Watching stork hunting
Is as fun as practicing Finger glissando.
Today's question was sent by Ugochukwu. He wants to know about how to practice finger substitution and glissandos.
Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Let's start Episode 22 of #AskVidasAndAusra podcast. Today's question was sent by Ugochukwu, and he wants to know how to master finger substitution and finger glissando and other nuances of problems in finger technique. This is a very technical question, right, Ausra? Ausra: Yes, it is. Vidas: Is it simple to demonstrate it in words, this type of technicalities? Ausra: I don't think so. It would be much easier to show it how to do it. It would be much easier to talk about it, if you would have the concrete piece of music. Vidas: Would you recommend people playing exercises with finger substitution, glissandos, and other technical things, or would you isolate measures in a real musical piece and master them as separate exercises? Ausra: Actually, you could do both ways, I would say. Vidas: Do both ways. Because some people really hate exercises, right? Never practice and they simply jump straight to the original organ music compositions, or hymns, or improvisations. Because dry exercises are sometimes not for them. But other people love them. Ausra: Sure. Vidas: They like those eight measures of repeated fragments going up and down sequentially, and isolated technique, like finger substitution. You go from C to D, from one to two finger, you substitute again to one; and from D to E, you substitute again from two to one; from E to F, substitute two to one, and so forth. They love this. What about you, Ausra? Imagine, if you started from the beginning today, which method would you choose? Ausra: Well, probably it all depends on concrete technique and exercises, because when I grew up as an organist, we didn't have such books in Lithuania, and nobody taught me that way. So I just had to learn everything from the repertoire. And I remember, my first lesson with George Ritchie when he asked on which technique I was educated in organ practice. Vidas: Which method, right? Ausra: Yes, and I told none of it, you know. He just was amazed. Vidas: You didn't know which methods were available. Ausra: Yes, at that time, yes. I know already about now, because I had to learn to study it with Pamela Ruiter-Feenstra, so I knew already a lot about early technique while playing on the historical instruments and so on. But yes, modern technique was actually a new thing for me. So what about you, Vidas? Vidas: Like yourself, I started practicing pieces. From the beginning, my first organ piece was chorale prelude from Bach’s Orgelbuchlein. I think it might have been “Jesu, meine Freude”, I think. But that was a very long time ago. And the first exercise I encountered was in America from Ritchie/Stauffer technique book. Or was it Soderlund? Ausra: Yes, with Pamela Ruiter-Feenstra we studied from Sandra Sunderland's book. Vidas: Yes. Ausra: But that includes, I think, included early technique only. And then in Ritchie/Stauffer's book we found the modern technique. Vidas: So yeah, if I personally started today, I think, it's helpful to have this controlled environment when you have those exercises alone. Let's say, finger substitution involving many fingers. Not only one to two, but two to three, three to four, four to five. Ausra: Yes. Vidas: And thumb glissandos, going from black key to the white key or from white key to white key, right? Both hands and separate hands. That is helpful for the beginning, but when you see it done very regularly throughout months, probably it's going to be a little bit boring if you not mix it with real musical pieces. Ausra: Sure. I think it's best, in a way, to mix it with real music. Vidas: That's why George Ritchie and George Stauffer always include real musical examples at the end of each chapter. Ausra: That's a very good book. Vidas: So that's why, I think, we also recommend, whenever people start to study our Total Organist program, they could take some of the trainings where we offer exercises. But in addition to that, they could supplement them with real music and our scores with complete fingering and pedaling. Ausra: Sure. Vidas: For manuals and pedals, as well. Okay guys, this was Vidas. Ausra: And Ausra. Vidas: We hope this was helpful to you, and please send us your questions. The best way to send your question is probably through email. And the best way to connect with us is, of course, by subscribing to our newsletter by going to www.organduo.lt (if you haven’t done so already) and then entering your email there and you will get our posts as they appear to your inbox. Then you can reply and send us your questions. This would be probably the easiest way for us to find them. And remember, when you practice ... Ausra: ... miracles happen.
Comments
After twenty strokes
Water is warm in the lake - It's time to practice. Yesterday mezzosoprano Egle Sidlauskaite and performed at the church in Seduva as part of Tytuvenai Festival. It was fun: from Handel to Amazing Grace, from Stradella to organ improvisations. By the way, people demanded not 1 but 2 encores. I hope you'll enjoy this audio recording.
