 Would you like to learn Allein Gott in der Hoh sei Ehr by Johann Ludwig Krebs? If so, this PDF score with complete fingering, registration suggestions and basso continuo realization will save you tenths of hours and enable the most efficient and stylistically appropriate practice. Because of this fingering, you will be able to play with articulate legato touch naturally, almost without thinking. 4 pages. No pedals. PDF score will be available immediately after your payment. 50 % discount is valid until Semptember 27. Free for Total Organist students. Enjoy this practice video. Thank you Kae for transcribing the fingering from this slow motion video (as well as Bach's Pastorella, BWV 590). This was tremendous help. By the way, if anybody is interested in doing fingering/pedaling transcriptions from similar videos for a fee in the future, please let us know. Here's is another video of this piece that Ausra has recorded at the concert tempo:
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Vidas: Let’s start now Episode 72 of #AskVidasAndAusra podcast. Today’s question was sent by Matt, and he writes,: “Vidas and Ausra, I have enjoyed your posts and appreciate all the work you put in. My goal is to be a better church organist.”
So Ausra, can we help Matt today with this goal, and give some pointers that he could apply in his practice? And perhaps other people as well, who would want to become better church organists over time? Ausra: I hope so. Vidas: So, what’s the first step in order to become a better organist, in your mind? Ausra: Well, we should keep in mind that now we’re talking about church organists. So it means that liturgy comes first. And that is a crucial point while being a church organist. You must know what is going on in the liturgy, and to select your repertoire appropriately, and to play appropriately. What do you think about it? Vidas: The number one skill that organists need when playing at church services is probably playing hymns. Ausra: Yes, that’s number one. Vidas: Then accompanying choir, perhaps, too. Ausra: Yes. Vidas: And then providing organ music for preludes and postludes, and maybe communion when the choir is not there. Even an offertory when you play, when the choir is not singing. Sometimes you need more than just the prelude and the postlude. Ausra: Definitely. Vidas: So in general, it’s like a public performance. Some sort of performing for people in general, but with additional element of hymns. Ausra: Yes. Vidas: For the most part. Ausra: And while playing in church, you always have to know what time of the liturgical year you’re in--if it’s Lent, or if it’s Advent, or Easter and Christmas, or just regular time with no particular festivity; and you need to choose your hymns and your music appropriately. Vidas: Probably the first thing that every organist needs, to be a better church organist or a concert organist, in general is solid technique. Ausra: Yes, definitely. Vidas: And good sight-reading skills. So those two things will lead to better results while playing in public for church or in concerts. I would say that first of all, sight-reading is even more important than having virtuoso technique for church organists, because you have to constantly play a lot of unfamiliar hymns. Ausra: Yes, and the more you will sight-read, the easier you will prepare for your services. Because you have to play so much music, if your job in the church is regular. Vidas: Sometimes I ask my students at school if they like sight-reading on their instruments, and just a few of them say they do. But from those who say that they like sight-reading, only one or two actually do it regularly enough. So I think a lot of people underestimate the value of sight-reading over time; but still, it’s quite important to start, just start with a simple voice. I know the trickiest part of sight-reading is they cannot really play four parts in the hymns right away. So they make mistakes, they try to play maybe fast or slow, it doesn’t work, and they quit. Ausra: Yes. Vidas: What would you suggest for them, Ausra? Ausra: Well, just keep going. Just don’t stop practicing! Vidas: Do you think that reducing the texture would be a better solution than to simply go in with four parts? Ausra: Yes, that’s true, and the same works for church organists--if you are not in your best shape yet, or you have not reached a very high level of performance, just pick pieces that you can play and practice them. Maybe easier at the beginning, maybe with less pedal; and even when accompanying hymns you can play in octaves--just playing two voices. Solo melody in parallel octaves, with both your hands. Vidas: That’s a good technique, because then people will know exactly what the melody is, especially on an unfamiliar hymn; and both your hands will be active at the same time, and soon enough, let’s say, after a few weeks or months, you are ready to tackle the next challenge: basically two-part texture. Ausra: Yes and if you want to be a good church organist, the collaboration is so important. You must find out what your priest or pastor expects from you, what the congregation expects from you as an organist; if you have a music director, also you have to collaborate with the music director--that’s a crucial thing to do. If you have that good relationship, then everything should work just fine. Vidas: Do you think that keeping a steady tempo in playing hymns is good and important? Ausra: Yes, it’s very important, if you’re leading congregational singing. Vidas: And a lot of organists do, right? Ausra: Yes. Vidas: So what’s the best way to keep the tempo steady? Can singing yourself help? Ausra: Yes, and that’s what I always do. That doesn’t mean I’m singing aloud; most of the time I just sing the hymn in my mind. But I always sing. That way, you will know, for example, how long it will take you to take a breath at the end of the phrase, and how to choose the right tempo. So that’s very important. And you have to read the text, too. And it will help you to register right. Vidas: Exactly. Ausra: Because