Today's question was posted by Sandra, our Total Organist student. She writes:
 
"​Thank you so much for the wonderful first podcast about keeping a steady tempo! It was wonderful! I enjoyed the walk in the woods with you and loved hearing your beautiful voices and the birds singing. Also, to count out loud in a loud voice was wonderful advice and I am using it with my bell choir (who object to it more loudly than they will count out loud haha!) but I will tell them about your podcast! Again, MANY THANKS!!!!!"

​The head pastor told me he thinks I "perform" rather than simply "present" the accompaniments to the hymns.  What should I do? "

​​Listen to our full answer at #AskVidasAndAusra

If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them.

TRANSCRIPT

Vidas:    Hello, guys. This is Vidas …

Ausra:    And Ausra.

Vidas:    We're starting our #AskVidasAndAusra Podcast 13. Today's question was posted by Sandra, our Total Organist student. She writes, "Thank you so much for the wonderful first podcast about keeping a steady tempo. It was wonderful. I enjoyed the walk in the woods with you, and loved hearing your beautiful voices and the birds singing. Also, to count out loud in a loud voice was wonderful advice, and I am using it with my bell choir, who object to it more loudly than they will count out loud. But I will tell them about your podcast. Again, many thanks. The question is this. The head pastor told me he thinks I perform rather than simply present the accompaniments to the hymns. Perform or present?"

What's the difference, Ausra? What do you think this pastor means?

Ausra:    Well, maybe by the word perform he means Sandra exhibits herself, and maybe he wants her to just simply accompany and don't add anything. But I would say don't be afraid of performing. If you would just have to present hymns, we could use the recorder to play it. But because you are a living musician, they have to learn to appreciate you.

Vidas:    Because you are an organist and human being, basically an artist, and artists usually do the things differently every time. As Ausra is saying, playing it simpler, just presenting, not always is a good idea. If you can do this in more advanced fashion, it's always better. Of course, there are some caveats, some disadvantages, because then you might look like concertizing to the congregation sometimes, who are not inclined to not listen to concerts, who want to pray, for example.

Ausra:    Yes.

Vidas:    Did you yourself, Ausra, ever have received such a comment, feedback, about your playing of hymns, for example?

Ausra:    Not exactly in the same way as Sandra said, but, yes, I had that thing, especially when I was working at the Lutheran church in United States. I felt that pastor sometimes is unhappy. I think he felt a little bit envious to the organ, because it was such a crucial part of the liturgy, and I was sort of stealing attention from the altar. But I think that's the way it should be.

Vidas:    You alternate attention.

Ausra:    Yes, I alternate attention with the pastor.
Vidas:    Yeah. Sometimes in Catholic churches, they especially dislike organists who can do more than asked, more than the bare minimal, just playing the hymns four-part harmony and using two or three cords, that's it. That's what they need, usually. But if you add the fourth cord or the fifth cord, oh, that's the concert, that's too much, you're showing off.

Ausra:    I think if you want to serve in church and to do good things for congregation and for God, so you need to do your best.

Vidas:    You present the best of your abilities to the congregation, to the Transcendent, to everything. You give your best, as you say, right?

Ausra:    Yes.

Vidas:    That's important. What would your skill be and artistic ability be if you only give just mediocre work, and if everybody around you knew you could do maybe five times better? Of course, you would be unhappy with yourself, if you just went through the motions, right?

Ausra:    Yes. I think you need to talk, probably, more with your clergy and to explain your point of view.

Vidas:    To connect, basically?

Ausra:    Yes.

Vidas:    Communicate in a diplomatic, of course, fashion.

Ausra:    Sure.

Vidas:    Because they have their own point of view, right?

Ausra:    Yes.

Vidas:    Which we not always understand. It's the liturgical and theological point of view, which church musicians aren't always even aware of. So if you could speak their language, in theological terms, then you will obviously find some common ground.

Ausra:    Sure.

Vidas:    Guys, I hope this advice was useful for you. Send us more questions, of course, either by email or use hashtag #AskVidasAndAusra and in the comments. Also, please subscribe to our blog at www.organduo.lt, because you will also get 10-day mini-course, which is free for this initial period. You will get 10 lessons on how to master any organ composition. This is extremely rare advice that we are giving, and the feedback was wonderful so far from people who already applied it in practice. Okay. This was Vidas …

Ausra:    And Ausra.

Vidas:    And remember, when you practice ...

Ausra:    Miracles happen.

Today's question was posted by Sandra, our Total Organist student. She's wandering if she can modulate from one key to another for the last verse of some hymns. Is this an acceptable practice?

​​Listen to the full answer at #AskVidasAndAusra

If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them.

​And remember...

When you practice, miracles happen.

Vidas and Ausra
​(Get free updates of new posts here)

TRANSCRIPT

​Vidas:    Hello, guys. This is Vidas ...

Ausra:    And Ausra.

Vidas:    We are starting the 12th episode of #AskVidasAndAusra Podcast. Today's question was sent by Sandra. She wants to know, "Is it okay to change the key in some of the last verses in some hymns." Basically, can you modulate, can you change the key? What do you think, Ausra?
Would that be okay?

Ausra:    You could do that, but maybe not too often, maybe just on special occasion, but if you do it to every hymn, then each of the hymn will sound like pop music, because if you listen to pop songs, that's what they do, in the last verse, they just go a step higher. You can do that, time after time, but maybe not very often.

Vidas:    On special occasions, like festivities, right?

Ausra:    Sure.

Vidas:    When the hymn tune probably is well-known.

Ausra:    Yes.

