Vidas: And we’re starting Episode 59 of #AskVidasAndAusra podcast. Today’s question was sent by Minori, and he has a challenge with articulation and phrasing in the pedal part. He writes, “while playing the organ, I just can manage to coordinate my hands and feet but it is not easy for me to care about articulation and phrasing in the pedal part.”
That’s a very common problem with beginners, right? Ausra: Yes, definitely. Vidas: Not beginners in general playing the instrument, but beginners at the organ. Because organ articulation is very different from other types of instruments, I would say; that when people first try to articulate on the piano, they manage to play everything legato, I would say, rather easy. But then, when they transfer to the organ, somehow they forget that you can do all kinds of articulation with the organ. Ausra: Yes. Vidas: What’s your experience with this, Ausra? Ausra: Yes, the same, actually. Organ is quite a tricky instrument to play well, to articulate well. Because the principles of its mechanics are so different from the piano, because it’s a wind instrument, you must not forget it. And also you have such a different way articulating notes when you are playing early music and when you are playing later music. And also when you play piano, you just have to think about how you press the key down, but not so much how you release it; but in organ, playing organ and articulating organ, it’s very important, both the beginning of the sound, and the end of it. So you have to be very careful about it. Vidas: Good idea, Ausra. Beginners tend to forget the ending of the chord a lot, and sometimes even the beginning. They tend to depress three or four notes not necessarily together, at the same time. Precisely. But I would say there’s another issue with Minori here, I can read between the lines, because he is having difficulty with coordinating hands and feet, and then articulation and phrasing becomes a challenge, right? It’s sort of like he first thinks about the notes, and about articulation afterwards only. Ausra: Well, when you are learning a new piece, you have to start with the right articulation right away. Maybe the process will be a little bit slower at the beginning, but it will give you a much better result at the end. So just work slowly, think about articulation right away, work in combinations. Play just a single pedal line first; then do right hand and pedals, then left hand and pedals; and only when you are comfortable by playing all these combinations, only then put everything together. Vidas: Hey Ausra, what was your first piece that you played on the organ? Ausra: Well, that was G minor Prelude and Fugue from the Eight Little Preludes and Fugues. Vidas: So you had like, twelve years of experience of playing piano, before that? And now, you’re starting to play the organ, right, and your teacher assigned you this g minor Prelude and Fugue from the Eight Little-cycle...And did you try to coordinate your hands and feet, or you thought about articulations right away? Ausra: Well, I had so many challenges at that time: everything was so new, with all the articulation business, and pedaling business, but I don’t think I learned in a good manner right away. Nobody talked with me what I had to do first and what I had to do later. So I just tried to play all together and do everything at the same time--and it wasn’t easy, and I think I wasn’t successful. The biggest challenge for me in this piece was to go in the pedal from a low G to C, to connect those two beginning notes of the prelude. It seemed like an impossible thing! Vidas: And for me, my first piece--it was a little bit earlier than yours--I started playing a couple of years earlier in my school in Klaipėda, and it was “Jesu, meine Freude” by Bach from the Orgelbüchlein. And my teacher, gave me to choose any chorale prelude from this collection that I wanted. I wasn’t a very good sightreader, and I didn’t have recordings then, there was no YouTube to listen to. So I just flipped the pages through and maybe chose the most understandable one that I could comprehend at the time. And as yourself, I tried to play everything at once, and everything legato! So when September came, I think I had a couple of weeks of practice at home; and then in my first lesson, I came to my teacher, and she was so angry with me! She said it’s better not to practice this prelude at all, than to practice it incorrectly, with legato touch. Now I had to redo it, and relearn it the right way. Ausra: Well, how could you know about articulations at that time? Vidas: Yeah, she wasn’t very specific about how to make spaces between each and every note (and I wasn't as motivated to learn and think back then as later). Plus, of course, as yourself, I also didn’t know that the best way to manage four-part texture is actually to practice each line separately, and then two-part combinations only after I can do each line separately, you know, without mistakes. Ausra: Yes, that’s the best way to do it. Vidas: And three-part combinations comes only after two-part combinations. And so on. So, Ausra, do you think that Minori should despair, or is it an easy problem for him to overcome? Ausra: I think he will overcome it in time. It might be hard at the beginning, but I think he will make progress in time. Just don’t give up. Vidas: When you learn new music today, Ausra--Baroque music, let’s say, which has all kinds of articulation, and even Romantic music, which also has legato nuances and you have to coordinate legatos in various voices which are not necessarily together at the same time--remember in modern music, in legato, we have to shorten certain notes exactly, and make them exactly half as short. Ausra: Yes, repeated notes. That’s the most challenging thing. Vidas: Or staccato. Ausra: Yes, in Romantic music, when you have a few voices, and let’s say two voices in one hand or even three voices in one hand, but you have to play like two voices legato and one voice has repeated notes that you have to shorten by half, so that’s a challenge. Vidas: So today, when you practice new music or when you sight-read new music--is it difficult for you to articulate? Ausra: Well, not anymore, but now I know what to do. Vidas: When did you first discover that it’s not a challenge anymore--that you have different challenges now? Ausra: Well, it was maybe thirteen years ago. Vidas: Also in America? Ausra: Yeah. Vidas: So how many years by that time you were playing? In Lithuania, you played maybe six years? Ausra: Yeah. Vidas: In Michigan, you played two years with Pamela Ruiter-Feenstra? Ausra: Two, yes. Vidas: But then, in Lithuania we had one more year. Ausra: So, about ten years. Vidas: About ten years, guys. After ten years it becomes easy. Ausra: Yeah. Vidas: So, Minori and others who are listening to this, please be patient. Please be patient at least for ten years. Ausra: Yes! Vidas: If you can do this, then everything becomes easier after that. Ausra: Well, but of course, you have to practice hard during those ten years. Vidas: Exactly. And enjoy the process, because each day you will notice some improvement. And that is the most important thing: to be better today than yesterday. Not to compare yourself with the masters; but compare yourself to yourself, of yesterday. Okay guys, this was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. And you can do this by subscribing to our blog at www.organduo.lt and replying to any of our messages. And remember, when you practice… Ausra: Miracles happen.
