Vidas: Hi, guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 467, of Secrets of Organ Playing Podcast. This question was sent by Jeremy, who is on the team of transcribing our videos into scores with fingering and pedaling. And he writes:
 
It seems I forgot the Rep I was going to work on at the church yesterday.  So, read through some of Guilmant's Practical Organist and started work on Franck's First Chorale. 
​
Question: At the opening where it is written in the manuals, do you take some of the large stretches by putting the bass note in the pedals?  Or do you play all of the bass notes in the pedals coupled only to the Great? Or just simply wince at the pain of the stretched 11th interval....?  I was able to redistribute some of it between the left and right hand, but there is at least one stretch on the first two pages that seems to be physically impossible (I believe it is a E, B, G-sharp in the left hand with a wide stretch in the right. I don't have the music here in front of me.)
 
V: Do you remember this E Major Choral with Franck, right?
 
A: Of course. Uh-huh.
 
V: This is the famous opening and a lot of organists struggle with this.
 
A: It’s one of the most beautiful organ pieces, I think. And that’s definitely, it has really wide stretches, especially in the opening section. As does Franck’s Prière, which is very beautiful piece too.
 
V: Um-hmm.
 
A: And if you remember his picture on the Dover edition—Franck’s picture, I mean—you could see how wide his, how big his arms are. And his hand is just huge with these long fingers. I don’t think it was, he had technical difficulty to play his music.
 
V: Yes. Some musicians had enormous palms. For example, Liszt. People saw his, I think print of his palm, and basically it was very, very wide. I think he could reach not even eleventh, but twelfth, interval of the twelfth, which is an octave plus a fifth.
 
A: Yes. It’s an enormous stretch.
 
V: Mmm-hmm. So on the piano, he writes various passages that require wide intervals. On the organ when you have such an opening like Franck's E Major Chorale, there are two opinions, I think.
 
A: Yes. One is to play it with the pedal to help yourself.
 
V: But do not use pedal stops, just couple…
 
A: Sure, of course.
 
V: couple with the manual.
 
A: And what would be another option?
 
V: To train your left hand, stretch it and then try to do like it’s written.
 
A: And remember once we attended Cavaillé-Coll conference.
 
V: Yes.
 
A: In Oberlin Conservatory, when we were back in the states. And there were very many famous French music experts from all over the world. And there was I believe Jean Boyer from France, and he plays French music so well. He played, because you know, he is no longer with us, and his performance of Widor, I don’t think I have ever heard anybody playing Widor so nice. So actually he talked about this chorale and this opening section. And he wasn’t a big man. He was really [a] tiny man, I would say, and really didn’t have huge hands like Franck or Liszt. But he would suggest to do it all by hands and not to use pedal.
 
V: Mmm-hmm.
 
A: And he demonstrated that because on example, he went up to the organ loft and played this opening section of this chorale and it worked pretty well for him. So I guess it’s possible to stretch arm.
 
V: But that’s advanced level.
 
A: It is. It is.
 
V: Mmm-hmm.
 
A: So I would guess if, let’s say, your palm is really narrow then don’t do that. Don’t hurt yourself. Just use the pedalboard to help yourself.
 
V: Mmm-hmm.
 
A: But if you feel like after playing for sometimes you might be able to do it, then yes—you can try and play it manually.
 
V: Sure. I think those two options, either playing with the pedal coupler, or stretching your hand without the coupler, would be the only options, I think.
 
A: Sure. Because what else? Could you sing those missing notes?
 
V: Maybe you could skip some of the notes, but I’m not sure if the harmony…
 
A: I think that’s the worst probably, solution...
 
V: Mmm-hmm.
 
A: to skip some of the notes. At least not in this piece. Sometimes maybe in other pieces by other composers where the texture is so thick. Maybe it’s possible to skip couple notes.
 
V: You mean Reger.
 
A: Well, some of Reger’s scholars would kill me for this phrase. But I don’t think that in large acoustics and very thick textures, somebody would miss, let’s say, couple notes of, I don’t know, one page.
 