Vidas:    Let's say, in Resurrection, "Jesus Christ is Risen Today", for example, and of course everybody knows the hymn very well, and the organist could play then the last verse maybe a whole step or a half step higher. What would you prefer? Half step or a whole step higher?

Ausra:    I would prefer a whole step, actually, higher.

Vidas:    Could you explain to our listeners why?

Ausra:    It sounds much better that way. If you go only half a step, it will give you sort of sense of chromatic scale that wouldn't sound so well.

Vidas:    Because let's say the original key is C major, and then you go to C sharp major.

Ausra:    It's not so good.

Vidas:    Right.

Ausra:    But from C major to D major, that's better.

Vidas:    Right. Because C major and D major are more closely related, right? They have more common notes than C sharp major and C major.

Ausra:    Sure. Yeah, more common notes.

Vidas:    What about the idea of having a modulating interlude between those two verses?

Ausra:    Well, you could actually do that, but usually these kinds of modulations by whole step just go pretty straight forward without any actual intermediary episode.

Vidas:    Some of the hymn settings, in some of the solemn occasions, they have those instrumental interludes, like brass would play and modulate, right? Or the organ.

Ausra:    If it's a hymn festival, then definitely you could do that.

Vidas:    But we are talking about the special occasion, not every Sunday?

Ausra:    Sure. Yes. Even it depends on what kind of hymn you have, because if it's an ancient hymn written in Dorian or Phrygian mode and you do this kind of modulation, I think it would sound too foreign. So it really depends on the music.

Vidas:    Yeah. Modulation has to be organic. What kind of modulation would you use if you go from C major to D major, let's say?

Ausra:    If you are doing interlude, maybe you could go to a key that is related to C-major and D-major, and then apply middle key.

Vidas:    Intermediate key?

Ausra:    Yes, intermediate key. That's right.

Vidas:    What would that key be? A minor, maybe?

Ausra:    I would probably go maybe to G major.

Vidas:    G major, right?

Ausra:    Yes. That would be easy way to do.

Vidas:    I see, because G major is just one sharp apart from both C major and D major.

Ausra:    Sure. Yes.

Vidas:    Right.

Ausra:    G major is a dominant of C major and it's a subdominant of D major, so it should work fairly well.

Vidas:    Right. What if you went from C major to D minor and then to D major? Would that be okay?

Ausra:    That's also a possibility.

Vidas:    You can just switch modes, then?

Ausra:    Sure, yes.

Vidas:    Okay. What about from C major to C sharp major? With harmonic modulation probably?

Ausra:    Yes. You should have harmonic modulation maybe through dominant seventh chord or diminished seventh chord.

Vidas:    Right. So you play a dominant seventh chord in one of the keys, which is related to C major, right?

Ausra:    Yes.

Vidas:    But the bottom note should be the lower sixth scale degree of C sharp major, right?

Ausra:    That's right, yes.

Vidas:    So you play A natural in the bass, right?

Ausra:    Yes.

Vidas:    Then you probably would need to play dominant seventh chord to D minor, right? A C sharp E G?

Ausra:    You have to change it harmonically and it will lead to you to the cadence of a new key.

Vidas:    You see, guys, how advanced this stuff can be, if you are using different and very distant keys like C major and C sharp major, and C sharp minor, too, by the way.

Ausra:    Yes.

Vidas:    It's a possibility, if you want to modulate a half step apart. This way, your modulation could be quite natural and colorful, too. Ausra, what are you practicing today?

Ausra:    I am working on the Mendelssohn Variations in D Major, and I continue learning Piece d'Orgue by Bach.

Vidas:    How is that going for you?

Ausra:    Actually, well. I think already launching over the manual part since I don't have pedals right now.

Vidas:    You are playing on the piano, right?

Ausra:    Yes.

Vidas:    Are you imagining the pedalboard and playing on the floor?

Ausra:    Not yet, but I will do that, eventually. Yes.

Vidas:    Sort of pretend that you do have a pedalboard and imagine you do pedalboard?

Ausra:    Yes.

Vidas:    That's good. I think the motor motion of the muscles are very important to get used to. Then when you have the chance to play the real organ, your feet will pick up very easily.

Ausra:    Sure.

Vidas:    Right. I'm sitting in the middle of the graduation ceremonies here in my church, and Ausra is in our summer cottage. We are talking on the phone now, and I am now practicing the long choral fantasia by Dietrich Buxtehude, “Nun freut euch, lieber Christen g’mein”. I'm kind of getting better with this piece, although it's a long piece and has a lot of echo passages. I think it's getting there. Wonderful, Ausra. You are spending your vacation very creatively.

Ausra:    Yes, I hope so.

Vidas:    Yeah. Guys, I hope this answer was useful for you. If you want to ask more questions, please send us either by email or write in comments. Any way is fine. Ausra, would they benefit from subscribing to our daily blog?

Ausra:    Sure. I think so.

Vidas:    That's the best way to contact us, right?

Ausra:    Yes, it is.

Vidas:    When they enter their email address and first name at www.organduo.lt, they become subscribers, and our post gets delivered automatically to them. Then they can reply and ask us questions even more, right?

Ausra:    Yes.

Vidas:    We'll be glad to answer. Wonderful. This was Vidas ...

Ausra:    And Ausra.

Vidas:    Remember, when you practice ...

Ausra:    Miracles happen.

Today's question was posted by Sandra, our Total Organist student. She's wandering if you always have to play an entire verse when you introduce the hymn to the congregation.

​​Listen to the full answer at #AskVidasAndAusra

If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them.