Today's question was sent by Ugochukwu:
What have been your experiences so far as an Organist, what's the best way of practice, what should be practiced and when? Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: We're starting Episode 21 of #AskVidasAndAusra" podcast. Today's question was sent by Ugochukwu. He wants to know what are some of our experiences so far as an organist and what's the best way of practicing? What should be practiced and when? Ausra, so when a person asks you about your organ practice experiences, usually it's not simple curiosity, is it? It's because your experience is supposed to be helpful to other people, right? Ausra: Yes, but it's actually a very broad question. I don't know how to answer it in a few sentences. Vidas: Well, let's start from the beginning. A little bit smaller segment of this question is what should be practiced and when? Meaning, what kind of pieces, what kind of music, should you practice? And then the second part of this question is when? Ausra: Well, everything depends on your situation in life, because in my life I had so many different positions as an organist and as a teacher, so it's hard for me to tell. Because when I was working in church, definitely a large amount of my organ repertoire was related to the church, to the church music. I had to practice hymns and do interludes and to prepare for hymn festivals and think about liturgy, what is appropriate to the church service. Then, of course, when I was a student for many years because I have two master's and one doctorate and, of course, bachelor degrees, I had to play a lot of repertoire overall. Now when I'm performing recitals my repertoire and my practice depends on them. Vidas: My experience is sort of similar to yours because we always did things together and my answer to Ugochukwu might be that you have to dig deep into your own needs, your own goals. What do you want to accomplish in organ playing for yourself in long term, maybe five years from now? Dig a little bit deeper, make a segmented plan of practice, and take small steps and see that each step is taking you closer to your goal. Ausra: Yeah, sure. I remember when working in church always liturgical year was so important because you would practice different repertoire, for example, for Lent time and different repertoire for Christmas time. So you would have to look at the text of the music and find appropriate pieces. Vidas: Right, because those chorals for the Nativity usually have special meanings, special connection with the Nativity scene and those are especially suited for this Christmas period. Sometimes even Advent, those waiting for Jesus’ birth. In short, I think people should plan their practice appropriately to their needs, to their goals. First of all, you have to figure out what you need to accomplish in, let's say, five years from now. You have to have a vision, right? Ausra: Sure. Vidas: Never practice just for today, for tonight. Always be far-looking; that helps you in the long run. And then the second part, Ausra, is when to practice. That's easier, right? Ausra: Yes. Vidas: How would you answer this question? Ausra: You have to practice every day. Vidas: Every day. Can you take breaks? Maybe you could practice twice a day and then take a day off? Ausra: Well, definitely you can take a day off if you need it, but it's easier, it's better actually, to not skip a day. Vidas: I like to imagine practice like taking vitamins. Okay, I can skip one day of vitamins and take two vitamins the next day. Would that work? Ausra: No, I don't think so. Vidas: But it's not a catastrophe, right? If you took two vitamins once, that would be still okay, I think. Once. But if you do this regularly it would be bad for your stomach. So if you skip, let's say, a week of practice, and you say you usually 30 minutes a day and you skipped a week of practice for some reason and then the next week you want to make it up and you practice seven times 30, maybe three and half hours. Sometimes it's possible, but still you need to take breaks. How about comparing this to vitamins? Seven vitamins in a row; that would be very bad, right? Ausra: Sure. Vidas: So the same is with organ practice. It's better to take small steps, practice regularly, every day, and then in the long run this kind of regular practice will always pay off. So, guys, this was Vidas. Ausra: And Ausra. Vidas: And please send us your questions. We hope to help you grow as an organist and the best way to connect with us is through our newsletter from the blog www.organduo.lt. Go there and subscribe if you haven't done so, and then you can reply to our messages. That would be the best way. This was Vidas again. Ausra: And Ausra. Vidas: And remember: when you practice ... Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #102!
Today's guest is a Chilean/American organist, harpsichordist and musicologist, Felipe Dominguez. A graduate of Brigham Young University (B.M. 2010, M.M. 2012), he studied organ and harpsichord with Douglas Bush and Don Cook. Felipe has pursued further postgraduate organ instruction in Europe with Edoardo Belotti, Hans Davidsson, Francesco Cera and Harald Vogel. He has performed as a soloist and in ensembles in Chile, Argentina, the United States and Italy. Felipe is currently pursuing a Ph.D. in Musicology at Catholic University of America, in Washington, DC. Since 2011, he has been the organist and assistant music director at First Presbyterian Church of Annandale (Washington, DC Metropolitan Area). In this conversation, Felipe shares his insights about the Chilean organ culture, challenging yourself as you practice your 10000 hours to become a better organist and the importance of seeking out specialists of various historical periods and national schools of organ composition. 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. http://www.organduo.lt/podcast/sop-podcast-102-felipe-dominguez-on-chilean-organ-culture-challenging-yourself-and-seeking-out-specialists
Pedal legato
Is easy after you hear Lonely crane trumpets.
Today's question was send by Levi. He wants to know how he can play consecutive black keys on the pedals in a legato articulation especially if going down the keys.
