. In such cases, one or more encores is normal. Generally speaking, it is better that listeners would want for more music than to become bored. In other words, if your program is just a little under 60 minutes (around 50-55 minutes) it is OK. There is no need to try to squeeze in an extra piece or two if the program is ideally balanced. In addition, you have to remember that people who are going to attend your recital, might be frequent concert-goers and they might be used to the normal recital format of 60 minutes. I usually plan around 50 minutes of pure music. That leaves me around 10 minutes for registration changes between the pieces. One more thing is important to remember here. If you plan on talking during the recital, try to calculate the time of your presentations so that recital would not last too long. The bottom line is this: your listener's time is as precious as yours - don't make your recitals too lengthy. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Do you know what is the difference between a good performance and an exceptionally outstanding performance? Furthermore, do you know how to achieve the level of an exceptionally outstanding performance? In this article, I will give you 8 tips on how to strengthen the quality of your organ playing so you can advance to the next level.
1) Fingering. When you open your new organ score and want to start practicing a new composition, don't play it right away from the beginning until the end. I mean, you could play it through once just to get familiar with it but then the real practice begins. Write in your fingering in every difficult spot of the piece. How to find out if the passage is difficult and needs fingering? You could play it once and see if you made a mistake. If you did, stop playing, go back, figure out and write in the most efficient fingering for it. 2) Pedaling. I suggest you write in pedaling on every note in the pedal line. This is very important because unlike manual playing, pedal playing usually is a completely new skill that organists must learn. 3) Notes. When you have fingering and pedaling in place, you can now start practicing it. Observe that every single note is correct. Sometimes you can hit the wrong note accidentally but in most cases, it is better to go back and play this spot with correct notes at least 3 times in a row. 4) Rhythms. In every measure, make sure that your rhythmical values are also correct. This is usually not so difficult in places with straightforward rhythms. But when you see any complications, such as syncopations, dotted notes, duplets, triplets, irregular rhythms, meter changes and so on, you have to be very careful about playing with correct rhythms. It is best that you subdivide the beats of each measure and count out loud while playing. 5) Articulation. Do not play every note legato. For people who come to the organ from piano playing, this is especially difficult to understand at first. You see, you have to look at the historical period that this piece was created in. If you are playing a piece by a composer from Renaissance, Baroque or Classical period, play with gently detached articulation (articulate legato) unless it is indicated otherwise by the composer. If the piece is from the Romantic or modern period, usually composers indicate articulation very precisely. So pay close attention to each slur, dot or dash under or above the notes and try to execute them in the exact way. 6) Phrasing. If you want your organ performance to become natural, try to incorporate phrasing in your playing. This helps to achieve a feeling that you breathe together with music. In fact, you should breathe slowly, deeply and consciously while playing. Look for cadences in your music which reveal perfect places for phrasing. 7) Tempo. While performing, choose a concert tempo very carefully. Evaluate the mechanics and the size of the organ. In addition, assess the room in which you play and the reverberation of the space. While practicing, usually take a much slower tempo which will allow you to avoid mistakes in your playing. 8) Practice. When you practice your piece, be very systematic about how you learn new music. It is best to practice in short fragments of about 4 measures each and later combine them together. Also for polyphonic music try to master each voice separately, then combinations of 2 voices, 3 voices and only then - the entire 4 part texture. Strengthen the quality of your organ playing by concentrating on the above details and making the details concentrated. This approach will help you to achieve the level of exceptionally outstanding performance. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Organ Playing: How to Memorize Prelude and Fugue in B Flat Major, BWV 560 in 8 Easy Steps?6/17/2012 If you can play the Prelude and Fugue in B flat Major, BWV 560, why not memorize it? After memorizing this composition you will have a much deeper understanding of it. In fact, if you truly want to master this piece, you should be able to play it by heart. Here my 8 steps in memorizing this exciting composition.