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Join Ausra as she cracks the harmony of the beloved Doxology (Old Hundredth) hymn "Praise God from Whom All Blessings Flow" and Lobe den Herren (Praise to the Lord, the Almighty) for Victoria during one of her lessons together. MP3 trainings. The sheet with the hymn harmonization in 4 parts is also provided. 50% discount until September 6. Free for TOTAL ORGANIST students.
A few days ago David wrote me the following message:
Hello Vidas, If you have time, would you please make an audio recording of Handel's Largo on your home organ for me. I am very interested in hearing what the articulate legato and the correct tempo of the piece sound like. I have been listening to the various performances on the internet, but I don't think many of them are played correctly. So yesterday Ausra and I went to our church to practice my draft arrangement of the 1st movement of Bach's cantata "Wachet auf, ruft uns die Stimme", BWV 140 for organ duet. It was unplayable - the voices were crossing each other too much. But now I had an idea what might work. Incidentally I also had Handel's Largo with fingering and pedaling printed out which David was practicing from. In order to demonstrate him the tempo and articulation, I asked Ausra to play with me on our church organ this piece as a duet. We did and later recorded this video. Hope you enjoy it. And now let's go to the podcast for today. Vidas: Let’s start Episode 58 of #AskVidasAndAusra podcast. And this question was sent by Minori, and he writes that he is having difficulty in adjusting his organ playing to the individuality of every organ he meets. He writes: “Every organ is unique with its own touch of the keyboards and pedal. It often happens that I can play well on my practice organ but not on other organs, especially when I play on them for the first time. I am a Roman catholic (a religious minority in Japan as a Buddhist country), an ex-amateur pianist (intermediate level), now a small parish church organist with only four years of experience of organ playing. So many challenges to tackle ahead, but I am enjoying and improving gradually. I am learning a lot from your Secrets of Organ Playing. When I practice, miracles do happen. Thank you, Vidas and Ausra. Minori “ Ausra: That’s very nice to hear! Vidas: Right! So his challenge for today is adjusting to other organs, right? He can practice successfully on his own instrument, but individual organs that he encounters in different occasions are tricky for him. Ausra: Well, it will come with more experience; but I would say, just don’t give up. For now, I would suggest to him maybe to choose an easy repertoire when he knows he will be playing on a different instrument. And also, you need to select your repertoire wisely; I mean, to be able to pick the right music for the right instrument. Because sometimes you cannot play everything on every instrument. What do you think, Vidas, about it? Vidas: Well, obviously, sometimes people do this mistake: they learn some kind of baggage of organ repertoire, let’s say thirty minutes of repertoire--or one hour of repertoire; and they want to travel their country, or even different countries, touring the world, by playing this in public concerts. Ausra: Actually, in Lithuania, I even heard this joke about an organist: “Tell me an organ piece, and I will tell you who’s playing it!” And this joke means, that some organists, they learned like twenty organ pieces; and they played them during their whole lifetime, and never have learned anything new! And for such organists it might be a problem to go to a different instrument. Vidas: Exactly. Ausra: I don’t think it’s probably an issue with Minori, but you definitely need to know that you cannot play every piece on every single instrument. Vidas: Well, in his country, Japan, he might not have too many historical instruments… Ausra: But I think that they might have nice replicas of historical instruments, don’t you think so? Because I think that interest in organ music, and organ as an instrument--especially in Asia in the late years--is increasing. Vidas: That is true. Of course, then, what do you think, Ausra: how many instruments do you have to try first, so that you would feel more or less comfortable later? Ausra: I think the more you try, the better you will feel. Vidas: Well, right now, for example, tomorrow (as we’re recording this)--tomorrow we will go to play a joint concert with our friend and colleague Paulius Grigonis, to a town in the southwestern part of Lithuania, Vilkaviškis. And this organ has 3 manuals; it’s mechanical; it might have some electric stop action, I think. I played it some years ago, but Ausra hasn’t. Ausra: Yes. Vidas: So...are you worried about adjusting to this instrument? Ausra: Actually, no. I’m used to it. I have performed many times without any rehearsals at all, on various instruments. Well, you just have to know what you want from that instrument, and to have some sort of conception about registering it. So then it should work just fine. Vidas: So, in your case, Ausra, when did you notice that it’s no longer a challenge for you to adjust to a new instrument? Ausra: Well, it probably took me about eight, nine years of practice. Vidas: So it was already in America? Ausra: Yes, definitely. Vidas: In later years in America, or early years? Ausra: I would say about the middle. Vidas: So, at the beginning of our doctoral studies, in Nebraska? Ausra: I would say so, yes. Vidas: What was the first instrument in Nebraska that you felt pretty comfortable to trying out? Ausra: Well probably that beautiful organ at Cornerstone chapel. Vidas: Which is no longer there… Ausra: Yes. Vidas: It was moved to St. Thomas Aquinas Catholic Church: the Newman Center. This organ was built by Gene Bedient. Ausra: Yes. Vidas: It’s a landmark instrument. And I think I’ve heard people say that it’s the oldest-sounding instrument in the United States. Although it’s a modern instrument, but