I woke up trying
While someone was watching To play the first bar.
Today's question was sent by Albert. Here's what he writes:
I'm a newbie. I play piano and I started organ practice / classes a few months ago. At the moment working in BWV 553 to 560 and trying to absorb everything I can about this universe. Now I'm going to listen to all your podcasts :-) Thanks for you great job.. As former pianist I find them pretty easy. :-) But, the most frustrating thing is the little independence of the feet that I have with respect the hands. Specifically when the feet and the left hand decide to go together, independently of what is written in the score :-D. Typical beginners problem, isn't' it? Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Today we're starting Episode 31 of #AskVidasAndAusra Podcast. This question was sent by Albert. He writes, "I'm a newbie. I play piano, and I started organ practice and classes a few months ago, at the moment working in BWV 553 to 560, and trying to absorb everything I can about this universe. Now I'm going to listen to all of your podcasts. Thanks for your great job. As a former pianist, I find them pretty easy, but the most frustrating thing is the little independence of the feet that I have with respect to the hands, specifically when the feet and the left hand decide to go together independently of what is written in the score. Difficult beginner's problem, isn't it?" Ausra, Albert is practicing eight little preludes and fugues, right? Ausra: Yes. Vidas: He's having a problem with hands and feet independence. Ausra: Sure. Vidas: Do you remember the time when you had the same problem? Ausra: Yes, I remember that, during my freshman year at the Lithuanian Academy of Music. Vidas: What was the first piece you played? Do you remember? Ausra: It was G-minor prelude and fugue. The little one. Vidas: First the prelude, and then fugue right away or not? Ausra: Yes, and then C major prelude and fugue. Vidas: So the fugues are, in this collection, usually much more difficult. Ausra: Yes. But the during a spring exam, I played the prelude and fugue by Bach, in G major. Actually, it's very rarely played. I don't think I've ever heard it played after that. Vidas: I just sight-read it last week. Ausra: Yes. The last line of the fugue is very demanding for a beginner, because the hands are playing up and pedals are going down. I remember that spot just killed my brain during that time. It was very hard to do it. Vidas: Right. Ausra: Especially, as Albert said, playing feet playing downwards and left hand - upwards. Vidas: There is this place at the end of G-major of fugue. How did you overcome this problem? Ausra: By practicing voices separately, just pedal and then pedal and right hand, and then pedal and left hand, working in combinations, and playing slowly at the beginning. Vidas: Small fragments or entire fugue? Ausra: Only that last line. Vidas: Last line. So, Albert, if you are having a problem like Ausra had many years ago, probably it's best to slow down significantly, like 50% of the concert tempo, at least, and then repeatedly, many, many times, play a problematic spot, starting on the down beat and ending on the down beat, too. Because it will help you connect two fragments. And play in combinations, as Ausra says. Ausra: That's the most helpful way to help yourself. Vidas: Ausra, when a person cannot really play two voices together, left hand and pedals, does it mean that they should go back to solo part playing, left hand alone or pedal alone? Ausra: Yes, I think so. Do single voice, first of all, and then add the second one. Vidas: Exactly, because step adds significantly greater burdens. It actually doesn't have to be this way. The process has to be very gradual. So only progress with the next step when you can do previous step at least three times in a row without mistakes. Ausra: But don't give up. This type of problem is one of the most common for most beginners. Because for most of us, if you write with your right hand, that means your left side is less developed, and it gets in trouble while playing left hand and foot pedal. Vidas: Yeah. I remember that you pick up things with your right hand most of the time, not with the left, if you're right handed, of course. Ausra: Yes. Vidas: So then left hand needs to do more work grabbing some keyboard exercises and keyboard episode. You know what you could do? You could sight-read more pieces, not only from eight preludes and fugues, but pick any other collection that you love, and sight-read one piece a day, and not all the voices, because you will be struggling significantly, but maybe one line at a time. Maybe the left hand, maybe the pedals, maybe all parts separately, and take one piece a day. Ausra, would you think this help in the long run? Ausra: Yes, definitely it would. Vidas: When you were studying at the Academy of Music during the freshman year, did you sight-read new music regularly? Ausra: Not so much, because overall, I had so much music to learn that all my music was like sight-reading. I remember looking, at that big stack of music on my piano and I was just overwhelmed. We had to do organ playing, We had to do piano playing. We had to do choir conducting. A whole bunch of pieces. Then, of course, chamber music and so on. Vidas: Organ music was like 45 minutes per semester, right? Ausra: Well, at least. I think it was almost an hour. Vidas: Yes. Two recitals per year you had to prepare? Piano music, at least 20 minutes per semester, right? Ausra: Yes. Vidas: Choir music also about the same amount. Ausra: We had like six pieces of choir music to prepare for semester. Vidas: And chamber music also maybe 15 minutes. Ausra: Yes. A whole sonata for one semester. Vidas: Imagine every week you are playing for one hour, two, three hours of new music, preparing for three recitals at the same time. Ausra: Yeah. Vidas: It's always new things, basically. First couple of months is hell, right? Ausra: Yeah. Vidas: But then you get better and better, and you sight-read things more easily, right? Ausra: Sure. Vidas: We really recommend sight-reading, sight-reading many more pieces than you would ever play and practice and polish. That's the best strategy that you could take in the long run. Of course, don't forget that we have fingered scores and complete fingering and pedaling prepared for you of 8 little preludes and fugues. How many hours do you think that would save for people, writing it for themselves? How many hours would it take? Ausra: Actually many, because writing down fingering is very time-consuming. Vidas: Did you like writing it down? Ausra: No. Vidas: I didn't myself. But it's so helpful to have a score with fingering and pedaling, because it saves so much time. Well, if you know what you're doing, it's still at least one hour per page. If you're just writing it down very quickly, one hour per page. If you're practicing three page prelude and fugue from this collection, and you know exactly what you're doing, you would save at least three hours. But obviously people don't know how to write fingering and pedaling, right, Ausra? Ausra: Yes. Vidas: So it's a big help, maybe, 10, 20, 30 hours of saving time. It would help if you had these scores, so check them out. We really recommend it. Of course, if you sign up now for our Total Organist program, you can have all of them for free for 30 days, for the trial period. If you like it, keep it, and then keep subscribing as long as you want. But if you don't like it, you can just cancel before the month ends. You can do that at www.organduo.lt/total-organist. Of course, send us more questions. We love helping you grow. Okay, this was Vidas ... Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen.
Comments
As long as skylark
Sings every day, he will stay A world-class singer.
Today's question was sent by Robert. He wants to know how to become a world-class organist.
