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.
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#AskVidasAndAusra 5 - Is It Possible To Learn To Play The Organ When You Are 56 Years Old?6/21/2017
#AskVidasAndAusra question posted by Joanna, our Total Organist student:
"Dear Vidas and Ausra, I am 56 years old and I have been playing organ for three years. I used to play the violin and piano before but not to an advanced level so I am finding the organ playing very hard. I practice for 1 ½ hours a day or more and I am improving but very slowly. Do you think it is possible for me to study organ at my age or is it too difficult for me? Sometimes I wish to study longer when I have the time but either my neck is hurting or my back is hurting etc. It is not easy when you get older. Sometimes I just feel like giving up. I am studying on my own as there is a big shortage of organ teachers in Malta so I find your emails and videos very useful. I downloaded some pieces a few days ago with fingering from your website. I find fingering very difficult as I do not have enough experience so these edited pieces with fingering written in are a blessing for me. Thank you for your videos and emails." Listen to our answer at #AskVidasAndAusra 5 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 today is episode number 5 of #AskVidasAndAusra podcast; and today's question was posted by Joanna. Joanna is 56 years old and she asks, "Is it not too late for her to start learning the organ?" Because she noticed how difficult sometimes it is for her to play. Her neck and her back hurts. So, this was her question. What do you think, Ausra? Ausra: Well, I remember she mentioned that she plays some musical instruments, yes? So, I think, piano, yes? And flute, am I right? Vidas: It could be yeah. Could be. Ausra: Yeah, so you know, because she had played piano in her life, I don't think it would be so hard for her to play the organ because still it's a keyboard. Vidas: Yeah! Do you remember we have a few students who are above 50 and even 60, right? Ausra: Yes. Vidas: For example, one is Regina in our Unda Maris studio. How old is she, by the way? Ausra: Well, she's about to retire, so she's about 60 years old. Vidas: Uh huh. 60 years old, and even more. So when she started playing was maybe six years ago, right? Ausra: Yes. Vidas: About in her mid-50s I would say. Ausra: And she also had some experience playing piano before, like during her childhood. Vidas: Yeah, and she had a great dream to master those eight little preludes and fugues. And by now she can play six of them. Ausra: Yes. Vidas: I think only two of them are left: G Major, right? Ausra: Yes. Vidas: And what, A Minor? Ausra: A Minor, yes. Vidas: Uh huh. And she makes constant progress. She might have a few problems and challenges like everyone else, but she never stops progressing and practicing. Ausra: Of course you have to take care of herself while practicing, you don't have to play for a very long time and have to exercise, to relax her muscles. Because yes otherwise your back will hurt. Vidas: Yeah. So it's better to take frequent breaks, right? Ausra: Yes. Vidas: One technique I found very useful was Pomodoro Technique, where you practice for 25 minutes, and then take five minute break. And again you can practice later for 25 minutes and then five minute break. And if you do this, you can even practice for a few hours without getting tired. Ausra: Yes. And you know, it's not because of your age. I think you can hurt yourself, your muscles, your back, even at very young age if you practice without thinking what you are doing, actually. Because they have many students at my school where I teach, they suddenly do something with for example their arms, and they cannot play anymore. Sometimes they even have to quit school, because they overuse the arms. So I think sometimes age can be actually, in her advantage, can help you because the more mature you get, the more intelligent your practice becomes. Because you can control yourself better than at a very young age. Vidas: Right. Because kids, the kids usually don't have that focus level of maturation; well, some of them do, but not many of them. Ausra: Because for example, you tell your students all the time, "Don't practice your piece throughout; don't play from the beginning to end, just take, pick up a few hard spots and practice those parts. And then you play it throughout." But they never listen, they just keep playing from the beginning to the end. And those parts that are easy, are becoming even easier, and those hard spots don't make enough progress with them. But if you are more mature and you know what you're doing, then it’s for you to understand what you have to do first. And don't waste time. Vidas: Yes. So if you are in a situation like Joanna today, I hope you will not give up. Because just yesterday I wrote an email answer to a beginner organist who was in his 90s. 90 years old. And a few weeks ago, I also wrote and answered him to another 90s old, over 90 years old organist. So we have students like that. The most important thing is probably for you to be better than yourself yesterday. Today better than yesterday. That's all we need to think about, that's all we need to compare ourselves to. Ausra: And I think all that learning experience, it should give you joy and excitement. And it's a very good therapy, I would say. Vidas: Yeah, at this age playing organ also prevents many diseases, illnesses like Alzheimer's, it helps with other things ... because your brain is constantly working and exercising. Brain is like a muscle in a way, right? You need to work out. Ausra: And you know, I guess that your final goal is not to be virtuoso like Mozart. It’s OK. Vidas: Just enjoy the privilege of practicing. Wonderful. So this episode was brought to you by our Total Organist program, and Joanna is also taking a free trial of this program and downloading many fingering and pedaling scores we provide. Because at this age, people are eager to learn new things; but if you don't have experience at writing fingering and pedaling, it will take ages for you to learn something, right? Because you even don't know if you are on the right track. Ausra: Sure. Vidas: So that's why we are dumping all our scores and all our training into Total Organist now. Whatever we create, we are putting and publishing in the Total Organist section so that people who are most eager to learn, and our most loyal subscribers - because that's what it is, Total Organist, they can really take advantage of them, and get better faster than they would do on their own. So 30 days for free, you can try it out right now. It’s very good deal. It's the most comprehensive organ training program online. Thanks for listening, 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.
