#AskVidasAndAusra 52 - Would you recommend Ritchie/Stauffer organ technique book for a beginner?8/21/2017
Vidas: Let’s start Episode 52 of #AskVidasAndAusra podcast. Today’s question was sent by David, and he writes, “Hello Vidas and Ausra. In the podcast with Paulius Grigonis, the book by George Ritchie was discussed. Would you recommend this book for a beginner? If you do, how about I use this book as part of my daily practice? My daily practice now consists entirely of learning a single piece. Thank you for your help.” So, Ausra, do you like this method book that George Ritchie and George Stauffer wrote a number of years ago (it’s called, “Organ Technique: Modern and Early”)?
Ausra: Yes, actually, I think this is a great book and a great help for a beginner student. Vidas: When did you first discover this book? Ausra: Well, when I started my doctoral program, actually. Vidas: You were not a beginner! Ausra: Yes, I was not a beginner, but George Ritchie had that sort of thing--and I don’t know if Quentin Faulkner had it too--but at the beginning you had to do like, all the exercises of that book! Vidas: Not too many, with Quentin. Ausra: But yes, and I did not do all of them with George Ritchie, but he made sure that I had already managed those techniques described in that book. And it took for us, probably, like a couple weeks to go through all that book, and then I just could play my repertoire. Vidas: You mentioned that you were not a beginner organ student anymore, but you were a beginner teacher, perhaps? Ausra: Sure, and that’s a great book for beginner teachers as well, because as the title says of that book, it has both modern and early techniques; and that’s kind of a rare thing in organ pedagogy. Vidas: Plus, this method book has sections devoted to organ registration-- Ausra: Yes. Vidas: And construction... Ausra: And history of organs of each country, a little bit-- Vidas: Hymn playing... Ausra: Yes. Vidas: And even avant garde organ techniques. Ausra: Yes. So it’s actually very useful, and in this case, you could actually combine, as David said, he practiced like, he learns one piece a day, yes? That’s right, of repertoire. So he could do more combinations, to play a little bit of exercises and playing repertoire, learning one single piece. And this book also consists of having a number of different repertoire, modern and early. Very nicely done, with fingering, pedaling, with a description of the piece--so it’s a great resource. Vidas: It’s probably the best organ technique book that we know of on the market today. Ausra: Yes, I would say so. At least this book is what I can suggest to everybody, and I feel comfortable about it, trying it myself; and knowing, actually, you know, George Ritchie, who was one of the co-authors of this book. Vidas: It would not be enough to practice from this book entirely, right? Ausra: Sure, sure. Vidas: You have to supplement with something. Well, for example, if you are interested in a particular historical period or country, you could use books from Wayne Leupold editions--it has many books in this series of historical schools of organ composition, and you can pick and choose whichever you like the most. Ausra: Yes, they are very nice books, except they are very costly, I would say. Vidas: That’s the case with most of his books, yes. Ausra: But yes, if you want to have scholarly editions, that costs you extra. But they are good. Maybe you don’t have to get them all, but if you are interested in a particular style and period, that’s a good way, good source. Vidas: Definitely. Or, as David writes, he chooses to practice organ pieces--just from organ repertory; he maybe finds the scores or YouTube videos online, likes the music, and then either finds the score for free online, or purchases from publishers. That’s possible, and I think it’s one of the best ways to do this, because you supplement the method book (let’s say George Ritchie), and then you look at your needs. Maybe you are preparing for a recital, or church service, right? And you will finish organ book technique by Ritchie-Stauffer pretty soon, if you’re very serious and practicing regularly. But then you need to look what’s next-- maybe more hymns, maybe more pieces like this. Ausra: And of course, this book might help you to discover your favorite author, composer, or a country, because it has various types of musical examples. Vidas: David also remembers Paulius Grigonis, our friend and colleague--he started entirely from Ritchie-Stauffer organ book, and he never regretted it, right? He went online, he bought the book and studied--I think he even bought a couple of copies of this book to have, one clean copy and one working practice copy--and it really benefited him a lot, because he now has solid organ technique. Ausra: Yes, and you can hear it when he’s playing. Vidas: Even though he’s an amateur organist, really, and never finished formal organ training in conservatory, or university; never got a degree, but you can do many things in private or online today. Ausra: Sure, I wish everybody in Lithuania who actually has a degree from the academy of music would play as good as Paulius does! Vidas: That’s true. So, we wish that Paulius would not stop practicing and continue to get better. And for David, yes, we do recommend wholeheartedly the Ritchie-Stauffer organ method book. And for everyone else who’s listening, please send us more of your questions. We will be very glad to help you out and help you grow as an organist, and the best way to do this is through our blog at www.organduo.lt. If you subscribe (if you haven’t done so already), then you simply reply to any of our blog posts that you receive. And by the way, you can specify how often you would like to receive our messages: daily or weekly, right? If you don’t like to receive too many messages per week, you could choose one week in email, and it will go out on, I think, Wednesdays. And you will still get everything from us, but just once a week. If you are already a subscriber and want to switch from daily to weekly or vice versa, open any of our messages, scroll to the bottom and click “Update your preferences”. Then you can change your email address or sending frequency very easily. Okay guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #108!
