In this video I'm improvising in Psalm 30 from Genevan Psalter in 8 different ways:
1. In the soprano without pedals 2. In the soprano with pedals 3. In the soprano with solo stop 4. In the tenor with solo stop 5. In the soprano on the pedals (4' stop) 6. In the tenor on the pedals (8' stop) 7. In the right foot with double pedals only 8. In the right foot with double pedals and manual parts Thank you for your support! You get early access and I get to keep going. Get early access: https://www.buymeacoffee.com/organduo
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Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! Vidas: Hi guys! This is Vidas. Ausra: And Ausra. V: Let’s start episode 659 of Secrets of Organ Playing Podcast. This question was sent by Eduardo, and he writes, Greetings, Recently I found about historical improvisation and I stumbled upon your dissertation "Improvisation of keyboard preludes in the style of JS Bach: A practical method comprising techniques derived from selected keyboard works" And it looks exactly what i'm looking for at the moment, but I can't find a complete version of it, I just found the index. Is there a way I can get the complete one? Also , In your webpage you mention a Keyboard Prelude Improvisation Mini Course but the link is dead. Can I still join the Course? Looking forward to hearing from you, Eduardo Villalobos V: You remember Ausra, how we wrote dissertations? A: Yes, I remember. V: It was so long ago. A: It was probably really the most horrible work I have ever done. V: Horrible meaning quality bad, or something different? A: Well, I’m not a writer. It was easier for me to play for degree recitals, including lecture recital, than to write one dissertation. V: Mm hm. A: Simply, I’m not the researcher type. V: I was kind of lucky that I was able to select a pedagogical approach for my dissertation. And you were my guinea pig, remember? A: Yes I remember. V: You tried my exercises. A: Yes, some of them. I think I stuck at the beginning. But I haven’t finished them. V: Right, right. A: I think you selected a good approach, because I heard from other people who said a nice things about your dissertation. And if Eduardo wants to get it, I think all of them are in the United States in the place where you can order any dissertation. But you cannot get them for free or course, you have to pay. V: But he wants to join the course, which is Keyboard Prelude Improvisation Mini Course, I converted that dissertation into two things here in Lithuania. The first chapter of it is this mini course, and the rest of it is Prelude Improvisation Formula Course over I think 16 weeks long or so. So basically, it is still available, this free mini course introduction. People can learn one specific way to improvise a prelude, and if they are still interested, they can go into longer course like Prelude Improvisation Formula. So I will put the link into the description of this conversation and people can click and go to the registration of that mini course. A: Okay, but is the link dead? Have you checked it? V: It was dead. I was migrating my mini courses from Mailchimp to Convertkit. A: So you need to revise it, update somehow. V: And I did, yes. Here it is. A: Okay. V: And Eduardo wrote to me that he was able to access it now. So, excellent. I think this approach really works because what I did is took models from early music collection like Wilhelm Friedemann Bach’s Klavierbüchlein - not entire Büchlein but just selected preludes from it. And analyzed and dissected each prelude into different, different compositional elements that Bach uses, and help people to internalize them and to adapt them into new situations, enabling them to improvise their own preludes based on these models. What do you think, Ausra? A: Yes, I think that’s a really good approach if you want to improvise in historical styles. V: Yes. If you want to take as a model preexisting musical material, so to say. There are many other approaches. You could take any piece that you are playing actually, and take a fragment of that piece, and that could become a basis of a new prelude, right? A: Sure. V: I’ve heard Sietze de Vries improvise, for example, based on the first trio sonata by Johann Sebastian Bach, first movement, that famous theme in the right hand part, remember? A: Yes, I know it. V: It becomes the basis of the counterpoint, contrapuntal theme - like a fugue basically. Which Bach also treats, but in a different key. Bach uses E flat major, and Sietze de Vries I think uses C major key. So it’s a really different approach, but similar material. Very recognizable. Such a pleasure to listen to it. A: Sure, he is really master of improvisation. V: Yeah, but approach is the same that probably all the improvisers in historical styles use - they take preexisting material and dissect it. And take what they want out of it. At the end of that course, Prelude Improvisation Formula for example, I devise like a longer prelude with other sequences and cadences and modulations to tonal plan that Bach wouldn’t have used in a shorter prelude. So if somebody completes this course, then the last chapter would be a really nice progress and result, I think. A: True. But you know for example, I always