She writes: "The assistant pastor at the Lutheran church where I am the organist bellows fiercely and drags all the hymns. Every verse is the same volume, regardless of the meaning of the words. He holds all final notes of every phrase. It is quite horrible. The head pastor will not tell him to stop. Help!!!!!!!" Listen to #AskVidasAndAusra 4 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: Okay guys, this is Vidas. Ausra: And Ausra. Vidas: And we're starting our episode number 4 of #AskVidasAndAusra podcast and we're doing this while driving in the car to our school and today's question was posted by Sandra, our Total Organist student, and she asks, "The assistant pastor at the Lutheran church, where I am the organist bellows fiercely and wrecks all the hymns, every verse is the same volume, regardless of the meanings of the words. He holds all the final notes of every phrase. It's quite horrible, the head pastor will not tell him to stop, please help." So, it's an interesting situation, right? Where the pastor really sings quite loudly and I think entire congregation can really hear this, don't you think Ausra? Ausra: Oh, yes, but actually that's not the such a rare case. Vidas: That the pastor sings loudly? Ausra: Yes. Vidas: Loud and slowly, right? I see. Is this real problem or it's a minor detail? What do you think? Ausra: Well, you know it might get real annoying for, you know, the organist especially. But I think for congregation too, especially for a musical one. Vidas: Right. So, this assistant pastor, of course, will not listen to anyone. The head pastor also will not tell him to stop. So the acting and singing fiercely, right? Basically, he acts like a soloist, I think, right? From what I hear from Sandra's question. Ausra: Maybe, Sandra should offer him to do some solo. Vidas: Solo, yeah. Or we could come from Lithuania and help him understand, right? To Sandra's church. Anyway, that's really funny. Ausra: No, speaking seriously. I think one of the things she could do, actually, she could talk with him herself, and try to see how he will respond. If he will not respond and still keep singing loudly, as a soloist, she could probably just to play the organ to accompany organ louder. And to push him to sing faster and and I'm sure if she will start the next stanza to play right away, he will not, you know, on that last note forever. Vidas: Yeah. Of course, the organ will play further. Remember, Ausra, we had a similar situation when we were working a number of years back at Holy Cross church. Ausra: Yes, in Vilnius. Vidas: And not pastor was the problem, but entire congregation was singing extremely slowly. Ausra: Yes. There was some elderly ladies who would just drag everything. Actually, once one of them just caught me on the street, like a half a kilometer away from church already. She was just running behind me, trying to catch me. Then she told me, “oh, just play more often in our church. Don't let Vidas do it so often because he plays so fast and we are old people, we like to sing very slowly. Vidas: Yeah. That was really funny. But not at the moment, right? Ausra: Yes. Vidas: From the hindsight. It's funny. But, of course, when Sandra faces this challenge, it's not funny for her, because it ruins the entire feeling of congregational singing. If one person drags all the notes or sings like a soloist, right? But as Ausra says, it's really, really good to play the organ louder, in this case, right? Make the organ lead. I'm not sure what stops Sandra is using, but Ausra, what stops could you suggest she would use? Ausra: I would say probably a principal chorus for softer verses, and, you know, Pleno for the louder verses. Vidas: Principals, you mean, without mixtures, right? Ausra: Yes. 8’, 4’ and 2’ principals. Vidas: And then if you want the culmination versions, the last verse, for example, you can have the mixture. Ausra: Sure. Vidas: It's not too soft, it's not too loud because people who have a urge to sing louder. Ausra: Sure. Pastor, too. Assistant pastor. Vidas: Assistant pastor. Yeah. It might be that it will be like competition. A race, who will be louder? Who will win? Ausra: But I hope it will help, you know, eventually. Vidas: Yeah. I think the best thing to do is to keep a healthy perspective and to have a humor about it, a little bit. To laugh at the situation, not at the pastor, but at the situation. It's really like an anecdote, right, like a joke that it's very traditional and a lot of cases, a lot of parishes and congregations do that, sing too slow, Sandra. And it's annoying, but you can be quite funny about that, right? Not too frustrated I think. Keeping a healthy mind in that situation. Because it's not Sandra's fault, right? Ausra: Sure. You know as an old saying says, "you cannot teach old dog new tricks", so that might be the case of that assistant pastor. I don't know. But let's be hopeful that even he can change. Vidas: Of course, Sandra could play more organ music, right? Instead of just hymns. Ausra: Well but still, there are, a few hymns appropriate to have in your service, you cannot avoid it, so. But you really need to ask him to do some solo work for you. Vidas: Yeah, if his voice is so strong and he can sing in tune, hold the pitch, why not? Ask. Maybe he can even read music. I can suspect, because usually people who cannot read music, they are shy, and will not sing loud enough. Or not? What do you say? Ausra: Not all of them. Not necessarily. You know some people are singing out of tune and we don't realize that they are singing out of tune, so it's a tricky question. Vidas: So then Sandra could really approach the assistant pastor and talk to him. That would be number one