​TRANSCRIPT

​Vidas:    Hello, guys. This is Vidas.

Ausra:    And Ausra.

Vidas:    And we're starting episode 11 of #AskVidasAndAusra podcast. And today's question was sent by Sandra. And she asks about playing the introduction of the hymns. So, she writes, "Do you always play a whole verse for the introduction of hymns?"

Interesting question, right, Ausra?

Ausra:    Oh, yes, it is an interesting question.

Vidas:    How would you do this yourself, personally?

Ausra:    Well, actually, I probably have never had to play an entire hymn as an introduction because I believe that introduction must be something short and what I often did was that I often played last line of the hymn or sometimes even just a phrase. And just to play a long introduction I would suggest, if you know, if you have a composition based on that hymn tune, then you could play it all and then it would be a longer introduction, maybe for some special occasion. But for a regular service, I think you have to think what is the purpose of your introduction is, and basically its real purpose is just to give congregation the tune so it can start on the right pitch. And for that reason, intro can be only like four bars long. Maybe even two bars long. Maybe two is too short, but one line of the hymn should be plenty.

What do you think about it, Vidas?

Vidas:    You know, what I would do, I would probably play eight measures of introduction because eight measures is usually one complete musical idea. And probably, four measures is also okay if the hymn is very, very familiar. You could play the first four measures or the last four measures, right. But you could also make it into a complete musical idea by creating a period. The smallest musical form.

Ausra:    Sure.

Vidas:    Basically, you take four measure phrase, let's say the opening of the hymn-

Ausra:    Yes.

Vidas:    And then maybe create a similar phrase, but with different ending, with different cadence, ending maybe on the dominant key, because right? We need to propel the motion forward, and if we end on the tonic, it's not something to continue, it's like an ending. But we want like a question, right? So, dominant would be a good way to end. What do you think about this?

Ausra:    Well, but I'm sure that the congregation will start on the right tune if you end your intro on a dominant, I wouldn't be so sure.

Vidas:    Why doesn't Sandra try both versions, right? Ending on the tonic and ending on the dominant and see which one is more appropriate and more understandable to people.

Ausra:    From my experience, the last line of the hymn is the most appropriate for an intro.

Vidas:    The last, right?

Ausra:    Yes. Ends on the tonic.

Vidas:    Oh, we could do a sort of in-between version. Take a first line of the hymn and the last line of the hymn.

Ausra:    Yes, that works too. I have done such many times too.

Vidas:    That's understandable.

Ausra:    So, you can do both ways. But of course, you don't leave the whole hymn as an introduction. It might sound boring.

Vidas:    So, what about if the tune is very unfamiliar, new, completely new?

Ausra:    Well, then yes, then you can do it, you know, for a teaching purpose for the congregation to get more familiar with the tune, yes then it would be a great idea. But no, most of the hymns, they just sang them for generations over and over again, and they are well known. So, don’t play those familiar hymns throughout as an introduction.

Vidas:    Right.

Ausra:    Because some of them are already very long, and have a few versions and if you add one more at the very beginning it will just last forever.

Vidas:    Right. And save entire verse of the hymn for special occasions, right? Maybe for a solemn occasions-

Ausra:    Sure.
Vidas:    Festivities. Just like Orgelbüchlein, right? Chorale preludes were created maybe like introductions for the hymns in mind, in addition to teaching students to play the organ with pedal obbligato and also composition, right? How to compose and improvise the chorale harmonizations and preludes like this, but yes, they, for our times, are probably too long in most cases, right?

Ausra:    Yes.

Vidas:    But, on special occasions, Easter, Christmas, they might work, I think.

Ausra:    And of course for new hymns you've never heard before.

Vidas:    Good. So, I think people can get those ideas and try them in practice, don't you think? Next Sunday.

Ausra:    Sure.

Vidas:    And I think people could send more questions to us, right?

Ausra:    Yes.

Vidas:    And which way would you prefer? Email or comment as a post?

Ausra:    I would prefer probably an email.

Vidas:    Email, right? But if they want to just comment on the post that would be fine too, right?

Ausra:    Yes, that's OK. Both ways are fine, actually.

Vidas:    Yeah, we will find them. And you could also add a hashtag, right? #AskVidasAndAusra and we will definitely know that you are intending this question for our podcast.

Wonderful. So, Ausra, do you think people could benefit from subscribing to our daily newsletter and updates of this blog at organduo.lt?

Ausra:    Yes, I'm sure they can find various ideas for their organ playing or how to improve it.

Vidas:    That's actually the best way to stay in touch with us, right?

Ausra:    Sure.

Vidas:    Because they will get the daily dose of organ playing inspiration and advice and they can really reply to an email and ask questions. And that would be the easiest way. Right?

Ausra:    Sure.

Vidas:    Wonderful, guys. This was Vidas.

Ausra:    And Ausra.

Vidas:    And remember, "When you practice-"

Ausra:    "Miracles happen."

Today's question was posted by Sandra, our Total Organist student and she asks if she should only double the voice part in the Kyrie, Sanctus and other chants.

As we understand she wants to accompany them on the organ and she is wandering about whether or not she should add other parts besides the soprano on the keyboard.

We also talk about some of the basic rules of how to accompany Gregorian chant on the organ.

Listen to the full answer at #AskVidasAndAusra

If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them.

​And remember...

When you practice, miracles happen.

Vidas and Ausra
​(Get free updates of new posts here)

TRANSCRIPT

Vidas:     Hello guys. This is Vidas.

Ausra:    And Ausra.