not all verses of the hymn must be played with the same registration. Vidas: Exactly, Ausra. People can really sing and read the text and discover the different meanings of the stanzas. Maybe choose one stanza with reeds, another stanza with principal chorus; even softer, meditative hymns could be registered with some flutes, especially in Lent, right? But you have to know what people are singing about. Ausra: Sure. Vidas: So in general, we mentioned three steps, right? Sight-reading, technique, and then keeping a steady tempo while singing yourself. Three things to keep in mind. We haven’t talked a lot about technique, yet. Can you mention some of the things that would be helpful? Ausra: Well, you know, the technical things will be the same as for somebody who isn’t a church organist, but organist in general. Vidas: Hand and feet coordination, first of all. Ausra: Yes. Vidas: So when you practice hymns, it’s very similar to sight-reading, actually, hymns; except, when you practice and perfect them and polish them, you have to repeatedly play them over and over. Maybe not even an entire hymn, but maybe one phrase of the hymn. So also don’t start with four-part texture right away. Maybe start with a single line, maybe then proceed to two-part textures, then three-part textures, and so on. What would you think about that, Ausra? Ausra: Yes, that’s a good technique, and a good way to do it. Vidas: And then choose a few preludes and postludes for your church services, also working and practicing in a similar way. Treat your hymns as organ compositions, and treat your compositions as organ hymns singing each line; that would be the easiest way. Ausra: Yes; and if you will pick your music, try to find, for example, organ compositions based on those hymn tunes that you will be accompanying the congregation, that’s also a good thing to do. That way, your services will be more complete and more unified. Vidas: For example, if the opening hymn is based on a specific tune, so your prelude could be based on the same tune. Ausra: Yes. Vidas: Or your postlude could be based on one of the hymns that is sung in the church service that day. Ausra: Because most people appreciate music that sounds familiar to them. So the more you will repeat the same hymn tune, the more people will like it. Vidas: What to do if I can’t find a piece of music written on a specific tune? Ausra: You could improvise. Vidas: I knew that would be the best solution, right? Ausra: Yes. Vidas: So guys, please improvise more; it’s probably the easiest way to find the most suitable repertoire for your church services. You don’t have to start with advanced versions. You could simply harmonize some tunes, add a middle part, extend a little bit with interludes and recurring melodies, like ritornellos; or, for the postlude, you could add a toccata-like figuration in the hands, and let the feet play the melody with the 16’ registration--maybe Posaune in the pedals as well, with slow rhythms in the pedal. Would that be a nice start? Ausra: I think so! Vidas: Excellent. So, of course look at the example that every master wrote, that every piece that you’re playing on the organ could be a model for you to improvise. Ausra: That’s right. Vidas: And we also try to incorporate improvisations in our practicing, and we also try to analyze pieces that we play; so our advice and suggestions are based on what we do exactly, too. We hope this will help you to grow as an organist. And please send us more of your questions; you can do that by subscribing to our blog at www.organduo.lt if you haven’t done so already, and reply to any of our messages that you will get. That’s the easiest way. Thank you so much for listening and applying our tips in your organ practice. This was Vidas! Ausra: And Ausra! Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 71 of #AskVidasAndAusra podcast. Today’s question was sent by Matt, and he writes that he wants to learn how to do proper registrations for standard pieces (Bach, Vierne, Franck. etc.) and good registration approaches in general.
That’s a very broad question, Ausra, right? Ausra: Well it is, yes; you could write several doctoral dissertations on this topic! Vidas: And in fact, a lot of books have been written concerning separate topics of the registration for Bach, separate for Franck, separate for Vierne, right? Quentin Faulkner wrote on Bach registration, Barbara Owen on Baroque music registration in general, Orpha Ochse and William J. Peterson wrote on French romantic music, Fenner Douglas on French Classical music, there is a classic text by George Audsley - about the organ stops and the registration in general. Ausra: Yes, these are different styles and must be registered differently. Vidas: But probably Matt doesn’t expect us to give everything in those few minutes that we’re answering questions today; but maybe we could start with some pointers, to start with. Ausra: Yes, let’s do that. Vidas: So when a person, let’s say, takes a piece of Bach, and is ready to start registering it, maybe he’s learned some notes with pedals and hands, and the time approaches when he or she wants to perform it in public. And it’s time to start registering it. What would you think about first, when you register the piece? Let’s say, a chorale-based piece, a chorale prelude. Ausra: Well, you have to think what you want for the piece sound and how that piece is put together, because, like, chorale preludes, they are very different. Let’s say in Orgelbüchlein you could have chorale with ornamented cantus firmus, and definitely then you would want to play those different parts on different manuals, and register them differently. Maybe to put a cornet stop for solo voice, and a couple of soft flutes for accompaniment (8’ and 4’); and a couple of soft flutes in the pedal (16’ and 8’). Vidas: Yes. Ausra: That’s one of the possible registrations. Or you could take not necessarily cornet, but a reed stop for a solo voice. Vidas: Yeah, usually you could play with cornet, reed, then maybe mutation combination, like flute 8’, 4’ and 1 ⅓’, or high-pitched third 1 ⅗’ or a fifth, like 1-⅓, to make it more colorful. Can you play the solo line in the principal, alone? Ausra: Well, in some cases you could do that… Vidas: If it’s very beautiful? Ausra: Yes, if it’s beautiful, but that’s not often the case. Vidas: Sometimes on modern organs, a better solution is to play the 4’ principal, but one octave lower. Usually they are better-scaled. Ausra: Yes. Vidas: But first, Ausra, you mentioned you have to discover if the piece is to be played on one manual or two manuals, right? Ausra: Yes, that’s the first step. Vidas: If the lines have a melody, a solo melody, or not, and then register appropriately. What if the chorale prelude has to be played on one manual? All parts together, but on one manual--with pedal, perhaps. Ausra: Well, such chorales often work well for organo pleno. Vidas: Yes. Ausra: And of course, it depends on the character. Sometimes you don’t want to add all the stops together; maybe just use a couple of principals. Vidas: Should you read the text of the chorale? Ausra: Definitely, yes. Vidas: That will explain to you if the chorale prelude has to be performed loudly or softly, in general. Ausra: Yes, and you need to find out also for what occasion you will play it. If it’s a church service, will it be for communion or will it be for a prelude? Or if you’re playing for a recital, you also see where in the program you will place it, according to the registration--do you need a soft or loud piece in that place? Vidas: Are you starting the recital, or ending the recital, or somewhere in the middle? Ausra: Well, but actually what you can know if you are playing preludes and fugues by Bach, that you can easily just play them with organo pleno. Vidas: And by organo pleno you probably mean full principal chorus. Ausra: Sure. Vidas: What’s that? Can you spell it out for everybody? Ausra: That’s principals 8’, 4’, 2’, sometimes even 16’ principal, if your organ has it; and then of course you have to add a mixture. And it depends on your taste and on the organ; you could add other stops to the pleno, too. Vidas: Maybe a fifth. Ausra: Yes, sometimes even a tierce. Vidas: Tierce works well if the mixture doesn’t have thirds. Ausra: Yes. Vidas: Because in Bach’s area, in Bach’s time, the majority of organs had not only octaves, not only fifths in the composition of the mixture, but also thirds. So if you add the tierce stop, it’s not the same as having a third-sounding pipe in the composition of the mixture which would break every octave or so. It’s not the same, but the general feeling will be similar. It’s a little bit spicier than just the fifth and an octave. Ausra: What about pedals? Vidas: Pedals also need principal chorus--if they have principals. In Bach’s area, a lot of pedals had only Subbass and Posaune, and then a manual coupler. Ausra: So if you would add like, principals on a modern organ, would you supplement it with the posaune 16’, or not? Vidas: If the posaune is fitting for the chorus, for the chorus registration, then yes. Like in our organ at St. John’s church in Vilnius, I usually add a principal 16’. We don’t have, like, a proper principal 8’, but it’s called Fullbass. It’s a little bit similar. At least it’s an 8’ stop; a little bit darker than the principal, I would say. But then, I would add 16’ Posaune, and then a mixture, if you have one. Mixtures can be bright; don’t worry if the sound is very bright in the pedals, it’s okay! Then, 4’ principal is also good to have in the pedals. So...but you have to listen for the balance, in the manuals. Sometimes you can add the coupler, maybe to the Great sometimes not, depending on the acoustics, environment and location. Ausra: Yes. So what about French composers that Matt asked? Vidas: French composers used different organs, right? Cavaille-Coll organs for most of the time. And...it has a lot of differences with the Bach tradition. Probably you need to start with the knowledge of what are the foundation stops and Anches in French and what’s Fonds and Anches in French. Do you know what does Fonds mean in French? Ausra: That means the main stops; that’s principals and flutes, actually. Vidas: They’re positioned in Cavaille-Coll organ, I think on the left-hand side of that manual, right? So in Cavaille-Coll’s organs they had horizontal layout of the stops, stop knobs; and on the left-hand side they had, probably, the foundations: 16’, 8’, 4’, all those principals and flutes together--and strings as well, in that order. What was on the right-hand side? Ausra: I think that was reeds. Vidas: What’s left, right? Mixtures, mutations... Ausra: Yes, mixtures and reeds, and imitations. That’s right. Vidas: So every manual had this layout, and the Positif, Récit, and Grand Orgue also had the same principals, but maybe different kind of reeds, right? Maybe positif had what they call Clarinet, maybe Récit had Hautbois, and Trompette Harmonique; but also the Grand Orgue--had trumpets 16’, 8’, and 4’, right? And I think Positiv and Récit also had those trumpets. So in every manual, you could have 16’, 8’, and 4’ basically, a reed chorus on the big Cavaille-Coll organ in general. Ausra: Yes, and I think it’s easier to register French music, probably, than Bach, let’s say; because the French composers were quite good at notating, adding in the score what they want. So nowadays, you have so many editions where you simply just have to follow directions and register accordingly. But of course, sometimes it’s hard if you have to adjust from let’s say, a French style organ to a German style organ. That might be a tricky part. Vidas: Probably a German style organ doesn’t have a lot of foundations, right? Ausra: Yes. Vidas: Maybe they have 8’ principal and 8’ flute, and that’s it. You have to have more. Ausra: The German mixtures, they are sort of...screamier than French mixtures. Vidas: What would you do in this case, if you have a Neo-Baroque organ in the German tradition, but you had to play in let’s say, Franck or Vierne. Ausra: That’s a hard choice! Vidas: But you