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 let's start Episode number 20 of #AskVidasAndAusra podcast. Today's question was sent by Levi. And he asks, "How can I play consecutive black keys on the pedals in a legato articulation, especially if going down the keys?" Legato, right? Ausra: Yeah. Vidas: Ausra, have you played two consecutive black keys recently on the pedals? Ausra: Maybe not recently, but I have definitely played it many times because if you are playing romantic or modern music, French symphonic music you definitely have to use this technique quite often. Vidas: Which one of your current pieces would be more suitable for this technique? Probably Franck, right? Ausra: Well, I don't think you know, you'd have to use it in Franck as much because if you know talking about sound, sounds better, Franck is quite easy actually. Compared to other French composers, so I'll see that you know, you will get to use this technique than playing Widor, Durufle, Vierne. Vidas: Unless your right foot is busy with swell pedal right? Ausra: Sure, but you know, somehow you can manage that, too. Vidas: Right, so you're playing Franck's B-minor chorale right now and the pedal line is not too complex, right? Ausra: Yes, it's certainly easy. Actually, I haven't found it, you know, hard or tricky. But I remember in playing Vierne’s 3rd symphony that would have really hard pedal part. Vidas: Yes, third symphony. Ausra: And especially that middle movement, because I had to play chords in the pedal. To play three or sometimes even four notes at the same time. And that was very difficult because I don't have very long foot. So, it was really hard for me to do it. When you have for example, to play an interval of the third in this one foot at the same time. Vidas: Oh, you need to have heels right? Ausra: Yes, definitely, yes. And you have to play two, four notes together in the pedal, at the same time. Vidas: Like a chord? Ausra: Yes, it's exactly a chord, that's what's very hard. But here the challenge is to know to play legato two consecutive black keys. And basically do you know the foot position very well. Because if you would go upwards, you would have to put the weight of your body on the big toe, and then to switch smoothly, sliding, in the sliding motion to the outer part of the foot. And to do exactly the opposite if you're going down. And if you're going from down you have to also to switch position off your foot at the same time. Vidas: Right. So, in order for me to understand and visualize it correctly, let me repeat what you are saying and paraphrase. Ausra: Okay. Vidas: If you're going upward with the left foot, right? And let's say you need to play F-sharp into G-sharp, right after the other. So, F-sharp would be played with the outside portion of the left foot, and the next note G-sharp would be played with the big toe, with the inside portion of the foot, left foot. Then, if you do this with the opposite direction, right? The G-sharp to F-sharp you switch inside to outside, and exactly the same is with the right foot too. F-sharp to G-sharp, big toe, and then outside of the foot, G-sharp. Or, G-sharp to F-sharp outside and inside. And so, Ausra it's a good advice I think, and Levi and others could practice isolating. Just this passage maybe one measure at a time and to play repeatedly, very, very slowly. And maybe 10 times, and get it right. Get it smoothly with legato, legato articulation. Ausra: Sure. Vidas: Probably one of the biggest mistakes people make here is to start playing the next passage right away and not correcting the current measure, right? If you feel mistake, you have to go back and make it really solid, reinforce it right away. That will help in the long run to build your solid and efficient pedal technique. So, Ausra, I hope with this answer will give our listeners more opportunities to practice the efficient way. What will be the easiest way for them to ask more questions? Ausra: We'll ask you to visit our webpage, www.organduo.lt and to send us the email with their questions. Vidas: But first they have to subscribe, right? Ausra: Sure. Vidas: Enter their first name and email address, become subscribers, then they will get our tips and blog posts daily and can reply. And that would be the best way to connect. Wonderful, guys I hope you will benefit from this answer and practice today with your feet, with your pedals. And remember when you practice … Ausra: Miracles happen!
Deceptive Piece d'Orgue
Will mess up inner voices, If you're not careful.
Today's question was sent by Robert. Here's what he writes:
Hi Vidas, I'm studying the BWV 577 Fugue I purchased last week, although easy reading not so easy to execute smoothly! Wow! What a great piece though. So now then I turn to BWV 572. It looks easy to play but it's still pretty tough for me. Now the last movement "Lentement"! Any pointers on these measures of 32nd notes? One almost has to memorize these 3 pages to get anywhere I think. Whats the best approach? Or is it just determined, "stick to it -ish"? Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT Vidas: Hello, guys. This is Vidas ... Ausra: And Ausra. Vidas: Let's start Episode 19 of #AskVidasAndAusra Podcast. Today's question was sent by Robert. He is studying Piece d'Orgue, right now, BWV 572. His question is about the last episode, “Lentement” where there are a number of 32nd notes, and for him it's almost like he has to memorize these three pages. He asks, "What's the best approach to learn it." Ausra, you are practicing this piece right now. Ausra: Yes. Vidas: What's your experience with this section? Ausra: Actually, it's quite comfortable for me, because you play three notes in the left hand and then three in right throughout all those ending pages, so it's not that hard for me. Vidas: What would be the tricky part for an average person to play this correctly? Why Robert is stuck here? What do you think? Ausra: The problem might be, if you are practicing in faster tempo than you should, the texture might get muddy, you might lose some of the notes. Vidas: So your suggestion is to really slow down considerably? Ausra: Yes, to slow down, especially if it's the case you are practicing on non-mechanical organ, because if you are practicing it on the piano or on the mechanical organ, then it should be fine because it gives you sort of a gravity on the key. Vidas: And the resistance. Ausra: Yes, the resistance. You know you cannot play as fast, and things will not get muddy. And you should not lose the beat, strong beat, because the meter here is 12/8, so I would suggest that you have perhaps two strong beats in each measure. Vidas: One and three? Basically the down beat and the middle of the measure, right? Ausra: Yes, and the middle of the measure. Yes. If you would look at the harmony, this is also the point on the strong beat and then on the middle of the measure when the harmony actually changes. Vidas: Would Robert benefit from playing just one line at a time, one system at a time, and then stopping and repeating? Ausra: That might work, too. Actually, if things get muddy, you can work probably with different rhythmical combinations. For example, not playing all the equal notes, but maybe make them with the dots. Vidas: Right. But, actually, you can also reverse the data rhythms, right? Ausra: Yes. Vidas: You can do the first long and the second short. But then you reverse short, long, short, long. That's also helpful. Ausra, the middle movement for me, when I played it, was more difficult, the five part texture. Ausra: Yes, because that texture was so thick, and you have to be very careful about what you do in the middle section. Vidas: Yeah. Although it's slow, but lots of things are going on there. Ausra: Yes. Vidas: Yeah, and you need to learn in separate voices and voice combinations, and there are not four voices by five there. So you have to multiply the combinations considerably. Ausra: And sometimes even six voices. Vidas: Six, right, at the end. Exactly. What do you think would be your suggestion for the beginning section, “Tres vitement”. Ausra: For me, the beginning actually is trickier than the end. Because sometimes my tempo's changing in that section. At the beginning you have those 16th notes, but then also the 8th note at the end of the passage and you those places when there are all 16ths running and two 32nds after that. Vidas: Yes. Ausra: This sort of gives me probably the most trouble, because I get rhythmic spasms on those shorter sections. But actually what works for me is that I subdivide the notes with my tongue right from the beginning. Vidas: You have to hear it, listen to the subdivisions? Ausra: Yes. Vidas: If you succeed in listening, then you will succeed in playing? Ausra: Sure. Vidas: Then it will be not too fast and not too rushed. Ausra: Sure. Vidas: Good advice. I hope people will benefit from this answer. Please send us more of your questions. Overnight, a couple of people have sent me a couple of questions, and tonight we're going to record those answers. This is going to be really fun, Asura, right? Ausra: Excellent. Yes. Vidas: Where people can find out more about our activities and blog and subscribe to get the opportunity to email us? Ausra: Of course, at our blog, www.organduo.lt. Vidas: Yes. If you subscribe there to get updates and for 10 days mini-course of organ playing, then you will get the opportunity to connect with us and ask those questions. This is the best way, probably, to contact us. Excellent. Guys, go ahead and practice, because when you practice ... Ausra: Miracles happen.
Lovely Bassoon stop
Sounds like Canadian geese Five octaves lower.
Today's question was posted by Joanna. Here's what she writes:
Dear Vidas and Ausra, Can both hands play on the swell manual or is it usually the right hand which plays on the swell? I am studying a piece which needs Bassoon 16' for the left hand and on my home organ I do not have the Bassoon 16' stop on the great manual. I only have it on the swell so the left hand would play on the swell. Is it possible to just change hands and manuals at will according to the available stops? 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: Let's start today's Episode 18 of #AskVidasAndAusra Podcast. Today's question was posted by Joanna. She writes, "Dear Vidas and Ausra, can both hands play on the Swell manual, or is it usually the right hand which plays on the Swell? I'm studying a piece which needs Bassoon 16’ the left hand, and on my home organ, I do not have the Bassoon 16’ on the Great manual. I only have it on the Swell, so the left hand would play on the swell. Is it possible to just change hands and manuals at will, according to the available stops?" Ausra, do you understand this initial original situation? I think the piece that she's playing calls for Bassoon 16’ just for the bass, right? Ausra: Yes, that's right. Vidas: The right hand would play something different, right? Ausra: Yes. Vidas: Do you think that she could play it on manual or two manuals? Ausra: I still think she must play it on the two different manuals. Simply what she has to do is to play it with her left hand on the other manual, which has 16’, and then on the Swell in this case, and then to play the right hand on the Great. Vidas: Right. Bassoon 16’ is sort of a German Fagott in the Swell division, too, or Ruckpositive sometimes. It's not like a very loud Trumpet 16’. Ausra: Yeah. Vidas: It's not a Trumpet or Bombarde 16’ like on the Great sometimes they have. It's sort of a reed, which can be played as a bass part, like for continuo part in Baroque pieces for the left hand for the bass, but one octave lower than normal 8’ pitch level, right? Ausra: Sure. Vidas: I imagine one particular piece which generally works for this is from Bach's Clavierubung III “Christ, unser Herr zum Jordan kam”. Ausra: Of