1) Take a slow tempo and play the 1st measure 5 times from the score and 5 times without looking. Since one measure is a very short fragment, you will find that it is a natural process to memorize this way. After 5 repetitions, the music will start to stick into your memory. 2) Take the 2nd measure and memorize it in the manner I just described above. It is best to start and end the fragment on the downbeat. This way you can easily learn to connect the fragments together. 3) Practice the 3rd measure and finish on the downbeat of measure 4. Play it 5 times from the score and 5 times from memory. 4) Then learn measure 4 in exactly the same way. These 4 steps take about 15 minutes of practicing. 5) Memorize measures 1-2, 2-3, 3-4. Later practice 1-2-3 and 2-3-4. Finally master all four measures. 6) Then take another fragment of 4 measures and repeat the above 5 steps. In the similar manner, learn the entire prelude and fugue. 7) Combine the 2 fragments, by playing 8 measures without stopping. Later memorize 16 measures, 32 measures and so on until you can play the entire composition without stopping. Remember always to start your fragments on the downbeat and finish on the first beat of the next fragment. 8) Start your practice session each day by repeating a few times what you have already mastered the day before. In fact, it is best if you refresh the fragments you memorized 4 days ago as well. It is important to practice the old fragments because memorization requires reinforcement and repetition. Open the score of Prelude and Fugue in B flat Major, BWV 560 and start memorizing using the above steps today. If you will follow these directions strictly, you will be surprised how much more enjoyable and easier the entire learning process will become. You will have no more frustration in memorizing organ music. Do you have your own memorization techniques, which help you to learn to play this piece by hearth? Feel free to share your experience in the comment section. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Do you like playing Prelude and Fugue in B flat Major, BWV 560 on the organ and would like to know what is the best way to practice it? Here are my 7 tips which will take your practice of this piece to the next level.
1) Practice is not performance. Very often people enjoy playing the piece in the way they would perform it during a recital or church service. However, if you truly want to learn to play this prelude and fugue with confidence, you first have to realize that the different approach is needed for practicing on your own. 2) Playing the piece in its entirety is not the best option. For the best results, avoid playing the entire piece from the beginning until the end until you are ready. The thing is that when you play this prelude and fugue, you are likely to make quite a few mistakes. Consequently, if you do not stop and correct your mistakes, you are likely to repeat them again and again. 3) Instead practice in short fragments. Subdivide this piece into manageable units of about 4 measures each. Remember that the piece is quite long and it is best to work on a few measures at a time. This way your chances of making a mistake greatly diminishes. 4) Don't underestimate the power of separate voices and voice combinations. In such polyphonic texture with several highly independent parts it is difficult to listen to each voice equally well. Consequently, you are likely to miss some important details in fingering, pedaling or articulation. Do not play all the voices together unless you have mastered them individually, in pairs and 3-voice combinations. 5) Later make the fragments longer. As your playing of this prelude and fugue becomes better, start expanding the fragments by doubling them in size. It is important that you become accustomed to gradually increasing the length of your practice without stopping. This way you will prepare yourself for public performance in the future. 6) Put the hands and feet together. After you master individual voices and voice combinations, it is time to play all parts together. If you were honest in learning the previous step, you will be surprised how fast and enjoyable is the practice process. 7) Make at least 3 correct repetitions. Try not to advance to the next combination or fragment unless you can play the current one at least 3 times in a row correctly. A master organist Marcel Dupre used a system of 10 repetitions in his teaching. This is an optimum example. However, in order to see the positive results with the shortest amount of repetitions, play without mistakes at least 3 times in a row. If you make a mistake, you will have to start counting from the beginning. Go on and start learning Prelude and Fugue in B flat Major, BWV 560 today by repeatedly practicing short fragments. And don't forget to take advantage of learning separate voices and voice combinations. By doing so you will discover that you are on the right path to the mastery of this wonderful composition. Do you have your favorite techniques which help you practice this piece? Share your experience in the comment section. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Do you ever feel like you are stuck with music which is written on the page? Does your personality longs for developing your creativity but you don't know how to achieve this? Flex your fantasy with free improvisation on the organ. Read this article to find out how to do this.