Today's guest is an American organist Matthew Buller. A native of Lake Charles, Louisiana, he is a recent graduate of the Oberlin Conservatory of Music in Oberlin, Ohio. He began his piano studies at age 9 and 3 years later he began his organ studies at age 12 under Calgary native Marlene Mullenix. At the age of 14, Matthew commenced his church music career by playing voluntarily at the Cathedral of the Immaculate Conception in Lake Charles. He then became accompanist at Christ the King Catholic Church at the age of 15 in 2009, and in 2011 he returned to the Cathedral to play for the Saturday Vigil Mass in addition to holding the principal organist position at St. Michael and All Angels Anglican Church in Lake Charles. He currently serves as organist at St. Clement Catholic Church in Lakewood, Ohio, and in September 2017 he will assume the position of Director of Music at Holy Family Catholic Church in Parma, Ohio. Matthew recently graduated with a Bachelor of Music in Organ Performance and a Master of Music in Organ and Historic Performance. During his undergraduate studies, Matthew studied under James David Christie, in addition to lessons with Madame Marie-Louise Langlais in the fall of 2012 during a semester in residence at Oberlin, as well for two months in the fall of 2016. He has also taken lessons with Liuwe Tamminga and Jean-Baptiste Robin in the fall of 2014, as well as with Philippe Lefebvre in the fall of 2015. In the fall of 2012, Madame Langlais returned to Oberlin for six weeks, during which time Matthew studied several pieces by Jean Langlais with her. . Matthew also studied harpsichord under Webb Wiggins for two years at Oberlin, as well as one year of fortepiano study with David Breitman. Matthew has concertized extensively throughout his hometown; at the Oratoire du Saint-Joseph in Montréal, Canada; in Appleton, Wisconsin; in Cleveland, Ohio; in Vero Beach, Florida; and participated in a student recital in Paris with his colleagues during a two-week organ tour in France. Matthew is the winner of the 2015 Dallas Chapter of the American Guild of Organists, as well as successfully competing as a finalist in the Southwest Region of the American Guild of Organists in 2015 and the University of Alabama Full Tuition Scholarship Competition in 2012. Matthew attended the 2011 Boston Advanced Pipe Organ Encounter, as well as the Oberlin Summer Academy for High School Organists and the Kansas State University Keyboard Camp in 2012, the Oberlin Summer Academy for Advanced Organists in 2014 and the McGill Summer Organ Academy in 2015, where he studied with John Grew and Olivier Latry. In this conversation Matthew shares his insights about overcoming his 3 main challenges - not giving up on a difficult repertoire, managing work and life and communicating with his team members. 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 Links: Matthew Buller on Facebook and LinkedIn
Vidas: We’re starting Episode 51 of #AskVidasAndAusra podcast. And today’s question was sent by Liesel, and she asks this question: “How do I cancel Total Organist if it’s not for me? I want to do the trial version. Is there a cancellation page to go to?” So, this is a question about Total Organist, right, Ausra?