Vidas:    And we're starting #AskVidasAndAusra podcast episode number 10. And today's question was sent by Sandra, and she asks this question: "Should I only double the voice part in the Kyrie, Sanctus, etc.?" So, it's a little bit tricky to understand this type of question. We've been talking and wondering with Ausra, what does she mean?


Do you think, Ausra, that Sandra means that she has to accompany Gregorian chant, and she wants us to advise her if she has to double the chant melody or just to add something else like a harmony, four part chords? It could be this type of question.

Ausra:    Could be, I guess. That's the closest guess I have.

Vidas:    Yeah. So what do you think, if it's okay to just double the melody, or should she add harmony?

Ausra:    Definitely think she has to add the harmony. Otherwise, I don't know how it would sound to have only that one melody voice.

Vidas:    To have a single voice for the hymn, it's only possible when the hymn is very, very new, right?

Ausra:    Sure.

Vidas:    If you want to play in octaves, let's say-

Ausra:    Yes.

Vidas:    -right hand and left hand, one octave apart, and your congregation doesn't know your hymn at all-

Ausra:    Sure.

Vidas:    -and you can play just one verse like this. Maybe like an introduction, not entire verse, but just introduction, without people singing. That would be possible, right?

Ausra:    Yes, I think so.

Vidas:    But to have a harmony is always better than to have a single voice, right?

Ausra:    Sure, definitely.

Vidas:    I think that explains how she should do. Gregorian chants sometimes might be left unaccompanied, right?

Ausra:    Sure.

Vidas:    Because that's how it originally was sung.

Ausra:    Yes, that's true. And for this reason, it's always very hard to harmonize it, to do it in four parts in her accompaniment.

Vidas:    What are some of the tips you could give to people who are trying to accompany Gregorian chanting? How it's different from tonal harmony?

Ausra:    Well, basically, it's very different. It's a modal harmony, so you have to avoid some of those rules that you are using in classical harmony, common style harmony, common style period harmony.

Vidas:    And you probably mean that when you look at the music, let's say Kyrie, of Gregorian chant, you have to mentally know what kind of mode it is written.

Ausra:    Sure.

Vidas:    You have to play all the notes of the chant and try to put it into a scale, into a mode. Ascending, basically, mode. And then you will see the lowest note and the highest note, which will be an octave apart, and you will maybe think, "Oh, it's like the mode in D, but without accidentals."

Ausra:    Sure.

Vidas:    That would be like a Dorian mode-

Ausra:    Dorian mode, yes.

Vidas:    -in modern terms. So, do this first. What else should people do?

Ausra:    So, the best you could do actually to add as little chords as you can. Just choose a few chords that suits this mode and use them.

Vidas:    For example, always, you could use three chords-

Ausra:    Sure.

Vidas:    -tonic, subdominant, and dominant, but make sure you don't add any additional accidentals.

Ausra:    Sure, that does not belong to that mode.

Vidas:    For example, in D Dorian, you would not add B flat.

Ausra:    Sure.

Vidas:    And you would not add C sharp.

Ausra:    Yes. Not like in regular D minor.

Vidas:    So your dominant will be minor, and your subdominant will be?

Ausra:    Major.

Vidas:    Major, yes. Very, very different from tonal thinking. Those three chords would be just enough to get you started in harmonizing a majority of chants, and that would be a good way of thinking in general. Don't add any foreign accidentals to the mode, and you will be in a good style, I think.

Okay, guys, this was Vidas-

Ausra:    And Ausra.

Vidas:    -and send us your corrections either by comments and use #AskVidasAndAusra or maybe you could send it as a reply to an email, send us an email message and we will be glad to try to answer. We are not promising that we know everything, but we certainly try to help you grow as an organist. Okay, and Ausra, if they want to get a deeper involvement with us, maybe subscribe for a daily dose of inspiration, what should they do?

Ausra:    Well, they need to subscribe to our Total Organist program.

Vidas:    Yeah, we have right now a 30-day trial period and a lot of people are joining and we're very happy to be communicating with them. And they are asking other questions; it's like a small community-within-community, like an inner circle. So if you want that extra help and support, and of course you will get all the downloads and practical advice and exercises and training programs and coaching, inside of the membership area.

Right now, I've been working and dumping all of our previous programs that people would get in weekly installments, one piece a week, one exercise a week ... I thought maybe people want to pick and choose which ones to get, so we've been doing this, putting everything that we are creating on Total Organist.

And people can download and sign up for any coaching program, any training that they want right now. They don't have to wait for weeks and months, when their week comes. They can choose what they want to practice right now.

So Total Organist right now has free trial for 30 days, so you can really take advantage of this.

Thanks, guys, this was Vidas-

Ausra:    -and Ausra.

Vidas:    And remember, when you practice-

Ausra:    -miracles happen.

Today's question was posted by Sandra, our Total Organist student and she asks if all verses of the hymn must be played at the same tempo.

Listen to the full answer at #AskVidasAndAusra

Welcome to Oksana, who is starting her free trial of Total Organist! When you login with your email and password to the Total Organist member area, you will see all the trainings listed. Click on any of them to get started.

​Congratulations to Robert who has downloaded "The Jig" Fugue in G Major, BWV 577 by J.S. Bach! Complete fingering and pedaling provided will set him straight on the road to success in learning this masterpiece.
​
Let me know next week or sooner how your practice goes.

​What's the most pressing challenge to you right now and what would you like to achieve in the next 3 to 6 months in organ playing?

Please send us your questions.

​And remember...

When you practice, miracles happen.