Listen to our full answer at #AskVidasAndAusra TRANSCRIPT: Vidas: Let's start Episode 30 of #AskVidasAndAusra Podcast. Today's question was sent by Robert. He would like to become a world-class organist. Can we help him, Ausra? Ausra: Well, I think we can, but he needs to help himself, as well. Vidas: Right. What's the first step in order to get on track of becoming a world-class organist? Ausra: Definitely, you have to play very well. Vidas: Let's clarify. What does he mean, world-class? What is world-class? Ausra: Probably touring the world with organ recitals, I assume. Vidas: Circling the globe twice per year, like Guy Bovet. Ausra: Or Olivier Latry. Vidas: Or Cameron Carpenter. Ausra: Sure. Definitely, I think you have to have international reputation, and in order to build it, you probably have to get a degree. Vidas: Win some competitions. Ausra: Yes, and definitely, play very, very well. I remember, Robert asked earlier that he cannot find time to practice, and how is it possible to find time to practice. Definitely, if you want to become a world-class organist, you must practice every day. Vidas: It's given, right? Ausra: Sure. Vidas: It's not even a question, practice today or not practice today. Ausra: Yes. Vidas: Even if you don't have time today to practice, you practice, if you have this goal, to become a world-class organist. But this is very audacious goal, sort of "I want to go to the moon," right? Ausra: Yes. Vidas: It reminds of this. Or "I want to fly across the sun." That's great. I want to do this, too. But, you see, every great journey starts with one step, the first step. Ausra: Yes. Vidas: What would be that first step be, Ausra, today, for him? Ausra: I don't know what level he is already, so it would be hard to tell. But, actually, for me, it's more important what I think about myself as an organist and not what the world thinks about me. Because if I feel confident about myself, I feel good about it and I don't need the world to acknowledge me. Vidas: Exactly. Sometimes people have this goal to be world famous and tour the world and play in multiple different famous recital halls and cathedrals. I don't know why it's such a goal they have to have. Maybe they would be happy to just play well and to have exposure to play different organs, at first, right? Ausra: Sure. Vidas: Not necessarily like to play at Notre Dame in Paris, or Saint Paul's Cathedral in London, or tour the world. Because, for starters, it has to have a meaning for you, this type of goal, and not necessarily you have to be famous. It sounds like Robert wants to be famous, right? Ausra: Yes. Vidas: World-class organist, to be on the cover of every organ magazine. That's a great goal. I'm not criticizing this, but maybe for starters, maybe it's not for him right now. Ausra: Well, I don't know how good he is as a performer, but it's really hard to tell. Anyway, I think when I think about life, these famous organists, I think this is such a hard way, actually, to live. Vidas: It is. Ausra: To give performances all over the place. It's so time- and energy-consuming. Vidas: Exactly. Ausra: It's really very hard way to live. Vidas: For example, if you want to live like a world-class organist touring the world, every week you would have to play at least one recital or even two. Ausra: Sure. Vidas: Could you imagine yourself doing two recitals per week, every year? Ausra: Yes, and think about your personal life. If you have a family, for example, what do they say about it? Vidas: Yes. Traveling the globe, could they travel with you? Maybe sometimes, of course, but definitely not always. Ausra: Sure. Vidas: Right. In order to know that this goal is exactly for you or not, for other people, you have to feel the taste of this life. So maybe, first of all, you have to be really good, in order to be invited to play someplace. But it's not too difficult to get a recital today. You have so many friends on social media who are organists, and you can develop great relationships with them and help them first and then send them samples of your performances. If they like them, you might ask them to invite you to their place to play. Or you could do an exchange, you invite them to your church and they will invite you to their place. Ausra: Sure. That's probably one of the easiest. Vidas: The easiest, yeah. It's a win-win situation. In order to feel a taste of this life, if it's really for you, just schedule five or 10 recitals this way, and see if you're not really tired of this, if it's really for you. Because, yes, you could get a lot of recitals playing different churches and many countries, but remember, they're not always lucrative, they're not always paid recitals. Ausra: Sure. That's often the problem nowadays. Vidas: In some countries, in some countries, I'm mostly never paid. You just play for the exposure on interesting organs. If you are okay with this, you have to ask yourself if you can afford it. So you have to have another stream of income to do this, to play for fun. Ausra: I don't think that even one organist in the world lives only from making recitals. So you have to have either position in charge, or you have to teach, or do other kinds of work. Vidas: Or you have to sell merchandise in addition to your own performances. You're selling yourself when you perform. You sell CDs and DVDs of your performances. You sell t-shirts. You sell different types of things in order to support yourself. Because otherwise the fees for organ recitals are not always great, to be worth the trouble of traveling and staying overnight, and doing all of this. Ausra: Yes. Vidas: Okay. So Robert, first of all, think about if you really, really need this, if it's for you, this type of goal. You will maybe benefit from just trying to have a few recitals scheduled this way, and then you will find out if it's for you. But, first, remember you have to be really, really good. You have to be flawless in order for people to invite you. It all starts with today. If you can practice today and become better today than yesterday, then probably you're on the right track. Can we help people like Robert even further with our Total Organist program? Ausra: Yes, I hope so. Vidas: We have a lot of trainings, which help them to achieve their dreams in any area of organ playing, and with technique, with pedal technique, improvisation. Now we have a one month free trial of this membership program. Ausra: Yes. Vidas: So people who join this, say that it's so comprehensive, and they find what they need, and we're glad to be able to help them grow as an organist every day. Please send us your questions, and of course check out Total Organist at www.organduo.lt/total-organist. This was Vidas ... Ausra: And Ausra. Vidas: Remember, when you practice ... Ausra: Miracles happen.
No time to practice
For swallow his loops but he Does it anyway.
Today's question was sent by Robert. He's struggling to find time for practice.
Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Today is Part 29 of #Ask#VidasAndAusra podcast. Today's question was sent by Robert. His challenge in organ practice is really finding time. Like a lot of people, once you sit down on the organ bench, you can do a lot of things. But sitting down at the organ bench is the most difficult thing and the most challenging part is probably finding the time. Ausra how did you find time recently for practice? Is it easy for you or do you have to really dig deep into your schedule? Ausra: Well right now it's actually easy because I'm on vacation. I'm not teaching at school right now but in general yes it's very hard, while teaching full time and working at the university as an organist, leading Unda Maris organ studio and doing just the domestic stuff. So it's always very hard to find time but I think it's a common problem for many people. Vidas: You cannot really escape this. Ausra: Sure. We just know that that's how important for you it is. Vidas: How badly do you want to learn? Ausra: Yes. How bad you want to learn to play or to practice or to learn new stuff. I think if it's important for you, you will be able to find some time to practice. Maybe not a lot time every day but still you’ll sit down and play. Vidas: Ausra, when you schedule and you decide on a public performance of some sort, solo or together with me, is it easier for you then to force yourself to find time? Ausra: Sure, of course, because I have a deadline waiting. It's like a sword hanging over my head and know then I have to practice anyway. Vidas: It's a public accountability, right? Ausra: Sure. Vidas: People depend on you. Even just one person you don't want to let him down, right? Ausra: Sure. Vidas: And your listeners, your fans also will be waiting and probably planning already to come to your recital. If you're not practicing, you're letting them down too. Ausra: Sure. Of course, when you practice and then you find time to practice, make your practices as efficient as you can. That's another thing that can save you time and compensate the lack of practice time. Vidas: Do you think most people could find at least 15 to 30 minutes a day to practice? Ausra: I'm sure they could. Vidas: Because we waste time with our phone, with social media, right? Ausra: TV. Vidas: Sometimes people don't even watch TV they just look at the screen nowadays. YouTube, right? Ausra: Yes. Vidas: That's a big thing. During those idle moments you could really practice. Even if you're not at the instrument itself, you can practice at the table, right? Ausra: Sure. Vidas: It still counts. It still is organ practice if you are getting closer to your goals. Ausra: Yes, and if you are thinking about music which you will be performing, singing in your head adds a lot too. I remember when studying at The Academy of Music I would have to go by public transportation for at least half an hour to 40 minutes so I would just keep singing in my mind, going through my organ music. Vidas: When commuting. Ausra: Yes, it would help actually. Vidas: Yeah. What we do with our time when we sit and wait in line, for example, at the supermarket. Or what we do in our mind when we sit on the bus or the train when we commute. When we don't have to do something really with our hands or mental activity, then we can really jump in and start mental practice. Ausra: Sure. Vidas: Mm-hmm (affirmative). That's sometimes all it takes, right? But probably the most important takeaway is probably finding this public accountability, right? Ausra: Sure. Vidas: If you're just practicing for yourself, chances are that you will not stick with it. You have to stick with organ playing at least for 67 days in order to form a habit. That's a scientifically proven number of days. After that it becomes a little bit easier each day if you stick with it for 67 days. But it's a still long period of time, right Ausra? Ausra: Yes it is. Vidas: Some people can prepare for recital in 67 days, right? Ausra: Yeah definitely. Vidas: Right. That's the most critical part of your plan to stick for 67 days. The best way is to really announce that you are going to play in public. I'm not saying you have to play entire recital, right? Maybe just one piece for church service. Ausra: Yes. Vidas: That would be great for starters. Even if you are not a church organist, maybe you have friends who are, right? And announce to them, "Hey I want to come to your church in a couple of months and play this piece for communion or postlude." Ausra: Definitely. Vidas: If they are your friends, they will definitely let you and you will have, of course, public accountability this way. And you will force yourself to find time. Ausra: Sure. Vidas: Okay do we have some trainings that we could offer to people that would be helpful about finding time? Ausra: I think so. I think we did that course about finding time to practice. Vidas: Right. It's really very comprehensive. We sat down and recorded and brainstormed all the ideas. Not like in 7 or 10 minutes like today but for a long time we sat down and gave examples from our life and other things how we really manage to find time and more ideas than today. So if you are struggling with this I think this course, Finding Practice Time, would be- Ausra: Helpful. Vidas: Yeah people say that. Right now, of course, you can take advantage of 30 day free trial of Total Organist and of course you would be free of to take Finding Practice Time together with any other courses that you would like during that time. So go ahead and check this out at www.organduo.lt/total-organist. Okay this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice - Ausra: Miracles happen.
If I learn to play
The organ well, will the frogs Stop running from me?
Today's question was posted by Huu. He wants to play the organ well. It's such a broad question, isn't it? We all want that. And what does "well" mean exactly?
But we did offer some steps you can take. Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: We're starting 28th episode of #AskVidasAndAusra podcast. Today's question was sent by Huu and he wants to know how to play the organ well. That's a very broad question, right Ausra? Ausra: It is. Vidas: It's like basically everything about the organ, right? Ausra: Sure. We also want to play organ well, actually. Vidas: Yeah. We can't really say that we have achieved this goal. We constantly need to practice and strive for perfection. Ausra: It's a lifelong goal. Vidas: Pursuit, right? Ausra: Pursuit, yes. Vidas: What, do you think, would be this first step in order to become better at playing the organ? Ausra: Practice every day. And then to practice in the correct manner. Vidas: What if you don't have a teacher? Let's say, imagine you're self taught. Can you become a better organist than yesterday? Ausra: Sure. You can do that. Nowadays, you have all kind of new materials, but I think the main teacher is your ear, so always listen to what you are doing. Record yourself. Vidas: And play it back. Ausra: Yes. Vidas: Right, because when you record yourself, it's so much different than what you hear, how you're playing. You might be thinking, your articulation is okay. Your rhythm is okay. Everything might be quite okay for you, but you don't know how other people hear you from the side when they listen. When you record and you become the listener of yourself when playing back, then probably that's, this recording will tell you the truth. Ausra: Sure. Vidas: Recordings never lie. Ausra: Yes and you might not like your recording at that time but don't give up. Just keep practicing. Vidas: Have you ever recorded yourself, Ausra? Ausra: Sure. Of course. Many times. Vidas: Did you like it, how it sounded? Ausra: Most of the times, no, I did not like it. Vidas: What did you do then? Did you break the recorder or throw away this recording or stop playing or start crying or what? Ausra: No. I just kept practicing. Vidas: You didn't say, "Oh, I will never play the organ again?" Ausra: No, I did not. Vidas: Good for you. Ausra: What about you? Vidas: I remember recording myself and I really thought that it sounds well. Like a performance suitable for CD, but then when I recorded myself, I think it might have been C Major Toccata, Adagio and Fugue by Bach. It was so much worse than I thought. The tempo was not equal. The articulation was sort of off. Everything was sloppy, I would say. I was preparing for a competition then, so I went back and practiced really slowly and the results were a little bit better each time. Ausra: Yes. Vidas: Ausra says the first step is practice every day. Ausra: Sure. Vidas: Try to be better than yesterday. Today try to be better than yesterday. Tomorrow try to be better than today, right? Ausra: Sure. Vidas: This is what's called deliberate practice, by the way. You are not just practicing, you are striving to become better. You have a goal, what to do with your