V: Don’t worry! I will protect you from those Reger scholars.
 
A: Okay. Thank you.
 
V: Your welcome! So guys, try both versions out and see what works for you, for your hand, for your physique. But whatever you do, don’t hurt yourself. Stop practicing before you feel pain.
 
A: Yes, that’s a very good advice, Vidas.
 
V: Thank you! So please send us more of your questions. We love helping you grow. And remember, when you practice…
 
A: Miracles happen!

Vidas: Hi guys!  This is Vidas.
 
Ausra:  And Ausra.
 
V: Let’s start episode 468 of Secrets of Organ Playing Podcast.  This question was sent by Taiwo, and Taiwo writes:
 
I want to become a world-class organist, and I have difficulties in playing advanced musical pieces.
 
V: This is his answer to my question when people just sign up for our newsletter after this mini-course, after 10 days or so, they get this message from me, asking for answer to list their goals in organ playing, and also the challenges that they need to work on to achieve this goal.  So, many people are more detailed than this one, right?  Taiwo writes just two phrases: to become a world-class organist is his goal probably, and the challenge is that he has trouble playing difficult musical pieces, right?  But we don’t know anything else about Taiwo.
 
A. So I guess, if he cannot play advanced musical pieces yet, it means that he is not ready to play them yet.
 
V: He needs to practice maybe intermediate musical pieces, or even basic musical pieces, or even maybe beginner musical pieces.  Whatever the level of advancement is, it’s good enough for starters.  So start wherever you are.
 
A: Because, you know, without step by step approach, if you just keep practicing very difficult pieces that are too difficult for you to play, you will not reach your goal. And the results won’t be satisfying.
 
V: Exactly.  And we can compare this with many different areas in life.  Not only in organ playing.  Whatever you are trying to achieve, you have to do it step by step with the easiest step first.  And it might seem and sound like too simple.  You might not feel like a beginner, right – it might feel like a boring task at first.  Even for several months it would seem like that.  You want to jump through some leaps and go to the next level too soon.  But if you do that, chances are you will not stick with this practice, whatever you’re practicing with.  Because it’s too difficult.  I, for example, started to practice doing dips.  Do you know what dips are, Ausra?
 
A: No.
 
V: Physical exercise which is contrary to pull-ups.  When you pull up, you pull yourself up, but on the dip, you try to lower yourself down, and then push yourself up.  It’s like doing push-ups, but not on the floor, but on the bars, or in my case, on the rings.  I have now two sets of rings, and one is for pull-ups in our garden, which is hanging higher.  And another is for dips which is lower.  I have to reach comfortably.  And, it’s extremely difficult to do those dips if you’re not ready.  So the first step is simply to hold your body up straight while holding on those rings.  And even that might be too difficult, so maybe you have to, or I have to lower those rings so that I would comfortably reach the bottom, the floor, for example, with my feet, and I have to support myself.  Not the full body weight, but the partial weight.  And maybe a few weeks later, I can move the rings higher, higher, higher, this way.  You see what I mean?
 
A: Yes, so I guess what you are telling us, it’s the same with performance practice,  that you have to go step by step.
 
V: Yes.
 
A: And you cannot jump from beginner level right to advanced level.
 
V: Yes.
 
A: That you need to fill out all the constant daily work.  And, I guess it’s becoming harder and harder nowadays when people want to have immediate gratification right away, you know, when we live in this era of technologies.
 
V: Ausra, would you imagine, if you just started organ playing let’s say this summer, or this year, from the beginning of the year.  Would you have the motivation to persevere and to stick with it for years?
 
A:  Well, now it’s hard to tell.  This is very hypothetical question.  I don’t think I could answer it, you know.
 
V:  I think you might.  Because you are a patient person.  You, in general, are…
 
A: You think so?
 
V: Yes.
 
A: No, I am very impatient. 
 
V: Look, you are reading books.
 
A: I’m very impatient.
 
V: You’re reading real books.
 
A: Because it gives me pleasure.
 
V: Ah!  Pleasure is good.  You have to derive some kind of pleasure out of every activity.
 
