Many organists find it hard to practice regularly. With so many activities and tasks an average person has to do during the day, practicing organ every day is a challenge. However, regular playing is absolutely a must if you want to achieve great results as an organist. In this article, I will give you tips and advice which will help you to stay on track with your organ practice.
Do you find yourself pushing off organ practice for today? Keep on track by assigning yourself organ practice deadlines! Having a schedule and giving yourself a due date for a certain task is one of the best ways you can think of to keep up your regular practice and motivation. For example, if you are learning a new composition, create a step-by-step plan which will help you to master this piece. Then assign yourself a deadline for each step. This will help you to stay focused in your organ practice. If this composition is 10 pages long, your plan for upcoming 10 days might look something like this: On the first day, try to learn the first page of music. Subdivide this page into several shorter fragments of about 4 measures and master each individual fragment. Then combine the fragments together. Work on separate voices and combinations of 2 and 3 voices, if necessary before putting everything together. On the second day, start your practice by repeating several times the first page which you have learned yesterday. Then master the second page. On the third day, reinforce pages 1 and 2 several times and practice page 3. Continue the learning process for 10 days in a row by repeating the previously learned material and mastering 1 new page each day. As you can see, as long as you master 1 new page every day, it is possible to learn a new piece which is 10 pages long in 10 days. After 10 days, devote several more days to play the entire piece without stopping. In order to reap the best results, it is important you stick to this schedule for 10-14 days in a row. If you use these kinds of deadlines, the learning process will be focused, simple and fast. Use the above tips to keep your organ practice concentrated for the best results. Now go find a new piece that you want to master, create a practice plan, give yourself a strict deadline for completing your learning process. You will be surprised what kind of tremendous changes you will begin to notice in your productivity. By the way, do you want to learn my special techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE video guide "How to Master Any Organ Composition". Or if you really want to develop unbeatable sight-reading skills, check out my systematic Organ Sight-Reading Master Course.
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Knowing how to correctly approach practicing an organ piece is very important if you want to be successful in organ playing. For many years, different organ playing schools had their advantages and disadvantages and each of them had their followers who later taught this tradition to future students. However, what was a great tradition in 1960s, may not necessarily be valid for all organ music in the current times. In this article, I will share with you my opinion on what is the best method in learning organ playing today.
In 1960s or earlier, an organist could pick one playing and learning style and apply it to all of his or her repertoire. For example, the legendary organ methods by Dupre, Gleason, and many others all taught the legato style in organ performance. So in those days, if you wanted to play organ works of Buxtehude, Bach, Couperin, Liszt, or Franck, you would be playing everything legato (with some notable exceptions, of course). The legato school of organ playing would be very systematic and organists could produce great results. However, this approach is no longer working because there is so much information available concerning performance practice. Since the repertoire of organ music is so vast in variety (national styles, historical periods etc.) I think we have to approach each style and school differently. Otherwise our playing would be the same regardless if we play music of Frescobaldi, Bach, Buxtehude, Couperin, Mendelssohn, Schlick, Messiaen, Franck, Cabezon or any other composer. Nowadays, the best organ method books teach different organ playing styles differently. If you are looking for the answer to the question what is the best method in learning organ playing, you should be looking into various organ schools individually and taking what is best in each approach for the given piece. In other words, if you are studying works by Frescobaldi, try to find some information about the performance practice of the Italian Baroque or North German Baroque for the music of Buxtehude. The different national and historical schools had their own view on such performance practice issues, as articulation, fingering, pedaling, registration, ornamentation etc. The composers influenced organ builders to build specific instruments for particular region and time. Likewise, organ builders wanted to include some innovations or certain features in their organs and composers adjusted their music to the changes as well. Note that the legato school is still very much valid for the Romantic and Modern organ music. However, even here you have so much variety and options in the different national styles (German, French, English etc.) Use the above tips when you are studying the works of different composers of various historical periods and national schools. Do not play them in one style but try to recreate all performance practice details to help your playing sound more authentic. By the way, do you want to learn my special techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE video guide "How to Master Any Organ Composition": http://www.organduo.lt/organ-tutorial.html Or if you really want to develop unbeatable sight-reading skills, check out my systematic Organ Sight-Reading Master Course: http://www.organduo.lt/coaching.html When it comes to building your organ technique, playing scales, arpeggios, and chords is one of the legitimate ways to achieve that. However, some organists believe there are better techniques in developing one's finger independence and dexterity. In this article, I will share with you my opinion on this subject.