course. Vidas: It has four parts, four voices, and the left hand has the running 16th-note motion. Ausra: Yeah. Vidas: There are two voices in the right hand part, soprano and alto. Ausra: Correct. Vidas: They sort of imitate each other in 16th notes, more or less. That is obviously on another manual, maybe, with principal stops, right? Ausra: Yes. Vidas: The pedals then take eight foot trumpet for the choral tune. Ausra: Yes. Vidas: In larger note values. That's very common, I would say, even in the baroque type of choral prelude, this position, this type of Bassoon or Fagott 16’ for the left hand, for the bass part. Ausra: Yes, that's true. Vidas: Have you played it yourself sometimes, this type of registration, Ausra? Ausra: Yeah, I believe I played like this quite a few times. Vidas: How does it sound? Do you like it? Do you like it one octave lower for the bass sound? Ausra: For the left hand, you mean, yes? Vidas: Yes. Ausra: Yes, I like it, actually. Vidas: It's sort of a rumbling bass, right? Ausra: Yes. Vidas: Like a wind instrument playing lower, one octave lower. In my mind, it sounds very convincing. Ausra: Yes. It sounds like you are playing pedals, basically, in your left hand. Of course, you can do much more with your left hand than with your feet, I assume, so it sounds very nice and exciting, that left hand voice. Vidas: Yes. Even the famous choral prelude by Bach Wachet auf, BWV 645, could be played this way. The bass could be played with the left hand using 16’ stop. Ausra: Yes. Vidas: Then tenor Cantus Firmus could be played with the pedals, maybe the trumpet. Then, of course, the Principal 8’ would be played by the right hand in the soprano. Ausra: Yes. Vidas: You people can try this position. It's different. You have to get used to this. How was your day so far, Ausra? Have you had the chance to touch the instrument? Ausra: Yes, I did have a chance. Vidas: What did you play today? Ausra: Piece d’Orgue and I’m working on Mendelssohn’s Andante Variations. Vidas: What's the most challenging thing for you right now in Mendelssohn? Ausra: To play a legato, actually. Vidas: Right, to use finger substitutions, probably? Ausra: Sure, yeah. Vidas: Yeah, that's a must in this style, I think, too. You have to be very precise and use all kinds of legato techniques, which are not used for Baroque style, for early music. I went to church today to tune this organ, and our student, Arnoldas from Unda Maris studio helped me to press the keys, and I tuned the organ for tomorrow's recital that Weston Jennings will be playing, from America. He's visiting our church. Afterwards, we had lunch with Arnoldas. Actually, we had podcast conversation. So it will be very interest to find out for our listeners, probably, in depth what he is up to, what are his challenges, and things that he's working, and his plans for the next year, things like that. Ausra: Okay. I'm looking forward to hear it. Vidas: So, guys, I hope this conversation was useful to you. Send us more of your questions, of course. Please visit our website at www.organduo.lt where of course you will find lots of organ playing advice and inspiration and 10 day organ playing mini course. You can subscribe for that. And remember, when you practice ... Ausra: Miracles happen.
I love "the Jig" fugue by Bach. It always reminds me of this little experiment I did some years ago. I used to wonder how many repetitions of the piece do I need to play in order to master it for public performance.
And then one time I sat down and counted. It took me 40 reps to feel comfortable. But I was practicing by myself. I didn't have some weird choir member come up to me and whisper really quietly into my ear, "there's a spider on your shoulder". I would surely stumble, panic and stop playing. Well, probably I need 20 more reps just to be sure. 60 reps total to prepare for this scenario. But then I thought, what if I'm playing and all of a sudden I hear sirens of imminent earthquake and I see the ground open up and this choir member who just scared me with a fake spider disappeared into a hole? Would I still continue to play? O well, maybe 20 more reps should do it. So after total of 80 reps shattered houses won't bother me any more. But what about if my priest comes up to me and yells, "you're fired!" I guess I would need an extra 20 reps. Yeah, make it 100. A nice round number. That's all you need to be ready for spiders, earthquakes and being fired... ...and still continue to play.
Today's question was posted by Robert. Here's what he writes:
I just purchased BWV 577. What should the tempo be? I'm just having a look at it. Often on YouTube they "race pieces". To impress? As I want to study your fingering and pedaling, I'm able to sight-read it easily but am jerking the tempo too much! In this piece you also recommended to study by " first right hands, then left hand, then pedals, further right hand and pedals, then left hand and pedals. I read what you wrote about studying it years before but I don't quite follow your 10 steps. Regarding the numbering. Like 10 x just 1 beat? Am I correct? Anyway using the former method that I use quite a bit I hope to smoothen it out. One definitely feels the "Gigue" motion! Till next time... Listen to our full answer at #AskVidasAndAusra TRANSCRIPT Vidas: Hello, guys. This is Vidas. Ausra: And Ausra. Vidas: Let's start Episode 17 of #AskVidasAndAusra Podcast. Today's question will be about the Gigue Fugue by Johann Sebastian Bach, BVW 577. This question was posted by Robert. He wrote, "What should the tempo be. I'm just having a look at it. Often on YouTube, they race pieces, to impress perhaps." Another part of the question was like this: "As I want to study your fingering and pedaling, I'm able to sight-read it easily, but I'm jerking the tempo too much. In this piece, you also recommended to study first the right hand, then the left hand, then pedals, and then the right hand and pedals, and