thing. Ausra: Sure. Vidas: Very politely, very gently, or even better, record him for you, and let him listen to the recording? And ask if he likes his solo in the congregational singing, like this, right? Put a microphone someplace. Or a recorder in the middle of the church, or just from the organ balcony. Anywhere, right? The closer to the pastor, the better, actually. Ausra: Sure. Vidas: Then, he might understand without Sandra's actually words what's happening. Ausra: Or maybe not. Vidas: Maybe not. Ausra: It depends on how big his ego is. Vidas: Oh yeah. Ego is sometimes as big as western hemisphere, for some people. So, Ausra, I’ve seen, when we came back from our birthday party yesterday, on the music rack on our organ, you had some great organ music collections. Even the organ music by Jehan Alain… Ausra: Yes. Vidas: Did you practice that yourself? Ausra: Yes, I practiced myself. Vidas: What kind of piece? Ausra: The second fantasy. Vidas: Second fantasy? Oh, yeah, you played this long time ago. Ausra: Yes. Vidas: Did you like it? Yesterday. Ausra: Oh, very much, yes. Vidas: Yes? Was it difficult for you to refresh this piece after, how many, ten years of not playing or eleven years? Ausra: Actually, I think ten years. Vidas: Ten. Ausra: It actually was not. Vidas: It wasn't? Ausra: No. Vidas: It wasn't. Wow. Hey guys listen, it's really, good news. When you, once you master something really well and play it in public a few times, right, then you can forget about it and do something else and master other pieces. And then come back in ten years and this piece, which you haven't touched for ten years, will not be like a new piece. Of course it will be not mastered enough, not ready for public performance tomorrow, but it will be quite familiar, right, Ausra? Ausra: Yes, sure. Vidas: Wonderful. So I think we can practice today also later on, after school. I have four graduation ceremonies to play at the church, and also a podcast conversation to record with the organist from, I think, Argentina. So, wonderful, guys. I think Sandra's question will apply to a lot of congregations, to a lot of people, and I hope you will find it valuable too. So, this was Vidas ... Ausra: And Ausra. Vidas: And remember, when you practice … Ausra: Miracles happen.
Welcome to Episode 3 of #AskVidasAndAusra!
Today we are broadcasting from our car while going to the birthday party of our friend. Today's question was posted by Ana Marija who is our Total Organist student. Here's what she asks: "When you have really a lot of repertoire to be done, how would you organize your practice? The situation is like this: Beethoven piano sonata, Brahms Fantasy's, a Chopin Etude, Rachmaninov etude and for the organ Brahms Prelude and Fugue in g-minor, Bach Fantasy and Fugue in c-minor, Prelude and fugue in f-minor, Toccata and fuge in dorian mode... I want to play a few chorals too. And I simply must play the first keyboard concerto! Maybe i can find a way to play it with the orchestra somehow. Would be awesome. So, what would you do? Do you think it is manageable in about three months? Should I cut out some program (hopefully not)? I can not seriously practice all the pieces in one day... or do you think I should work on all of them at once? Does it happen to you, choosing much new program in a limited time? Any ideas? Do you make a plan like this: today I will practice exactly these bars, I am going to use following methods (rhythm variations, memorizing, harmony...). Do you make a plan for some time beforehand (a week, a month)? Or you decide on which pieces to work? And just do with them what you think it is necessary in the moment?" Listen to our answer. 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: Okay, guys, this is Vidas Pinkevicius. Ausra: And Ausra. Vidas: Wonderful, and we are now broadcasting live from our car, and this is episode number three of #AskVidasAndAusra. This question was sent by Ana Marija, and she wrote that she has a lot of pieces to practice, maybe ten pieces for piano and for organ at the same time to practice. It was Rachmaninoff, Chopin, Brahms, Bach, maybe a few chorale preludes, even a concerto for the orchestra, and she also wants to do this in three months because a public performance, as we understand, is in three months. So she asked for our help to help organize her practice, make a schedule prep, basically. How to organize this practice when you have limited amount of time, but a lot of pieces, maybe ten pieces in your program. Of course, she didn't write how much time she can devote per day every day to practice. What do you think, Ausra? Is it realistic? Ausra: Well, I wouldn't do it myself, personally. If it would be only on one instrument, then it's okay, but because you can't divide your attention between organ and piano, I wouldn't do it. Vidas: Every instrument that requires its own attention, right? So if you are a professional on the organ and on the piano, you have to divide equal time, probably, right? Maybe a couple of hours per day on the organ and the same amount of time on the piano. That's minimal, probably. Ausra: Well, with pieces like this, I would need to spend at least three hours on the organ and three hours on the piano every day. Vidas: We have to properly ask Ana Marija, for example, if she can spend six hours a day practicing. Ausra: Well, if these are new pieces, then yes, and if these are old pieces, if she performed them for them, then it should be okay, it should be fine, but if this is all new repertoire, then you have to practice a lot on the organ. Vidas: Right. And you really can't learn everything in three months, right? If it's new. Ausra: Yes, I would say so. Vidas: If it's