Vidas and Ausra
​(Get free updates of new posts here)

TRANSCRIPT

Vidas:    Hello guys, this is Vidas.

Ausra:    And Ausra.

Vidas:    Welcome to #AskVidasAndAusra podcast, number 9. Today's question is posted by Sandra, and she asks whether all the verses of the hymns have to be played at the same tempo. Basically, can you play a verse or two in a different tempo, like slower or faster. What do you think Ausra?

Ausra:    You know, I would play it all in the same tempo.

Vidas:    Why?

Ausra:    I think that's the way it should be.

Vidas:    Do you think that congregation would be confused if you changed the tempos?

Ausra:    Yes. And I see why she would want to do it, in order to change tempo. Maybe because of the text. But still, I think you have to keep everything tempo.

Vidas:    Remember when we were studying, let's say choir conducting, right?

Ausra:    Yes.

Vidas:    In the early days, sometimes we would conduct maybe folk songs. Harmonized folk songs. Lithuanian harmonized folk songs, and they would have like several verses. Like three, four, or five verses. And I remember, and I don't know if you had the same experience. My teacher once told that, "Well you could conduct one particular verse slower". Did you do that with your teacher?

Ausra:    No, I didn't do it, but I remember, let's say when going from loud verse to a soft verse. Sometimes I would slow down myself. But when I remember what my teacher would tell me, that it's wrong way to do it, because piano doesn't mean that it should be slower.

Vidas:    Yeah, that's probably the most appropriate thing, unless ... Here is the exception. I think in Sandra's case could apply to the situation. I think the congregation should remain silent during this particular verse. For example, if Sandra would play an interlude. Interlude between the two different verses, and this interlude would be in minor key. You could change the key of the mode, right? The mode from major to minor when you play interludes. Do you think that in this situation, the tempo might be slower?

Ausra:    We're still keeping though to my opinion that you need to keep a steady tempo during hymn, because it's based on the congregation singing, and I think you need to keep the same tempo. That's my opinion.


Vidas:    But you know why I'm telling this, it’s because you know they have, sometimes, in the Baroque times those Chorale Partitas and some of the verses of the partitas, some of the variation, like by Johann Pachelbel, for example, or Brahms. Some of them are in minor key and they have chromatic movements downward, for example, or upwards sometimes.

Ausra:    But still, I think we have to keep the same tempo. At the beginning you have to take tempo which will be steady throughout the piece in all the variations. That's my opinion.

Vidas:    What about if the meter changes?

Ausra:    Well that's an interesting question.

Vidas:    Meter changes and then the verse also has in a different mode.

Ausra:    You know, I think you could write a doctoral dissertation about this topic, like meter changing and keeping tempo.

Vidas:    So all of these are very advanced situations, right? Very unlikely that anybody will try, right? Chromatic variation in the middle of the congregational singing. Changing the mode, and then maybe changing the meter.

Ausra:    And you know JS Bach got fired because of his accompanying congregational singing, doing probably too many interludes between verses. So be careful, you know.


Vidas:    Right. Not all the pastors want and like artistically interesting performances.

Ausra:    Sure.

Vidas:    Mm-hmm (affirmative). Well we will talk about that in a later episode. What does it mean to perform, and what does it mean to simply present a hymn. That's for another day I think. Okay, so guys I hope that this was useful to you. If you want to send us your questions, Ausra, how should they post it? Should they use hashtag?

Ausra:    Maybe not necessarily.

Vidas:    You could just simply send an email to us, right? I think we will find it. It's not like we will get a million emails a day. A little less I think.

Ausra:    Sure, definitely. Yes. Less than a million.

Vidas:    So far. Good. So send us your emails, or just comments. If you want you can use hashtag. It's easier to organize this way. And if you want more advice, if people want more advice and inspiration, where should they go Ausra?

Ausra:    Just to visit our website.

Vidas:    www.organduo.lt. And you could subscribe to get daily doze of organ playing inspiration, and practical advice. And you can get notified anytime we post new advice and answers. This way this will come to your email inbox. Okay, guys this was Vidas.

Ausra:    And Ausra.

Vidas:    And remember, when you practice ...

Ausra:    Miracles happen. ​

Welcome to Secrets of Organ Playing Podcast #100!

This is a small celebration for us. I've never imagined we will reach 100 podcast conversations when I've started doing them almost 2 years ago.

I want to sincerely thank all my listeners, subscribers, students, and guests who made it all possible. Your support means a lot.

I hope to continue doing this in the future too because I hear from your feedback that these conversations are helpful and inspiring to you as you grow to become a better organist.

So today's guest is a Dutch organist  Hugo Bakker. Born in 1985, Hugo studied history, organ, church music and harpsichord at Leiden University, the Rotterdam Conservatory and the Lemmens institute in Leuven.

​His teachers for organ were Bernard Winsemius, Reitze Smits and Luc Ponet. Harpsichord and basso continuo he studied with Kris Verhelst.

He won prizes in a.o. Pistoia (Italy). Besides, he was awarded the Sweelinck-Müllerprijs 2014.

Hugo is organist of St. Maartenskerk Zaltbommel where he plays the monumental Wolfferts-/ Heyneman organ from 1783.

​Besides, he performs as a soloist or as accompanist, he teaches and writes (musicological) articles.

In this conversation, Hugo and I talk about his organist career and  about the importance of focusing on the music, trying as many different organs as possible and always continue learning.

Enjoy and share your comments below.

​And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends.

Thanks for caring.