don’t necessarily have to play French music Ausra: Yes. Vidas: On that instrument. Ausra: That’s what I’d do, probably. I wouldn’t choose to play French music on such an instrument, but if I would have to do it, I probably would avoid mixtures at all. Vidas: Why? Ausra: Because they sound very bad, in French music on a German organ. Vidas: Or, avoid 16’ stop in the manual, but play everything one octave lower. Ausra: If that’s possible, yes; that’s a very good solution. Vidas: You see, the LH part has to go not lower than the tenor C because when you transfer everything one octave lower, then the bass C becomes your lowest note. So if anything goes lower than C, then it’s a little bit too low. So guys, I hope this was useful. Do you think, Ausra, people can start practicing and registering pieces according to our suggestions, now? Ausra: I hope so. Vidas: And if you have more questions, please send the to us when you subscribe to our blog at www.organduo.lt, if you haven’t done so already, and simply reply to our messages that you receive from us. All right! We love helping you grow as an organist. And remember, when you practice… Ausra: Miracles happen. Robert Morehead on coordination, fingering, hymn of the week, and challenging your listeners9/17/2017  Welcome to Secrets of Organ Playing Podcast #112! Today's guest is an American organist Robert L. Morehead, CAGO. He is a native of Pittsburgh and is the Director of Music Ministries at Emmanuel Lutheran Church in Vienna, Virginia. Robert began his organ studies at the age of twelve in Germany under the instruction of Tassilo Schlenther. For twenty-five years, Robert has held Director of Music positions in German Lutheran, Presbyterian, Episcopal, and Evangelical Lutheran churches. Robert holds a Bachelor's of Music degree in Organ Performance from Malone University in Canton, Ohio. While at Malone, Robert received instruction from W. Robert Morrison, FAGO and also earned a piano teaching certificate. Over the years, Robert has earned three organ certifications: the D-Schein from the Lutheran Church in Germany, the Service Playing certificate from the American Guild of Organists, and the Colleague certification from the American Guild of Organists. Robert is an eighteen-year member of the American Guild of Organists, and has served on the Executive Committee for the Lehigh Valley chapter. He continued his organ studies in Allentown, PA with Stephen C. Williams. Robert has served as Director of Music at St. Paul's Evangelical Lutheran Church in Red Hill, PA, Good Shepherd Lutheran Church in Kreidersville, PA, and as Contemporary Worship Coordinator at St. Mark's Lutheran Church in Pennsburg, PA. In addition to managing his own piano studio in the Lehigh and Perkiomen valleys, he was the choral director of the Lehigh Valley Saengerbund in Allentown, PA. In 2007, Robert received his Master's degree in Music History from West Chester University of Pennsylvania, where he also earned a research award from the university for his work on the topics of Ralph Vaughan Williams' agnosticism. Robert's thesis was based on the jazz organ music of Dr. Joe Utterback of Rowayton, Connecticut. He also has played harpsichord and sung for the Renaissance and Early Music ensemble, Collegium Musicum, at West Chester. He also toured Germany performing organ concerts in Nochern, Wiesbaden-Bleidenstadt and Taunustein-Hahn. In July 2009, Robert returned to the Pittsburgh area. Until May 2011, he was the Director of Worship and Music at Pleasant Hills Community Presbyterian Church in Pittsburgh, PA. Robert served as Director of Worship and Music at Beulah Presbyterian Church in Pittsburgh, PA from 2011-2016 leading a comprehensive music ministry that included nine music ensembles. On August 1, 2016 Robert began his ministry at Emmanuel Lutheran Church in Vienna, VA where he is the Director of Music Ministry /Organist and directs the Sanctuary Choir and Cross Generational Choir and plays with the Revelation Band. He also records and publishes on You Tube a “Hymn of the Week” series which includes history of a hymn from the Evangelical Lutheran Worship each week. Robert also is the coordinator of his family’s Christmas Praise series: A Christmas benefit concert now in its 28th year of works from chant to modern which is performed at a different location every year during Christmas week.  Robert has also recorded four compact discs: The complete organ works of Antonin Dvořàk, from Mendelssohn to Morehead (various selections from Baroque to modern), Faith Musings (a recording of Christian songs) and Christmas Piano Improvisations (improvisations for Christmas performed on the piano). In his free time, Robert is a free-lance recitalist (recently performing a recital series of organ works based on the book “Rediscovering Jesus” ) and composer performing throughout the United States and Germany. On October 8, 2009 (Robert's birthday), Robert's wife, Miranda, gave birth to their son, Kieren Micah. Just recently, Miranda gave birth to a daughter Lauryn Elora on July 8, 2016. In this conversation, Robert shares his ideas about his organ practice, coordination between hands and feet, fingering, hymn of the week and challenging your listeners in his work as a church musician. I was very glad to hear Robert has found my Organ Sight-Reading Master Course challenging but helpful and he talks about his experiences with this course at the end of the conversation. 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: https://www.rmorehead.com http://elcvienna.org Robert's channel on YouTube with the hymns of the week: https://www.youtube.com/channel/UCIPoozArfbZNmNqXC4Xuqmw
Vidas: Let’s start Episode 70 of #AskVidasAndAusra podcast. And today’s question was sent by Matt, and he writes that his challenge is with registration flow and marking: “How to use pistons and stops to flow through pieces and mark them well in the score.” So as I understand, Ausra, this is a question about practicing registration changes and basically how you mark registration changes! Oh! That’s very simple.