then left hand and pedals, those two voice combinations. I read that you wrote about studying years before, but I don't quite follow your 10-step procedure regarding the numbering, like 10x, just one beat. Am I correct? Anyway, using the formal methods that I use quite a bit, I hope to smoothen it out. One definitely feels the Gigue motions. Till next time." That was a long thought by Robert. Have you played this piece before, Ausra? Ausra: No, I haven't played this Gigue, but I actually I have played many similar Gigues. Vidas: It looks to me that Robert is wondering about the tempo, first. Let's discuss the tempo issue. Let's pretend it’s another Gigue. You know C major Toccata, Adagio and Fugue by Bach, BVW 564? Ausra: Yes. Vidas: The fugue is also in the gigue motion, and a lot of people do play it very fast. Do you think this type of dance movements should be played too fast or moderately fast? Ausra: I think the Gigue in general should be fast, but even while playing fast, you must control everything, and you must listen to what you are playing. You must hear what you are playing. Vidas: Right, because it depends on your acoustics of the room you are in and the size of the instrument, also. The larger the room, the larger the instrument, the slower actually you should play, the more articulation you should use. Correct? Ausra: Correct. Gigue, of course, is a fast dance, but it's not an etude. You cannot play it as an exercise as fast as you can. Vidas: What do you think about the practice procedure, one voice at a time, then two voices combination, and then finally three voices, and then four voice, final result? Would that be helpful? Ausra: Yes, I think it's very helpful, especially for a beginner, maybe not so much for advanced organist. But even you know if you are advanced organist, I think it's good to follow these steps. Vidas: In general, I advise people do like this: First, read this fugue. If they play it in a moderate tempo and make tons of mistakes, then it means you have to go back and do the practice step-by-step procedure, right? Ausra: I think that's a good advice. Vidas: If not, if they are really excellent sight-readers, why not you play the entire piece, in four parts right away, and then work up your tempo and be a little more precise, if you want, with fingering, pedaling. But it's the next level, probably. Ausra: Of course. Vidas: Not too many people I know can do this. Of course, if you want to achieve this level, you have to sight-read every day, you have to sight-read at least one new piece a day, probably. Ausra: Yeah. Vidas: After they master, for example, all those solo parts, and then two voice combinations, then three part combinations, and then finally entire four part texture, let's say, very slowly, they have to speed up the tempo, because the tempo still has to be final result fast. What's your advice on this? Ausra: I think it will come to you while practicing. You just will notice that you're playing faster and faster each time. When you will master the general text. Vidas: Memorize perhaps, right? Ausra: Well, yes. Yes, when you are playing the really fast tempo, definitely it's easier to play from memory. Vidas: Memorize, and of course pay attention to how the piece is put together, count the number of subject appearances and make sure you know what key this theme is, what voice. You have to know the plan of the fugue. Ausra: And to dance the Gigue, it's very important to keep the steady tempo and to emphasize the strong beats. Vidas: Exactly. Making the down beat longer and the upbeat shorter, right? Ausra: Sure. Vidas: What about speeding up the tempo when you can play entire piece slowly, with those combinations? How about this way - stopping at every beat, then at every two beats, at every measure, at every two measures, basically doubling the fragments, but playing all the voices now, and between the stopping you have to play really fast? Ausra: I don't practice this way myself, so I cannot tell you. Maybe it works for some people. I just don't practice it myself. It's more your way, you know, not mine. Vidas: Yeah, I sometimes like to do this, especially when the piece is really tricky. Not necessarily the fugue, but it might be a piece like right now I'm studying the piece called “A Ride In A High Speed Train” by Ad Wammes, the contemporary Dutch composer, and it has a lot of complicated rhythms and syncopation and minimalistic texture, which is very, very repetitive. When I sight-read it, it's very, very hard and slow at first. Now I'm speeding up by doubling the fragments. Ausra: Good, if it works for you. Vidas: Okay. I hope, guys, this was useful for you. Please send your questions to us. We'll be very glad to help you out. Right, Ausra? Ausra: Yes. Vidas: Okay. This was Vidas ... Ausra: And Ausra. Vidas: And remember, when you practice ... Ausra: Miracles happen.
I always liked crescendo pedal. It's my ultimate registration saver. It reminds me of the accelerator pedal in the car and I use it similarly.
When I drive a car, I slow down before a turn and speed up afterwards. So in a piece of organ music I step on a pedal right at the start of the episode and release the foot at the end of it. Last time I did it on Vierne's Berceuse. I began with the string stops, of course, but at about measure 3 I really started to push. First came in the flutes, then the principals, then the reeds and finally the mutations. 'Cause it's a French piece, you know. Everyone knows that in a French style the reeds come in before the mutations. The Germans do it in reverse. I never understood, though, why my priest told me never to return to that church again. He was so uneducated... A perfect sound for the Communion.
Today's question was posted by Dan. Over the last couple of years he's been interested in practicing Handel's Largo, perfecting his pedal technique, learning some basics of organ registration, and mastering BWV 549.