Ausra: That’s right, yes, and I think you might answer it very well. Vidas: Okay, since I’m kind of more familiar with dashboards and the inside layout of this membership program, I'll go first. A lot of people sometimes want to do a trial version first. For 30 days they can try out any of our programs, and then only after that decide if they’re ready to commit, to stay and practice longer. In general, Ausra, how do you think is it convenient for people to have a trial version? Ausra: Sure, I think so too. That way, you can be sure if you really need it. Vidas: Yeah, and sometimes you don’t know if this program is for you or not, you just have to try. And not even for one week, it might be short for a few days to really get a grasp and feeling of the benefits, right? How long does it take to feel the benefits, when you start practicing? Ausra: Well I think at least 2 weeks. Vidas: 2 weeks? Ausra: Or even more. Vidas: Or even more, right? So, when people start practicing and signing up for different programs inside of Total Organist, here’s what happens: So, when you sign in, you see the dashboard, with all the different practice courses and training programs listed. And if it’s a normal practice score with pedaling and fingering written in, you simply click and download the score and start practicing--that’s it. There’s nothing else to do. But if it’s like a long-term program, where you get weekly trainings, then you need to sometimes sign up to get emails from us every week. And when clicking on this link of a particular program that you like, you enter your name and email address, and our newsletter subscription service MailChimp will deliver the emails automatically to you. So that’s another side of this subscription. You either download scores automatically right now, or you get emails later, week by week. So another thing to worry about is, how do you cancel, right? Ausra: Yes, that was the question about… Vidas: That was the original question. And you can cancel very simply. There are 2 ways to cancel. One way, you simply write an email to us, and we can do this for you; but make sure you write this email before the month ends. Ausra: Yes. Vidas: So that, you know, you won’t be charged. Or, the second way, is you have to go to your PayPal account, and find the recurring payments section. The recurring payments section means that’s the place where your subscriptions--monthly or weekly subscriptions--are managed from. And if you subscribe to several online services, you will see several of them listed. If Total Organist is the only subscription you’re currently subscribed to, then click on Total Organist and then you can simply click “Cancel”...and then you have to confirm, I think, and then you click “OK” and that’s it. You won’t be charged. Do you think, Ausra, that it’s an easy enough way for people to understand how to try out our membership program Total Organist, without committing to it first? Ausra: Well I hope so. It’s, I think, comfortable enough way to try out. Vidas: You know, sometimes people cancel in advance--and this is really, you know, very simple to do--and sometimes people write several reasons why they do this. (You don’t have to do that, by the way, you don’t have to explain, you simply write to us, “I want to cancel,” and that’s it, no strings attached.) But sometimes they feel the need to explain, and sometimes they say that...it’s so much information, right? There are hundreds of programs and thousands of exercises in this Total Organist membership program, and it’s really the most comprehensive online organ training program that we know of, currently. And the problem with this, Ausra, is obviously, information overload. Ausra: It could be. Some people are scared of that. Vidas: Right? That’s why I usually advise students, right away when they log in to their member area, they would read the welcome paragraph. And I really advise not signing up for more programs than they could handle, because there is no benefit of just simply downloading materials or signing up for longer programs, if you never intend to finish them, right? Ausra: Yes, so just be reasonable Vidas: Yeah. Ausra: Know what you are able to do. Vidas: Our experience tells us that people usually can manage a couple of courses at a time. Ausra: Sure. Vidas: So you’re free to do everything you want; there is no limitation. But make sure you don’t bite more than you can chew. Ausra: Definitely. Vidas: Because we want you to succeed with this. We want you to reap multiple benefits, right? What’s the point of taking those courses if you don’t practice them, if you don’t apply them to your practice? It’s in your best interest and in our best interest, too; it’s a win-win situation, because when people succeed, they write nice emails to us, right? Ausra: Yes. Vidas: And that’s extremely rewarding. And sometimes people who cancel Total Organist program, they write nice emails to us at that time, too. So at this point, a few weeks ago, one student cancelled; she wanted to cancel the Total Organist membership program; but she felt so grateful to us that she even asked us to give her a way to donate. To make a “donate” button or something. She felt so grateful because of the benefits that she received from our trainings and of course daily podcasts as well. Here's a simple way to donate to us, by the way, if you want to. Ausra: Yes, that was very nice of her to send us this kind letter. Vidas: Even though she would not be continuing Total Organist. Wonderful. So please be responsible, but if you want just to try out, you can do this very easily, and cancel ahead of time before the month ends--either in your PayPal profile when you find your recurring payments dashboard, or simply writing a message to us, and we can do this for you very easily. Thanks, guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: We’re starting Episode 50 of #AskVidasAndAusra podcast. And today’s question was sent by Anna, and she writes that she tries to sit correctly on the organ bench, but she doesn’t seem to be able to find her position--her convenient position. Ausra, is it a common problem for beginner organists?