it’s in the style of 17th-century Dutch organs. Ausra: And it’s very beautiful, really. Vidas: So we have to comfort Minori a little bit by saying that the more organs he tries, the easier it will be to adjust, right? Ausra: Yes; just don’t pick up, repertoire which is too difficult for the beginning. Because iif you will choose a piece that you feel really comfortable--maybe with less pedalwork, not very difficult technically--it will be easier for you to adjust to, anyways. And you will get more comfortable in time, I hope so. Vidas: And for closing, I would say that for me, I started noticing my challenges diminishing with every tenth instrument I visited. About ten. So every tenth new instrument is like a new landmark for me; and maybe Minori could have a list of instruments he tries out, right? And maybe count them--count the number of the organs that he has to try, and see if Organ No. 10 makes a little bit different approach: maybe he discovered something new about the instrument, about himself, about the music; and adjustment becomes a little bit easier. Maybe Instrument No. 20 will become another landmark for him, too, you see. Ausra: Yes, and another suggestion probably might be costly, but if you will have an opportunity in the future, you might go on an organ tour. Because there are actually a number of organ tours going in the world, especially in Europe or organ academy, where in a brief time you can visit and try out many instruments. That might help, too. Vidas: Just a few weeks ago, our student Victoria returned from Bach Organ World Tour. Basically they have this tour every...two years, I think? Ausra: I think so, yes. Vidas: In central Germany. And people have a chance to try out instruments from Bach’s day and region. That’s extremely valuable. Ausra: Or like, summer organ academies. This week, for example, in Alkmaar every single day, we would visit different organs in the Netherlands. We just took a train--it’s a very simple travel form, very comfortable in that country--and every day we tried new instruments. And so, in maybe less than 2 weeks, we had tried many new instruments. It was very nice. Vidas: Okay guys, we hope this was useful to you. Please send us more of your questions. We love helping you grow. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 57 of #AskVidasAndAusra podcast. Today’s question was sent by Christa, and she writes:
“Hello Ausra and Vidas, Thank you very much for your podcast. It is easier for me to follow the written version, so thanks a lot for it too. My question is: How can I avoid hitting two keys in the pedals at once? It happens easily, when I have to turn a bit over the middle and play lower notes with my right foot and higher ones with my left foot. Best wishes, Christa” So basically, this question involves accuracy in playing pedals, right, Ausra? Ausra: That’s right, yes. Vidas: Do you notice yourself sometimes playing wrong notes, with your feet? Ausra: Well, yes, definitely, sometimes I hit the wrong note; but actually, I don’t hit two keys at the same time with my feet. And since your feet are larger than mine are, maybe you encounter that problem. Vidas: I guess the reason for this is simply an inability to adjust to the pedal part easily. And I don’t know if Christa is practicing on different kinds of pedalboards all the time, or just if she is used to one specific pedalboard; but it would help her, probably, to practice pedal preparation, don’t you think? Ausra: Yes, I think that would be helpful; also, I’m not sure what kind of shoes she uses--if they’re suitable shoes for organ then it shouldn’t be so hard to hit only one key at a time. Because special organ shoes have narrow tips. Vidas: And the heels are reasonably medium-high, and they are not very wide, too; so basically if you have ordinary organist shoes, you are in good shape. Ausra: I think she might not turn, shift her body position fast enough, when she changes the position, going from the low pedaling to the high. Vidas: What’s the easiest way to shift positions? Ausra: Well, sometimes it’s very good to note especially if there must be a sudden shift, to add it in your score--maybe with some kind of sign. Vidas: Maybe an arrow, right? Ausra: Yes. Vidas: Going upwards or downwards. Ausra: Because I think the main reason she is unprepared for that shift in advance, and it takes too long; and then she just moves at the wrong time and hits two keys instead of one. Vidas: That would help, obviously. And another thing that I mentioned earlier is pedal preparation, where you basically practice, multiple times, a short segment of pedal passage, and you aim to move your foot to the next pedal note, and let it rest there. Ausra: Yes, and I’m thinking of another thing: her pedaling is maybe not correct; Maybe she tries to play too high with the left foot and too low with the right foot. Maybe she should revise her pedaling, to check it. Vidas: But that depends also if you can shift your body comfortably. Ausra: Sure. Vidas: Because for me, earlier I thought I could play extremely low passages with my right foot, too, or extremely high passages with my left foot. But today I avoid that, and everything below bass G goes with my left foot, and everything above maybe A--like an interval of a perfect fifth in the tenor range, I would play with my right foot. Ausra: Well that’s an easy way to do it in Baroque music; but if you’re playing later music, you cannot avoid playing with both feet all over the pedalboard. But anyway, I would sugget Christa to revise her pedaling. To see if it’s really good written. Vidas: Exactly, and focus on practicing separate pedal lines and segments repeatedly. Ausra: In a slow tempo, first. Vidas: When you say slow tempo, how slow should it be? Ausra: Well, I would say very slow, but, the tempo that you feel comfortable to playing right, in a correct manner. Vidas: Basically, you play without mistakes, in this tempo. Ausra: Sure. Vidas: You avoid mistakes. So, fifty