Set aside a period of time, like 10-15 minutes and play anything that comes to mind. By anything, I mean anything. This is scary, though. You might be thinking: if I can play anything, where do I start? First of all, by free improvisation I don't mean you should play random notes and see what happens (although you could try and see if you like it). Instead, your improvisation should have and idea or a theme. Do not let your fingers dictate your playing but let your mind always come first. In other words, your improvisation should only be as fast or as slow as your musical thinking is. This skill of course can be trained and developed so you can think faster. It just comes from experience - the more you improvise, the faster you will think. So going back to the question of your free improvisation, choose a theme or a melody of 4 measures long. It is better if the theme is incomplete - the melody should end on the different pitch than the tonic note. We will call it "the question". Now think of the form of your improvisation. This point is crucial, if you want your composition be understandable (yes, improvising is composing while you play) and it should have beginning, middle, and end. Otherwise, your playing will be like endless speech without limits and meaning. One of the easiest musical forms to understand and master is the ternary or ABA form. Part A is the exposition of the theme, Part B is the exposition of a secondary theme and Part A is the recapitulation of the first exposition. In Part A, you can play your question and provide an answer to it (measures 5-8). One of the easiest ways to achieve this is by repeating the question and ending it with a perfect cadence (on the tonic note of the scale). Then take the theme and play it in the Dominant key by placing it in the tenor voice. Again, use the question and answer technique (measures 9-16). After that return to the home key by playing exact or varied recapitulation of the first segment (measures 17-24). In Part B (measures 25-48), choose a contrasting but closely related key and take another theme, perhaps in another mode. Repeat the process you have done in Part A as well. In recapitulation (measures 49-72), you can repeat Part A exactly as it is, or you can alter it a little for more variety. Some of the best ways to achieve this is by taking the rhythmical figures from the accompaniment of part B and using them in your recapitulation. You can also remind the listeners of the secondary theme by playing it with the answer at the very end (measures 73-80). If you like contrapuntal techniques, try playing your theme in canon at the interval of an octave, fourth or fifth. Always think in terms of chords when you create the other voices in your improvisation. In fact, you can even harmonize your melody in 4 parts throughout the piece for starters. Observe proper voice leading and avoid parallel octaves and fifths. In order to make things simple in the beginning, use only 3 or 4 note chords at first: Tonic, Subdominant, Dominant triads and their inversions, Dominant seventh chord and its inversions. If you know other more complex chords, feel free to add them in your improvisation as well. Use the above points and try to improvise on the organ today. Don't forget to study real compositions of your favorite composers. Do not be afraid to imitate them. As you improvise, I'm sure you will have much fun in the process. While analyzing your improvisations, you will also discover your weak points. Remember these, go back, and correct your difficult places. You will also find some spots which were successful. Remember these because you can use similar techniques in your future improvisations. You can also write down your improvisations and convert them into real compositions. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Is your organ playing overdramatic? It is important keep it natural because often overdramatic performance sounds simply too distracting and comical to the listener. In addition, such playing style is not good for the player. Because of this, the instrument may also suffer some serious damage. In this article, you will discover 5 most common signs of organ playing offenses.