feel sort of uneasy about the things that I was taught in general, in other musical subjects. For example, in composition classes or any other academic classes - you were not supposed to plagiarize something. For example in the composition class… V: Plagiarize? A: Yes. We were told to create original things, to compose our original things, and everything should be new and made with innovation that nobody would have done that before. And all this historical improvisation approach sort of teaches the other way around. That you have actually to plagiarize… V: Plagiarize. A: Yes. And you have to repeat things that you have already done. Because if you are changing a key but keeping still the same melody, still the same melody. Of course, you treat it in another genre, for example in the fugue, not in like trio, trio sonata - but still, sort of it’s hard to digest things like this. V: Tell me this, for example. What do you admire more - French style improvisation that let’s say Pierre Cochereau, Olivier Latry improvises at the end of the mass at Notre Dame? Of course it was in the past, no longer available, but you can still get many videos on YouTube. Or let’s say, contrapuntal improvisation, the one that let’s say Edoardo Bilotti, William Porter, or the same Sietze de Vries does. A: Well you know, you are asking a very hard question. V: Why? A: Because if I tell you the truth, I don’t think you will be happy with it. V: What is the truth? A: What I like. V: Sure! Tell me. A: Okay. Then I prefer the French style. V: French style, you prefer French improvisation… A: Yes. V: ..over… A: Over that… V: Contrapuntal improvisation. A: Yes. V: Can you articulate why? A: Well because I can comprehend the French style better. Because I’m imagining myself still being able to do something in that kind of manner. V: And then if you… A: And I could not do the contrapuntal improvisation at all, unless I would write it down and memorize, and then pretend I’m improvising. And actually I’ve met many organists, especially in the United States, especially among ladies who actually did that, and call themselves improvisers. So of course I’m not referring to Porter or Edoardo Billotti, I’m sure they can do that very well without writing it down. V: Well, you touched a very interesting subject about women in improvisation. Over this year I think, in the last year, there have been series of articles in The American Organist magazine, TAO, by Pamela Ruiter-Feenstra, our former professor. And she interviewed many organists, mostly women but some of them were men, about various aspects of why women are not so into organ improvisation in general, and as you noticed, yes there are mostly men in this art rather than women. And in competitions as well, too. Especially in Europe - mostly men, not so much women. And jurors; also men, not women. So when you think about French improvisation, probably the only lady who comes to mind is Sophie-Veronique Cauchefer-Choplin, right, who was here in Vilnius a few years ago. A: Well, but I think we have more, maybe not as well-known ladies as brilliant organists and improvisers, in French style of course. V: There is a need for women to step up and start improvising, and it’s not easy. It doesn’t have to be sophisticated at first. That’s the big hurdle that everybody has to understand, you don’t start by running marathon. You start by probably crawling on the floor, then you stand up, or sit up, actually, then you stand up, then you start walking, then you start running a little bit like 100 meters, then half a mile, then one mile, then five miles, 10 kilometers, 20 kilometers, and then entire marathon. It’s a lifetime of achievement probably, lifetime journey. But the journey is probably more important than the result I think, than the destination, don’t you agree, Ausra? A: Yes, probably you are right. But you know, it would be very hard to start that when you are, sort of at your middle age. Because I think we were just taught from our childhood in a very different manner. Because we grew up in the Soviet times when even improvisation could cause you trouble. Because improvisation was connected to jazz, and jazz was connected to United States, and United States was sort of complete evil…. V: Yes. A: … and there was no way we could learn how to improvise as kids. And we were taught strictly by the rules. And I think that if we have spent as much time learning to improvise as we spent learning the real repertoire, we would be real masters at improvising in any given style. V: That’s what Sietze deVries did as a kid. He took a hymnal, he said in one of his interviews, in multiple interviews probably, he would open a hymnal and start playing those psalms, genuine psalms in one key, in another key transposing - probably very simple at the beginning. But as he progressed, he became more fluent with it. But one thing I can guarantee, Ausra. That - you remember what I did before with those psalms? I would probably add, add a second voice to the chorale melody, note against note like a first species… A: Yes, I remember. V: ...counterpoint. Very simple approach, right? You only use consonant intervals: thirds, sixths in parallel and contrary motion, and if you want octaves and fifths