A: But organ practice also gives me pleasure.
 
V: Right.  If organ practice didn’t give you pleasure, it would be much more difficult to persevere, right?  You are a professional. Then, you might have a goal, or a deadline, external motivation to practice.  But if it would not be a pleasurable activity for you, then I wouldn’t think organ playing would make you happy.
 
A: Yes, but in order to get pleasure, you need to select right repertoire.  Because if you will always select pieces that are too easy for you, you will get bored, and if you always play pieces that are too hard for you yet, well, you get tired, too.  So basically, you need to select your organ repertoire that it wouldn’t be too easy, but it wouldn’t be too hard.
 
V:  And you can do that by experimenting with a wide range of repertoire, right?  If you don’t know your level yet, you take a piece which is maybe too difficult, and work downwards, until you find your level.
 
A: True.
 
V: Excellent.  We hope this was useful, guys.  Please apply our tips in your practice, because they really work.  We’ve been hearing this feedback from people who apply such techniques in their practice.  And keep sending us your wonderful questions.  We love helping you grow.  And remember, when you practice…
 
A: Miracles happen. 

Vidas: Hi, guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 464, of Secrets of Organ Playing Podcast. This question was sent by James, in response to my email where I ask him ‘what is his dream in organ playing, and what are some obstacles that are challenging for him’, and he wrote:
 
1* to play hymns with a very clean and clear technique, and with spiritually inspiring embellishment and improvisation. To come out of “Ordinary organist”.
2a * accurate counting. (Naturally and effortlessly)
2b * natural and easy interpretation of embellishments
2c * self concept. (“I am just an ordinary organist, and won’t reach the top”).
........................................................................
I play digital electronic 2 manual organ with full AGO pedalboard. Rodgers C505.
In the past I neglected to develop a firm technique for counting, metre and beat sub division.
Theory is good.
Organ understanding, pretty fair to good: Roger Davis Manual.
Practice habits, fair to good.
I had a 15 year gap not playing, restarted in 2017.
......
Thanks VP and A. Blessings!
 
V: Alright! So, I think James wants to learn hymns and play them with improvisation and embellishment which will help him to come out of, what he calls ‘ordinary organist’. What’s wrong with being ordinary organist, Ausra?
 
A: Well, don’t think there is anything wrong with this. But I don’t think that we are ordinary. I think each of us is a little bit extraordinary.
 
V: In which way?
 
A: That each of us is unique, I think.
 
V: Mmm. Interesting. Could you develop this idea a little further?
 
A: Well, for example let’s say, you are better improviser than I am, but I might be better in another field…
 
V: Mmm-hmm.
 
A: of organ playing.
 
V: I see. So you’re saying that James has to find his strength.
 
A: Yes, I guess so.
 
V: Not comparing himself with others, but find his uniqueness. Do you think sometimes our strengths lie where our wishes are, or not always?
 
A: I think most of the time, yes. But I think we feel our strengths and I think people tend to improve these strengths not their weaknesses, in many of case.
 
V: Mmm-hmm.
 
A: And that’s probably not a good thing when we are talking about practicing.
 
V: Why?
 
A: Well, because if you want sort of to really improve, I think you need to work on the weaknesses too, that they would become your strengths. I don’t know if that makes sense.
 
V: What is my weakness?
 
A: I don’t know. I’m not an analyst.
 
V: But from the side you could see easier.
 
A: I think your lack of constant work.
 
V: What do you mean constant work? Working day and night?
 
A: No, I mean that you start one project and then you drop it and you jump to another.
 
V: Consistency maybe.
 
A: Yes. Consistency. That’s right. You are like this type of enthusiasts.
 
V: I’m a squirrel.
 
A: Yes, and you are very enthusiastic about planning something but not so much about executing it.
 
V: Uh-huh, so if I worked on this weakness, I would flip it and make it into my strength.
 
A: I think so.
 
V: Do you think it’s realistic for me?
 
A: Well, probably not, but …
 
V: Knowing me for twenty or more years.
 