percent of concert tempo? Ausra: I would say so, yes. Vidas: If the tempo when you are ready to perform it in public is, let’s say, eighty beats per minute… Ausra: Yes? Vidas: Maybe it could be like forty beats per minute, when you practice. Ausra: And also another suggestion would be, if the spots--a particular spot is very hard for you to hit one note at a time, maybe you just take a fast look down to the pedal. Maybe It’s not the best thing to do; but if you will do that twice, or three times throughout the entire piece, I don’t think it will be a crime. And it might help you. Vidas: We look at pedals anyway. Ausra: Yes, sure. Vidas: Sometimes. Ausra: Sure. Vidas: We don’t recommend looking at the pedals; but involuntarily...sometimes we manage to get a glimpse or two. Ausra: So sometimes it’s better just to take a quick look, than to make a mistake. Vidas: And then, if you do have to look, then mark that particular place in your score: draw a sign of your eye, for example. Ausra: Yes. Or eyeglasses. Vidas: Okay guys, we hope this was useful to you. Don’t forget to send us more of your questions, and you can do that by subscribing to our blog at www.organduo.lt and simply replying to our messages. We will be very glad to help you out to grow as an organist. So--this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Francine Nguyen-Savaria on Independence of Voices, Performance Anxiety And Managing Time Constraints8/27/2017 Welcome to Secrets of Organ Playing Podcast #109!
Today's guest is a Canadian organist Francine Nguyen-Savaria. She entered the piano class of the Conservatoire de musique de Montréal at the age of sixteen. Two years later, she entered the organ class, studying under Jean Le Buis. She graduated from the Conservatory in May 2011. Francine is the recipient of many prizes and scholarships, which have allowed her to participate in the Mount Royal College Organ Academy in Calgary, Canada, and in organ courses, studying with Jean Galard in Paris and Cherry Rhodes in Los Angeles. She completed her graduate studies at the University of Southern California in December 2013. Awards include the John Goss Memorial Scholarship from the Royal Canadian College of Organists and the Irene E. Robertson Music Scholarship from the USC Thornton School of Music. She recently performed the complete organ work of Johannes Brahms at the Calgary Organ Festival and Symposium. She also played with the Calgary Civic Symphony for the same festival. She has also given recitals at venues including the Saint Joseph Oratory in Montreal, the Cathedral of Our Lady of the Angels in Los Angeles, and the Cathedral Center of Saint Paul (Episcopal) in Los Angeles. Francine has been music director for Saint Ambrose Episcopal Church in Claremont, CA. She now lives with her husband in Belleville and they both serve as directors of music for Saint Thomas' Anglican Church. In this conversation, Francine shares her insights of how to overcome such challenges as dealing with independence of voices, performance anxiety and managing time constraints. 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. And if you like it, please head over to iTunes and leave a rating and review. This helps to get this podcast in front of more organists who would find it helpful. Thanks for caring. Listen to the conversation Related Link: www.duopergulae.com
Vidas: Let’s start Episode 56 of #AskVidasAndAusra podcast. This question was sent by Morton, and he writes:
“Greetings, Vidas, I really as so happy that you are able to send transcripts of your podcasts. I feel that these transcripts make all the difference in the world for your subscribers. In this transcript, you mention the phrase "easier toccatas." In a future podcast, would you please introduce us to some of the *easier* toccatas? In my case, I learned to play the Toccata from Suite Gothique by Boellmann when I was about 16 - and when I practiced after school five days a week and also played most of our church's 9:30 AM services (except for the offertory anthem). A few years ago I was able to bring that Toccata back to life... I'm looking forward to a podcast transcript in which you mention some of the easier toccatas. Best wishes, Morton” Okay, so this question is about toccatas. What would you recommend, for starters, Ausra? Ausra: Well, I think that the Toccata, Boëllmann’s Toccata from Suite Gothique is a fairly good example of easy toccatas. Vidas: Usually people start with Boëllmann, I would say. Ausra: Well, yes, I know so many cases where people started with this toccata. Because it really fits hands comfortably and it’s not too complicated. Vidas: It has maybe these famous double-pedal passages at the end, but it’s not too difficult. Ausra: Well, it’s not so hard, I think. Vidas: Because it’s in parallel octave motion. Ausra: Yes. What would you suggest as other easy toccatas? Vidas: Obviously Gigout Toccata. It’s also not too complex. You don’t have to play it too fast. You can choose your comfortable speed. And the pedal line is not too complex; usually in French toccatas, coordination between hands and feet is not too difficult because there is not too many things going on together at the same time. Ausra: Sure. Vidas: In French toccatas, often there is this famous toccata motion in the hands, motoric motion in the fingers; and then there is one melodic line, either in the pedals or in the soprano (which you play with your little pinky or the ring finger in the right hand), or sometimes in the tenor on the separate manual. So it alternates. Do you think that sometimes composers write counterpoint, like a parallel contrasting melody with the theme, like a dialogue between the theme and the countersubject? Ausra: Yes I think so, that’s often the case. Vidas: So that’s more complex, then. Ausra: Yes, definitely, and while we are comparing different toccatas, I would say Bach’s toccatas are very hard, or at least much harder than those toccatas which you talked about. Vidas: Yes. The