time today. Ausra: You've got to set your short-term goals and then long-term goals. Vidas: That would be like step number two, probably. Ausra: Yes. Vidas: What an example of short term goal for you would be? Ausra: For example, to learn a new piece. Vidas: A completely new composition. Ausra: Yes. Vidas: Master it to be ready for a performance in front of public. Ausra: Sure. Long-term goals could be like full-length recital. Vidas: A short-term goal would be like what, a week from now or a month from now, probably? Ausra: Sure, something like that. Vidas: Long-term would be several months at least, right? Ausra: Yes. Maybe half a year. Vidas: Do you think, Ausra, that the people would need a third step, too? Ausra: Yes. Vidas: What be the step number three? Ausra: What do you think yourself about the third step? Vidas: Imagine just starting from the beginning. You you're practicing every day, right? In 67 days, you'll have a new habit of practicing. You’ll develop a new habit. You will not want to skip after 67 days. This is scientifically proven that you have to stick with your new skill for 66 or 67 days but then, afterwards, it will become easier and easier. Then, of course, you have goals, right? Ausra: Sure. Vidas: Like Ausra says, short-term and long-term goals and that's, obviously quite enough for starters, right? Ausra: Yes. Vidas: It will set you on the right path. Ausra: In step number three, later on, try new instruments, new organs, because the organ can be a very good teacher and it can tell you how to play actually, how to improve your technique, how to adjust to a certain instrument. Actually, that's a very good way to learn. To try new instruments. Vidas: Yeah. It's like driving a car. The more cars you have tried, the more advanced and more experienced you will become and the easier you will adjust to that car. Ausra: Sure. Vidas: The same is with organ playing. The more organs you have tried, different organs, right? Mechanical, pneumatical, electric, digital organs, anything you encounter, then the easier it will become in real life when you really have to play in public. Ausra: Sure. Vidas: Let's give, Ausra, people a bonus step, okay? Ausra: Okay. Vidas: I think the same applies to music. The more variety of organ repertoire can you learn and practice, the better you will be, right? Ausra: Yes. Vidas: The closer you will be to the ultimate total organist concept. The person who can play any type of organ piece well and can understand how it's constructed and even can recreate its model and improvise based on the model and basically spontaneously create its own music, is invincible. Try out all kinds of repertoires. Ausra: Sure and listen to other people performing. This also will give you an idea of how to play. Vidas: Right, because when you take a new piece, maybe sometimes it's good just to sight-read a new piece, but sometimes you want to be able to listen to the recording of other people's playing, right? Ausra: Sure. Vidas: Do you think that people could also sight-read every day? Is this helpful? Ausra: Yes. This is very helpful. Vidas: Right, like step number five. Ausra: Yes. Vidas: Without sight-reading, you sort of miss something very important. You see, you repeat, repeat, repeat the old material. Maybe learn something new each day, like four measures at a time. Maybe eight measures. Maybe one line depending on the time available, but if you sight-read every day, one piece a day, then it's like reading a new book, right? In one hundred books you will become a completely different person if you read that many. Ausra: So guys, this was Ausra. Vidas: And Vidas and remember ... Ausra: When you practice ... Vidas: ... miracles happen. And send us more questions. Remember, that you can find us at www.organduo.lt. You can subscribe to our blog if you haven't done this already and then you can reply to any of our messages. Okay. Have fun practicing and becoming a better organist.
I can improvise
At sight but ants will still eat Half of my cabbage.
Today's question was posted by Ugochukwu. He wants to learn how to improvise at sight or with some practice.
Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Hi, guys. This is Vidas. Ausra: And Ausra. Vidas: And we're starting Episode 27 of #AskVidasAndAusra Podcast. Today's question was sent by Ugochukwu. He writes, "Hello, Vidas. I want to be able to play and improvise at sight or practice before performance what to improvise. I don't know how to go about it." Basically, Ausra, he wants to be able to improvise, right? Ausra: Yes. Vidas: Either at sight, spontaneously, or practice beforehand and then be able to improvise, as I understand. Ausra: Well, I think to be able to improvise spontaneously doesn't happen very often for beginners. Vidas: But any person can improvise spontaneously, right? Ausra: Well, yes, but the results might not be as you wish them to be. Vidas: Yes, because our ideas, how we hear them in the head, are different from what we can play, right? Ausra: Sure. Vidas: We are fluent, perhaps more fluent with our thoughts than with our playing. Ausra: That's true. In the beginning, I would suggest not to practice what you're going to improvise, not necessarily to know it by heart, but still maybe to have some sort of blueprint. Vidas: Good idea, Ausra. About blueprint. Let's suggest for people to do it in step-by-step system. The first step would be to write everything down, the entire piece, for example. Ausra: Maybe not entire piece. Vidas: That would be later to omit something. Right now, it's very good to exercise writing down things. This way you don't have to think about what to play. Then step two would be to start omitting measures. The second step would be to write down, but not everything. Maybe the soprano line and the bass line. Or the themes only, themes with some contrapoints in it, so that you can improvise a little bit more this way. The next step would be just to write down the theme and add something else, right? Ausra: Yes. Vidas: And what the ultimate step would look like? Ausra: Maybe just write down tonal plan. Vidas: The blueprint, outline, without notes. Ausra: Sure. Vidas: I think that would be possible to achieve. Ausra, do you think that people could benefit from analyzing pieces that they already play? Ausra: Of course. Vidas: And use those pieces as models, right? Ausra: Yes, especially we have to talk about musical form, because what I think some improvisers do wrong, in my opinion, they don't put exact form of musical piece into what we are improvising, and then it just sounds whatever, like no beginning, no end, no culmination. So you need to think about musical form. Vidas: It's an advanced question, but you could think about the form in just one way. The way people understand beginning, middle and end is if you introduce repetitions. Ausra: Sure. Vidas: If you play something new every time, every measure, it's like a dish has all kinds of ingredients, you don't know what it is. It's a mix of all kinds of things, and you can't really discover the ingredients. But if you repeat something, start repeating maybe one, two, three times, maybe not necessarily note-by-note repetition but with variation, your listeners will start to recognize. Ausra: I think for beginners variations is a very good genre to improvise, because you have a theme which repeats all the time, and then you just mix something a little bit. Vidas: When I improvise, for example, free type of composition. I create as I go. It's not based on preexisting material. I still need to think about the form, right? Ausra: Sure. Vidas: Obviously. So the way I do this is I try to remember what I played before, and then I play something new, and then I gradually repeat, introduce the old material also. So you interchange new material into old material, new material and old material. This way you can basically create very long and advanced forms which last 10, 20 or even more minutes. Ausra: Yes, because if you will think about classical forms, it's so common still nowadays, #1 would probably be the sonata form and it has all those repetitions, firm repetitions. Vidas: Sonata form has to have at least two themes. But most of the time it has four, right? Ausra: Yes. Vidas: If we count those additional secondary themes, like closing theme and the theme which connects the main theme and the secondary theme. They all have to be repeated in one way or another. Ausra: Of course, for beginner improviser this form would be definitely too complex, too difficult. So what you could do is you could just improvise an ABA form, just do eight bars A section, then middle section B, also eight bars, and then ending section eight bars. It could be an exact repetition of the A section, but it could be a little bit different. Vidas: Right. That's all you need to play for the entire prelude, before the service, usually, or interlude, a nice 24 measure