A: Probably not. I think everything is easier when you are younger and it gets a little bit harder with years to change yourself. Sometimes it’s almost impossible. But what I like really about this letter that he says things so clearly and sort of really knows what he wants to achieve. Don’t you think so?
 
V: Mmm-hmm. I think he has a good analytical mind.
 
A: True. And that might be very helpful too, in his practice.
 
V: If he assesses himself well, right?
 
A: Yes. Because I really doubt it that many organists could make a list of what we really need to improve.
 
V: Mmm-mmm.
 
A: What [our] weaknesses are. so that’s a really good thing.
 
V: So in the past, he writes, he neglected to develop a firm technique for counting meter and beats subdivision.
 
A: Yes. This is actually a crucial technique for any musician.
 
V: I see sometimes people in our studio, Unda Maris studio, playing either faster or slower without any sense of pulse. And in difficult spots slowing down, and easier spots a little bit faster. Sounds very musical, right?
 
A: True. It’s like in that Bach’s Prelude in A minor—remember, that there was a time at the Academy of Music when a few students at the same time, played that prelude and fugue. And beginning is quite easy…
 
V: Mmm-mmm.
 
A: because sort of like a recitative…
 
V: Mmm-mmm.
 
A: at the beginning but then it gets harder and harder. And I remember one student starting quite fast and then just slowing down. So at the beginning of the first page at the end of it the tempo was completely different.
 
V: Right.
 
A: So I guess there are two things when talking about counting and keeping meter and tempo. You really need to choose your tempo really wisely. You need to choose accordingly the harder spot, not according to the beginning. And then of course you need to count, but then another thing, you need to listen what you are playing to because I believe that if you cannot keep steady tempo, either you have really technical challenges, and this piece might be too hard for you…
 
V: Mmm-hmm.
 
A: yet, or you simply don’t listen what you are playing.
 
V: Oh. So, you mean that people who played at the academy in the past, students, they didn’t record themselves.
 
A: Well, that’s true. Because if you would listen to yourself from the side, you get another impression about your performance.
 
V: Mmm-hmm. I’m recording myself everyday. Actually I’m live-streaming my performances.
 
A: But are you listening back to what you have recorded? I somehow doubt it.
 
V: But my question is ‘am I playing with constant pulse, or not’?
 
A: Yes, I think so.
 
V: So maybe that does help.
 
A: Well…
 
V: Even though I don’t…
 
A: Anyway when you are playing Gaudeamus each time, what ten times a day?
 
V: Yes.
 
A: Or even more.
 
V: Mmm-hmm. Pomp and Circumstance now.
 
A: True. Is it pomp or is it pump?
 
V: Pomp. But pronounced like pump.
 
A: So, okay.
 
V: Alright. So Roger Davis Manual—we have this red book, right?
 
A: True. I play some pieces from it occasionally. Well, I don’t like this edition too much about the…
 
V: Early music.
 
A: Yes...
 
V: Mmm-hmm.
 
A: about the early music, but, well it’s a handbook.
 
V: If James applies early techniques in this collection, and ignores, for example, slurs, legato indications or heel, for example in the pedals, then I think it is a very strong collection. Yes. Okay. So, let’s wish James good luck on the organ bench, and for other students who are listening this, please send us more of your questions. We love helping you grow. And remember, when you practice…
 
A: Miracles happen!

 Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 460 of Secrets of Organ Playing Podcast. This question was sent by Mike, and he is answering my question to him when I asked what is his dream in organ playing and the obstacles that are holding him back. So he writes:
 
“It's just the learning process. Your pedal videos helped a lot and getting pretty comfortable with the first octave and working on the second octave now. Your advice to practice slow and take a couple of measures at a time has made a lot of difference in the outcome. I had a couple of years of piano so this experience is really helping.  I am 72 years old and it takes longer to learn things than it did when I was 17.  Appreciate you, Mike”
 
V: Does it seem to you, Ausra, that Mike is practicing my “Pedal Virtuoso Master Course?”
 
A: Yes, I think so. It looks like that.
 