Listen to the conversation

Related Link:
www.hugobakker.org

​Today's question was posted by Paul:

" ICH RUF ZU DIR, HERR JESU CHRIST - When you play this, it is very musical (the most musical I've ever heard) but I've heard this played very mechanical in most recordings. How do you know when to speed up and slow down in this piece (or any other Bach piece) to make it musical? Is there a formula? I love this new series of yours (except sometimes it's difficult to hear you in the car). Thank you for all your help! You two are inspiring!"

What Paul is referring to here is agogic. It's the principle that let's you to fluctuate the tempo very gently. Basically, we slow down when something new or interesting is happening - key change, new section, new theme etc. Then we can pick up the tempo slightly.

​​Listen to the full answer at #AskVidasAndAusra

If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them.

​And remember...

When you practice, miracles happen.

Vidas and Ausra
​(Get free updates of new posts here)

TRANSCRIPT

Vidas:    Hello guys, this is Vidas.

Ausra:    And Ausra.

Vidas:    Welcome to episode number 8 of #AskVidasAndAusra podcast. This question was posted by Paul. He writes about the piece “Ich ruf zu dir, Herr Jesu Christ” by Johann Sebastian Bach from the Orgelbuchlein. He writes, "When you play this it is very musical, the most musical I've ever heard, but I've heard this played very mechanical in most recordings. How do you know when to speed up and slow down in this piece, or any other Bach piece, to make it musical? Is there a formula? I love this new series of yours, except sometimes it is difficult to hear you in the car. Thank you for all your help. You two are inspiring".

Interesting, right? What do you think, Ausra?

Ausra:    It's a very hard question. Definitely there can not be one formula for every piece and, in fact, I would not say that you have to slow down or speed up in some places. What do you think about it?

Vidas:    I think Paul is referring to a technique called agogic. It's a principle that lets you fluctuate the tempo very gently. You have to keep in mind the structure of the piece and then you can slow down when something new or interesting is happening. For example, key change, new section, new theme, things like that. After that you can pick up the tempo very slightly.

Ausra:    Yes, but everything must be very gentle.

Vidas:    Gentle and probably very slight, right? Not too over-exaggerate.

Ausra:    Yes, because if you over-exaggerate it might sound comic.

Vidas:    Right. So I think what you have to keep in mind still, the basic pulse of the piece. Always keep counting in beats. Then if something interesting is happening and you observe it, and you have to always listen and follow the score very precisely. Follow the score not like performer but maybe like listener.

Ausra:    Sure. This is why it is good to know your piece throughout, how it's put together, to know its form, to know its harmony. This might help you to use your agogic right. For example, I would suggest not to lean more on the dissonances because they are so important. Maybe you can slow down a little bit in each cadence, because cadence is like the end of the musical thought. Sometimes it's a final thought at the end of the piece, sometimes it's just in the middle.

Vidas:    Does this refer only to Bach’s pieces or to everyone?

Ausra:    I think it refers to any other pieces as well. And by speeding up, I think this rule might be applied to sequences. Sequential motives.

Vidas:    You start slower, then you can speed up, and then slow down at the end.

Ausra:    But only a little bit, not too much.

Vidas:    It's sort of similar to reciting poetry. If you ever heard people recite poetry automatically. You know, automatically meaning they keep the rhythm:

Tah TAH tah tah TAH tah tah TAH tah tah TAH,
Tah TAH tah tah TAH tah tah TAH.
Tah TAH tah tah TAH tah tah TAH tah tah TAH,
Tah TAH tah tah TAH tah tah TAH.

Very automatically. And it's boring. But the best, probably, speakers, make it sound very natural and spontaneous.

Ausra:    Sure.

Vidas:    So that's what we're talking about it music too.

Ausra:    I never think how to play musically, not to play it automatically. Also you must to overcome, all the technical difficulties first, and then just to focus on music itself. How to play it nice. Very musically.

Vidas: So I hope this will explain and help Paul, and others who are trying to play pieces musically. Not automatically. And that's one of the main things you can do. Gentle, agogical fluctuations.

If you want to send us your questions, feel free to do this by posting them as comments to this post, and make sure you use hashtag #AskVidasAndAusra so that we can find them. And if you want to get more advice and inspiration about organ playing, then make sure you subscribe to our blog at www.organduo.lt and you will get everything we post for free. Also deliver it in your email inbox. Wonderful. I hope this was useful, and see you next time. This was Vidas.

Ausra:    And Ausra.

Vidas:    And remember when you practice ...

Ausra:    Miracles happen. ​

​Today's question was posted by Paul:

"I've been given the opportunity to be organist at First Baptist Church in Boise and have been playing every other week a prelude and postlude, but I get very nervous and have a very hard time focusing on the music. I started with a very easy piece, prelude #1 from Bach's Preludes and Fugues, book 1 and the postlude was Christ Lag in Todesbanden BWV 625. (learned a long time ago when taking lessons) Both went well but very hard to focus. The last prelude I played was Bach's Sleepers Awake, but both my hands were trembling and it was easy to lose my place in the music. At one point I stopped, backed up a little and started again - something that is not supposed to happen. I've played it perfectly at home. Suggestions? I won't play that again until I stop getting nervous."  (Paul)

To be able to focus during a public performance is a critical skill for any organist. We think that it's not really possible to avoid fear. The aim is to learn to control it. Focusing on breathing helps here a lot because your mind will be occupied on something useful. The more you do it in public, the calmer you will feel.

​​Listen to our answer at #AskVidasAndAusra

If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them.

​And remember...

When you practice, miracles happen.

Vidas and Ausra
​(Get free updates of new posts here)

TRANSCRIPT

Vidas:    Hello, this is Vidas.