Ausra: Yes, that’s how I think about it. Vidas: Okay. What’s the system you learned in Lithuania? Ausra: Well, in Lithuania, we would just mark stops by numbers. Vidas: Numbers? Ausra: Never stop names, but only numbers. Vidas: And what’s the system you learned in America? Ausra: Well, we would write the stop names down. Or just numbers of combinations, because if you would have the piston system. Vidas: At the exact place in music, you write an abbreviation of the stop: let’s say Principal 8’ would be P8, right? Ausra: Yes. Vidas: Or flute would be F4. Of that manual. You have to indicate the number of the manual, either with abbreviated letters, like Great would be GT, or Swell, SW; or Choir would be CH, right? Or simply by writing what number of the manual: 1, 2, or 3. Ausra: Yes. And if you have to change it in a particular spot, you just write it in that particular spot. If you have time to change stops or to omit some stops, you just indicate that it’s a free action. Vidas: Yeah. Ausra: And to make it clearer, some people in their score add colored stickers--to grab your attention, that you would not miss it. Vidas: Maybe if the stop changes happen on one side--on the left side, let’s say--you could use one color stickers.... Ausra: Yes. Vidas: And on the right side, you could use another color. Ausra: Yes, that’s an excellent idea. Vidas: It would be more helpful for your assistant. Ausra: Yes. Vidas: What else? We have seen people do registration indications on a separate sheet of paper, right? Ausra: Yes, that’s also useful sometimes. Vidas: That’s how we do our beginning registration, right? Ausra: Yes. Vidas: In order to keep our scores relatively clean, we write beginning registrations for each piece in our performance-- Ausra: Or each movement of a piece, if you have a few movements. Vidas: True. So that means that by the end of the movement or the piece, you have to press either “cancel” on the combination system organ, or mechanically, basically, disengage all those stops, right? Ausra: Yes. Vidas: There is another system which works interestingly--I found it interesting to use on a relatively small instrument or medium-size instrument. I’ve seen European organists do that, especially when they have little time to prepare, and their assistant is not used to the layout of the stops: so on a separate sheet of paper, they would write numbers--from 1 to, let’s say, 10--how many stops are on one side of one manual. Let’s say--at St. John’s Church, let’s say, on the left hand side, for the Great, there are twelve stops; so you could write 1-2-3-4-5-6-7...up until 12. Twelve is a rather large number to notice on the layout of the organ; but maybe up to 6 works well, especially if it’s a horizontal layout, not vertical. What do you think, Ausra? Ausra: Yes, that might work. [If you have a small organist and it’s a large organ, I don’t think it would work. Vidas: So then, let’s say if you have to add something for the pedals, and your pedals are only 6 on the left side, you would write “+3,” right? And your assistant would count 1-2-3, and draw that number 3. It doesn’t have to be the exact number 3 marked on the stop knob, yes? The number could be quite different--it could be even 23!--but the position in the pedal ranks would be 3. And that’s how they will easily find the right stop knob. But that only works for relatively small instruments. So...abbreviation of stops like P8 or F4 would be good for occasions when you have to literally know what kind of stop you are using--for your assistant, right Ausra? Ausra: Yes, that’s true. Vidas: What’s the problem with numbers? Ausra: Well, for example for me, if I’m using numbers, I never know what kind of stop I’m adding; so I just prefer writing stop names. That will be easier for me. Vidas: If you write or “+14,” or “+17” or “+24,” your assistant will not know exactly what kind of stop you would prefer, what you meant. Maybe you made a mistake--maybe you wrote 12 instead of 13; maybe you meant 23 instead of 13. Ausra: Yes. Vidas: You don’t know. And they don’t know. But when you write P8, it’s very obvious you need Principal 8 for that manual. Ausra: Definitely. So I prefer this system. Vidas: Yeah. It basically forces your assistant, also, to think a little bit, what stops they are drawing. Ausra: I know, but in most cases assistants simply don’t care so much what to add, and it might be easier for them just to look at the numbers. Vidas: Especially if they’re used to that system. Ausra: Yes. Vidas: So you have to probably decide for yourself, what to use. Ausra: Yes, maybe try one system, and then another system, and see which one works better for you! Vidas: Or sometimes, we don’t use anything--we don’t write stops at all, right? Ausra: Yes. Vidas: When does that happen? Ausra: Well, it happens sometimes, especially when you have to try a new organ, and you don’t have time at all. Then you just improvise a registration on the spot. Vidas: That’s a good exercise, right? Improvise your registration. Ausra: Yes, that’s a good practice of organ registration. Vidas: That’s how, actually, organists back in the day did, when they improvised a lot in public. People down in the church would hear it like it’s a real composition. Like it’s a written-down composition: a very specific, detailed composition. But organists would improvise a very detailed plan for this piece, and registration changes would be quite extensive, too. Ausra: Yeah. Vidas: And that means you would simplify things. You will draw the stop that you could do, yourself--not necessarily everything at once, but just a few things. So, guys, thank you so much for listening! Please send us more of your questions. We hope to help you grow as organists. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 69 of #AskVidasAndAusra podcast now. And today’s question was sent by Matt, and Matt has a problem with pedal accuracy, especially across different pedalboards--flat or curved. So, adjusting to different pedalboards, Ausra--was that ever a problem for you?