interlude. Ausra: Yes. Vidas: That's what we call verset, right? Ausra: Sure. Vidas: In reality, it's a ternary exposition. There is binary exposition, also, which only has 16 measures, about 16 measures, where you have one idea and then you have another idea, but the binary exposition can have a recapitulation, too, like one phrase, one sentence taking from theme A, and that completes the introduction exposition. Ausra, do you think this is useful for people? Ausra: I hope so. Vidas: They could try this and practice, right? Ausra: Yes, and tell us how it's went. Vidas: Yes, give us your feedback. We are giving you all kinds of advice and ideas to try and practice, but they might work for us but they might not work for you. So please try them and practice them and let us know how it went. Ausra: Sure. Vidas: And send us more questions. The best way to connect with us is, of course, through email at www.organduo.lt. You can subscribe to our blog, and then you reply to any of our messages. Okay. Don't forget that right now we have a 30-day free trial of Total Organist program. If you want to advance, let's say, in improvisation, we have quite a few programs there, and you can take advantage for entire month. Try them out. If you like them, keep them. If you don't like, then cancel. It doesn't matter. The most important thing is that you really do something with this information and apply it in practice. People who do that say that it really helps. Okay. This was Vidas … Ausra: And Ausra. Vidas: Remember, when you practice ... Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #103!
Today's guest is an American organist Daniel Segner, Director of Music at St. Mark's Episcopal Church Glen Ellyn, IL. Daniel is a graduate of Valparaiso University where he earned his Bachelor of Music in Church Music and Organ Performance. Most recently, he served as Principal Organist for First United Methodist Church at Chicago Temple in Chicago, Organist and Cantor at Immanuel Lutheran Church in Downers Grove, and Interim Cantor and Organist at St. John’s Lutheran Church in Lincolnwood. Previously, he served as the Director of Music at St. Paul Lutheran Church in Chesterton, IN. Daniel currently teaches piano, organ, and voice. Including his work as a capable accompanist, some of his notable past performances have included the opening recital for the Pipe Organ Encounter hosted by the American Guild of Organists, guest artist for Paul Manz Organ Recital Series, and recitalist for the organ rededication service at Augustana Lutheran Church in Hobart, IN. Collaborations have included performances with Chorus Angelorum, Civitas (Chicago Symphony Orchestra chamber group), and with the Valparaiso University Symphony and LaPorte Symphony Orchestras. In 2015, he performed alongside the Valparaiso University Chorale in their summer tour of Germany where he played in Luebeck, Jueterbog, and Leipzig. While at Valparaiso University, he received the Ronald G. Reidenbach Prize in Church Music and the Signature Artist Award. He is an active member of the American Guild of Organists, the American Choral Directors of America, and the Organ Historical Society. In this conversation Daniel shares his insights about knowing your instrument, being really good at one thing and becoming an advocate for organ art. 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 #AskVidasAndAusra 26 - What to do with the pedals in songs that don't have pedals like most hymns?7/15/2017
Adding pedal part
To songs comes easier, if You'll have strawberries.
Today's question was posted by Ugochukwu. Here's what he writes:
Currently I play on keyboard, I was privileged to play an electronic pipe organ during my undergraduate days, then I only played the manuals (3), not knowing exactly what to do with the pedals. I sometimes try to play the pedal during "unserious" music like Benediction, Amen and Doxology with left foot. I want to know what to do with the pedals, in songs that don't have pedals like most hymns. Listen to the full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Let's start Episode 26 of #AskVidasAndAusra Podcast. Today's question was sent by Ugochukwu, and here is what he writes. "Currently, I play on the keyboard. I was privileged to play an electronic pipe organ during my undergraduate days, then I only played the manuals, three manuals, not knowing exactly what to do with the pedals. I sometimes try to play the pedal during "unserious" music, like Benediction, Amen and Doxology with the left foot. So I want to know what to do with the pedals, in songs that don't have pedals like most hymns.” Okay, so basically Ausra, as I understand, Ugochukwu deals with him playing, right? Ausra: Yes. Vidas: But sometimes he is struggling with adding pedal part. Ausra: Yes. Vidas: Well, this should be simple, because if you play from four-part harmony, you could play the bass line. Ausra: Sure, if you're doing that, but I don't know what his hymnal looks like. Vidas: Maybe just one line. Ausra: And a guitar based chord progression with signs. Vidas: A lot of hymn notes do that. In this case, Ausra, What's the best way to think about adding the bass part from having just the soprano line. Ausra: Then you will have to know how to harmonize. And maybe to write down for yourself a bass line and to play it with the pedal. Vidas: Like on a separate music sheet notation, you add two voices, soprano voice and in the bass clef you add the pedal part. Ausra: Or you could harmonize in four voices, as it’s common. Vidas: How many notes do you absolutely need to have for the bare minimum in the bass? Ausra: 3, I would say. Vidas: 2 or 3? Ausra: Probably 3. Vidas: 3 better than 2, right? Ausra: Yes. Vidas: Because when we think about 2 then it would be tonic and the dominant. Ausra: But for hymns, you definitely would have to add a sub-dominant. Vidas: So 1st scale degree for the tonic, sub-dominant would be 4th scale degree. Ausra: And dominant would be 5th scale degree. Vidas: And then of course in the right hand you would play the soprano part. What would the left hand do? Ausra: Well, if you're harmonizing for four voices when you will have to add alto-voice to the soprano voice in the right hand, and you would play tenor voice with your left hand. Vidas: That's a little bit advanced technique, right? Ausra: Yes, it is. Well, what could you do? If you are just a beginner, you could harmonize everything in a closed position so that you could play 3 top voices, soprano, alto and tenor with your right hand, and then you would just have to play bass with the pedal. This would be very easy. Vidas: For example, in C major chord you would play C with your pedal- Ausra: Yes. Vidas: -In the bass line. And then E, G, and C with your right hand. Ausra: Sure. Vidas: Left hand would be silent. Ausra: Yes. Vidas: For now. Ausra: Yes. Because in a closed position, it's very comfortable to play 3 voices with one hand. Vidas: It's like basso continuo notation. Ausra: Sure. Vidas: Then your actually left hand is free to add any type of variations, figurations, even solo part in a separate manual if you know what you're doing. So guys, try like this if you need to add an extra pedal line in your hymns and you don't know what to play, if your hymn notes are not in 4-part notations. That might be an easy way out. Ausra: Sure. Vidas: Okay guys, so please send us your questions. We would really like to help you grow as an organist, and remember to practice today, right? Will you be practicing today, Ausra? Ausra: Sure, I will. Vidas: What will you play today? Ausra: Sonatas by Franz Seydelmann. Vidas: Oh, with me? Ausra: Sure. Vidas: For four hands, it’s fun, but it's not very simple, actually, we play a lot of these sonatas but today we're practicing for our upcoming recital in Stockholm, a German church where the organ is a reconstruction of the 17th century instrument and it has short octave and split semitones and basically very antique looking keyboard. So a lot of our repertoire will fit nicely. But Seydelmann’s sonatas were not created for this type of instrument specifically. It was Mozart's time, not 17th century. So what we did- Ausra: We have to adjust a little bit. Vidas: What did you do for the treble range sitting on the right side of the bench? Ausra: Well, I have to play some things an octave lower. Vidas: Because the range of this keyboard is until C. Ausra: And I have D in many places, so I have to rearrange it. But I think it will work nicely. Vidas: And I circled some bass notes, which also have to be readjusted because of the short octave in the bass, right? And those additional accidentals in the bass. So there are C, D, E and there are no C sharp and D sharp in the bass octave, you have to adjust this in my part too. So that's what we’re working on today. And this will be fun. Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember when you practice ... Ausra: ... Miracles happen.