Let me start by saying that scales provide the benefit of finger dexterity. There is no question about that. In fact, that's the very reason why scale practice was invented in the first place. However, my experience in organ teaching and performance tells me that there are other technical exercises and etudes that are even more beneficial than simple scales. If you want to reap more benefits, practice not simple scales, but scales in double thirds and double sixths (if your technique allows). As with all things, slow practice is the best. Fast tempo will be achieved naturally once you are ready. Take C major and A minor scale and practice them by playing thirds in each hand. Next week take another pair of keys progressing in ascending order of accidentals (1 sharp, 1 flat, 2 sharps, 2 flats etc.). Try to play each scale correctly at least 3 times in a row. Double thirds (and double sixths) are an integral part of any advanced organ music, so if you are serious about your organ practice, you should practice such scales repeatedly and regularly. If you haven't done this kind of practice before, at first it will be quite a challenge just to play with correct fingerings even in a really slow tempo. Do not expect the results overnight. But if you continue to practice this way, your finger independence and technique will skyrocket. A word of caution: since this is an advanced technique, be careful of not to overextend yourself to avoid any damage to your fingers and hands. Always be conscious of how you feel. Some minimal tension is fine, but as soon as your fingers and hands feel tired, take some time to rest and shake off the excess tension. Scales are also good for giving the benefit of knowledge of circle of fifths, all keys and some music theory issues. So we can't really completely dismiss playing scales. But if you specifically want to improve your finger technique, try scales in double thirds (with correct fingering, of course). On the other hand, pedal scales and arpeggios are wonderful in developing the flexibility of an ankle which is the key to the perfect pedal technique. As with manual scales, take 2 keys per week and master them. Use the above tips when you practice scales on the manuals or on the pedals. They will help you to perfect your organ playing skills. By the way, do you want to learn my special techniques which help me to master any piece of organ music up to 10 times faster? If so, download my FREE video guide "How to Master Any Organ Composition": http://www.organduo.lt/organ-tutorial.html Or if you really want to develop unbeatable sight-reading skills, check out my systematic Organ Sight-Reading Master Course: http://www.organduo.lt/coaching.html For every organist there comes a time when it is hard to keep a steady tempo
while playing. Usually this situation is with the piece which has lots of changes in rhythms and rhythmical figures. Some organists believe in value of using a metronome to help you keep the correct rhythms and tempo. In this article, I will share with you my take on how the metronome should be used. Let me begin by saying that the metronome is a great way to check the desired tempo indication. For example, if you don't know what is the exact meaning of Andante, Moderato, or Allegro, you could check the metronome marking for that tempo. This way you will discover the composer's or editor's suggested speed for concert performance of your organ piece. However, if you are struggling with playing in time, it is better to use different techniques and strategies than a metronome to help you overcome this problem. The thing is that if you practice with the metronome and constantly listen to its beats, not you but the metronome dictates the tempo. In other words, if you are automatically following the metronome, you are not learning to play in the right tempo. Instead, you are using this tool as a crutch. Think of it this way - are we going to learn how to walk, if we use a crutch? Not likely. The same is with metronome and your ability to keep a steady tempo. If you really want to learn how to play in the right tempo, not to slow down and not to speed up when it is not necessary, you should try a different practicing approach. One of the best ways I found which helped me and my students to play in a steady tempo is to count out loud the numbers of the beats in the measure. For example, if the meter is 4/4, and the main notes in the piece are quarter-notes, you could say the words ''one, two, three, four" while playing rhythmically challenging episodes. Until you overcome this problem, it is important you count out loud and not in your mind because while playing and just thinking of the beats you might get carried away with music and forget to count. So force yourself to count out loud. If there are many eight-notes in the piece, try subdividing the beats, like "1 and 2 and 3 and 4 and." Likewise, saying "one-e-end-a, two-e-end-a, three-e-end-a, four-e-end-a" is a great way to learn to keep the tempo in sixteenth-notes. Counting out loud and not in your mind also allows you to feel better if you are speeding up or slowing down. If you run into problems when there is a change between sixteenths and triplets, go back a few measures and try to practice repeatedly the connection between the episodes (always counting out loud, of course). This will allow you to keep the steady pulse when there is a change in rhythmical figures. Use your metronome for checking the correct tempo but do not play along with the metronome. Instead, if you are struggling with keeping a steady tempo, count out loud the beats and subdivide them. Remember this tip in your next organ practice. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music: http://www.organduo.lt/organ-tutorial.html Organists who have intermediate level skills and want to play a recital have more options than beginners. This is because their technical abilities are somewhat more developed and naturally there is a wider variety of organ repertoire from which to choose. However, intermediate level organists still have to consider the instrument and the audience and create a program which has a nice variety of contrasts and unity. In this article, I will provide an example of organ recital program with the most famous organ works for intermediate level organists.