Ausra: Yes, it was a problem. Vidas: So I guess this is a problem for a majority of organists, I would say. Ausra: I guess so, yes. Vidas: For me, too, I think, when I was a student...whenever I discovered a new organ, pedal playing would suffer. At first, right? I would require maybe a few days, at least, to adjust to a different pedalboard. How about you, Ausra? How many days did you have to have, at the beginning, to feel comfortable with the pedals? Ausra: Well...many days! Vidas: Three, four, five? Ausra: Yes, something like that. Vidas: Mhmm. So of course, when you’re a beginner, it’s very natural to suffer with pedal playing and adjusting to different pedals. But, what can we suggest to facilitate this progress? Obviously, Ausra, play more instruments, right? Ausra: Yes. And do more of coordination exercises. Vidas: What do you mean, coordination? Ausra: Well, play trio sonatas! Vidas: Trio sonatas. What if a person has a very weak pedal technique? Maybe not well-developed. Do you think trio sonatas will be too difficult? Ausra: Well, yes, if it’s just a beginner; but still at some point you will have to play trio sonatas. Vidas: Maybe you could say trio texture, not sonata. Ausra: Yes, that’s true. Vidas: Maybe three voices--take three voices in your piece. Or how about hymns? Would that be helpful to develop hands and feet coordination, at first? Ausra: Yes! Vidas: At the basic level. Ausra: Yes, definitely! It’s very hard, for example, to play pedal part in the pedals- bass line--and to play in left hand only the tenor voice. It always gives trouble for people, because it’s so hard to coordinate. If you can play it, then definitely you can play trio texture too. Vidas: A simple trio. Because what happens in hymns is that most of the time, voices move in quarter notes, or in general, equal note values. In trio sonatas, you have all kinds of note values, so that’s like the top level of advancement with hands and feet coordination. But you start, as Ausra says, simply. Ausra: Yes. Vidas: Simply, with a simple technique. Like a hymn. Ausra: Yes. And while adjusting to the pedal, it would be very nice that you would not exercise always on the same instrument. If you have a possibility, switch between them. Practice one day on a flat pedalboard, and another day on a curved pedalboard, if it’s possible. That way it will be easier for you to adjust to a new organ and to a new pedalboard. Vidas: Organists are different. Organist profession (and organ playing) is different from piano playing, right? Because pianos are quite similar everywhere. Ausra: Well, if you would ask a pianist, he or she would definitely not agree with you! Vidas: Of course. But they haven’t seen the huge variety of organs! So pianos are relatively similar, right? Ausra: Well, yes...in our eyes, yes! Vidas: Yes, in our eyes. But every organ is unique. Every organ...Maybe there are two identical organs, but they are positioned in a different space, and that’s already different, right? A different feeling. For example--Ausra, let’s take this 1776 Casparini organ inside the Holy Ghost Church here in Vilnius-- Ausra: Yes. Vidas: ...and recently, in Rochester, New York, they built a replica of this instrument in Christ Church. Which means they have a complete, functioning, new instrument built in the style of Casparini--like exact or a very similar instrument to that of Holy Ghost. Do you think, Ausra, that it’s exactly the same as Holy Ghost? Ausra: Definitely not-- Vidas: No? Ausra: --because the space is so different. Vidas: Because the organ is new, as well. Ausra: Yes. Holy Ghost Church in Vilnius has much larger acoustics. Vidas: And the organ is newly built, so all the parts are, sort of, functioning differently from the original Baroque period that we have in Vilnius. Ausra: And I think it has different tuning, too. Vidas: So far, yes, because the temperament problem has not been solved yet, here in Vilnius. So yes, it’s different, although the two instruments are supposed to be almost the same. So don’t despair when you encounter different organs and you feel like you make a lot of mistakes with your feet, right? It’s just a matter of getting as many organs under your belt as possible. Ausra: Yes, it will get easier, in time. Vidas: How many instruments do you have to visit and try, Ausra, first, to break to the next level--to get to the next stage? Ausra: Probably ten. Vidas: And every tenth instrument will feel like a small breakthrough, right? Ausra: Yes. Vidas: I think that’s a very valid approach for people. Okay, we hope this was useful to you guys. Please 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 replying to our messages. That would be the easiest way to send us your questions. We love helping you grow as an organist. Okay guys, this was Vidas! Ausra: And Ausra! Vidas: And remember, when you practice… Ausra: Miracles happen.  Ausra and I spent the last weekend in Paslek, Poland where we played at the 5th Paslek Organ Festival on the magnificent 1719 Andreas Hildebrandt organ. Incidentally, the town was founded exactly 720 years ago by the settlers from Holland. The instrument was recently restored by Christian Wegscheider. Our program was: 1. Franz Seydelmann Sonata No. 1 in C Major for 4 hands.: Allegro-Andantino-Allegro di molto 2. Ludwig van Beethoven Adagio für die Flötenuhr, WoO 33/1 3. Hieronymus Praetorius double choir motet Ecce Dominus veniet. Intabulation for organ duet by Vidas Pinkevicius 4. Ad Wammes Wave for organ duet: Gentle Breeze-Row the Boat-A Sunny Afternoon on the Lake-Breeze in Gently 5. Johann Sebastian Bach Brandenburg Concerto No. 1 in F Major, BWV 1046: [Allegro]-Adagio-Allegro. Arr. for organ duet by Vidas Pinkevicius Our playing wouldn't be the same without the careful assistance of our friend and colleague Paulius Grigonis. More information about the organ: http://www.hildebrandt-paslek.pl. Thanks goes to Krzysztof Urbaniak, the Artistic Director of this festival and his team for making this musical adventure possible (the hotel Kamienica Paslek was the best hotel we stayed in so far in terms of service and quality). Our program worked especially well for this type of instrument. We hope you'll enjoy full videos of our recital. You can hear excellent program notes in Polish delivered by Bartosz Skop as well pumping of the bellows done by one of Krzysztof's colleagues. The reeds were tuned skilfully by the local organist of St Bartholomew church in Paslek. Contact us to chat about our organ duet recital for your organization.
Would you like to learn the famous Pastorella in F Major, BWV 590 by Johann Sebastian Bach?9/13/2017  Would you like to learn the famous Pastorella in F Major, BWV 590 by Johann Sebastian Bach?
If so, this PDF score with complete fingering (and occasional pedaling) with registration suggestions will save you tenths of hours and enable the most efficient and stylistically appropriate practice. Because of this fingering, you will be able to play with articulate legato touch naturally, almost without thinking. 8 pages. PDF score will be available immediately after your payment. (50 % discount is valid until September 20). Free for Total Organist students. PS Here are 4 practice videos of this wonderful piece.