new, it's really, really tricky. Ausra: Because, if you want to perform in public, you have to be able to play them fluently in public, again, for your recital. Vidas: Exactly. So, Ana Marija and other people who are in this situation who have a lot of pieces to prepare, but only a few months, right? Ausra: I don't know how she plays organ, from memory or from the score, but on the piano, I guess she will have to play from memory, and if these are new pieces, I don't know how fast will she memorize them. Vidas: Exactly, it's really, really tricky to play from memory, and to feel this pressure, that you have a limited amount of time, not enough time, basically, then probably she can't really relax and enjoy the performance because she knows that she's running out of time all the time. Ausra: But, I think it's when, if you really have to do it and devote it, then just do it, but you have to divide your practice. I mean, to be really prolific. Vidas: Every day? Ausra: Every day, yeah. Vidas: Don't make any excuses, right? No matter what. Sick or not sick, hungry or not hungry, tired or not tired. You're a professional at this. If you decided to play that many pieces in three months. But it's risky, it might not work. Ausra: Actually, what I would suggest, maybe it's possible to change the repertoire a little bit, like not to play only these new grand pieces, but to add, like, little pieces to the repertoire. Vidas: Chorale preludes, right? Maybe not everything new, but maybe half the program new. I remember because I play constantly regular recitals at St. John's Church her in Vilnius. I have a similar problem. I have to prepare an hour of music every month, right? But I never play everything new. I would improvise, or to repeat a lot of pieces. I repeat, and then I can learn a few new pieces during that month. I can do this. Plus, I can sight-read very well. Ausra: And, you know, I don't know how about her responsibilities, what else in life she does. If she only practices one, it should probably be okay, actually, be still on time. Vidas: But can you spend six hours on the benches? It's insane. It's really, it's not good for your body. Ausra: Yes, for your muscles, for your eyes, for your brain. Vidas: Right. You can only play with rigor and focus for 25 minutes, then you have to stop and make a break for five minutes, and then you can come back, right? Ausra: Yes. Vidas: So it's really, really important to schedule and do a realistic, healthy practice. You know, what I suggest- I would recommend probably to reduce the number of pieces she wants to learn. We don't know. We don't even know if all this repertoire is required for her, or if she just practices for fun. She wants- she has a lot of wants and needs. That's maybe too much. Maybe she can do the same thing, but in three years, or in two years, right? Ausra: Because it's also important to spend some time, some real time with each piece that you are learning, because for some repertoire, I believe it's not enough only to play the notes correctly. Vidas: Right. You have to. The repertoire has to sink in into your body, basically, into your brain. Ausra: Because otherwise sometimes the result can be disappointing. Vidas: Right, if you do rushed practice all the time, you have to enjoy it and let it ripen, probably. Ausra: Because when I heard the discussion, it sounded a little extreme. Vidas: It seems like she wants to do everything at once. Right? But we have all the time we need in the world, why don't we play it in two years or in three years, and not in three months, right? That's completely realistic, I think. So Ana Marija is our Total Organist student, fairly new one and I hope she can progress towards her dreams faster than on her own, because we have, right now, a lot of organ programs in coachings, and videos of thousands of exercises, and of course, right now, 30 days free trial is possible to take. So, I hope she can benefit from that also. You know, she wrote that she has a lot of this repertoire to practice, but she's now Total Organist student, right? So she will be paying us for a number of months, but it's unrealistic to play our repertoire, our practices and coaching programs and study with us, plus to do this, all those recital things on her own, right? She has to choose, basically, or divide a healthy amount of time between piano, organ, and Total Organist. Ausra: Yes, because I'm afraid of traumatizing her arms. Vidas: Yeah, it's very, very dangerous. Ausra: Because, if you have the problems with your muscles because of over-practicing, then all those problems, they just won't leave you for the rest of your life. It's very easy to damage your muscles, but it's very hard to recover. Vidas: So, I hope people like Anna-Maria can take this advice very seriously, and don't push themselves too much, right? Take it one step at a time. Take things slowly enough and enjoy. Ausra: And, you know, if you will be practicing for so many hours, just be more careful and take some time off between your practices. Vidas: Every half an hour. Ausra: Just plan everything very carefully and notice. Don't forget to take walks, to relax, to breathe, to eat and to sleep. Vidas: Right. Okay, so, I think this advice is quite comprehensive now, and we are almost arriving at our destination. By the way, we're going to the birthday party of our friend, so we'll see you soon, and this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice ... Ausra: Miracles happen. #AskVidasAndAusra 2: Solving problems when accompanying the choir on the organ from the distance6/18/2017
This morning Ausra and I went to the woods for our 10000 step practice and we recorded episode 2 of #AskVidasAnd Ausra.