term toccata is very old. It’s not originated with the French symphonic repertoire, of course, but it comes from Italian word called... Ausra: Toccare. Vidas: Toccare. And it means… Ausra: To touch. Vidas: So it is a term which describes a piece specifically for keyboard instruments. “To touch the keyboard,” basically. So, in early Baroque times, Gabrieli, Merula, and Frescobaldi and others--they all wrote toccatas. So sometimes, they were improvisation-based pieces; but later on, they started to add imitative sections, like in the fugue, but there were no fugues in that time. So they would call them differently. What was the precursor of the fugue in those days? Ausra: Ricercar, and canzona, of course. Vidas: Mhm. So, those sections between the free improvisatory toccata passages were like ricercars. Ausra: Sure. And what is the easiest and the hardest toccata that you have played, Vidas? Vidas: The easiest was probably by Boëllmann. Or maybe by myself. I wrote a few toccatas, too. I wrote a toccata on themes by Mikalojus Konstantinas Čiurlionis back in 2011. I first improvised this piece in the concert during a live performance at the Philharmonic hall in Vilnius, Lithuania, and later came back and wrote down and expanded and polished the written-out version. So it’s not a difficult piece, but it has this toccata-like figurations and a nice chorale section in the middle. (I don’t have to say nice, right? Other people have to say nice.) Ausra: Yes, and what is the hardest toccata? Vidas: And the hardest toccata probably is by Maurice Duruflé. Ausra: Oh, I’ve thought about it, too. Vidas: Maurice Duruflé, from the Suite op. 5. Ausra: Yes, I think it’s the op. 5. Vidas: Yes, so the prelude for the suite is not too difficult, dark mood, and long, prelude in slow motion; and then the sicilienne, the second movement, is like a dance, rocking rhythm, back and forth, but not too difficult, too. But then the toccata comes, and that’s a challenging piece. What about “Dieu Parmi Nous” by Messiaen? Is it difficult? Ausra: Well, it is difficult… Vidas: But easier than Duruflé. Ausra: Yes, I think so, it’s easier than Duruflé. Vidas: So, other French composers also have wrote other toccatas. Ausra: Like the most famous, probably, one by Widor. Vidas: Widor toccata...Like every symphony by the French composers must end in a finale; and finales, a lot of times have toccata-like motoric motion, right? Ausra: Sure, like the last movement of Vierne’s First Symphony or the Third, I had played finale; I actually played the whole symphony, the Third Symphony by Louis Vierne; and it wasn’t so hard, but it always sounds very nice and grand. Vidas: What about, what was your least difficult--the easiest toccata, for you? Ausra: Hmm...Maybe by Frescobaldi. And actually, the easiest toccatas to play are toccatas per l’elevatione. But of course, it’s a different genre than the regular toccata. Vidas: Yeah, no fast motion, no virtuoso passages at all. That was another occasion for elevation section of the mass. So you would not play very fast there. Ausra: Yes. Vidas: And what about the most challenging toccata for you? Ausra: Well, let me think about it. Vidas: You asked me this question, so I give it back to you! Ausra: I don’t know, at one point it probably was Toccata, Adagio and Fugue in C-Major by J. S. Bach. Vidas: Right. Ausra: It’s quite challenging, not because it’s technically so difficult, but it has all those various episodes, and to put them together like, grand opening of the hands, and then you have pedal solo, and then all things together...That’s a nice piece but it has its hard things. Vidas: Exactly. To play toccata alone is not too difficult, but when you play it with the fugue--Toccata Adagio and Fugue--as a cycle, then it’s challenging enough. Ausra: Yes, because that fugue has that fast tempo, and it’s a dance fugue, so it’s not easy. Vidas: So guys, start with Boëllmann, I would say, then go to Gigout; Dubois, it’s probably also doable, too. So three toccatas, right? For starters. Easy toccatas. And then, if you like more French stuff, then you can… Ausra: Play Widor! Vidas: Play Widor, yeah. But then you need a good manual technique for that. Ausra: But it’s also nice thing about practicing French toccatas--that you can do much of your work on the piano, if you have a piano at home; because it fits so nice to piano keyboard. And that’s a very good way to practice, as you know; and then later you will add the pedals when you will have access to the organ. Vidas: So guys, I hope this was useful to you; and remember, when you practice… Ausra: Miracles happen. #AskVidasAndAusra 55 - My struggle is bringing pieces I learned many years ago back to life again8/25/2017
Vidas: Let’s start Episode 55 of #AskVidasAndAusra podcast. This question was sent by Morton, and he writes:
“Dear Vidas, recently more people have wanted to practice on the organ in the chapel that I practice on. It is a 3 manual Johannus, and it is just fine for me. We are asked to sign up in advance for no more than four hours a week - I usually sign for two hours on two separate days. Naturally if no one has signed up, I guess anyone can practice during that time. During the first semester a number of sections of a university required class have to visit the chapel during one week. That means that the time available to those of us who want to practice is more limited. We don't have that problem the second semester, - at least so far.” And here is the question that Morton is writing about: “My struggle is bringing pieces I learned many years ago back to life again. Why didn't I keep them up? Because previously I didn't have a 32-note pedalboard for a number of years at my disposal - and I had no opportunity to play JSB's Prelude and Fugue in D (which I've brought back to life somewhat), his Prelude and Fugue in G Minor (which is not played often) and the first Chorale Prelude from the 18 Great Chorale Preludes.” This is a sophisticated piece-- Ausra: Yes! Vidas: On a chorale fantasia called, “Komm, heiliger Geist” by Bach, from the Leipzig collection, right? Anyway, he writes further: “I was able, however, to bring back to life, for example, the Toccata from Boellmann's Suite Gothique. I was able to bring back a JSB Prelude and Fugue in C that is never played but which is not too difficult. I was able to bring back a JSB Prelude in G Major (there is no fugue with it - it is found in a Concordia Wedding Book collection)” So, Ausra, Morton is struggling with bringing pieces up to speed from many years ago. Ausra: Well, that’s a common struggle. He told in his letter that actually, some of his pieces, he was able to manage quite well, to recollect quite easily, because they were easier pieces. With other pieces, of course, it’s much harder to regain the skills. Vidas: Ausra, have you played--recently, maybe, from recent years--a piece from your early days, from your student life, which you maybe mastered in the Academy of Music in Lithuania or even in America? Ausra: Well, yes, definitely. Vidas: What was the piece? Ausra: Well, the last piece, I think, was E-flat Major Prelude and Fugue by J.S. Bach from Clavierubung III. Vidas: And you played it many years ago? Ausra: Well, not too many years ago, but yes, that was my piece from my last doctoral recital. So it was some eleven years ago. Vidas: In Nebraska. Ausra: Yeah. Vidas: So I remember this moment, when you first opened this piece here at home, and you were rather worried, how it would come out, the first time. Ausra: Well because, it’s a long piece--this was my biggest worry. Vidas: And how it turned out? How long did it take you to get back to the previous skills, with this piece? Ausra: Well, about a month, actually. Vidas: How long did it take for you to learn, to master this piece eleven years ago? Ausra: Haha, I think I learned it faster than I had repeated it! Vidas: Yeah, it was like, like a marathon. Ausra: Because I know that I learned the text of all that part of Clavierubung in a month. But that time I was young and diligent. Vidas: And now, you are not young anymore, but still diligent? Ausra: Well, I don’t have so much time to practice as I did in those days. Vidas: So for Morton, it’s the same situation as for you, right? It will take probably a month for him to get back to this previous skills--with one piece, not with a lot of pieces, just one. Ausra: Sure. I would suggest, in general for all the organists: when you learn your piece, and you like it, and you know that in the future you might want to repeat it and perform it again. So time after time, just play it through, sometimes. That way, you will keep in shape and when you will want to perform it again, it will be much easier for you to do it. Vidas: Occasionally. Once a month. Ausra: Maybe once a month, or every other month. Vidas: It’s like sight-reading, basically, but an old piece. Ausra: Sure. Vidas: Just play it once, and put it away for a number of months. And practice something else, and then come back--and this piece will be there, waiting. Ausra: Yes, definitely. Vidas: But I’m practicing now, a few pieces, also, from my previous years; and for the fall semester, it will be also a challenge to regain my skills, with maybe D Major Prelude and Fugue by Bach, BWV 532. And I’m not still positive about that. Ausra: Hahaha. Vidas: But it’s one of the options. So yes, I will also take about a month to refresh my skills. Ausra: That’s a funny piece, especially the opening of it. Very fun to play the pedal part. Vidas: Yes. Ausra: Have fun and good luck with it! Vidas: I would say the fugue is more complicated than the prelude. For me. Ausra: It is, but--I don’t know if I have ever played that opening nicely. It would just give me some sort of spasms. I don’t know why! Vidas: Maybe the pedaling sometimes is complicated--if you try to play legato, and you play heel-toe, heel-toe, this way, then it is complicated; but if you use the alternate toe, pedaling is no problem. Ausra: Well, I don’t really know. I practiced this piece while I was studying with Pamela Ruiter-Feenstra at EMU, and definitely I only used my toes, because, Pamela is such a great specialist of early music. But it still was not so easy, probably because the tempo was too fast. Vidas: Mhmm. So wish me luck in repeating this piece! Ausra: Yes, good luck. Vidas: And for other people who are repeating any other pieces in your repertoire, from a decade ago, or maybe more years ago, try to spend some quality time with this piece--maybe thirty minutes a day for a month, and you will soon enough discover that your skills will come back in this piece, too. Ausra: Yes. Vidas: Thanks guys, and send us more of your questions, because we love helping you grow as an organist. And don’t forget to subscribe to our blog, and reply to our messages. When you come back--when you reply to us, we will be glad to help you out. So the blog is at www.organduo.lt, and you simply enter your name and email address (and you can specify the delivery, when you would like to get those messages delivered: every day, or once a week, you can choose). Okay! Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
First, good news - our 3rd e-book is finally ready:
"I Have Forgotten the Basics" (And Other Answers From #AskVidasAndAusra Podcast, Vol. 3) It's free for Total Organist students and everyone else can get it for a low introductory price of $4.99 until August 30. When you read it, please let us know what is #1 advice you will apply in your organ practice this week. And now let's go to the podcast. Vidas: Let’s start now Episode 54 of #AskVidasAndAusra podcast. And today’s question was sent by Morton, and he is struggling with Guilmant’s prelude based on the hymn “Thine is the Glory,” which is the paraphrase of a chorus in Judas Maccabeus. He writes: “I really hope to get that up to standard by Eastertide of 2018. My "struggle" is with certain places where I have to coordinate my hands and feet together... The good news is that I have brought the following up to performance level for Eastertide, in case I'm asked to play a few selections at the chapel's Spring musicale: Charles Callahan. An Easter Site II. An Easter Meditation. Martin Gaskell - The Strife is Oe'r. Prof. Gaskell has a youtube web site, and you may get in touch with him there and also listen/view recordings of some of his compositions. I'm working on JSB's - arrangement by Virgil Fox Now Thank We All Our God. Still a long way to go, but at least it is coming together. I would like to learn Jose Lidon's Sonata on the First Tone but the problem is with fingering, and perhaps trying to learn too much too fast! I found one free edition on line with some fingering. Some fingering for me is better than no fingering but it would have been nice to have a bit more fingering.” So, an interesting question, right, Ausra? Long, but basically we can subdivide it into two parts. Morton is struggling with coordination of hands and feet, and the second part is with fingering. Ausra: Sure. Very common problem, shared by many organists. So, when talking about coordination, I think the best way to improve it would be to practice in different combinations, and not trying to put all things together at once. It will save you time eventually. It might not seem like this when you will start to practice, but definitely it will save you time. What do you think about that, Vidas? Vidas: I agree with you, and I also think that from the pieces--list of pieces that Morton has listed here, he is practicing quite a few compositions, maybe too many at the moment. Ausra: Could be, this could be a problem, too. Vidas: How many pieces can a person comfortably practice during one practice session--what’s your opinion? Ausra: Well, it depends on what kind of pieces, basically; but if it’s a long piece, I would suggest to practice it alone, during one practice session. Otherwise, I’m not imagining it is a productive practice time. What do you think about it? Vidas: So you’re basically suggesting to practice one episode of one piece and then having a break. Ausra: Yes. Vidas: And then coming back and doing something else. Ausra: Yes, sure. Vidas: With another piece. So, exactly. And since we always recommend having a break, every thirty minutes or so, so then you should maybe divide your practice time accordingly: if you have two hours a day, so maybe you can practice four pieces --maybe spend thirty minutes on each piece. Or, if you have just one hour, maybe two pieces will be enough. Is that a good idea, Ausra? Ausra: I think it is a good idea. Because, especially when we’re young, we can practice for many hours, and don’t take breaks at all; but later, it will injure you, your health--your body, actually, for practicing so many hours without a break! Vidas: Right. Ausra: So you better, exercise in between your practice. Vidas: So, this famous Pomodoro Technique, where you practice or do something very focused for twenty-five minutes, and then have a five-minute break, is very useful, right? You can simply exercise, drink a glass of water, take a walk, stretch, during this break; and then come back to practice for twenty-five minutes more on another fragment, in another piece, maybe. Ausra: I think that’s a good idea. Vidas: So, going back to Morton’s question about coordination: as you suggest, it’s really wise to spend a considerable amount of time with combinations in separate voices. Ausra: Yes. Vidas: Don’t go to another combination unless you can play--without mistakes, fluently, three times in a row--the current one. Ausra: Sure, because, for example, if you are playing, you know, a hard spot only with your left hand and feet, and you still struggle with it, definitely if you will add the right hand, you will not be able to play it correctly. So just be honest with yourself. Vidas: And don’t try to rush; there’s no point of rushing. I think you have to enjoy the process and not necessarily the result. Don’t be anxious to get the result too fast. Ausra: Well, if you will practice right, the results will be good, I believe. Vidas: Every day you will get better--you will notice that. Ausra: Yes. Vidas: And that’s the biggest joy, I think. Ausra: Sure. Vidas: Wonderful. And going back to fingering portion of the question--Ausra, is there a way for him to get the fingering easier, if the piece is not fingered enough? For example, if he’s practicing José Lidón‘s “Sonata on the First Tone”--so, he would like to have some fingering, right? Maybe we could do a score with fingering for him, too. But if there is no score with fingering, what should he do? Ausra: Well, he could write down his own fingering, actually, I think, especially the hard spots. Maybe not the entire piece, but those hard episodes. Vidas: Exactly. Ausra: This would help. Otherwise, also writing down fingering will save you a lot of time. Because if you practice without any fingering written down, it means that every time you will play the same spot with different fingering, and it will slow down your process of learning. Vidas: Exactly. So guys, we hope that this has been useful to you, and please send more of your questions, and you can do that by subscribing to our blog at www.organduo.lt (if you haven’t done so already) and simply by replying to any of our messages. We would love to help you grow as an organist. Thanks guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Just a quick announcement that our 3rd e-book is finally ready:
"I Have Forgotten the Basics" (And Other Answers From #AskVidasAndAusra Podcast, Vol. 3) We dedicate it to all our students who have forgotten the basics but still continue to practice. It's free for Total Organist students and everyone else can get it for a low introductory price of $4.99 until August 30. When you read it, please let us know what is #1 advice you will apply in your organ practice this week. PS If you find this e-book helpful, you might enjoy our other e-books here.