Vidas: Let’s start now Episode 68 of #AskVidasAndAusra podcast. And today’s question was sent by Peter, and he says that his main challenge is old age and lack of practice. To be more specific, he writes:
“I would be interested in any techniques to promote a more flexible heel - the kind of thing you need when playing trills (even slow ones) with one foot. Also can you explain why, after 40 years or more, I can still hit the wrong pedal note? (This must mean that, after all this time, I am still not sure of where each pedal is on the pedalboard. I don't have this trouble with fingers on keys. If I make mistakes there, it is nearly always because I mis-read the note, or failed to read the note at all, because I was looking somewhere else on the score.)” Old age and lack of practice--but also, Peter struggles with playing wrong notes in the pedals, right, Ausra? Ausra: That’s probably because he does not use the pedal preparation technique. That’s my guess. Vidas: Obviously. We can guarantee. We can guarantee it, because otherwise he would write about this. If he would apply pedal preparation technique himself, he would say, “I’m using pedal preparation, but still making mistakes in the pedals.” So that would be a different sort of question, different angle. Ausra: I know. And about playing trills in the pedal with one foot, using heel and toe? Vidas: Do you know this specific example? I know just from my memory, “B. A. C. H.” by Liszt: at the end of that piece, there is a passage with one foot--or even octaves, heels with octaves, both feet should be playing trills, I think, there. Ausra: Well, yes, but there are very few pieces that require you to do it; but if you have a piece like this, I would say the only suggestion would be to get different shoes, because your heel must be higher, for places like this. Then you won’t have so much trouble moving your ankle. Vidas: Flexibility of the ankle. How do you develop flexibility of the ankle? It’s very simple: you play pedal scales and arpeggios. Ausra: That’s true. Vidas: That’s how Marcel Dupré in the early 20th century developed his perfect pedal technique over, I think one summer when he was a boy; and he had injured his wrist, so he couldn’t play with his hands for some time. But he didn’t stop practicing! He himself wrote: he “played the pedals with vengeance!” So that’s how he became a virtuoso on the pedals. So guys, we have exactly such a training, right? Organ Pedal Virtuoso Master Course. And people who finish it--it’s exactly, I think, twelve weeks long--people who finish it say that after that, their technique advances not to the next level, but to the level after the next! Like a jump--it’s just like jump starting your pedal technique, and making a huge leap over time. Ausra: Yes. Vidas: It’s not easy, right, Ausra? Ausra: Yes, it takes time. Vidas: It’s not easy to play pedal scales. Ausra: No, it’s not easy. Vidas: Do you like those scales and arpeggio yourself? Ausra: No. I don’t like them! Vidas: I don’t, too. But I know that they’re like your...healthy food, like carrots or BROCCOLI. Do you like broccoli? Ausra: I like, actually, broccoli. Vidas: Oh, so you are different than me...But people who don’t like broccoli, but still understand the benefit of eating broccoli, they have to force themselves, a little bit, over a number of weeks, to get used to the taste of broccoli. So, the same with pedal scales. And if Peter would practice pedal scales and arpeggios--especially from our course, because they’re all with complete pedaling, with exact pedaling that would allow a perfect legato technique to develop. And that’s absolutely different than if you would play Baroque pieces, with alternate toes. We use this course specifically for Romantic and modern pedal technique, not for early pedal technique. And especially it would be helpful to develop ankle flexibility. That’s the key and secret to perfect pedal technique, right Ausra? Ausra: Yes, that’s true. Vidas: How else could we help Peter? He says old age… Ausra: Well, he cannot, definitely, become younger, but he could make himself feel younger by exercising regularly. Vidas: Um, let’s start with walking, right? A lot of people who haven’t exercised up until now, I think, would be hesitant to start it, right? To develop a new habit is very difficult, especially at this age, when you are over 60, right? But...everybody walks. For some time, for some minutes during the day, they walk. So the easiest form of exercise we’ve found--and very enjoyable--you could take a walk! In the park, in the woods, or along the river, right? Ausra: Yes, and if you are too lazy to do that, so just get a dog. And then you will have to walk with your dog every day at least twice. Vidas: Exactly. That’s required. How many steps do you need to take in one day, to stay in good shape? Ausra: Ten thousand. Vidas: Ten thousand steps daily. And how long does it take for you to do that, Ausra? Have you measured? Ausra: Well, I haven’t, but I think you had… Vidas: They have apps like that on the smartphone now, so you can measure your steps and be calculating time. And to me, it’s like 100 minutes. Of simply walking. Ausra: So, almost and hour and a half. Vidas: That’s one side. How can you stay active and in good shape besides walking? Can you do some form of stretching? Ausra: Yes, you can do yoga, Pilates...and other kinds of exercises. Vidas: We found that Pilates is especially good for organists because it develops your inner muscles--your core, basically, right? Ausra: Yes. Vidas: Especially helpful for when you have to sit for many hours at the bench. And for people who are struggling with back problems--there are a lot of them, among organists--the system that Joseph Pilates developed in the early 20th century is especially beneficial to them. And then Peter will not feel so old, right? Ausra: Yes. You can sort of stop your age. Vidas: Exactly. And drink plenty of water, guys, this could be extremely important. You have to drink maybe 8 cups of water a day....But not in one sitting, right? Ausra: Haha, yes, definitely not! Now we sound like medical doctors, not like musicians...hahaha! Vidas: No! You always have to consult your physician, right, when we talk about those physical things! Maybe there is a person who cannot really drink too much water-- Ausra: I know, yes. Vidas: Who maybe has kidney problems... Ausra: Or heart problems, too. Vidas: Or with physical exercise. Maybe walking is not good for somebody who has, maybe, knee problems, right? Maybe swimming… Ausra: Yes, swimming is excellent, if you have