Ausra: Well, that’s a very common problem; and, knowing that you have to play on different organs, that also might be a problem; because when you’re playing at your home or a church, you’re used to the instrument. But when you go to another instrument, you have to adjust. So the problem depends on how tall you are you, the high person, or not, and how long your legs are, and what kind of instruments you are playing--can you adjust the organ bench easily or not?--and all that kind of stuff; so basically, you have to experiment. Because you must sit not too far from the organ and not too close to it. You have to be able to reach the upper manual, and to play comfortably on the lowest manual; and of course, be able to reach the pedal board. Vidas: Mhmm. So let’s subdivide this question into some parts, some elements that we could discuss in greater detail. For example, height of the organ bench, this is number 1; the distance of the organ bench from the keyboards, this is number 2; and perhaps even number 3 would be, how you sit on the organ bench--further, or deeper, or not so deep on the bench compared to the keyboards. So how would you position the bench in terms of height, for yourself? Ausra: Well, I make the height of the bench depending on the pedal board, because I must be able to play the pedals comfortably. And because I don’t have very long legs, so I need to adjust the organ bench according to that. And the important thing is that the weight of my body, when I’m sitting on the organ bench, I must feel it basically on the middle of my hip; so you don’t press your tush hard, but you press your hips hard to the organ bench...I don’t know if it makes any sense. That way, I’m able to move easily on the organ bench when I have to turn, for example. Vidas: Do your abdominal muscles have to be tense or not, when you play the pedals? Ausra: Well, actually, yes, they have to be. Vidas: And the lower you sit the more you tense, right? Ausra: Definitely. Vidas:That’s why we don’t use a normal chair, it would be too low, right? Ausra: Sure. Vidas: And we would really need to tense our legs and the abdominal muscles--too much, probably, in this way. So for me, I tend to sit on the bench, and position the bench so that my feet, when fully extended, they would be touching the pedals, gently--touching but not depressing. Ausra: And your toes should be touching the black keys. Vidas: So that’s another thing: if you position the bench so that your feet are touching when relaxed, when fully extended and relaxed--but not depressing, right? That’s good. And then--now you can investigate if the bench is close enough, or not close enough, in relation to the keyboards. So the thing is, your toes should be touching the sharps. Ausra: That’s right. Vidas: When relaxed. Ausra: Yes, sure. And of course, everything depends on what kind of instrument you’re playing, too, because sometimes you have to make exceptions. For example, if I’m playing on a Baroque instrument, sometimes I have to sit a little bit higher than I’m used to, because I use only my toes in Baroque pieces. So I don’t have to use my heels, so I can sit a little bit higher on the bench; and then it is more comfortable for me to reach, let’s say, the third manual or the upper keyboard. Vidas: Exactly. And then, going forward with the last section of this question, is how deep, or how on-the-edge you can sit, right? So the lower the bench, the deeper you can sit... Ausra: Sure. Vidas: ...And vice versa. The higher the bench, actually, the closer to the edge you must sit. But then there is a danger of slipping. Ausra: Well, yes, that’s very often the case with organists, especially when you’re wearing something very slippery! But I don’t think that’s often the case with the male organists, but quite often the case with the women, because sometimes we like to dress nice and fancy and...slippery sort of clothes, and that might cause a problem, that you might end up on the pedal--falling down on the pedal board! Have you experienced something similar to this? Vidas: Yeah, when I have this suit, my organ clothes on special festive occasions, then sometimes it’s slippery to sit on the bench. It’s not really comfortable. But when I use jeans, for example, my regular, everyday jeans, also sometimes the sweat might be another issue. The jeans might stick to the bench; it’s also not very nice. Ausra: Well, I haven’t experienced this kind of stuff that you’re talking about jeans, but I definitely have slipped from the organ bench. Luckily, that happened not during a performance! And this usually happens when I have to play on the upper keyboard. Vidas: Well, talking about the upper keyboard--people might have seen my pictures from my concert trip to Liepaja in Latvia in recent years. This organ has four manuals; and this fourth manual is so deep and so high--it’s so uncomfortable to reach and to play the pedals at the same time. The bench is kind of low, and positioned so that you could not really move it. So when you play the two lower manuals, it’s kind of okay; you can adjust, even though it’s not the best feeling. But the top manual is extremely strenuous work for you; and then, if you play, for example, with the pedals at the same time, then you begin to slip very soon. Ausra: Well, I would suggest that in that case, you might want to do your registration differently, and maybe not use that upper manual. Vidas: That’s exactly what the Latvian organ builder and our friend Janis Kalnins said. He knows this organ inside out. Ausra: Yes, because sometimes also when I tried to reach the upper manual in some kinds of instruments, and I would put the organ bench very high up, and the lowest manual then would be next to my stomach; and I would feel that