Today's question was sent by Rory who is our Total Organist student. Here's what he wrote: "Dear Vidas and Ausra, First of all, by the way, thank you for all you do and special congratulations on reaching 100 podcasts! My question: in our parish we are in the early stages of planning a musical event featuring choir and organ and also some organ solos. It is a small church with a low gallery (total seating about 300).The choir, about 25 people, normally sing from just in front of the organ, which stands at the back of the gallery. This is good acoustically. We do not have a conductor - the organ leads the choir directly. It works well, but for this concert type of event we find a problem. Both the choir and the organist would be invisible to the downstairs audience the whole time, so we have been experimenting with locating the choir on the altar steps, but at that distance it is difficult for the choir to hear the organ clearly enough above their own voices, unless the organ plays very loudly - which becomes out of balance for the audience. I wonder if you have any comment from all your experience? Have you ever used a camera to project a view of choir and/or organist, using a screen in front of the audience perhaps? Any thoughts welcome! Many thanks! Rory" Listen to #AskVidasAndAusra 2 IMPORTANT: If you would like us to answer your questions for #AskVidasAndAusra and share on this blog, please post them as comments and not through email. Make sure you add a hashtag #AskVidasAndAusra because otherwise your question might get lost among many other comments people leave. With the hashtag #AskVidasAndAusra we'll know exactly you want us to answer them in the correct place. We are looking forward to helping you reach your dreams. Are you excited as much as we are? You should be. 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 starting our episode number 2 of #AskVidasAndAusra podcast. We're taking our 10,000 step practice in the woods here, and you can hear the birds singing around us. It's a really wonderful Sunday morning. Mosquitoes are everywhere, but this morning I'm smarter. Now I'm wearing long pants and they have no chance of biting me. Ausra, how are you this morning? Ausra: I'm okay. Vidas: Are you ready to answer people's questions today? Ausra: Sure. Vidas: Did you have fun yesterday? Ausra: Yes, I did. Vidas: Good. We had quite a few comments based on our first episode, and it was really fun and people started to responding, and sending many other questions during the day with the #AskVidasAndAusra. If you are trying to reach us and send more questions, feel free to do that in the comments of this post, or any other post of this blog. Make sure you write a hashtag, #AskVidasAndAusra, because otherwise your question might get lost. Now, the question for today was sent by Rory, and he asks, and he has this situation. He's preparing for the event in his church. Around 300 people will be seated in this church, and usually they sing with a choir and with the organ. Organ is in the balcony, and choir is positioned in front, but they have no conductor there, so they have this issue of keeping the pulse together and singing together, but I think they can do this. His main concern is that people will not see the organist, because it's behind them, and the choir will be hidden, too. So Rory asks if it's a good idea to perhaps broadcast both the organ and the choir on the screen in front of the audience, in front of the congregation. We'll talk about that. First of all, Ausra, what do you think? Is it a good idea to record the organ and broadcast it on the screen? I think, for me, it would be very simple idea and quite doable, right? But you have to have cables for that, equipment. I presume Rory has the technology to do that in the church. For that they need, of course, a video camera. Ausra: I think I misunderstood this question, because the question I think was that, usually during like services, choir stands next to the organ and actually organ leads their singing. In this particular musical event, I believe that the choir will be downstairs, not next to the organ. Vidas: Okay. Ausra: I think. I don't know. Vidas: Let's continue. I think, yeah, the balance also will be the problem if the choir is downstairs. The organist will have a hard time of keeping the rhythm, the pulse together with the choir, which he will be positioned so far away, I think. They will have to rehearse quite a bit during that week leading prior to the event. Do you think, Ausra, that it will be possible for them to sing at such a distance? Ausra: Well, it's very complicated, actually. They definitely have to rehearse a lot. Like media technology would probably be a big help, and maybe the only solution they can do it. If it would be like a professional choir, I would suggest to use Alternatim practice, no while singing - to play like one verse on the organ, and then one verse do with a choir, but if choir is some professional, that's probably a hard thing to do because to sing a cappella is always very hard. Technology might be the only help. Vidas: By technology, what do you mean? Ausra: To project it on the screen and then the organist could see the choir and the choir could see the organist. Vidas: And the people could see everything, right? Ausra: Yes. Vidas: Right away. Yeah, that's what actually Rory also suggests. He has to investigate if they have technical means to do that. I presume they have to have a long cable to extend from the video camera, which would be positioned next to the organist on the balcony. This cable should go down the balcony and to the front of the church or the middle of the church, where the projector will be positioned. That's a long cable they have to calculate, but I think it's doable. Ausra: Yes, it is. In general, this is one of the hardest things how to stay together for organ and for choir when stand up apart in our churches. The larger the church is the harder it is to get the right balance. Vidas: That's why they have choir organs, right? Ausra: Yes. Another solution would be maybe just to rent an electronic organ, which I personally don't like so much and to put it downstairs next to the choir. Vidas: If they can't sing a cappella well without accompaniment. Good solution. Yeah. Rory has to investigate all those options and choose the one that seems least complicated for the present situation, right? Ausra: Yes. Vidas: Okay. Let's move on. Now, we're taking this walk further. Mosquitoes are not biting today. I'm now wearing my long pants and they have no chance of biting me. I'm smarter this morning, but still we have to move faster because they're all around us. Ausra, did you have a good practice yesterday of Piece d’Orgue? Ausra: Yes, I did have a good practice. Actually yesterday I practiced a lot. Probably I will skip my practice today. Vidas: How are you feeling today regarding practice? Your body hurts, or not? Ausra: No, it doesn't hurt, but I feel exhausted. Vidas: Would you rather skip the practice today altogether, or would you say create some of the duets that we are going to prepare for our upcoming- Ausra: We have to do it, because the time is pressing us. Vidas: Yeah, we have a few new duets by, written by Ad Wammes, the Dutch composer and our friend and Carlotta Ferrari from Italy recently dedicated a piece for us for four hands, which we will try to incorporate in our upcoming recital in August. We have to sight read this and see if it's fits the program. Ausra: Sure. Vidas: Wonderful. I didn't practice yesterday because I was at the funeral of the dad of my colleague. We have a number of organist friends there. Afterwards, we went to the recital of Hayo Boerema from the Netherlands, which was part of the Vilnius Festival. We heard so beautiful improvisation and wonderful other pieces. In fact, I interviewed Hayo for Secrets of Organ Playing podcast a few days ago when he just arrived in Vilnius. So guys, stay tuned for this podcast number 101, which will be wonderful interview for you to get to know Hayo and his thoughts about improvisation. Anything else you want to add and to wish, Ausra, today for our listeners and students? Ausra: Just to wish you to have a nice Sunday. Vidas: And should they practice today something or take a day off? Ausra: Many of them will play in church, so I assume so. Vidas: That counts as practice, right? Ausra: Yes, that counts as practice, yes. Vidas: Excellent. So guys, thank you so much for listening to this. Please, send out your questions to us by sending the comments to this post and make sure you include #AskVidasAndAusra. This is very important because otherwise your question might get lost. This will be a wonderful. Rory, of course, is a student of ours at Total Organist. Right now, we have a limited time offer, where you can try Total Organist for free for 30 days and see if you like it and decide to keep it, if you enjoy it. If not, if it's not for you, you will not be charged for the entire month. It's really, extremely great way to get to know the value of this membership program. You will find hundreds of programs and trainings and thousands of videos and exercises, which will relate to any area of organ playing, and actually, help you reach your dreams much faster than you would do this on your own. This was Vidas. Ausra: And Ausra. Vidas: And we wish you a wonderful Sunday. See you online very, very soon. Welcome to Secrets of Organ Playing Podcast #99!