V: At first, those exercises deal with octaves: scales over one octave, and then scales over the second octave. So, he did that, and now he’s in the second layer of exercises. After that, I think, comes arpeggios.
 
A: I think it’s so nice that at the age of 72 he’s learning new things. It always amazes me. I respect people like him.
 
V: Would you like to be able to also learn something new when you reach 70?
 
A: Yes!
 
V: Or 60?
 
A: Yes!
 
V: Or 50?
 
A: Yes! True!
 
V: What would be your things on your list?
 
A: I don’t know, it depends on what my health will allow me to do.
 
V: For example, right now. What are you dreaming of? You don’t have much time now, but what if you had?
 
A: Well, now I want to learn how to paint with watercolor.
 
V: I see! It’s difficult to blend colors, for me.
 
A: Well, it is difficult for me, too! I think I am a very untalented painter.
 
V: But, you are improving! Don’t you think?
 
A: I don’t know. It seems like I’m drawing the same all over and over again.
 
V: That’s actually a good sign, because the progress is really happening behind the scenes. In organ playing, too, when people are saying, “Oh, I’m practicing all day long, and week after week, month after month, I don’t see any progress,” it means that probably, they’re too close to see the progress. They need to look at their first exercises, like some months ago, and compare it to what they can do now. Don’t you think?
 
A: Yes, but I think it’s harder, when you’re playing organ, to compare yourself with a younger you, and earlier you, because if you do drawings, you can just pick up your earlier works and compare them to your late works.
 
V: Have you done that?
 
A: No. I haven’t.
 
V: And I have, in my mind, and I think you are really improving.
 
A: Yes! I hope I won’t stop practicing organ because of the drawing.
 
V: I don’t think you have any danger in that. Still, you are a professional in organ playing.
 
A: Well, so what will you suggest for Mike, how to practice in the future?
 
V: Recording himself helps a lot, I think. Then he will have an archive of videos and/or audios to compare his earlier exercises with what he can do now. And as you say, it’s more difficult than in drawing or painting, because in drawing or painting, you can just flip through your pages in your notebook, but unless people record themselves in organ playing, they simply have a choice of practicing the same piece and seeing if it’s easier or not, but it’s subjective. You can be easily deceived. So, people need to record themselves, I think.
 
A: I think that’s a very good suggestion.
 
V: You don’t have to publish your recordings, you know? Just for your own benefit, your own comparison. Listen to the old recording, maybe 3 months or 6 months from now, and then you will be able to see if you are progressing or not! Right? So, I think that Mike is feeling his progress, right? Because he is using that advice that we always give: practicing slowly, a couple of measures at a time, and since he’s in his 70s, it takes longer to learn new things. Do you think that this is normal, or not?
 
A: I think he is definitely normal.
 
V: You don’t have to be frustrated with that.
 
A: Sure.
 
V: I think people sometimes are too much obsessed with progress or results, and not so much obsessed with sitting down on the organ bench.
 
A: True, but I think that the world around us needs us to rush things—always to run ahead, because look at all that tempo that we are living in because of the Internet and smartphones, fast food, and all that stuff.
 
V: Can’t we just slow down and take things the easy way?
 
A: Well, I think we can, but probably most of us imagine that we cannot.
 
V: We have this fear of missing out constantly, from all, and therefore we pursue new things and try to impress somebody, and ourselves as well, and sometimes it’s good, but not beyond our limits. Sometimes it’s too much.
 
A: And it’s so funny, because if you think about your household and all that stuff that we have nowadays like washing machines and other equipment that could make our lives much easier, and we have water in our houses! You don’t have to bring it each time when you want to drink it or to wash your clothes or do something with it. But, it seems like we have less and less time left.
 
V: Well, exactly. I think the best thing we could do is to start our day with things that matter to us, and this way, at least we know that we did something that gets us closer to our goals.
 
A: Yes, but you can do that if you don’t have to go regularly to work every morning, like most of us do. So, I guess the age of 70 is really nice, because most people are retired at that age already, and they can do and plan their day accordingly. So, I think it’s nice to be able to manage your time as you want to.
 