I’m playing not with my fingers but with my stomach on that lowest manual. Vidas: Mhmm. Ausra: So it’s always a challenge to adjust to a new instrument. Vidas: So, when the bench is too low, you can put some wooden blocks underneath the bench, and it raises the height; it’s kind of easier. Or you put thick hymnals-- Ausra: Sure, like old hymnals. Many churches have hymnals that they don’t use any longer, so you can use those. Vidas: Or old tax books. Ausra: Hahaha yes, that would be nice. Vidas: But when the bench is too high, and you cannot really adjust, then it’s a problem. Ausra: Oh yes, that’s true. Vidas: What can you do then? Ausra: Well, if you know that in advance, then maybe adjust your repertoire. I would suggest for you then, just to play Baroque music. Then you will not have to use your heels. That’s probably the best suggestion. Because if you would play big Romantic pieces on an instrument like this, then you would not be able to reach the pedals very well--it will not be good. You cannot play legato. Vidas: Or...If you have organ shoes with high heels, it helps, then. Ausra: Well, yes, it helps, to some extent. And usually if the bench is too high for me, then I try to sit closer to the manuals; then usually it helps a little bit. Vidas: To find this right balance-- Ausra: Sure. Vidas: --between not slipping, but also reaching the pedals. Ausra: Sure. Vidas: What about a situation when the organ console is movable, and you could actually put some wooden blocks or planks or something underneath the entire organ console to elevate it? Is it possible? Ausra: Well, I think it’s possible, nowadays. I have never done it myself; I have never had the need to do it. But I think that’s possible. Vida: So, when you can’t adjust the bench height, you can maybe adjust the organ console height. Ausra: I’m just thinking how to lift it. It might be hard. Very heavy. Vidas: Anyways, the organist profession requires us to adjust to hundreds of thousands of different instruments. And that’s the beauty of it, right? Ausra: Yes, it is. It’s very exciting. Each time it’s like a little adventure. Vidas: And never boring. Ausra: Sure. Vidas: You never know what will happen. Even though you sort of know the situation--you are prepared in advance, and you have seen the pictures, and you practiced the right way--when you sit down on that organ… Ausra: Yes. Vidas: ...your plan goes out the window! Ausra: That’s true. Vidas: Wonderful, guys. Please practice more on unfamiliar organs; this is the only way you’ll get more comfortable with tricky situations. Ausra: And then you’ll go back to your home, and your organ will be so easy to adjust to! Vidas: And please send us more of your questions; and the best way to contact us is through email; and you can do this by subscribing to our blog at www.organduo.lt (if you haven't done so already), and simply replying to any of our messages that you will get with our tips and advice about the art of playing the organ. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: And let’s start Episode 49 of #AskVidasAndAusra podcast. And today’s question was sent by Anna, and she asks about the pain she experiences in her knees when she plays the pedals. Probably, she feels that when she turns--when playing pedal passages--when she turns, it’s kind of painful to her. Maybe she’s doing something wrong. What do you think, Ausra?
Ausra: Well, she might be doing something wrong, but another thing is that she might have weak knees, basically, like a medical condition. So at the beginning, I would suggest to her to contact her doctor, and do some tests on her knees, because the problem might be just a medical issue--not her playing. And another thing that I would suggest for her to do, or to try to do: to exercise before practicing the organ. Because you have to warm up if you have bad knees, in general; it will help you to reduce your pain. Vidas: So like, stretching, you mean? Ausra: Sure. Some physical therapy, I think, also would help her to improve things. I’m not sure if it would help like 100%, but at least it might lessen her pain. Vidas: Right, when your body feels warmer, and the blood circulation is normal, then you can start playing full speed, especially with your feet. Ausra: Yes, and of course I would wish to see how she’s sitting on the organ bench, and how is she moving, when she has to shift her legs; because another thing that might cause this knee pain is, maybe she shifts too suddenly; and the sudden motion might cause pain, too. What do you think? Vidas: When you are shifting pedal positions--when you’re sitting facing straight and the pedal passages continue to go upward or downward--you need to change positions. And the correct way to do this is by pushing off of the opposite foot. So for example, if you are going upward, you push off with the left foot; and your lower body, your knees, continue to face the direction that you’re playing (basically upward), right? But your upper body must always face straight, to the music rack. Does it make sense, Ausra? Ausra: Well yes...yes and no. It might be very hard to do, especially when you have pain. Vidas: So when people have pain like this, in their knees and sometimes in their backs, too, is because they don’t push off with the opposite foot and their lower bodies continue to face straight even though they are moving to a new position with their feet. So for example, they’re playing extreme bass passages--extremely low passages--but the knee is facing the center. So it’s kind of breaking their knee. That’s why it might be painful. I don’t know if it’s the case with Anna, but it’s worth investigating further if she is changing position correctly. Ausra: Yes, and I think she definitely needs to contact