Next week we'll reach our major milestone - SOP Podcast #100! I can't believe how fast time flies. It seems I started this only a few months ago... I would like to thank all the subscribers who listened to these conversations and showed their support over the last 2 years in various ways. You made it all possible to keep going. Today's guests are two organists from Bavaria in Germany, Gerd Hennecke and Markus Kumpf. We met at Vilnius University St. John's church last week where a few days before Gerd played a concert of organ, vocal and oboe music together with soprano Gunta Gelgote and oboist Juste Gelgotaite. Gerd kindly agreed to share his organ journey with our podcast listeners and even brought a friend Markus who was returning to Vilnius from another town, Nida, a UNESCO protected national treasure on the Curonian Spit in the Western part of Lithuania. Both Gerd and Markus also played a joint recital this week in Vilkyskiai, a small town with the German organ about 250 kilometers west from Vilnius. Gerd Hennecke was born in Schwabach, Germany, in 1970. After the completion of a degree in Sacred Music in Bayreuth, he undertook further studies of organ music with Domkantor Professor Hartmut Rohmeyer in Lübeck. Since 1995 he worked as professional church musician in Augsburg and Wolfsburg. His current employment as organist and choirmaster with the Protestant „Church of Christ“ in Sulzbach-Rosenberg started in February, 2001. His work with several choirs and instrumental ensembles is widely acknowledged. In 2017, he was awarded the title of „Church Music Director“ (Kirchenmusikdirektor). In 2001, Gerd founded the „Sulzbacher Kantorei“ choir, which over the years has performed numerous oratories and a-capella concerts, showing a repertoire ranging from the Renaissance up to the Modern Era. Furthermore, he is also working as organ expert and campanologist. Before his concert here in Vilnius I asked him a few questions and Gerd gladly shared his responses. Vidas: Which type of music programs do you prefer? Gerd: I appreciate all the different musical works featured in my concerts. However, each organ is a unique product, stilistically and musically, and thus, the main task of an organist is to find the appropriate works for the organ in question. I was very fortunate to play the organ at the St. John Church intensively in 2016. Both, the Church's interior and the organ itself favor grand scale compositions, which is why I have chosen masterpieces by Johann Sebastian Bach and Alexandre Guilmant. Moreover, the organ of St John's supports a variety of tonal colors with the main stops, which provides a perfect accompaniment for the oboe – every color and tuning of the oboe can be matched by an equivalent of the organ. Vidas: What's the greatest difficulty at playing the organ for you? Gerd: As every organ presents us with a unique „personality“, the most difficult thing is to adapt yourself to the instrument as quickly as possible. The organ in Vilnius has 64 stops, which are allocated to three manuals plus pedal. All stops can be combined with each other in a multitude of ways. Only if you are acquainted with a lot of different organs, you will be able to determine the suitable timbre for each composition. This is where my work as an organ expert comes into play. I am used to work with a multitude of organs on a daily basis. For exampe, I even had the chance to play some very interesting instruments in Lutheran churches in Lithuania: Vilnius, Kaunas, and Vilkyškiai. Vidas: What are your plans for future organ explorations? Gerd: It's a delight to witness the progress of organbuilding in Lithuania during the last three decades. The organ of St. John's in Vilnius is a significant example. Built by Rimantas Gucas, who was a visionary and idealist at the same time, it is the synthesis of Western organbuilding with Lithuanian influences. Even today, we can listen to the sound of pipes built by the great baroque organ builder Casparini. Gucas was able to create a masterpiece, in which the musical languages of France, Germany, and the Baltics are being combined to form a superb tonal entity. So in today's conversation, Gerd, Markus and I talk about their organist careers, the importance of having passion, good teachers and access to many different organs. 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. You can reach Gerd and Markus by email. Listen to the conversation And remember... When you practice, miracles happen. Vidas (Get free updates of new posts here)
We're so delighted to be able to start a new podcast #AskVidasAndAusra!