in contrary motion. No parallel motion. So basically those sweet-sounding intervals. And I guarantee that you could do it. A: Of course I could do it. V: And that’s the starting point. A: But really I don’t see… V: If you can do step one, there is no reason you couldn’t do step two. A: Well I know all that, but you know, I’m not a child anymore and I don’t think it’s worth spending as much of my time, because the result wouldn’t be great - wouldn't be what I imagine if I had started those things 30 years ago, for example. V: Well, I didn’t start 30 years ago. What about my result? Do you like my result? (laughs) Be honest. A: Yes, sometimes I do. (laughs) V: So? A: Not always. V: Yes. So you also have the same background as me. Maybe less, you are less optimistic than me, right? You are sort of down-to-earth. A: I have no fantasy, I have no good memory. Well… V: But you have quicker thought processes. You think faster than me. That’s for sure, right? A: I don’t know. V: If you think faster, then you can actually improvise better than me, because you can compose in your head in the moment of performance faster than me. A: But I think you have better technical facilities. V: Technical facilities? A: Yes. V: Yes, if you think about playing trio sonatas, right away from your imagination. But you don’t need those facilities when you’re playing in two voices, let’s say without the pedal. That’s beautiful. A: Anyway, I will not improvise in any historical style. V: But would you want… A: Although I have tried for example, Pachelbel's style or something like this, but I see no point why I should do it. If I will start improvising it will probably be something in the style of Demessieux. V: And that’s not a bad idea. A: Because when I play her pieces, I think that I could improvise something like that in a mode. V: Sometimes when we play modern music we think it’s easier to improvise than to learn the notes, right? A: Sure. And I learn her pieces, they are not hard of course, but sometimes I’m playing different notes than they are written. And it still sounds very nice and in the same style. So that’s how I thought I might improvise similar style. V: Okay, let’s make a deal. You improvise like Demessieux one video, and I improvise like Sietze deVries one video, okay? A: Yes, but this will be only after I will perform her pieces. V: Yes, after June 12. A: After June 12. V: Yeah, marked in calendar. And that would be great. Let’s look forward to it. Okay guys, this conversation has been going for 19 minutes now, wow! Maybe we should stop. A: Okay. V: Okay, please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also get early access by becoming a member at BMC. A: Find out more at www.buymeacoffee.com/organduo Today I didn't have much time to practice because I went on a trip but when I came back I decided to improvise some variations on the tune of Psalm 29.
This was my plan: 1. In the soprano without pedals 2. In the soprano with pedals 3. In the soprano with solo stop 4. In the tenor with solo stop 5. In the soprano on the pedals (4' stop) 6. In the tenor on the pedals (8' stop) 7. In the right foot with double pedals only 8. In the right foot with double pedals and manual parts Hope you will enjoy the sounds of Schnitger organ at Martinikerk Groningen. Hauptwerk sample set by Sonus Paradisi. Thank you for your support! You get early access and I get to keep going. Get early access: https://www.buymeacoffee.com/organduo In preparation for my joint recital with James Flores last weekend, I sat down on the organ bench and harmonised the famous chorale tune Ein feste Burg ist unser Gott in 8 different ways using I, IV and V chords only:
1. In the soprano without pedals 2. In the soprano with pedals 3. In the soprano with solo stop 4. In the tenor with solo stop 5. In the soprano on the pedals (4' stop) 6. In the tenor on the pedals (8' stop) 7. In the right foot with double pedals only 8. In the right foot with double pedals and manual parts Thank you for your support! You get early access and I get to keep going. Get early access: https://www.buymeacoffee.com/organduo Recently I started supporting a world-renown Dutch organist-improviser Sietze de Vries on Patreon because he started to create a series of improvisation tutorial videos. I highly recommend you check it out: https://www.patreon.com/sietzedevries
In Lesson 2 he talks about harmonizing chorale melody with I, IV, and V chords using 8 different methods: 1. In the soprano without pedals 2. In the soprano with pedals 3. In the soprano with solo stop 4. In the tenor with solo stop 5. In the soprano on the pedals (4' stop) 6. In the tenor on the pedals (8' stop) 7. In the right foot with double pedals only 8. In the right foot with double pedals and manual parts So in this video I'm applying Sietze's techniques of harmonizing the melody Herr Jesu Christ, dich zu uns wendt. Thank you for your support! You get early access and I get to keep going. Get early access: https://www.buymeacoffee.com/organduo My friend James Flores and I are delighted to present to you our joint recital which we are playing on 3 different Hauptwerk sample sets - I'm using St Pons and Martinikerk Groningen by Sonus Paradisi and James - Nancy by Piotr Grabowski.