a doctor, and to see, if it’s not like arthritis or something medical. And then if everything is just fine, then just exercise and try to find new ways to move on the organ. Vidas: Have you ever had a similar situation, Ausra--pain in your knees when playing pedals? Ausra: Actually no. I had knee problem when I played piano, way back in my high school time. Because when playing piano, you only use two pedals, and not always you have to (especially the left one). So when practicing a few hours you would get a sort of stiffness in your whole body, especially in your knees. And it would be hard for me to get up from the chair after playing for two or three hours. So that was very painful. But this pain disappeared when I started to practice organ; because my knees kept moving all the time, and actually helped me to avoid pain. Vidas: Hmm, interesting. For me, I had some pain issues when I first started playing the organ in the 10th grade; and later on, too, in the first years of music academy in Vilnius. Really, nobody taught us this correct way of changing position in Lithuania, right? Ausra: True. Vidas: So people kept playing in whatever way they found easier, but that doesn’t necessarily mean it was the correct way, or a healthy way. Ausra: Yes, that was the method in Lithuania, actually. I remember when I asked my teacher how I could play a right note in the pedal...She just told me, “Oh, whatever, play it with your nose! Just hit the right key.” That was her answer! Vidas: Half-jokingly, she said that? Ausra: Well...I don’t really think so. It was a very ironic joke. Not very nice, to talk with your students in that manner! Vidas: So instead of explaining to you how you could depress the pedals with your foot, and make the sound with your feet correctly--instead she chose to deflect your question with ironic humor, and because she actually didn’t know, herself! Ausra: Probably. She did not know, probably, about pedal preparation, so that was the easiest way for her to get rid of my questioning. Vidas: So guys, please, please, please pay attention to how you shift positions when playing the organ, and pedals--it’s really, really sometimes damaging to your knees if you don’t pay attention, if you continue to play facing the center with your knees and your lower feet continue to play, in the lower range or the upper range. So your knees should always face the note that you’re playing with the pedal--that’s the general rule. And you push off to the new position with the opposite foot. Ausra: Yes, please do that. And let us know how things are going. Vidas: Yes, please reply to our messages when you subscribe to our blog at www.organduo.lt. And we will be very glad to help you out and answer any other questions that you might have in the future of this podcast. Thanks for listening! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. PS Would you like to save yourself weeks or even months of tedious work when writing the most stylistically appropriate fingering and pedaling yourself for efficient practice of Piece d'Orgue, BWV 572? If so, check it out here. 50% discount is valid until August 23. After weeks and weeks of painstaking work, long awaited practice score with complete fingering and pedaling of Piece d'Orgue, BWV 572 is finally ready!
Would you like to save yourself tenths of hours of tedious work when writing the most stylistically appropriate fingering and pedaling yourself for efficient practice? If so, check it out here. 50% discount is valid until August 23. Among other things, Ausra and I discuss the best way of mastering this piece in the last chapter of our e-book "Is It Possible to Learn to Play the Organ When You Are 56 Years Old". PS This score is free for Total Organist students
Vidas: We’re starting Episode 48 of #AskVidasAndAusra podcast. And today’s question was sent by Nadine, who writes, “What does it take to become a concert organist?” That’s a very broad question, probably.
Ausra: Yes, so let’s try to maybe narrow it down, to see the basics. First of all, I think you should be very good at the instrument. You must play very well. Vidas: Let’s be specific. Let’s look at our lives. Can we describe ourselves, or consider ourselves, as concert organists? Ausra: Well, yes, I think so. Vidas: We do many things, of course. We teach, we perform...sometimes we even play for liturgy (when they ask us, but that’s not often). But definitely, concert playing is a significant part of our activities. So Ausra, what did it take for you to reach this level, that you are today in? Ausra: Well, practicing for very many years. And, of course, knowing different styles; understanding different instruments; knowing how to make a registration...Having a degree, I would say, too. Vidas: Is having a degree in organ playing and performance a must today, or not? Ausra: Probably not so much today, now; but it was in previous times, definitely. Vidas: Of course it helps if you have a degree, because you have formalized instruction, and hopefully, quality instruction, right? Because not in every college, not in every university or conservatory, do you have the best instruction, right? You might have a degree, but you don’t have skills! Ausra: Yes. Vidas: You definitely must have skills. And what Ausra is mentioning, that you gain those skills from constant practice, and then putting these skills into public performance situations, sometimes big, sometimes small. Maybe start small. Ausra: Yes, definitely you will not start performing at Notre Dame in Paris! Start at your church, a local church. Vidas: Exactly. Ausra: Put some of your videos on YouTube. Vida: Now, nobody’s stopping you, right? Everyone has, probably, quality video editing equipment in your pocket--in every pocket! So just