V: But even if you work, sometimes you can do things later at night or even before getting up at the normal time, like making some sacrifices.
 
A: Yes, for example, I get up every morning at 6 AM, and I have to teach at school, so I would have to get up in the morning at 4, I guess, to practice organ. Would you like it?
 
V: For you..
 
A: Would you enjoy it?
 
V: Actually, I would enjoy it a lot.
 
A: I think you go crazy after a while.
 
V: I could listen to two things all night long. Do you know what they are?
 
A: My playing.
 
V: And….?
 
A: I don’t know.
 
V: Bird songs.
 
A: Ok.
 
V: So, for your, obviously, situation, I think you’d better practice after work, when you go back, right?
 
A: But you know, either way, during winter time, it’s a real sacrifice either way, because it’s dark all the time… almost all the time, and those few lighter hours, I spend teaching at school.
 
V: You’re right. It’s difficult, it requires sacrifice, and that’s why it is so valuable. If it were easy, everybody would do it.
 
A: True.
 
V: Thank you guys, this was Vidas,
 
A: And Ausra.
 
V: Please send us more of your questions; we love helping you grow. And remember, when you practice,
 
A: Miracles happen.

Vidas: Hi guys!  This is Vidas.
 
Ausra:  And Ausra.
 
V: Let’s start episode 465 of Secrets of Organ Playing Podcast.  This question was sent by Fedor, and he writes:
 
Hello Vidas,
 
Thanks for your helpful video and advices. I'm not a musician, but have primary music education on piano (7 years of music school). Many years I'm fan of organ music and play something in piano transcriptions. But, at one side, these transcriptions is often so difficult and I should simplify them, whereas in organ scores the musical tissue looks transparent, at second side, transcriptions still don't reflect power of originals, and, at the third side, I always dreamed to study playing on the king of musical instruments.
 
Finally, I got an opportunity to assemble home midi-system with my Yamaha keyboard (88 keys) and midi pedalboard (Nord pedal Keys 27 keys), and I started to master original organ scores. I should say that it's not easy, but wonderful simultaneously! Due to your and others videos, I mastered correct sitting and simple playing on pedalboard, but it's more difficult for me to combine playing my feet with my arms. So I would like to kindly ask you to tell and show in more details exercises for the development of the pedal technique and methods of quick connections with hands score.
 
Answering your questions:
 
1. I would like to learn to play masterpieces of baroque music (Buxtehude, Bach, Bruhns, Clerambault and others),
2. As music is not my profession, the main problem is in free time, but I try to practice regularly. At this time I should navigate on pedalboard as freely as on manual and make quick connections my feet with hands. Also, it would be useful to show the principles of correct legs changing and selection of heel or toe, on examples from Orgelbüchlein or something else.
 
Thank you again for education.
 
With my best regards and appreciation,
Fedor
 
A: Well let me start to answering Fedor’s question.  It seems to me that he enjoys baroque music
 
V: Yes.
 
A: More than other organ music.  So, if he’s really going, you know, to play baroque music, then he really doesn’t need to use heel on the pedalboard.
 
V: Mm hm.
 
A: Because in baroque music, actually, baroque technique is to play only with your toes, not your heels.  So I guess this might be also something that might help him.  And if he plays correctly by using only toes, it might help him to connect his hands and feet, to coordinate his hands and feet.  Don’t you think so?
 
V: Obviously, playing with heels is not necessary for baroque music at all.
 
A: True.  Because if you would play on the baroque instrument, you would see that it’s basically impossible to use your heel.
 
V: Mm hm.  And other people say, Well, I don’t have baroque keyboard or pedalboard in my home, so I don’t need to practice with early techniques.
 
A: Well, but you need to get a nice baroque articulation if you are playing baroque music.
 
V: Plus, you never know.  If you travel, you might get access to an early instrument.
 
A: Because, if you try to use modern techniques while using heels, and let’s say playing legato, you will see that on the original instrument, it will just sound simply ridiculous.
 