We'll do a limited number of short audio episodes and share them on this blog. Our goal here is to help our most valued subscribers, people who support the most what we do. Sometimes we'll answer questions together, sometimes separately. So today's question was sent by Jan who is taking advantage of the free trial of our Total Organist membership program. Here's what she wrote: "Dear Vidas and Ausra, My most pressing question is... how can I keep a steady tempo? My teacher tells me every time I have a lesson, in every piece that I play, that I am playing with multiple tempos. I think that I am playing with a steady beat but when I test with the metronome, I am all over the place. I am stuck as to how to fix this problem. At present I do some of my practice with a metronome. I am not a beginner. This is frustrating and disheartening. Thank you for your help." Listen to what we had to say this morning about it while doing our 10000 step practice in the woods. IMPORTANT: If you would like us to answer your questions for #AskVidasAndAusra and share on this blog, please post them as comments and not through email. Make sure you add a hashtag #AskVidasAndAusra because otherwise your question might get lost among many other comments people leave. With the hashtag #AskVidasAndAusra we'll know exactly you want us to answer them in the correct place. We are looking forward to helping you reach your dreams. Are you excited as much as we are? You should be. 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, this is episode number one of our new show, #AskVidasAndAusra. We're very excited and we're walking here though the woods now in the morning, and you can hear the birds singing, correct? How are you feeling today, Ausra? Ausra: I'm fine. What about you? Vidas: Yeah, I think I'm quite ready to answer people’s questions. We received four questions so far, and we have four episodes lined up for you. And, today we're going to basically answer the first question that came to us, and it was written by Jan, and it was wonderful question, I'm trying to read now. And, she writes things about playing with a steady tempo. Here is "How can I keep a steady tempo?" That's her question, and I will explain. She writes "My teacher tells me every time I have a lesson, in every piece that I play, that I am playing with multiple tempos. I think that I am playing with a steady beat but when I test with the metronome, I am all over the place. I am stuck as to how to fix this problem at present. I do some of my practice with a metronome." And, she writes that she's not a beginner and that's, of course, frustrating and disheartening. So, Ausra, do you think that this kind of problem is common among organists? Ausra: Yes, I think this problem is common among all musicians, not only organists, because even pianists or violinists can have the same problem. Vidas: That's true. Do you remember the time when you had this problem? Because, it was probably a very long time ago. Ausra: Yes, I remember one time, when I was working on Bach’s C Minor Prelude and Fugue. Vidas: BWV 546? Ausra: Yes, I had that problem in the prelude. Vidas: And, especially in that episode, when the eighth notes change with the triplets, right? Ausra: Yes, that's right. Vidas: So, what helped you that moment to solve this problem? Ausra: I don't remember exactly, but in general I thought a lot about it. Because then, later in life I returned to that piece. I just could not understand how I could play so badly at that time, so arhythmically. Vidas: Yeah and our professor, we were studying by the same professor Leopoldas Digrys, I think at the time. And, he was very mad, actually, because of this spat episode, and- Ausra: I think he just kept shouting at me and I think I was scared of him, that I could not play it correctly, so never shout at your students. Vidas: That's rule number one. Even if you are frustrated with your students, you should not shout at them, right? But, of course, back to the question. Imagine Jan is having the same thing like you had back, maybe some 20 years ago, when you first started playing the organ. Or, other people around the world, also facing the same problem. What do you think, Ausra, keeping the steady tempo might be possible if a person plays with the metronome all the time? Ausra: Actually, metronome is only to check your tempo, what tempo you should be. But, it's not a good tool to practice with it all the time, because finally when you will have to perform this piece, during exam or during a recital, you will not have a metronome. Metronome doesn't let you to show the structure of a piece, actually, because keeping the steady tempo is not the only thing you have to do in the piece. Because, there are other structural moments, cadences where you might have to slow down a little bit, or fasten up a little bit to show the structure of a piece. To play like a human being, not like a robot. And that’s, I think, why a metronome is not such a great idea to practice with it all the time. Maybe time after time, you can do it, but not all the time, and I don't think that metronome will solve this problem of playing in steady tempo. Vidas: Hey, do you remember we have in Unda Maris studio, this wonderful lady who is practicing with us for six years now I think, from the beginning. And, she has the goal to master all the eight little Preludes and Fugues, right? And, she has mastered, I think five or six of them by now. Just a couple of them left, right? And she is really determined, but one of her major problems is really keeping the steady tempo in pieces, right? So, remember what we suggested to her too? I think to count out loud and sub-divide the beats. If, imagine she plays the piece in 4/4 meter. I think we said counting out loud those four beats, four quarter notes, and doing this loudly, counting out loud. Because, as Jan probably experiences, because a lot of people think they are playing in a steady tempo, and even counting naturally and evenly. But, it appears that when they listen to the recording, it's not true, right? Or, when somebody else is listening from the side. The only possible way that I found, is really to force yourself to count out loud steadily. Would you agree, Ausra? Ausra: Yes, it's very helpful, but you have to do it loudly. Or, to do it mechanically with your mouth, with your tongue, just sub-divide. For example, sixteenths, feel them, because otherwise if you will do it only in your head, it doesn't happen. It will not work. Vidas: Right, because you think you are counting steadily inside of you, right? In your mind. But, your music can be all over the place. Ausra: That's what I did when I learned Icarus by Jean Guillou. I sub-divided all