Vidas: Let’s start Episode 53 of #AskVidasAndAusra podcast. And today’s question was sent by Morton, and he writes that he’s struggling with playing pieces which have many sharps. He writes, “My struggle is with playing pieces in many sharps. I don't have trouble with playing pieces written in many flats - don't ask me why... For example, David German's Trumpet Tune changes keys in the latter portion... If he had written that portion in flats I would be able to manage, but I haven't been able to manage that portion which he wrote in sharps... I have put that aside for now...
I'm also working on polishing up an arrangement of Brahms' How Lovely is Thy Dwelling Place - I was elated when I came across this arrangement in Choral Classics Arranged for the Organ published by Morning Star. To me this would be a very suitable selection to play either before, during, or after a funeral… Thank you very much for being willing to include transcripts of your future podcasts.” So this is an interesting question, Ausra, that Morton has trouble with sharps, not with flats. Ausra: Well, that’s a strange thing, actually, to hear, because usually people struggle the more accidentals the piece has. But here, my best guess would be that probably back in time, he had practiced more pieces written in flats, not in sharps, and that might cause the problem. Vidas: I don’t know if this is the case, but sometimes, players of wind instruments feel more comfortable with the pieces in flats, because trumpet is in flats, and clarinet is in flats, and saxophone is tuned in flats...So maybe, Morton has experience with some wind instruments. Ausra: Could be. Definitely not with the violin and other string instruments, because I know that string instruments prefer sharps. Vidas: Exactly. So, as you say, whatever the case might be, probably Morton has played more pieces written in flats than in sharps, right? Ausra: That’s my guess. And in general, I would suggest him to practice more of keyboard harmony. To play more sequences. That might help, too--to be able to play very easily and to feel comfortable in any key, in any given key, never mind it’s flats or sharps. Vidas: I think it’s self-explanatory why he’s struggling with sharps, because if he’s challenged by sharps, he obviously tends to lean more on flats, and practices what is easier for him, most of the time, I would guess. So after a while, the skills of playing sharps will deteriorate, and flats will become easier and easier for him. Ausra: Yes, I think so. Vidas: So he has to overcompensate now, and go back to sharps. Ausra: I think yes, he has to try to play at the beginning easy keys, like one or two or three sharps, and then later just make it harder. Start with G Major and D Major; later go to A Major, and so on and so forth; until you will finish up maybe playing in C-Sharp Major! Vidas: A good exercise is to transpose, right? Ausra: Yes. Vidas: For example, take a piece or excerpt of a piece in C Major or a minor (either way, it has zero accidentals). And then, as Ausra says, go through the circle of fifths. First it will be through the sharp side of the circle of fifths, and then going back to the flat side of the circle of fifths. That may help, right? Ausra: Sure. Vidas: Or, another system is like, transposing to the key which has one sharp, and then one flat; and then again, two sharps--two flats. Three sharps--three flats. And so on, until you reach six or seven flats or sharps. Ausra: Definitely that will help, I think. Anyway, I believe it’s just a matter of time and practice. Then he will get more experience, then he will stop avoiding sharps, and everything will be just fine. Vidas: Another suggestion would be for him to sight-read. Ausra: Sure. Vidas: Because when he sight-reads pieces that he doesn’t know, probably he will encounter a lot of pieces with flats and a lot of pieces with sharps, too. Ausra: Well, you can take, also, a hymnal, for example, and let’s say, practice all the hymns written in the sharp keys. That’s a possibility, too. Vidas: Exactly. So I hope this advice has been useful to you--to Morton and to others as well, because this is a rather common problem, right? For people to be challenged by accidentals in general, right? Ausra: Yes. Vidas: Other people might feel uncomfortable with flats, too. Ausra: Sure. Vidas: D-flat Major, or b-flat minor, or even G-flat Major--it’s a tricky key. Ausra: Or C-flat Major! Vidas: Oh, yes, C-flat Major! Ausra: That’s a horrible key! Vidas: Don’t even start here! Okay guys. Practice, sight-read, transpose: these are the best solutions you have. Wonderful. And send us more of your questions, and you can do that by subscribing to our blog at www.organduo.lt, if you haven’t done so already, and then simply by replying to any of our messages that you will get, as a subscriber. We will be very glad to help you out to grow as an organist. Thanks, guys! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. |
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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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