Ausra:    And Ausra.

Vidas:    And let's start today, Episode number 7 of #AskVidasAndAusra podcast. Today's question was posted by Paul, and he writes:

"I've been given the opportunity to be organist at First Baptist Church in Boise. And have been playing every other week at prelude and postlude, but get very nervous and have a very hard time focusing on the music. I started with a very easy piece - Prelude Number One from Bach's Preludes and Fugues, Book One - and the postlude was 'Christ lag in Todesbanden' BWV 625. I learned it a long time ago when taking lessons. Both pieces went well, but very hard to focus.

The last prelude I played was Bach's 'Sleepers Awake,' so that's 'Wachet auf, ruft uns die Stimme'; but both my hands were trembling, it was easy to lose my place in the music. At one point, I stopped, backed up a little and started again, something that is not supposed to happen. I played it perfectly at home.

Suggestions? I won't play that again until I stop getting nervous."

So that was ideas and challenges from Paul. What do you think, Ausra? Is it a common challenge people face when playing organ in public?

Ausra:    I think it's very common challenge to do anything publicly; even like some people are terrified of public speaking. So here is the same, so if I would be Paul, I would not say that last sentence, because you might not never get rid of your nerves during performance. The most important thing is to learn to control it.

Vidas:    So Paul writes, "I won't play that again until I stop getting nervous." It will not happen, right? Anytime soon.

Ausra:    Yes, yes. And you know, I would suggest that you need to play as often publicly as you can. This is probably the best way to be able to control your nerves.

Vidas:    To be able to face your fears, right? To get stronger. Remember the saying, "Whatever doesn't kill me, makes me stronger", right?

Ausra:    Yes. And if same thing happens in some spot, never try to play it again during public performance. Just go ahead. Maybe you can mark in your score, places where it's comfortable for you to start, and then pick up the closest part that's connected.

Vidas:    And make sure you also keep the pulse moving, keep counting and pick up the new fragment if you have to. Pick up the new fragment exactly at the next beat so you don't miss a beat, and nobody will notice that.

Ausra:    Yes and another important thing is just don't forget to breathe. It's such a simple thing, it seems like a very simple thing to do; but actually it's not that simple during actual performance when you get nervous, then it start for you to get hard to breathe. Many people even forget about it.

Vidas:    You know what happens when we panic, right? This was a panic attack for Paul, probably. A small one maybe, because he managed to control it by playing fragment again, right? Backing up and playing it again. And finishing the piece anyway. But what happens when you panic is basically you are short of oxygen. Your brain doesn't get enough oxygen, so you have to constantly remind yourself of breathing, deeply slowly. And the slower you breathe, the calmer you will feel, right. That's the rule.

Ausra, have you been breathing while playing organ? And did it help you at that point where you were nervous?

Ausra:    Yes, definitely. It did help me, a lot.

Vidas:    I remember my last recital for Bach's birthday, remember we played it together this year. And I played this E minor long prelude and fugue, BWV 538. And yes it was a strenuous piece, and there were a few episodes that I was particularly shaking. And I kept breathing, actually that saved me. Saved me somehow from stopping, from panicking and from losing my place in the music.

So I hope Paul and other people who struggle with playing organ in public, and struggling from being nervous, too nervous perhaps ... might get some help and apply these tips and practice.

Ausra:    Yes, and sometimes know that fear also comes from not being prepared well enough. I'm not telling that Paul's case was like this, but sometimes there are things where you are not prepared well enough, and you are starting panicking during performance. So you have to be really well-prepared; that might make you feel more relaxed, too.

Vidas:    Can you be more precise? What do you mean, "well-prepared" here?

Ausra:    Well, as George Ritchie, former professor did... he would not let us to play at recital or any of his students to play recital if a month before actual performance, we could not play throughout run-through. Without stopping, without obvious mistakes, and so on and so forth. And I think it's very helpful.

Vidas:    Well yes, it's really a month before, it's just a bare minimum. I remember in one of the previous episodes, we talked about Ana Marija. She was asking how to master a lot of pieces during a short period of time. Basically she wrote me later that she's planning to be ready at least three months before the recital. So that's a healthy amount of time, right? To be prepared. In our Unda Maris student recital, whoever could play the piece three months before the recital was very secure and very calm during performance.

So for Paul and others who are struggling with focusing and panicking - this is a key too.

Ausra:    Sure.

Vidas:    Make sure you get enough time, plenty of time, for practice.

Great, guys. If you want to ask us more questions, send them by posting them as comments to this post, but make sure you add hashtag, right? #AskVidasAndAusra so that we would be able to see them.

Wonderful. So I think this is a comprehensive answer, and we'll see you again next time. This was Vidas-

Ausra:    And Ausra.

Vidas:    And remember: when you practice,

Ausra:    Miracles happen.

Today's question was posted by Ana Marija, our Total Organist student:

"Do you listen to "other" genres of music too? Well, I have some pianist friends, and it seems typical that they generally listen to piano music. I do not know many organists personally, and I was wondering if you like choral music, orchestral music, piano music... Do you go for a walk and listen to Beethoven Symphony? What is your opinion on jazz, rock..." (Ana Marija)

​Listen to our answer at #AskVidasAndAusra

If you want us to answer your questions, post them as comments to this post and use a hashtag #AskVidasAndAusra so that we would be able to find them.

​And remember...

When you practice, miracles happen.

Vidas and Ausra
​(Get free updates of new posts here)

TRANSCRIPT

​Vidas:    Hello guys, this is Vidas.