share what you can record with the world, and this will motivate you to practice even further, to get better, and to even deal with performance anxiety a little bit--because you know that somebody else is recording you, and will be listening to you in the future. Ausra: Yes, and of course, never say no to any opportunities to perform, at first. Then later on maybe you can select what you want to do and what you do not want to do; but at the beginning take every possibility that is offered to you, because knowing new organists, new instruments, might open another door. Vidas: You’re absolutely correct, Ausra. But at first, when you are nobody in the organ world, when you just practice-practice-practice, and you suddenly discover, “Oh, i have a few pieces of music that I want to play in public, but nobody has really heard of me...I have no platform,” right? So...do you have to wait for the phone call, or can you be more proactive? Ausra: No, I think you should be proactive, because if you will wait, you might wait all your life, and opportunity will not come. Vidas: Exactly, you have to find those opportunities. Of course not by spamming people, that’s rude. And people will flee from you. Ausra: It’s like fishing. Vidas: It’s like fishing! It’s no good, right? People even don’t look at those messages anymore, because the inbox is so crowded. But what you could do is simply network with other organists. Be friendly, be helpful--be helpful to other organists in your country, too, and be helpful to organists on Facebook and other social media sites. And when you share your work constantly, they start to remember who you are! Ausra: Yes, I think these times there are many small opportunities to organists-- Vidas: Exactly. Ausra: --To advertise themselves. Vidas: It’s of course a lot of competition… Ausra: Yeah, that’s true. Vidas: ...because everyone can do this, now. Everyone can post on Facebook and YouTube. But you can stand out. You can do things that nobody else is doing. Ausra: Yes, maybe, you are playing specific repertoire, and you are interested in a specific country, let’s say, or composer. Vidas: Become an authority on a specific angle of organ repertoire. Ausra: This might help you to stand out. Vidas: Like a brand. Become a brand, and your name will be associated with the thing that you do. If you do everything moderately well, you will be like everybody else, which is nothing, really--no good, because you will have to compete. But if you avoid competition and do something entirely different--let’s say, you play your own compositions. Of course, then you have to make sure your compositions have high quality, and people want to hear them; but, you know what I’m talking about, Ausra, right? Ausra: Yes. Vidas: Do something else that nobody else is doing. And that will lead you to the success of getting more recital engagements. At first you have to ask, right? Sending a lot of messages to other people, to concert organizers. Ausra: And be prepared to hear a lot of no, and probably to play for free... Vidas: And of course you’ll get rejected maybe a hundred times, but maybe one hundred and one will be successful. Never give up on this. As we say, don’t spam people; basically, format your message in a way that it would be foolish to refuse. That’s not spamming, that’s actually a favor; you’re doing them a favor by providing them a proposal that they would be actually foolish to refuse, because the entire community of their organ concert opportunities and congregation will benefit from this proposal. Ausra: That’s a very good idea. Vidas: Just turn around and think about what kind of benefits you can propose to the concert organizer. Don’t be selfish this way. Don’t just simply write, “Oh, I want to play in your church, I want to do this,” right? Ausra: Yes. Vidas: Think what’s in it for them? Ausra: But I think the more you’re willing to give to people, the more you’ll get back, for yourself. Vidas: For example, one idea would be: How about you collect donations, and give those donations to the church, or to the organ which needs restoration, right? And you think of a larger-than-yourself goal. Or maybe give to charity. Maybe you donate to some charitable organization, maybe an organization who tries to raise funds to get clean water for Africa; or food for starving children; or maybe invent some medicine for people who are having diseases today. Think bigger goals, and those will actually differentiate yourself from other organists who are simply selfish. Ausra: Yes, and let us know how things are going for you--have you succeeded or not? And we wish you well! Vidas: And of course don’t forget to share your work. And one of the best ways we’ve found to share your work is by writing a regular blog. Maybe a podcast, maybe a YouTube channel, those things that will help you create your own platform, and build authority over time. Not over one week, but maybe over several years. Ausra: Yes. Vidas: It takes seven years to be an overnight success, they say. Do you agree with this Ausra? Ausra: Yes, I agree. Vidas: Wonderful. Thanks, guys, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: We’re starting Episode 47 of #AskVidasAndAusra podcast. And today’s question was sent by Pat, and he writes that he has a challenge that’s holding him back, which is: in general, he has forgotten the basics of organ playing through all those years of not touching the instrument (I think 15 years of not touching the instrument). And not only the basics, but both hands facilitating technique, and also the theoretical knowledge of flats and sharps and other things about music theory. Do you think, Ausra, that people often come to organ practice after a long period of time of not touching the instrument?