On the program - works by Nicolas de Grigny, J.S. Bach, J. Walther, T. Albinoni, Ch.-M. Widor and improvisations. PROGRAM: Vidas Pinkevicius: 1. Veni Creator by Nicolas de Grigny (Hauptwerk St Pons sample set by Sonus Paradisi) Score: https://www.sheetmusicplus.com/title/organ-book-of-nicolas-de-grigney-sheet-music/5962739?aff_id=454957 2. Andante from Trio Sonata No. 4 in E Minor, BWV 528 by Johann Sebastian Bach (Hauptwerk Martinikerk Groningen by Sonus Paradisi) sample set) Score: https://www.sheetmusicplus.com/title/organ-works-volume-7-sheet-music/2450036?aff_id=454957 3. Improvisation on Ein feste Burg ist unser Gott James Flores (Nancy Cathedral, Hauptwerk sample set by Piotr Grabowski) 1. Organ Concerto in B Minor by Johann Gottfried Walther Alegro-Adagio-Allegro Score: https://www.sheetmusicplus.com/title/organ-concertos-based-on-old-masters-sheet-music/2411261?aff_id=478282 2. Adagio in G Minor by Albinoni/Giazotto Score: https://www.sheetmusicplus.com/title/adagio-in-g-minor-on-a-theme-of-albinoni-sheet-music/3131036?aff_id=478282 3. Toccata from Organ Symphony No. 5, Op. 42 No. 1 by Charles Marie Widor Score: https://www.sheetmusicplus.com/title/complete-organ-symphonies-series-i-sheet-music/3494936?aff_id=478282 If you liked this recital, please subscribe to James' YouTube channel to get notified about his future videos and our collaborations: https://www.youtube.com/c/JamesFloresOrganist You can also support James by buying him coffee: https://buymeacoffee.com/jamesflores Thank you for your support! You get early access and I get to keep going. https://www.buymeacoffee.com/organduo Herr Hesu Christ, dich zu uns wendt | Organ Improvisation | Hauptwerk Martinikerk Groningen6/4/2021 In this video I'm improvising several variations on the chorale tune Herr Jesu Christ, dich zu uns wendt. I hope you will enjoy the sounds of Schnitger organ at Martinikerk Groningen, sample set by Sonus Paradisi.
Thank you for your support! You get early access and I get to keep going. Get early access: https://www.buymeacoffee.com/organduo In this video I will teach you my method of mastering the 2nd movement from Trio Sonata No. 4 in E Minor, BWV 528 by J.S. Bach. I hope you will enjoy the sounds of Schnitger organ at Martinikerk Groningen, sample set by Sonus Paradisi.