V: It’s possible to play on the modern organ with early techniques.  But it’s very, very difficult to play on the early organ with modern technique.
 
A: True.
 
V: It doesn’t convert the other way easily.
 
A: And you know, since it’s hard for Fedor to play feet and hands together, I would suggest for him to work more in the combinations: right hand and pedal, left hand and pedal.  Don’t play, don’t start to learn everything together.
 
V: And even subdivided into 2 voices.  The right hand might take 2 voices, and left hand might take 1 voice, and the pedal will take the 4th voice.  But if you play right hand with pedals, you already have 3 voices, it might be too much for starters.
 
A: Well, I think it’s ok if you have well-developed piano technique, then it might.
 
V: But he said…
 
A: But he, you know, he finished musical school, 7 years of training.
 
V: When?
 
A: Well…
 
V: Yes?  Many years might have passed since then.
 
A: Well but you know, if there are 2 voices in your right hand, and you will play them separately, what might happen eventually, you might be learning it to play it with…
 
V: Incorrect fingering.
 
A: Incorrect fingering.  That’s true.  So that’s what I would suggest.  Do not subdivide in a single voice.
 
V: But preludes from Orgelbüchlein for example.  If he used our fingering and pedaling, that would work.
 
A: But still, position of hands would be different. So really, I would play right hand with 2 voices if it has 2 voices.
 
V: All right, guys.  Here we have different opinions, and you can choose which one you like more.
 
A: Choose mine!  I’m usually right.
 
V: But if you choose mine, I will give you 100 Organduo coins.  You don’t know what I’m talking about.  Maybe I should explain.
 
A: Well, maybe not, because when you start to talk about all this cryptocurrency, I believe you should, you know, stick to the organ.
 
V: All right.  But by the way, if you participate in our Secrets of Organ Playing Contest, you can submit your videos to our contest, and as a participant, you can claim our 100 Organduo Coins for each entry.
 
A: True.
 
V: That’s the idea.  All right!  That’s the help we would like to give to Fedor, and we wish success for him and others who are on the same path.  Wonderful!  And everybody, please keep sending us your questions.  We love helping you grow.  And remember, when you practice…
 
A: Miracles happen. 

Would you like to learn Quasi lento in Eb Major from L'Organiste by Cesar Franck?

I hope you'll enjoy playing this piece yourself from my PDF score.

Thanks to Jeremy Owens for his meticulous transcription from the slow motion video.

What will you get?

PDF score with complete fingering written in which will save you many hours of work. Basic Level. 1 page.

Let me know how your practice goes.

This score is free for Total Organist students.

Check it out here

Vidas: Hi guys!  This is Vidas.
 
Ausra:  And Ausra.
 
V: Let’s start episode 462 of Secrets of Organ Playing Podcast.  This question was sent by William, and he writes:
 
I want to learn Carillon of Westminster by Vierne, which I purchased score from you. I can play pieces like the Te Deum of Langlais. Dupre Cortège and Litany. Do you think I would be capable of learning this piece if I practice one page for a week or two very slowly? I am working now on relearning 8 little preludes and fugues. I don’t want to take on that much. Do you have any suggestions? Does it help to practice Vierne on piano?  I have to start very slow practice to learn a piece. If I know it well, I can play any speed. I am 79 years old and still have full time cathedral job. Thank for any advice.  ~Bill
 
V: Bill is our long-time customer, and he recently purchased Carillon of Westminster by Vierne and now he is a member of our Total Organist community as well.
 
A: That’s a wonderful piece to have in your repertoire list.
 
V: I didn’t imagine he was 79 years old, actually, and still has a full-time cathedral job, which is really wonderful.
 
A: Amazing.
 
V:  Mm hm.
 
A: But you know, well, I just talked recently with my neurologist, and she told me there is strong evidence nowadays that people who started to play musical instruments when we were children don’t have so much chance of developing dementia or Alzheimer’s, or other neurological diseases, or if we have them, we sort of have a milder version of them.
 
V: Mm hm.
 