Picking red currants
From wet branches helps you with Playing with your feet.
Today's question was posted by Ugochukwu. He wants to know how to improvise with organ pedals.
Listen to the full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Hi guys, this is Vidas … Ausra: And Ausra. Vidas: And let's start part 25 of our #AskVidasAndAusra podcast. Today's question was sent by Ugochukwu, and he wants to know how to improvise with pedals. Well, that's an interesting question Ausra, right? Ausra: Yes. Vidas: Do we usually improvise with pedals? How do you think, does he think you should improvise on solo pedals or in addition to manuals? Ausra: I think he means in addition to manuals, and if I would have to improvise and use the pedal, I would probably just do most of the time, pedal point. Vidas: For starters … Ausra: Yes, for starters, either on the dominant or the tonic. Vidas: Or subdominant? Ausra: Subdominant, yes, but it's less useful. Vidas: Two long sustained notes in the pedal. Ausra: Tonic and dominant. Vidas: First scale degree of the scale or the fifth scale degree. Ausra: But because you are an expert in this field so maybe you could explore a little bit more? Vidas: So, I think you could imagine that it's okay to be very simple at the beginning. As Ausra says, two notes total, maybe three notes if you need variety. And if you think about it, if you know tonic subdominant and the dominant chords, you can do a lot. You can even improvise, you can harmonize most of the tunes you find in any hymnal. So, the same thing applies in pedal improvisation, you could be very simple with this. If you want to be more advanced, you could play a tune in your pedals. That would be like a nice variety. Ausra: That's a good suggestion, I think. Vidas: What would hands be doing at that moment, Ausra, what do you think? Ausra: Probably playing fast notes, fast note motion. You could do like toccata, in your hands play sixteenth notes, and then slower notes in the pedal with the melody. Vidas: Or you can reverse, you could play faster notes with the pedal, not really fast, but quarter notes, like a tune, a hymn tune, but placed in the feet, and then your hands could be quite slow then. Accompaniment feature of exchanging a couple of times per measure. Ausra: Sure. Vidas: Maybe one voice in each hand. If you don't know any tonal harmony, there are some model techniques you could use. You could just check what kind of mode this tune is in, and play only in your hands, the notes of the mode. No accidentals, no additional sharps or flats. That means, that anything you play with your hands, will sound well with the pedals. Ausra: Yes, if it's only white notes, you cannot miss them. Vidas: So, Ausra do you think that people should always improvise with pedals? Or not necessarily? Ausra: Well, not necessarily, but if they are good, and they have advanced organ technique, then why not? It depends on your level. Vidas: And also, you need variety because when you look at any organ composition, you always see some measures, some episodes where pedals are not playing, resting. Not only you need to rest your feet, that's one thing, but you also need to think about the lowest voice, the pedal voice, the bass. Let's say, it’s as the double-bass part in the orchestra. Ausra: Sure. Vidas: They not always play, sometimes they do double the cello part, usually they do, but sometimes even the cellos are silent. Ausra: Yes. Vidas: And the higher instruments are playing, and that's because on the organ, always add 16’ in the bass, playing one of the lower sounds, you feel this sort of gravity. This is very nice. Ausra: Yes, that's right. Vidas: But it might be too much if you do this all the time, right? Ausra: Yes. Vidas: So you need to rest. Ausra: Another probably helpful idea would be to improvise a chaconne or passacaglia. Then you could have the same melody over and over again in the pedal and just add new stuff in the manual. This would make life easier too. What do think with this? Vidas: Those passacaglias or chaconnes are extremely helpful in improvisation because your theme is set, you don't have to think about it. Ausra: Sure. Vidas: Four or eight measures are already set in advance, you just play and repeat them. Well, you could transpose them, right? To have more variety. Let's say, eight variations, or four variations, in the tonic. Then, let's say, eight or four variations in the dominant, and then coming back to the tonic, that's fine. Or relative minor, or subdominant, or any other related key works well. But you see, it's still set, you don't have to improvise really with the feet. What you need to do then, you have configurations of the manuals. Ausra: Sure. Vidas: Keeping the same harmonies probably. Ausra: But of course if you are advanced in pedal technique, you could add probably even pedal solo, that would be very impressive during your improvisation. Vidas: Pedal solo, what do yo mean? Oh, simple solo line where the hands are not playing? Ausra: Yes, exactly. Vidas: An example would be the F major toccata by Bach. Ausra: Well, yes, and C major toccata. Vidas: Those episodes for virtuoso pedal part. That's nice. Ausra: Or even like Buxtehude’s that famous preludium in C major the opening is pedal solo. Vidas: Or Bohm’s C major. Ausra: Sure. Vidas: That was really very often seen feature in North German Baroque music, solo pedal lines, to establish the key, and to either to end in the tonic, or to go to the dominant, to modulate and then start in another key, with the hands. So, that's a nice idea, Ausra. Ausra: Thank you. Vidas: So guys, we hope that this has been helpful to you. Ausra: Yes. Vidas: And please send more of your questions to us, we love helping you grow. And remember, when you practice ... Ausra: Miracles happen. #AskVidasAndAusra 24 - How to make appropriate registrations for different kinds of pieces?7/13/2017
Curious brown toad
Has to register music Alone without me.