1) Tension in the body. When your body is all rigid, shoulders raised, fingers and upper thighs tensed, you cannot play in a natural way. You music becomes also tense and rigid. If you feel some tension in your body, it even gets difficult to breath. We can't relax without breathing and we can't breath without relaxing. So naturally deep breathing is the key for relaxing the entire body. 2) Hitting the keyboard with excess force. I often see organists make this mistake which comes from their pianistic background. They imagine that the louder they want the organ to sound, the harder they have to hit those keys which is absolutely incorrect and may even result in some serious damage to the organ key action. The ideal way would be to play with a gentle mezzo piano touch. The technique which helps to achieve that is keeping the fingers in contact with the keys at all times. 3) Playing the pedals too loud. Organists who hit the keys too hard, often make this mistake as well. They bounce and kick the pedals with excess force which also makes it difficult to control the releases and articulation and may damage the pedal action. 4) Doing unnecessary movements with your body. From time to time many musicians make this mistake - they lean forward or backwards too much. I am not suggesting that the body should be stiff. A little of body movements is fine but too much swinging back and forth may throw your playing off balance. 5) Making agogical accents in the piece too often. This mistake is especially obvious if one plays a short composition imagining that it is a grand symphony. If the piece is short, it is illogical to make those ritardandos and accelerandos very often. Besides, certain type of musical style (early music) does not allow unnatural alterations of tempo. Remember these signs of overdramatic playing when you practice or perform your organ pieces today. Be careful to use your body in a natural way without tension and without unnecessary movements. Do not use excess force when hitting the keys or the pedals. Instead keep your fingers and feet in contact with the keys at all times. This technique will allow to minimize your efforts and your performance will become natural. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Playing the Prelude and Fugue in B flat Major, BWV 560 with convincing registration will result in more authentic performance. Organists who practice this piece should know general rules for choosing which stops to use. With this piece, the registration for public performance should be different than for practicing alone. If you are searching for the best ways to register this prelude and fugue, read the following 9 tips.
1) Registration change in the fugue is not necessary. Although it is often possible to add a reed stop in the two-part cycle, such as this, the length of the piece does not suggest the need for stop changes after the prelude. Since this prelude and fugue last only about 3 minutes, it is better to play with one registration throughout. 2) "Organo Pleno" registration. The traditional way of registering a prelude and fugue in the German Baroque style is to use "Organo Pleno" registration or a principal chorus. This concept means that you should build a pyramid of principal stops, starting with the principal 16' or 8' and building upwards (4', 2 2/3', 2 etc.) 3) Use mixtures both in the manuals and the pedals. Try out the mixture alone on the main manual and see if it is based on the 16' (starts at 5 1/3' level) or 8' (starts at 2 2/3' level or higher). If it is based on the 16', then use 16' stop in the manual together with it. Otherwise, playing with 16' is optional. 4) Add flutes if the mixtures are too harsh. Check your mixtures and see if you like their sound. In some Neobaroque-style organs, the mixtures are really high-pitched and sound harsh. In such case sometimes it is OK to omit the mixture and use higher principals and mutations instead (1 1/3' and 1'). 5) Check if the principals are not too narrow. In many Neobaroque-style instruments, the principals are quite narrow in diameter. In such case, try to add 8' and 4' flutes for more rounded sound. However, under normal circumstances, principals and flutes should not mix in the Organ Pleno registration. 6) Couple the manuals if you want. If you have more than one manual which has a principal chorus as well, you can couple them both. This way your registration will be even more powerful. 7) Add pedal reeds for more spice. Use the powerful 16' and/or 8' reeds in the pedal division, such as Posaune and Trompete. If you decide to use only one reed stop, the first reed you should add is Posaune 16' and not Trompete 8'. This is because in Central Germany in the Baroque period, even relatively small organs very often had Posaune but not Trompete. 8) Check the balance between manuals and pedals. Once you choose the manual and pedal stops, try to listen to the overall sound ensemble. Since it is a polyphonic composition with highly independent parts, both manuals and pedals should be clearly audible but not too loud in comparison with each other. 9) Practice registration. It is best to practice using only the soft stops, such as 8' and 4' flutes with 16' in the pedals. This way your ears will not become tired and you can practice for a longer period of time. Remember these tips when you practice or perform the Prelude and Fugue in B flat Major, BWV 560 in public. It is a good practice to listen to different recordings of this piece on historical organs and to compare the registrations in each. Since every organ is different, try to follow your taste and ears based on your idea of the "ideal Baroque sound" for this composition. This way your playing will become more authentic and you will use your organ more convincingly. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Very often young organists tend to search for some magical recipe to practice