Score: https://www.sheetmusicplus.com/title/... Thank you for your support! You get early access and I get to keep going. Get early access: https://www.buymeacoffee.com/organduo Recently I started supporting a world-renowned improviser from the Netherlands Sietze de Vries on Patreon because he is starting to teach improvisation: https://www.patreon.com/sietzedevries So far he has uploaded two lessons. There will be more to come, of course, soon. I highly recommend you check out these videos. They are very promising for people who want to learn to improvise on the organ but were afraid to try. A couple of days ago I started practicing these exercises and so far made 2 videos about them. In the first video, I'm practicing harmonizing the melody in I, IV and V chords. In the second video, I'm harmonizing the melody in various voices in multiple ways: 1. In the soprano without pedals 2. In the soprano with pedals 3. In the soprano with solo stop 4. In the tenor with solo stop 5. In the soprano on the pedals (4' stop) 6. In the tenor on the pedals (8' stop) 7. In the right foot with double pedals only 8. In the right foot with double pedals and manual parts Thank you for your support! You get early access and I get to keep going.
Get early access: https://www.buymeacoffee.com/organduo
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! Vidas: Hi guys! This is Vidas. Ausra: And Ausra. V: Let’s start episode 657 of Secrets of Organ Playing Podcast. This question was sent by John, and he writes, Dear Vidas, wow this is so beautiful! I hear from respected organists that these trio sonatas are some of the most difficult music to play, and you executed it perfectly! Thank you for such an enjoyable experience, and also for setting such a great example for me, your student! Take care, John V: John from Australia is our Total Organist student, and he writes about my video of the third part from Trio Sonata no. 1 by Johann Sebastian Bach, BWV 525. Have you heard me practice, Ausra? A: Sure, of course! Because you are practicing at our home, so I have no way to avoid hearing your practice. V: Sometimes, well just a second. Do you hear, Ausra, what’s happening? A: Yes, I hear. I hope people won’t think that I’m licking you. It’s our dog! Actually my brother’s dog. V: Yes, her name is Yoshke, and she’s sitting on our lap now. I wish we would record video because it’s so funny. She’s licking my finger now. She wants to be part of our team. (laughs) A: Yes. Maybe she should transcribe some podcasts, or do something other than... V: To help out Laurie and David. A: Yes. V: (laughs) Excellent. So can you wait, Yoshke, while we finish? A: No, she loves you too much. She cannot wait. V: All right guys. I wish you could see us. All right, keep her in place Ausra please and I will continue talking. A: Okay, I’ll try but I can’t promise. V: Okay. So John is basically commenting on my video of third part from Trio Sonata No. 1, and his comment is about how difficult these trio sonatas are, some of the most difficult music to play basically. Do you agree, Ausra? A: Yes, I agree. But since Wilhelm Friedemann played all six of these trio sonatas at a very young age, I think it’s manageable to do it. V: Recently I heard a famous YouTube organist, Balint Karosi, play all six of them in a practice session for I think three and a half hours on his pedal clavichord from home. So I was very intrigued how a person can play six of them in one session. And it sounded almost like a concert, except he would stop and comment himself what he did, what he didn’t do. He was obviously already at a high level when he was playing that. So then I got envious and started practicing trio sonatas on my own too. A: Out of thin air? V: Yeah. A: Good. V: I wanted to become Lithuanian Balint Karosi. A: Well, you might someday, although I doubt it. V: And trio sonatas always give me trouble. Whenever I would play them I would never be able to play them cleanly like in a recording. Except now, so maybe I’m improving. A: So you’re making progress. And you know, for me actually, I never found it hard to play trio sonatas. Because they have only three voices and usually whom I’m struggling is with thick texture. V: Mm hm. A: And when they have only three voices, I’m perfectly able to control them. V: Oh, we have Yoshke again. (laughs) She’s very sweet dog. A: She’s thinking that we’re talking with her now. V: Yes, because we are actually using our voices the same kind of tone we use to calm her, and we’re petting her, so yeah, that would be fun, to see you play trio sonatas, Ausra. Would you like one day to play...what’s your favorite Trio Sonata? A: I don’t know. I have played three out of them: the G major, C major, and E minor. And I think I did well on C major and G major, and E minor wasn’t so successful at that time. But if we are talking about trio textures, these six sonatas are not the only pieces by J.S. Bach that are written in trio style. There are many of chorale works that are written