Here's what he writes: Hi Vidas, and Ausra as well, just want to say, I’m loving the new podcast you two are doing. It’s quick, short and to the point. When I had initially found your stuff online at first Vidas, it was back in 2014 or so, and you hadn’t started the podcast as of yet then, but you were blogging at the time, it was great. The stuff that you are doing with the podcasts and site, is really awesome. I don’t think there are any other podcasters out there, at least that I could find, podcasting on the topic of the pipe organ. Crescendo pedals. Are they worth using or not? Many organists have widely differing opinions on this aspect of organ playing, and running an organ. For example, I heard Peter Richard Conte, the Wanamaker organist, in an interview with American Public Media’s Michael Barone for a pipe dreams episode, say that his opinion of these devices was that they’re clunky, and not very useful. ON the other hand, Great and well-known American organist Virgil Fox, made a fair bit of use out of this device in his time. 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 we're starting episode 16 of #AskVidasAndAusra podcast. And today's question was sent by Dan. So he asks about crescendo pedals: “Are they worth using or not? Many organists have widely different opinions on this aspect of organ playing and running an organ. For example, I heard Peter Richard Conte, the Wanamaker organist in an interview with American Public Media’s Michael Barone for a Pipedreams episode say that his opinion of these devices was that they’re clunky and not very useful. On the other hand, great and well-known American organist Virgil Fox made a fair bit of use out of this device in his time.” So people say a lot of different things about crescendo pedals. Ausra, what do you think? What's your take on this for starters? Ausra: I think that crescendo pedals might be really useful. Of course you don't have to use them when you are playing baroque music, Bach for example, but later, romantic and modern music, they can be quite a help, a big help. Especially when you don't have much time to rehearse, or you don't have time to rehearse at all and you need to change the dynamics so then I think crescendo pedal might be a great help. Vidas: I remember playing Liszt's Ad nos Fantasy and Fugue. It’s a very long and sophisticated piece. He has a lot of dynamic changes, sometimes sudden, sometimes gradual. And yes, I did use this crescendo pedal system at First Presbyterian Church in Lincoln, Nebraska and also at First Plymouth Church there too. On two occasions basically. So it really saves time if the crescendo pedal is well balanced. Ausra: Yes, I think so. Yes, if it's well balanced, then it's I think very well to use in such music, such as Reger, Liszt, and romantic composers if you are playing let's say a Sonata by Reubke. It might be a big help too. Vidas: Would you say that for French music, crescendo pedals would work or not? Ausra: It probably depends on the organ because I think it works better for German Romantic music but not maybe so much for French. But I think you could adapt probably on some organs. Vidas: Because French system of making crescendo is different. Ausra: Yes, yes that's right, yes. Vidas: They use appel pedals and appel pedals are different than crescendo pedals. And they have a different way of adding stops, and the order of adding stops is different, right? Ausra: Sure. But you know, when you are playing not on the French organ then you might adapt that thing as well the dynamic systems, the crescendos and diminuendos too. Because anyway if you know it's not a French organ, it doesn't have French stops. It will not sound like Cavaille-Coll anyway. Vidas: Yeah, you're right probably. On most modern organs which are maybe symphonically conceived in conception, probably it's not a big difference to create dynamic changes with pistons, preset your own combinations that you designed yourself in advance, with pistons or with crescendo pedals because they are usually well balanced and still you add reeds from all divisions gradually. That's what's similar about French system anyway. Ausra: Yes, that's right. Vidas: So what kind of piece from French repertoire are you playing right now Ausra? Ausra: Well actually I'm still repeating my 2nd Fantasie by Jehan Alain which I had played many years before. Vidas: But that's another style, right? That's not necessarily Romantic. Ausra: And actually I'm also repeating Franck’s Choral in B minor No. 2. Vidas: Frank might be quite specific in saying here you should use Voix humaine registration right in those slow episodes. So with crescendo pedals it wouldn't work probably. Ausra: I know. So my best advice would be with each you have to decide either to use it or to not use it. Just try it, check it and then you will see. Vidas: But definitely for the late German Romantic music it would work, right? Ausra: Yes. Vidas: Even for Brahms’ Prelude and Fugue in G minor, would say. Probably you could find some use with the crescendo pedals there too. Ausra: Definitely. Vidas: So this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice... Ausra: Miracles happen.
Why are people progressing so slowly with their organ playing skills? Why can't they learn it overnight? No, wait! Overnight would be too slow! How about in 25 minutes or less?
The way it would work is you would set your Pomodoro timer for 25 minutes and when it beeps you're done, you have mastered organ playing! Organ repertoire would take you 8 minutes, technique - 6 minutes, sight-reading 4.5 minutes, registration - 2 minutes, harmony - 1 minute and 45 seconds, improvisation - 90 seconds, hymn playing - 60 seconds and Widor Toccata - 15 seconds!
Today's question was sent by Joanna, our Total Organist student. This is what she wrote:
Dear Vidas, thank you for your email! Yes, the idea of taking breaks is a good one and something I never used to do. I am always so anxious to do my organ practice that I try not to waste a minute but that is a mistake! I tried taking breaks today like you said and it really helped! ? I suppose the thing that is most frustrating to me is that my progress is so, so, so slow! But I have started practicing in fragments as you suggested and I have found that helpful…so perhaps I will see more progress. Perhaps I am a bit impatient too! ? Yes, I look forward to your podcast on #AskVidasAndAusra. Thank you! Listen to our full answer at #AskVidasAndAusra TRANSCRIPT Vidas: Hello, guys. This is Vidas. Ausra: And Ausra. Vidas: And we're starting Episode 15 of #AskVidasAndAusra Podcast. Today's question was sent by Joanna, a Total Organist student. This is what she wrote: "Dear Vidas, thank you for your email. Yes, the idea of taking breaks is a good one and something I never used to do." She's writing in response of Podcast 5, when we talked about is it possible to learn the organ when you