Today's question was sent by Ugochukwu. He wants to know how to make appropriate registration for different kinds of organ pieces.
Listen to our answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Let's start now Episode 24 of #AskVidasAndAusra Podcast. Today's question was sent by Ugochukwu, and he asks about the registration. How to make appropriate registrations for different kinds of pieces? Well, Ausra, is it a narrow or a broad question? Ausra: This is a very broad question. Vidas: Yes. We could write a dissertation about that and it would only scratch the surface, right? Ausra: Yes. More than one actually. You could write many doctoral dissertations on this subject. Vidas: You could write one dissertation for registering let's say chorale preludes, another for registering free pieces, for registering French organ music. Ausra: Sure, Italian, German. It also depends on which century the music was created. Vidas: Okay, but still we need to give some advice how to start thinking about the registration, if you don't know anything, right? Let's pretend that the person doesn't know anything, and he or she is positioned at the organ bench for the first time, and they need to learn something, to play something maybe for church service. Imagine yourself in this situation. What would you do for starters? What's the basic principle of organ registration for you? Ausra: Well, if it's unfamiliar organ and I don't know what to do, I would just use the Principal 8’ at the beginning. Vidas: That's the most basic organ stop, and usually you can see this in the façade and you can hear it very clearly, and it fits well for a lot of organ music, a lot of kinds of organ music, a lot of types of organ musical compositions. Even for let's say a fugue. You could play a fugue, entire fugue or fuguette or chorale prelude just on one Principal. Ausra: Of course, if you need a louder sound, you could add different principals like 8’, 4’ and 2’. You would get pretty big sound already then. Then in the pedal I would say you would use if it's loud registration, 16’ Principal and 8’ Principal and maybe a 4’ Principal. This would be loud enough. If you need softer registration, then just take a flute. Take 16’ and 8’ flutes of the pedal and do the same the hands, only an octave higher so it would be 8’ flute and 4’ flute. Vidas: Usually, we need to have 16’ in the pedals, right? Ausra: Yes. Vidas: Unless ... Ausra: Unless it's indicated in the score. So when you are taking a piece of music, always look at the suggestions because especially modern composers they always add what kind of registration they expect you to play, so always look at that. Then of course we have always adjust to particular organ because the composer might imagine one stop, but your organ might not have it, so you have to adjust somehow. Vidas: Exactly. Ausra: Sometimes, we have to do tricks like, for example, to add only 4’ flute for example and to play it an octave lower or things like this. Vidas: Yes. Another principle is of course to remember that in earlier days before the 18th century, 16’ in the pedal was not always a norm, not always the required thing, right? Ausra: Yes. Vidas: Not always. If you play a chorale prelude or chorale fantasia in a certain episode, you have a chorale tune in the pedals… Ausra: ...Then you will have to play it on a higher flute. Vidas: Then you need to think about the range. If it's a bass range, then 16’ Posaune it would sound well, but if it's a tenor range then of course 8’ Trumpet would be appropriate, not 16’, right? Sometimes, the composers wrote chorale preludes where organist would play the tune with the pedals, even though it was written in the alto or the soprano ranges. So you need then to have 4’ reed like that or even a 2’ Cornetto or something. I think they call it Cornetto with a very short resonator and high-pitched stop in the pedals at 2’ level. Ausra: Of course, there are also stops that you cannot use alone without other stops. For example, you could not use mixture alone without other stops, or you should not use undulating stops like Unda Maris. Vidas: Mixture for avant-garde music lends well, right? Ausra: Yes. Vidas: If you are composing a piece which is very weird and has modern sounds, then solo mixture or tin bell or sharp sometimes might be very appropriate just for effect. Ausra: Yes, but not for a Common Period.. Vidas: Right. Exactly. What else can we suggest for starters? Never change the registration too often. Ausra: Sure. Vidas: That's one of the common mistakes people make. You have to look at the texture of the music and see if one episode is entirely in one color, entirely in one character, then you don't need to change it within the episode. Then when something new comes into the piece, then you can change something, correct? Ausra, how do you decide when to play on one manual and when to play on two manuals? Ausra: It depends on the structure of a composition. Vidas: For example, if it's not written in the score, you probably look at the solo line, right? If that solo line can be played with one hand and the other couple of voices can be like an accompaniment, not as important, then you could play the solo line on the separate solo stop. Ausra: Sure, yes. Vidas: Like reed, mutation combinations, flute combinations, right? Ausra: Yes, and if you are a beginner organist and you're playing at church, where you have a few combination sets, so just program them in advance and do let's say number one the loudest registration and then softer and so on and so forth. That way you can change registration pretty easily during service. Vidas: And a lot of organs have presets, right? Ausra: Sure. Vidas: They’re not necessarily very well constructed. You have to check them if they suit your style and taste. Ausra: Well, always listen to what you're doing. I think your ears are the best help. Vidas: Okay. Always simplify, simplify, simplify, at least for starters, right? Ausra: If you don't know how to use a particular stop, just don't use it until you will find out what it is, if it is suitable or not. Vidas: Exactly. I think for starters people can experiment with various sorts of registrations in their pieces, in their music. And please send us your questions. Ausra: Sure. Vidas: We would love to help you grow as an organist, and the best way to contact us is through email. When you subscribe to our blog at www.organduo.lt, you can respond to any of our messages and therefore we could help you grow. Thanks guys. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice- Ausra: Miracles happen. #AskVidasAndAusra 23 - What are the different families of organ stops and how do they work?7/12/2017
Five swallows darting
Having no knowledge about Organ stops. Oh, well...
Today's question was sent by Ugochukwu. He wants to know about the different families of organ stops and how they work.
Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: We're starting the 23rd episode of #AskVidasAndAusra podcast. Today's question was sent by Ugochukwu and he asks about the organ pipe families. What are they, and how do they work? Basically, Ausra, that's four or five families of organ stops, isn’t it? Ausra: Yes. Vidas: So, what's the most common family people should know about? Ausra: Definitely principals. Vidas: They are usually positioned in the facade. Ausra: Usually they are made from metal. Vidas: And how do they sound, basically? Ausra: Clear and bright, I would say. Vidas: And firm sound because their scaling is quite medium, not like the second type. The second family is flutes, right? Ausra: Yes. And actually, usually if you want to tune the organ, you tune them according to the principal. Vidas: Principal 4’. Ausra: Yes. Vidas: Of that particular division. Yeah, by the way, never tune your organ based on any principal, based on any division. You choose, for example, to tune stops from the Hauptwerk, let's say, from the Great and you tune it to the Principal 4’ or octave four, of that division. Not from the Swell, not from the Positive, but from the same division, because sometimes those divisions might be a little bit off. Ausra: Sure. Vidas: And you have to really check its tuning, at which foot level. They have to fit together. So back to the families of stops. Then, there is probably the next type, flutes, right? Ausra: Yes. Vidas: Flutes can be made out of metal and ... Ausra: and wood. Vidas: They are different from the principals in a few ways. Ausra: Yes. Sometimes, you can have like covered flute, like Gedackt would be, in German. Or you could have, like a Chimney Flute. Vidas: Chimney flute you mean, in German, a Rohrflöte, right? Ausra: Yes. Rohrflöte. That's right. It's has a certain chimney at the top of the pipe. Vidas: Yeah. I was looking for the right word. And what kind of sound does it make? Ausra: They have a softer, and gentler sound comparing to the principals. Vidas: But flutes might be different, right? Ausra: Sure, yeah. Vidas: They all resemble, in one way or another, some kind of flute, but their character might be different, right? Ausra: Yes. Vidas: Then there is a third family. Maybe, let's say strings, right? Ausra: Sure. Vidas: And strings are? Ausra: They are actually similar to principals in construction. Except that, string stops are sort of narrower. Pipes are narrower, so they make a different sound comparing to principals, and it sounds a little bit like string instruments. Because it has that subtle vibration in their sound. Vidas: But you mean vibration when you mix, let's say, viola and viola Celeste sound, right? Ausra: Sure. Vidas: Two stops. Then the celeste sound might be tuned a little bit sharper or flatter, and therefore, they make vibrations. I would say that string sounds not only are narrower, but they're very gentle, right? Ausra: Sure. Vidas: Softer. Ausra: Yeah. Vidas: Softer than the principals usually are. Ausra: Sounds nice for romantic music, like slow movements. Vidas: Meditations. Ausra: Yes. Vidas: Then the fourth family is, of course ... Ausra: Reeds. Vidas: The reeds. Have you seen reeds in the facade? Ausra: I don't think I had, but there are sometimes in the Spanish organs, yes. They have those, you know, horizontal reeds, Chamades. Vidas: Yes, they are mounted on the facade, and they face the altar. Therefore, they are very loud. Ausra: But it's not common in other instruments. And, you know, what is interesting about the reed stops, of course we have tuned them a lot, because we are getting out of tune pretty fast, at least some of them. But actually, they resemble those ancient instruments, wood instruments, like cromorne, clarinet, and others. Vidas: Yes. And you mentioned Chamade in Spanish organs. Nowadays, many modern organs have them, too. Ausra: Sure. Vidas: Which have some Spanish elements, and some French elements, and some German elements. They are eclectic instruments, right? Ausra: Yeah. Vidas: There are two kinds of reeds, right? Chorus reeds and solo reeds. Ausra: Sure. Vidas: Chorus reeds mix well with the ensemble of other stops, like trumpet. Ausra: Yes. Vidas: Right? Bombarde. Ausra: Bassoon. Vidas: Yes. They have long resonators, usually. And solo reeds have shorter resonators, and they don't mix particularly well with the other stops. Ausra: Yeah, so you use them as solo voices. Vidas: Yes, like Oboe, Cromorne you mentioned, right? Ausra: Yes Cromorne. Vidas: Vox humana, right? Ausra: Schalmey maybe? Vidas: Yes. Vox humana in German is not the same as Voix humaine in French. A little bit different sound in French because, in French tradition, it's very nasal, and even softer, I would say. In Cavaille-Coll’s organs, they usually like to use it with the tremulant, right? Ausra: And I think we also have to talk a little bit about mutation stops. Vidas: Mutations. It's like a fifth group, right? Ausra: Yes. Well, actually their pipes are made as in principals. Vidas: Or flutes, too. Ausra: Those two groups, but here every key, every sound has a few pipes, so by pressing one key, you get several different notes. Vidas: You're talking about compound mutations. Ausra: Yes. Compound mutations. Vidas: What about, like a fifth, or the third stop? Just simple mutation. It sounds, not at the eight foot pitch level, but at another interval, right? Ausra: Sure. Vidas: Like a fifth, or third? Ausra: Yes. And you can, yes, you can play, for example, a C on the key and it sounds as the G above C. Vidas: And are there any other besides fifth and thirds? Ausra: Yes, of course. Vidas: Which ones? Ausra: I think you want to tell about it. Vidas: Yes. There are some interesting experiments, I would say, done in the 20th century with sevenths and ninths. They are very squeaky, and you can look them up online how they sound. Ausra: But it's not that common as fifths and thirds. Vidas: So compound mutations, usually have a few rows of pipes. Like Cornet. Ausra: Yes. Vidas: And Cornet usually has five rows of pipes. Ausra: Yes. Usually five, but I think you could get even more than five. Vidas: 8’, 4’, 2 ⅔’, 2’ and 1 ⅗’. That's the usual composition of the Cornet. But it is, it sounds like a wind instrument when you play it like that. Ausra: Yes. Vidas: And it's usually constructed from flutes pipes. Good. So guys, go ahead and experiment with your organs and find out other families that they have. Principals, flutes and compare them how they sound. Flutes, they sound wider, because their scaling is wider than the principals, and gentler, of course. Check for strings, and check for various kinds of reeds. It's really fun to experiment with organ stops. You can even create specific organ demonstration for your congregation just from demonstrating separate organ family stops, right? Ausra: Yes. I think they would benefit from that a lot. Vidas: You could explain to them how they work, how they sound, how they're constructed. I wouldn't let them touch the pipes, but maybe look at them from up close, if they are in the organ balcony. Sometimes you can even blow a wooden pipe yourself. That's really fun. And really, people will get a great interest in the organ, in the construction of the organ this way, right? Ausra: Sure. Vidas: It's especially interesting for children, too. Ausra: Yes. Vidas: So, it's a lot to think about, how many possibilities you have to encourage a young generation to get interested in pipe organ and how it works. And maybe you will get some future organists this way. Alright, this was Vidas. Ausra: And Ausra. Vidas: Please send us your questions. 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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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