joint problems. Vidas: But only you know your own condition, and your doctor would prescribe a specific form of exercise, an activity you could enjoy. Ausra: We just simply suggest to you the things that we are doing ourselves, that work for us. Vidas: Exactly. So please consult your physician--that’s imperative. But in general, being more active, taking frequent breaks between practice sessions, like every 25 minutes or so, is extremely helpful; and doing some kind of stretching never hurts, in my mind. Ausra: Yes. Vidas: Good, guys. Please send us more of your questions. This is fun, and we should do it more often! So, you could subscribe to our blog at www.organduo.lt if you haven’t done so already, and simply reply to our messages that you will get to your email inbox with advice and tips about organ playing, and send us more questions this way. And we would love helping you grow as an organist. Okay, this was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 67 of #AskVidasAndAusra podcast. And today’s question was sent by Vince. He writes:
“Dear Vidas and Ausra: When I am playing hymns or a classical piece with 4 parts, sometimes a mistake happens where I can not tell which voice has the mistake. If performing, and not able to stop and figure out where the mistake is, the error may carry over to subsequent notes in that part because I don't know WHERE to make the correction. I'm not tone deaf, but at times the mistake totally eludes me, even so far as, the mistake is in the pedal but it sounds like it is in the soprano! Any advice on how to deal with this? Please don't say "just play perfectly!" :-) Perhaps ear training, but what method? Thank you very much. I enjoyed the interview with Kae Hannah Matsuda.” So, it’s wonderful question, right? I’m very glad he liked this interview with Kae, who helps us to transcribe those podcasts and make text versions available to you. Without her help, this would not be possible, so thank you so much, Kae. And Ausra, Vince is having a problem with detecting mistakes, right? Ausra: Yes. So, as he told himself, I think that ear training is the best solution to solve his problem. Because you have to learn to hear each voice that you’re playing, and it doesn’t matter how many voices you are playing at a time--you have to hear them all. And I would have a couple suggestions for him how to do it. First of all, he has to learn to sing each line of his hymn. If it’s four voices, he has to learn to sing them all, and to know them all by heart. Vidas: That’s very great advice, Ausra. All the main professors we’ve worked with recommend this technique, too. And obviously, this helps. Every time you discover a polyphonic piece with independent voice lines, you have to simply listen to inner voices especially; and there is no other way to do that at first, than to actually sing it. Ausra: Yes, and when I teach solfége we sing four-part exercises; and the main technique is, you know, that the student comes to the piano; and for example, I’m telling him or her, “Sing me tenor”--it means that he or she will sing the tenor line, and will play the other three parts together. Vidas: Aha, so tenor will be silent. Ausra: Yes, tenor will be silent--from the keyboard; but he or she will sing it. That’s an excellent technique, it develops your ear very well. Vidas: How do your students react to this at first? Is it frustrating for them? Ausra: Yes, it is frustrating for them. Not so much for choir conductors; but for other majors, yes. And everybody wants to sing the soprano line, but I never ask to sing the soprano line, because that’s the easiest part! And basses, not so bad; but alto and tenor are the hardest voices to sing. But they are very useful for your ear training. Vidas: But they don’t start with four-part textures, do they? Ausra: Yes, if it’s hard for you to do that, you have probably to just take a bicinium. I mean, two voices--a two-voice piece. Play one, and sing another one. Vidas: I would even think that Vince should start with a single part, a single voice. Just imagine it’s a counterpoint exercise, just like organ playing; so ear training is sort of also an art, and a skill you should develop equally well over time. And with organ, you could start with one single line. So why don’t you start with one single line when you sing those melodies? Ausra: Yes. Vidas: From your own piece. Or a hymn. You don’t need to actually get a special ear training book for that. Ausra: Well, a hymnal is an excellent source of things--you can do exercises from any of the hymns. Vidas: Yeah, absolutely. The voices are sort of independent, but not too independent. Ausra: You can take, for example, a four-part hymn, and just omit the middle voice, tenor or alto, and do soprano and bass. If it’s very hard for you, just play bass and try to sing soprano (melody), which is well-known to you; and then, you know, play soprano and sing bass. And then maybe,you know, later, when you feel comfortable with those two voices, you will add two more voices. But it will take time; these things take time, but it’s worth doing it. Vidas: I have just had an idea now, like lightning struck into my mind, that a similar course designed specifically for organists who play hymns to develop their ear training, would be excellent and very, very helpful, right? If we could devise such a training program, then over time, people could really develop a much better sense of pitch, discovering their mistakes, expanding their abilities to understand the pieces that they’re playing, right? Ausra: Yes. Because if you can sing correctly, I don’t think it will be a problem for you to hear if you are playing it correctly or not. Vidas: Mhmm. Right now, as we’re recording this, I only had prepared a melodic dictation course, basically for one melodic line. And that’s not enough, right? You have to actively sing, learn to sing those melodies--and in combination of melodies up to four parts, over time. Right? Ausra: Yes. Vidas: So guys, maybe we will try to figure something out and systematically develop such a training, so that you could simply jump in and get started with the materials; and over time, develop your sense of pitch--just like we would teach our students at school, National Čiurlionis Arts School in Vilnius, which is extremely well-equipped with theory, with music, harmony training...and things like that, for musicians. Please let us know if such a course would be helpful to you or not. Wonderful! 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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