in the trio style as well. For example, Allein Gott in G major from the third part of Clavierübung, and also Allein Gott in A Major from miscellaneous chorale works. V: From Leipzig. A: Yes, from Leipzig, and from Leipzig there is another famous trio in G Major, I believe it’s... V: Which is, is it in three or four parts, with cantus firmus, ornamented cantus firmus in the tenor? A: Well, you know it has been awhile since I played it, but I did it on one of my doctoral recitals. V: Maybe four, four voice texture. A: I think so. V: But a lot of other baroque composers wrote a lot of trios, easier that Johann Sebastian Bach obviously. And the thing with J.S. Bach is because he writes like three different instruments basically: violin, flute, and cello. A: And actually, that’s what I’m always thinking when I’m playing trio sonatas by J.S. Bach. I think it’s good to imagine that you are playing three different instruments at the same time. It might help you with registration as well. Because you know, sometimes people omit 16 foot stop in the pedal, and I think it’s a mistake, because if you won’t add the 16 foot stop in the pedal, you won’t get that cello effect. V: If you omit it. A: Yes, if you omit it. V: So in reality, it’s like four instruments - cello and the violone, 16 foot range. A: Yes, because you know the lower range never projects as well as for example the treble range. So I think we need to reinforce a little bit the pedal part. V: With other composers, usually they make dialogues and duets between two other parts, and leave the bass sort of less intricate, less obbligato. And with Bach, all three parts can really be interchangeable, and imitate each other. So basically, soprano melody can become the bass. And therefore, that’s what makes it much more complex. Do you have advice Ausra, for people who want to learn trio sonatas? A: Well, I should advise for you to start with the number 1, because it’s the easiest one. V: But not start with the first movement - start with the second movement. It’s slow movement, therefore it’s easier. A: Well, but you won’t get the real feeling of the trio really well playing just the second movement, because it’s slow. V: This week I’m struggling with the second trio sonata. And actually I recorded the second movement first. Because it’s easier than the first or the third movement. So I think, I think I did well. But I would have spent a lot of time struggling with the first movement, let’s say. Now I can concentrate on the first movement without worrying about the second movement because it’s already done. Right, Yoshke? Right? A: Yes, she shakes her head for everything.... V: Everything… A: ...that we say. V: I wonder why. She wants maybe a cookie? A: Maybe. V: Cookie. Or some salami. (laughs) A: Yes, she is very spoiled dog. If she eats cheese, it’s only bleu cheese; if it’s the sausage, it should be the Spanish sausage. So… V: Wonderful. Would you agree, Ausra, with my recommendations? A: Sure. I would definitely agree. But yes, if you want to prove that you are capable of playing organ, I think playing trios is very important. V: (laughs). Now I wanted to take a photo of us. Of us three. A: And Yoshke left. She just escaped. V: Escaped, okay. A: She doesn’t like pictures to be taken. V: Okay. So guys, try out your hands and feet (squeaking sound) on trio sonatas. Now Yoshke wants to play with her toy. Rubber toy. Rubber ball, which makes squeaking sound. A: She is so funny. V: Okay. A: But definitely learning the trios is a very important part for professional organists, so if you want to become a professional you definitely have to play trios. V: But maybe not trio sonata at first. Maybe practice chorale preludes in trio texture, like Ausra said before. Those are easier. A: Do you think those are easier? I don’t think so. V: A little bit easier. Because one part might have a cantus firmus. A: Yes. True. V: And if you have a cantus firmus, then it is slower than the rest. And that makes it easier. If you feel that trio sonatas are too difficult for you, you can check out my left hand training or two part training. Because they are based on trio sonatas. So like a preparation exercises in all of the major and minor keys. They are wonderful way of grow yourself into the skill required to play trio sonatas. And of course, check out the Trio Sonata No. 1 practice score with fingering and pedaling if you want to play it too. All of this is available of course, without additional cost, for our Total Organist students. Agreed? Yoshke? Yes? A: She asked you to play with her, so… V: Okay, so we better play. Okay, thank you guys for listening. We hope this was useful to you. Please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also join our community on BMC and get early access to our videos. A: Find out more at buymeacoffee.com/organduo |
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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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