1) Toccata and Fugue in D minor, BWV 565 by J.S.Bach. This will be a spectacular opening of your recital. If you don't want to play the most popular organ piece ever written, try the majestic Prelude and Fugue in C minor, BWV 546 by J.S.Bach or the Praeludium in C Major, BuxWV 137 by D.Buxtehude. 2) "Wachet auf, ruft uns die Stimme," BWV 645 by J.S.Bach. This is one of the most beloved organ chorales by this composer. Written in a trio texture with the tune or the cantus firmus in the left hand. 3) "Von Gott will Ich nicht lassen," BWV 658 by J.S.Bach. A nice chorale prelude from the Leipzig collection. Character is soft and gentle. 4) Fugue in G Major, BWV 577 ("the Gigue") by J.S.Bach. This is a virtuosic fugue with the rhythms of the fast and hopping Baroque dance - a joyful gigue. Although the tempo is very fast, the pedal is largely straightforward and could be played using the alternate toe technique. 5) "Liebster Jesu, wir sind hier," BWV 730 by J.S.Bach. A sweet chorale prelude with the chorale tune in the soprano. 6) "Liebster Jesu, wir sind hier," BWV 731 by J.S.Bach. An alternate version of the above chorale with the highly ornamented tune presented in the soprano. 7) Fugue in G minor, BWV 578 ("Little") by J.S.Bach. Although this fugue is often called "Little", we should not underestimate its artistic quality. This is a classic and very well-known example of Bach's fugal writing. 8) Finale from Sonata No. 6 in D Minor, Op. 65 by F.Mendelssohn. A gentle closing movement of the D minor sonata. The intermediate level organist could also play the Fugue from this work. However, the first movement - the variations on the chorale "Vater unser im Himmelreich" will probably be a bit too advanced for this level. 9) "Les Bergers" from "Le Nativite du Seigneur" by O.Messiaen. A slow and meditative piece by one of the most famous composers of the 20th century. This is a great way to get to know the fantastic world of Messiaen's modes. 10) "Suite Gothique", Op. 25 by J.Boellmann. An excellent very well-known major work to conclude your recital. It is written in four parts. Perhaps the two most famous are the sweet and gentle "Priere a Notre Dame" (3rd movement) and the dark and virtuosic Toccata (the last movement). You can use the pieces from the above list as it is or you can modify it according to your preference. Note that the program presented above is about 1 hour of duration (with registration changes) which is an optimum length for an organ recital. Get the sheet music and start practicing for your upcoming recital today. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music: http://www.organduo.lt/organ-tutorial.html Have you always wanted to organize an international organ festival but were afraid or didn't know the steps which are necessary for such a serious endeavor? In this article, I will give you 14 tips you could use before organizing a successful international organ festival.
1) Decide who will organize the festival. If you work at a church, perhaps your church could be the organizer. Other options include founding a concert organization or approaching an existing organization for hosting a festival. Since you are the initiator of the project, you can be the Artistic Director of the festival. 2) Decide on the name of your festival. Think about how your festival will be named. The name could include the name of the city or the institution, or the theme etc. 3) Decide on the venue. Think about were your festival is going to take place - a church or a concert hall. 4) Decide on the date. Think about the specific time frame for your festival. Is it going to be around Christmas, or Easter, or in the summer or in the fall? 5) Consider the instrument. It is important you think about what kind of organ will be available for you and what kind of style this organ is built it. 6) Consider the theme of your festival. It is best not just to put a few concerts together. Instead think about the general idea or the theme. Your festival could be structured around some specific historical period or national style or organ composer. 7) Decide on the number of concerts. Think about how many concerts will you have in your festival. I find that the minimum number for a festival is 3. If you are just starting out, perhaps aim low and later expand to more concerts. 8) Choose organists. Think about the people who are going to play for you. Do you have your favorite organists whom you could invite? It is always a good idea to invite your friends and people whom you know and trust to play. Otherwise you can do some research. 9) Communicate with your congregation. If you are planning this festival at your church, talk with your pastor or priest and with some people from your congregation about it and ask for their support. 10) Calculate the expenses. Think about the expenses which are going to occur. Your budget will depend on your expenses. 11) Find private or corporate sponsors. Write down all the expenses of the festival and approach possible sponsors for support and donations. It is best to talk to them in person. 12) Look for foundations. There are plenty of cultural foundations available which might consider giving you some financial assistance. 13) Approach the city government for financial support. A lot of times the government of the particular city also supports cultural programs like this which help to spread the word about the city. 14) Contact the organists. Write or call your prospective artists who you think would be good for your festival. Describe your festival and the conditions of participation. Although there are many more steps you could take in organizing your festival, the above points are a good start to ensure that your festival is going to be successful. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music: http://www.organduo.lt/organ-tutorial.html |
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