are 56 years old. She writes further, "I am always so anxious to do my organ practice that I try not to waste a minute, but that is a mistake. I tried taking breaks today like you said, and it really helped. I suppose the thing that is most frustrating to me is that my progress is so, so, so slow, but I have started practicing in fragments as you suggested, and I have found that helpful, so perhaps I will see more progress. Perhaps I am a bit impatient, too. Yes, I look forward to your podcast on #AskVidasAndAusra. Thank you." This is wonderful, Ausra, right, that our advice is helpful to somebody in another country. She is 56 years old, taking breaks now, and really getting, I think, a healthy habit in organ practice. But she is progressing so slow. This is most frustrating thing. What would you suggest for her? Ausra: As she wrote herself, maybe she's a bit impatient. That might be it, in effect. We all want to make fast progress, but things like playing the organ takes a really long time. I think why the progress is so, so, so slow might be that you are either not practicing enough or you're practicing in a wrong manner. What do you think is the case? Vidas: I think she should learn the correct practicing, efficient practicing technique, which might be practicing in fragments, taking frequent breaks, repeating those fragments over and over, until at least you get three times over that mistakes, doing it very, very slowly, of course. What else would we suggest? Keeping the movements of the body and hands and feet to the minimum basically. Do not lift the fingers and the feet of the pedalboard of the keyboard. Movements should be economical. Yeah, I think, when we play also sometimes difficult, advanced pieces, it might take months to master. We know the deadline for our recital, for example, is coming up, and this frustrating and sometimes challenging to free the joy of practicing. But somehow you overcome this, right, Ausra? Ausra: Yes. Vidas: What helps you to overcome this fear of not progressing fast enough? Ausra: Usually I have a due date, and I know I have to be ready by that date. Vidas: Ready or not, you will perform, right? Ausra: Yes. So I better be ready, because it's not a good feeling when you show up to your recital and you aren't prepared. When you are well-prepared, it gives you a sort of comfort. If I'm not making progress fast enough, I'm thinking what I have to do differently in order to reach my final goal, because I want to be that comfortable with my recital. This is my probably biggest motivation. Vidas: The external motivation? Ausra: Yes. Vidas: You set up a goal, and you know that people will come to listen to you, and if you are not well-prepared, you might feel ashamed or embarrassed, right? Ausra: Yes. Vidas: So you figure out a way to progress fast enough to meet the schedule. Maybe Joanna might also benefit from this approach. Set a deadline. Well, internal deadline. We won't suggest she should perform in public just yet, but maybe for herself set a deadline and maybe choose how many fragments a day she should learn in order to reach this goal in time. That would help to stick to a schedule. Ausra: Sure. Vidas: For example, if she can master four measures at a time and take a rest, because our body needs that, take a walk, stretch, drink a glass of water, and then you might come back to practice some more. If you learn four measures at a time, count those measures and count the fragments in the entire piece, and tell to yourself how many days would you need to have in order to master this piece on time. So maybe you would need to practice a little bit more in order to learn two fragments for one day sometimes, or maybe you need longer periods of time. Maybe not 30 days but 60 days for that piece. That's acceptable. Ausra: I think if you are thinking that you are not making enough progress, you have to record yourself and your practicing, not all the time but, for example, when you sight-read a new piece of music just record yourself. After a few days, maybe after a week, record yourself again, and compare those two recordings, and you will see that you actually made a progress. Vidas: I think I suggested once the same approach to John, our student from Australia. He also was feeling a little bit impatient, but I suggested to take maybe three months between those recordings. You sight-read a piece, record it, maybe just one page, and you make maybe 50, 100 mistakes, it doesn't matter, this is your original level. Then in three months, you come back to the same piece. In this period, you never look at this piece, of course, but after that three months, you come back and sight-read it again, recording yourself. Joanna, if you do this, you will find out just how really fast and far you have progressed with this. Three months. Okay, if you are impatient, do this in 30 days, a 30 days challenge. That will be enough. It's a compromise. What do you think about this, Ausra? Would that work? Ausra: I hope so. Vidas: But Joanna has to take this seriously and practice everyday just to keep moving, right? Ausra: Yes, definitely. Vidas: Good, guys. Go ahead and practice today some beautiful organ music, and send us more questions. It's fun, and we like helping you grow as an organist. This was Vidas … Ausra: And Ausra. Vidas: And remember, when you practice ... Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #101!
Today's guest is a world-renown Dutch improviser and organist Hayo Boerema. He was born in Groningen (Holland) in 1972. At the Royal Conservatory in The Hague he studied organ with Johann Th. Lemckert, church music with Marijke van Klaveren and improvisation with Jos van der Kooy; at the Rotterdam Conservatory he studied choral conducting with Barend Schuurman. He specialised in improvisation with Naji Hakim (Paris) and in French symphonic repertoire with Ben van Oosten. Hayo Boerema won prizes at international competitions and festivals in Vienna (1998), Nuremberg (1999), Paris (1999), St. Albans (2001), Nijmegen (2004) and Kotka (2005); as a recitalist he has toured Spain, Germany, Finland and France. In 2005 he was appointed organist of the St Laurenskerk in Rotterdam, and in 2009 he was awarded the silver medal of merit by the Société Académique d’Education et d’Encouragement ‘Arts, Sciences, Lettres’ in Paris for his services to French organ music. He is appointed as professor in improvsation at Codarts Conservatory in Rotterdam. In this conversation Hayo shares his amazing insights about the art of organ improvisation. If you're interested at all with creativity, you don't want to miss miss this episode. 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 Relevant link: hayoboerema.com |
DON'T MISS A THING! FREE UPDATES BY EMAIL.Thank you!You have successfully joined our subscriber list. Authors
Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
Categories
All
Archives
May 2024
|