Ausra: Yes, that could be the case, of course, but I think he should not lose his hope, because I think refreshing memory and regaining all those skills is probably easier than to build those skills at the beginning. Vidas: Mhmm. Now that he is really taking advantage of the situation, and really thinks that, “Oh, I must regain those skills and must start to practice the efficient way,” it will come to him, slowly but definitely. Ausra: Yes, if he will be, you know, regular at his work, and will practice regularly. Vidas: It’s like our friend John from Australia. He learned some music in school when he was little, but he was not very serious about that; and then later in life, he did many other things, and forgot, of course, a lot of musical training that he had in his youth. And only now after decades of not touching an instrument, he started to develop this organ playing habit. And we see over time how he progresses, and it’s fascinating. Ausra: Yes, he is definitely fascinating. He’s such a hardworking man, and also good to his family, and still finds time to practice. It amazes me every time, when I think about him. Vidas: He has so many responsibilities, of course. His job is 8 to 5 probably, and-- Ausra: Two small kids at home... Vidas: Two small kids! Ausra: ...And just moved to another location in Australia. So all these domestic problems--And it works… Vidas: But what motivates him is probably those internal and external deadlines he sets up, because he sometimes plays hymns and organ music for his church; and he knows that people depend on him, week by week, so he better get ready! Ausra: So maybe Pat could find like, a small position, maybe--you know, just to play once a month, let’s see-- Vidas: Volunteer, or…? Ausra: Volunteer, yes. Vidas: In exchange for an instrument? Ausra: Sure. Vidas: Or getting access to an instrument. Ausra: And it will keep him going, refreshing his memory faster. To regain his skills. Vidas: It would be like a practicum, like a practice. It’s not a job, but it’s something like getting experience of public playing. At first it will be terrifying, of course; but you have to know that taking those risky, uncontrollable situations at first very small--when the risk is small; but raising the stakes a little bit...That you know somebody else is listening in the room is very healthy, actually, in the long run. Ausra: I think so, too. Vidas: And little by little, Pat will regain those skills that he lost over 15 years of not touching the instrument. Ausra, how long does it take, do you think, for a person who didn’t play the organ over this time, to get back to this previous level? Ausra: I would say probably about a year. Vidas: A year? Ausra: Yes. Vidas: That’s not a very long time. Ausra: Yes, that’s not a very long time. Of course, if you practice more, maybe you’ll regain your shape faster, maybe in half a year. Vidas: Yeah, if you’re a professional at this, and you dedicate 2, 3, or more hours a day, that’s possible to do this in a few months… But slowly, I think; don’t overextend yourself, because it’s a long-term activity, and you have to first of all enjoy it. Ausra: Yes, definitely. It will be your motivation, if you will enjoy what you are doing. Because if you are only struggling, that might give you a big disappointment, and you will drop practicing at all. Vidas: And Ausra, when you say that a person like Pat might regain his skills in one year, right-- Ausra: Yes. Vidas: --Hopefully. Ausra: I hope so. Vidas: More or less. It doesn’t mean that in a month, or two, or three months from now, he will be in the same situation as he is now. He definitely will start seeing progress down the road. Ausra: True. Vidas: Soon enough. Ausra: That’s true, yeah. And seeing that development, that improvement, it will give him extra motivation to improve even further. Vidas: Yes. Basically, keep working on this challenging episode, and sooner or later you will overcome this challenge - and you will move on to the next challenge, of course! Ausra: Yes! Vidas: Thanks, guys, for listening to this. We sincerely hope we can help you grow as an organist. And of course, the best way is to send more of your questions. Maybe you have different questions than Pat; so please send us your questions, and remember to subscribe to our blog and then reply to our messages at www.organduo.lt. And remember, when you practice… Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #107!
Today's guest is an American organist and pianist Kae Hannah Matsuda. She began piano lessons at age 9. In junior high school she accompanied her youth group's weekly hymn sing, and at 13 began her ongoing involvement in church music. She's a performer at heart, and church music offered a challenging but forgiving way to develop this skill! So throughout her years at Covenant High School in Tacoma, she accompanied weekly chapel and school choir concerts. At the prodding of her piano teachers at the time, Paul Twedt and later Chris Rogers, she also competed and placed as a soloist in local MTNA competitions. In 2013 she began attending Seattle Pacific University, where she collaborated with SPU choir and solo vocal performances and recorded several student-led ensembles, while continuing private lessons with Dr. Wayne Johnson. He retired in 2014, and she joined the studio of Dr. Dainius Vaičekonis. Kae lives in Lake City, Seattle, and teaches in-home lessons. She's currently employed as pianist/organist at Haller Lake United Methodist Church, seasonally accompanies the Norwegian Ladies’ Chorus of Seattle, and have been occasionally teaching elementary piano students since 2012. She graduated from SPU in June 2017, one of just two students with a BA in piano performance. In this conversation Kae shares her insights about overcoming her 3 main challenges - developing hands and feet coordination, getting on the organ bench every day and dreaming big. 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 Links: Kae Hannah Matsuda on YouTube: https://www.youtube.com/channel/UCIjPtoQ1_bxt38oGTCLOJiw and Facebook: https://www.facebook.com/hannah.matsuda.39 When we play Gentle Breeze by our friend Dutch composer Ad Wammes, we feel like precious summer wind would be blowing.
Doesn't matter if it's the sounds of a rusty old piano in our summer cottage which stands untuned for decades or a splendid largest pipe organ in Lithuania with 3500 pipes and 5 seconds of reverberation. All around us is lazy satisfaction up in the hot air. Definitely vacation time. What do you feel when you listen to this piece? PS Our 2nd e-book I Don't Have Time to Practice Organ Playing (And Other Answers from #AskVidasAndAusra Podcast) right now has a low introductory price of $2.99 until August 16. It's dedicated to all our students who don't have enough time in their days and still continue to practice. |
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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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