organ which will position them into expert level within a short period of time. In other words, they want to find some method which will help them to learn to play the organ confidently in the shortest amount of time possible. In this article, I will explain why there are no quick solutions and shortcuts in organ practice. There is no "push-button-magic-become-virtuoso-overnight" method. But many young people tend to think there is one. A lot of times I hear about some incredible system which will teach you to play the organ in just 2 hours. This is of course a simple marketing trick but it is very far from reality. In reality, our practice has to have 3 things which are far from shortcuts: 1) Quality. This is a pursuit of perfection. Imagine that a master (Herr Bach, for example) is watching over your shoulder. Try to play as if someone you respect so much is listening. If you had this thought in your mind constantly, would you allow yourself to play with accidental fingering, pedaling, and articulation? Would you play your organ piece with incorrect articulation and ornaments or would you rather pay attention to every detail mentioned above and correct every mistake you made? I think you get the picture. 2) Quantity. The more you play - the better (with some exceptions, of course). At least of 30 minutes a day of organ practice is needed to begin to see some positive results. If you have time, you can practice for an hour or even longer but especially long practice sessions are not healthy. Try to rest for 5 minutes every 30 minutes or so. In general, it is believed that someone who wants to become an expert in any field, needs to spent at least 10000 hours practicing. So if you practice for 2 hours everyday, which is an optimum duration in many cases, you will approach the expert level in 5000 days or 13.7 years (if you have quality in your practice, of course). Here I don't mean you should spent all this time only playing organ. Piano playing, music history, ear training, music theory, harmony, counterpoint, fugue, and improvisation are all included in the total number of hours. 3) Consistency. Practice every day or at least 3 times a week constantly. Get into practice routine. After 1 month it becomes a habit. So stick to your routine for a month and later you will find it quite enjoyable. Imagine that your practice is like a large train. To move such a train will require an enormous amount of energy but to keep it moving is much easier. That is why you should try not to skip practicing. Remember the above key points when you sit on the organ bench. I am fully aware that you will have to show some perseverance in your practice and efforts but if you truly want to become good in organ playing, I can assure you, it is well worth the effort. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Organ Playing: 7 Tips in Finding the Best Tempo in Prelude and Fugue in B Flat Major, BWV 5606/13/2012 Are you wondering what is the best tempo in Prelude and Fugue in B flat major, BWV 560? Are you struggling with playing this composition up to tempo? Or perhaps you are not sure at which tempo you should practice it? Here are 7 powerful tips in finding the best tempo of this piece. 1) The concert tempo. Since it is a joyful and energetic composition, the concert tempo of this piece could be around 70 beats per minute for the quarter note. 2) Same tempo in the prelude and fugue. When you practice this piece, keep the same tempo both in the prelude and in the fugue. Sometimes it is very tempting to change the speed in the fugue because of the meter change. Note that the quarter note in the prelude should be equal to the quarter note in the fugue. 3) Practice tempo. Practicing tempo should be much slower. For best results it could be very slow - around 40 beats per minute. In general, try to pick such a tempo for practice in which you could avoid making mistakes. If you make a mistake - slow down. 4) Keep in mind the acoustics of the room. The space that you are playing will be one of the major factors in determining the speed of this piece. If you play in your practice room or at home, you can perform much faster than in a cathedral or church with huge reverberation. 5) Keep in mind the mechanics of the organ. The type of organ action also determines the tempo of this piece. In general, if you are performing on the tracker or the mechanical action instrument, try to play a bit slower because of the action. On the other hand, if you are playing on the electro-pneumatic or electronic organ you can play much faster. 6) Play fast in short fragments. If you want to achieve faster tempo in this prelude and fugue, try to practice in the following way. Press an opening note, stop, think about what's coming up next and play in a concert tempo for 1 quarter note. Then hold the note. Prepare for the next beat and play it in a fast tempo. Then stop at the next quarter note and so on. Continue this way until you reach the end of this composition. 7) Increase the length of the fragments. After you have practiced several times while stopping at each beat, increase the length of the fragment by doubling them. Try to stop every half measure (in the prelude), later stop every measure, then continue increasing the length of the fragments until you can play the entire prelude and fugue at a concert tempo without stopping. Use the above 7 tips while practicing this wonderful composition today. You will discover how easy it is to practice it at the right tempo. While practicing this way you can achieve the concert tempo in no time. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. 
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