the time, the smallest values, with my tongue. It actually really helped, because it's a tricky piece to play it technically and to play it rhythmically correctly, in a very fast tempo. So, that's what I did to beginning of learning that piece. I would just sub-divide all the time, and even do it in my performance. At a final stage, sometimes I would sub-divide at least some spots. Just to keep it in good tempo and rhythmically, correctly. Vidas: So, then probably the shortcut to this, for Jan and others, to master the piece at the level that she could really play fluently, in order to concentrate on the counting, right? Ausra: Sure, because another problem why the tempo can change. It might be that ... Although, she is not a beginner, yes? At the keyboard, but still, all of us have some harder spots in the piece and some easier spots, and sometimes when you get to the harder spot, you start to slow down. But, when you know you are playing an easier place, let see, where the sequences are going all the time, you sort of starting to go faster and faster because it's easier. You really need to make sure that places where you slow down are not technically harder than other places. Vidas: Right. All of the episodes in your piece, in your mind, should be of equal level of complexity. Although, some episodes might have 16th notes, or even 32nd notes, or triplets, or syncopation, right? But, you have to master those episodes so well that they should be as easy as playing quarter notes, let's say, or half notes in other spots, right? So, wonderful. I think Jan can now try this technique, and other people can try this technique. By the way, Jan is our Total Organist student and really tries to perfect her organ playing through our study programs and coaching, training materials, which also a lot of people have found tremendously valuable. And, right now we have this 30 day trial period, where you can really subscribe for free and try out all the material without any payment for 30 days, for one month. And, if you like it, you can decide to keep subscribing and if you decide it's not for you, you can cancel before the month ends. So, I think we will go on with our day to day things right now. As we are walking through the woods, I think the birds are singing quite loud, and mosquitoes are biting in my legs now, because I'm wearing shorts and my feet are basically uncovered. And, it's a really beautiful view, very green, wonderful morning. Ausra, what piece will you be practicing today, by the way? Ausra: I think I finally will learn the Piece d'Orgue. Vidas: Piece d'Orgue, right? Ausra: Yes. Vidas: It's a fantastic piece. Do you need my fingerings that I am preparing for this? Ausra: I think it will be helpful. Vidas: And pedalings right? Ausra: Yes, especially nice that I don't have to write them down myself. Vidas: Right, right, because sometimes people don't like to write fingerings because it's a lot of work to do this, but if somebody can provide the fingerings and pedalings for you, that saves maybe 30 hours of work for some people, right? Ausra: Yes. Vidas: Wonderful. So guys, this was Vidas and Ausra talking to you from the woods of this vicinity of Vilnius, Lithuania. And, if you like this episode and would like to ask us more questions related to any area of organ playing, basically, we'd like to help you achieve your dreams. So, click on the comments section of this post and send us your question. But, makes sure we find this question, because a lot of comments we get is not related to our podcast, right? But, basically to anything else. So, if you want us to find and answer your questions directly on this #AskVidasAndAusra podcast, right? So, make sure you include hashtag, #AskVidasAndAusra and post it on the comment section of this blog. So, thank you so much, guys. This is Vidas. Ausra: And Ausra. Vidas: And, I hope you will have a tremendous success in your practice today. Ausra: Bye. By Vidas Pinkevicius (get free updates of new posts here)
My organist sense of good taste was damaged a few months ago. I've heard an organist practice for an upcoming recital. The music was loud and louder, almost without any use of soft stops, too dissonant at times even for my ears. And I have a great tolerance for modern music. I have to because I create music myself. I'm not sure how it sounded during the concert but I got a headache from this music just from listening to the rehearsal. And by the way, I never went to the event (not surprisingly). Now I try to imagine what led the organist to choose this repertoire? Obviously the organist liked this music, right? But... is this a good enough factor of deciding to perform it in public? When you play organ in public, do you do it for yourself or for others? Both? Do you have to have compassion and empathy of how your playing might be perceived by the people in the audience? By Vidas Pinkevicius (get free updates of new posts here)
I was thinking about pride lately. This morning I had an inspiring conversation for the podcast with the Dutch organist Hugo Bakker which will go live on Sunday, June 25. This will be SOP Podcast #100! Wow... Time goes so fast... It seems like I've started doing this a month ago or so... We have talked about a lot of organ related issues and the 1st step to become a better organist Hugo suggested we should focus on the notes. Not on ourselves but on the music. Not on our egos but on the pieces that we play. It makes a lot of sense, right? Staying humble, keeping your head down and practicing to get better at our craft. This should come first and foremost in our practice process. Only then we can start talking about ourselves, about our accomplishments, right? Even better, tell stories that resonate with people we want to reach. Transmit the music and tell stories. Everything else is just noise. PS Damian, Karl and Mary wrote that their Total Organist subscription wasn't accepted. In this case I made a special subscription button for monthly membership with 30 day free trial which might work for some people.
But only today I've just finished adding fingering and pedaling to the PDF score which will save you many hours in the practice process and lead you on the correct path of studying this fascinating composition.
The score with fingering and pedaling is available here. If you join my Total Organist program now, you'll get this score for free and all other trainings to try for free for 30 days. BWV 577 served as an experiment for me a few years ago, when I discovered how many repetitions does it take to master the piece. I've wrote it about it here, here and here. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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