A: Because obvious, neurons in your brain, the coordination that requires musical instrument, and probably music itself, too, has a very good effect on your brain.
 
V: Well, you’re right, Ausra.
 
A: So we probably shouldn’t be surprised that Bill is 79 years old and still holds full-time organist position.  It’s wonderful.  I think he should be an inspiration for others.
 
V: Definitely.  You’re never too old to practice organ playing, I think.
 
A: True.
 
V: And set yourself a goal, maybe a lofty goal, maybe unreachable a little bit goal, but definitely goal like that, to learn Carillon of Westminster by Vierne is something that Bill could certainly have in his short-term plan, I think.
 
A: Well, and I think answering his question, I think it would be very helpful to play this piece on the piano.  I think it’s helpful to play any piece by Louis Vierne on the piano.  It’s very helpful.  When I was working on his First Symphony, I played it on the piano a lot.
 
V: Mm hm. Definitely.  Piano sort of is tricky to play because the sound fades and you have to be really precise at your depression of the keys.  With the organ you have to be also precise with releases of the keys, right?  And the resistance of the mechanical piano action is sometimes even more difficult than mechanical organ, I would say.  And obviously…
 
A: It depends on what kind of organ you play.
 
V: Mm hm.  And obviously almost always more difficult than electronic organs.
 
A: So if you know, you play on the piano, you give work for the muscles, which I think is a good thing.
 
V: It’s a bigger workout for your fingers and palm muscles.
 
A: But usually people have more easier access to the piano than to the organ, so if you can practice on the piano, too, you can spend more time practicing.  Maybe you have piano at home, so you don’t have to work every time at the church to practice,  you can work or do at least some work at home.
 
V: Mm hm.  If I’m learning a piece like that, I would probably aim for one page a day.  But at the age of Bill, I think it’s normal to take it one page for a week, or two weeks, even.  To slow down and take it at a comfortable pace.
 
A: True.
 
V: Right?  Then this piece, I mean, you will still learn it.  Maybe not in a month or so, but you will still learn this year.
 
A: But of course, when you’re learning a new page every week, let’s say, you need to repeat the previous pages too.
 
V: Yes.
 
A: Because otherwise, maybe when you will practice your last page and you want to be repeating, you know, other pages, you might start all over from the beginning to learn it.  Of course, it will be easier than learning it completely from scratch, but still.
 
V: Exactly.  And I think it’s really great to sometimes practice from the last page.  Take the last page, then 2 last pages, 3 last pages, starting from the ending, don’t you think?
 
A: Yes, that’s good too.
 
V: Especially if the beginning is easy.
 
A: True.
 
V: In this particular piece, I think beginning is not so easy, because you have those double sixths right away, double intervals, and your right hand still needs to work pretty hard.
 
A: But you know, since you have learned it, I think this sort of formula will keep going throughout the piece.
 
V.  Mm hm.
 
A: So.
 
V: Yes, definitely Bill can put this piece on his list of things to learn this year, I think.
 
A: Sometimes, learning music like this and playing on the piano, I love to sing the pedal part while playing on piano the manual part.
 
V: Mm hm.  And if he has a full-time cathedral job, then imagine how will his congregation appreciate one day to be able to hear this piece as a postlude, for example.
 
A: Yes, I think it’s a wonderful postlude.
 
V: It might not come, you know, soon, but after a number of months, it’s possible I think.
 
A: Sure.
 
V: Mini-recital, maybe a couple more pieces.  That would be great.  Like we have in our cathedral of Vilnius, every Thursday during summertime, we have series of lunchtime recitals of 20-25 minutes long, and tourists and visitors of the cathedral will love this place and it’s always full, attended very well.  And you only have to play like something like three pieces all together.
 
A: Yes, I think such recitals are very good, especially for tourists. Because usually, if you would play an hour long recital, probably not many tourists would stay throughout it.  And it would be very distractive if people would start to leave, or to change between themselves in the middle of your playing.
 
V: All right, guys, we hope this was useful to you.  Please send your wonderful questions in the future.  And remember, when you practice…
 
A: Miracles happen.