Ausra:    And Ausra.

Vidas:    And we are broadcasting now from our car, driving to our school. And today's question for #AskVidasAndAusra podcast, episode 6, was sent by Ana Marija. She is curious basically, "Is it okay to focus just on organ music for organist? "Or should you really be interested in other styles and genres, like symphonic music, chamber music, piano music, choir music?" Or even jazz? Other styles, basically. Because, she noticed that a lot of pianists are only interested in piano music. So, how about for organists? Interesting question.

Ausra:    Well, it is an interesting question and I don't know, but there must be no one correct answer to it. Because it depends on what the interest of the person is, but in general I think that if you are professional, you must know other music as well, other music of a common period. Symphonic, piano music, chamber music, choir music, opera, and so on and so forth.

Vidas:    The broader your musical horizon is, the more experience you will get, and it will also broaden your musical abilities too. Because with every new piece, new style, you discover something new about yourself also or ultimately about your music. Even if you just, for example, listen to organ music you'll become a little bit one-sided. I'm not sure if it's a bad thing. For some people it's great to be one-sided and very, very focused, like a specialist, but others like to be generalists. Right, Ausra?

Ausra:    Yes, and especially, you know, if you teach other people you must have a broader perspective of music in general. Because for example, when I teach at school and I hear somebody next door are playing something, and my students ask, "Oh, teacher, what is this?" And if I will not be able to answer them, my authority will just go down.
Vidas:    Yeah, I think they’re testing us.

Ausra:    Yeah, sure. So, I would say you have to listen to other music as well, because even if you dig Bach: If you just know organ music it's okay, but there are so many beautiful pieces written to other instruments, and multiple instruments, and to listen to cantata or to his passions.

Vidas:    Or even, do you know Widor, right? Widor is primarily known for his organ works, but there is one beautiful suite for piano and flute. Ausra has played, right?

Ausra:    Yes.

Vidas:    A long time ago. It's a wonderful piece. Why not study it? Not necessarily play it, but study, listen, and enjoy, too.

Ausra:    Or, you know, what kind of musician can you be if you haven't listened to Beethoven's symphonies?

Vidas:    Yes. It's a basic education, I think. For every cultured person, probably. And on top of that you would expand to organ. To add specialist repertoire from the main historical schools of organ composition and national styles, like Italy, France, Germany, Spain, Portugal, England, Netherlands, America. All of those things. But, it's good to have a broad cultural perspective. Then you can be engaged with other people who are not organists, and communicate their language about organ, too.

Ausra:    And even music like jazz can be also very useful to listen to.

Vidas:    And one of our best professors, George Ritchie...

Ausra:    Yes, he is a big fan of jazz music.

Vidas:    Yeah, he always listens to jazz in his free time.  

Wonderful. So, feel free to watch and listen and play any kinds of music. Even sight-reading, for example orchestral scores is wonderful. If you have a friend, playing four-hand piano transcriptions by orchestral scores, and even operatic works, it's a wonderful way to really spend time with your friend. That's for sure. But also, to get better at sight-reading and also expand your musical horizons.

Wonderful. So, Ausra, I've noticed you had this wonderful collection of Alain and other pieces on your music rack. Did you have time to practice yesterday?

Ausra:    Well, actually, yes, I practiced a little bit yesterday. I am preparing for that recital next week so I just played that Canzona in G Major by Scheidemann.


Vidas:    And I actually played four graduation ceremonies yesterday at university. And today I'm also playing for an economics department. And I know you have an exam, right? What kind of exam?

Ausra:    It's a musicology exam, the second to the last part of musicology for my students who graduate school this year. The exam itself lasts for a few hours, because we have to write a musical dictation down, and then we have the history test to do, and then to harmonize four-part exercise, and then to analyze a piece for musical analysis.


Vidas:    It's a comprehensive test, right?

Ausra:    Yes.

Vidas:    All your music theory and even music history is part of it.

Ausra:    Yes.

Vidas:    Right? Of course, there is another part of the exam for music history. And you are the creator, right, of all this?

Ausra:    Yes.

Vidas:    You create the test. And, why do people need this test when they graduate?

Ausra:    Well, because if you want to go to apply for academy of music, this exam is required, actually.

Vidas:    It's like an entrance examination, right?

Ausra:    Yes. If you want to get diploma from our school, you have to have this exam, too.

Vidas:    So, I hope you will have a wonderful day, and not too stressful, because it's not your exam.

Ausra:    Well, it's a long day. Actually it would be easier for me to do this exam myself, you know, than to see my students taking this ...

Vidas:    Ah, you are basically worrying about them.

Ausra:    Sure.

Vidas:    Well, yeah, of course. You always want for them to be better than they are, maybe, sometimes.

Wonderful. So, remember, right now we have 30 days free trial of our organ membership program called Total Organist. And Ana Marija posted the question for today's podcast episode is also a student of this program, taking advantage of the free trial. So, if you decide that this program is not for you, just try it out. Download fingerings and pedalings, and coaching programs. Study them and you can cancel before the month ends and you will not be charged. But the majority of people actually stay, because we have no doubt of the quality. It's so helpful. It's so comprehensive. Actually the most comprehensive organ training program online. So, and right now it's for 30 days free.

Wonderful. I hope you will have all a great practice today. I hope I also practice in my short between the graduation ceremonies for those economy students. And we'll see you next time, right?

Ausra:    Yeah.

Vidas:    This was Vidas ...

Ausra:    And Ausra.

Vidas:    And remember, when you practice ...

Ausra:    Miracles happen.