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Vidas: Let’s start Episode 94 of #AskVidasAndAusra podcast. And this question was sent by Ken. He writes:
“Hi Vidas, I purchased the Chord Workshop course. I have been a church organist for many years, and have an online friend now, from the sale of a Roland C190 keyboard to him. I'm in Ontario Canada, he's in Nova Scotia Canada. He wishes to learn to play, and as he is retired and to encourage him to be able to play and enjoy doing it quickly, the use of chording, I believe is the way to go for him. As you know there are "fake books" of every genre of music available, and most hymnals now have chords too. If I decide to, can I purchase the "Chord Workshop" for him, and register it from my computer and give his email address? Also, is there any time limit on using your program on Youtube? I've not yet got into your program, but I wanted this information. Thanks Vidas. Ken.” So, it’s good that people want to give a present of our trainings and courses! Ausra: That’s very nice, yes! Vidas: Do you think, Ausra, that some people could benefit from such a gift? Ausra: Definitely, yes. Vidas: So, the question that Ken asks is, can he give his friends the email address when he purchases? Of course! Ausra: Of course; it’s up to him, actually. Vidas: There is no limitation. Yeah, and if anyone wishes to give a gift to their friends, one of our trainings or practice courses or programs, and gets into some questionable situation or trouble, just simply send us an email; we will be glad to help you out. But yes, you can send a gift to your friend this way. What about the second part of the question, Ausra? Are our videos available on YouTube for a limited time, or indefinitely? Ausra: I think you could explain this way better. I would think that they don’t have a limit. Vidas: No. Ausra: It’s unlimited. Vidas: As long as we’re in business, we keep them online, right? And we don’t intend to quit anytime soon, so hopefully we can offer our videos--not only paid ones, which are part of the courses, but also publicly available videos for unlimited use, too. Ausra: By the way, what are you practicing, now? Vidas: Well, I am going to play a recital with you, right, in a few weeks, in our church--an organ duet recital. And as part of this recital, I’m playing the long chorale fantasia by Dietrich Buxtehude, “Nun freut euch lieber Christen g’mein.” This is a fantastic piece to demonstrate the organ because of the various colorful combinations of stops. But it’s tricky, so it’s worth my time, playing very slowly and carefully, and in combinations just like I’m recommending to do in short episodes and multiple repetitions. And also, I’m playing those three arias from Bach cantatas that I have transcribed for our duet: a couple of them are from BWV 80 cantata, “Ein’ feste Burg ist unser Gott.” Remember, it’s a wonderful aria, the first one where you have repeated 16th notes, and it’s very fun to play. Ausra: Yes, in general it’s one of the nicest cantatas--“A Mighty Fortress Is Our God.” Vidas: Yeah. And the last aria is from BWV 147, the same cantata that has “Jesu, Joy of Man’s Desiring.” Ausra: Also very beautiful, yes. Vidas: What about you, Ausra? What are you playing now? Ausra: I’m playing Fantasia Chromatica by Jan Pieterszoon Sweelinck, yes. And it’s very nice. Very difficult, of course. Vidas: Why is it called “Chromatica?” Ausra: Because of its chromaticisms. It has so much, so many of them. Vidas: Is the theme chromatic, too? Ausra: Yes, it’s very chromatic. Vidas: I see. And what else are you playing, then, besides…? Ausra: Also Andante and Variations in D Major by Mendelssohn. Vidas: Do you like it? Ausra: Yes, it’s very beautiful. Vidas: When did you first hear it? Ausra: Actually, when Guy Bovet played it in our church. Vidas: Oh, that was some 8 years ago. Ausra: Yes. It sounded so good on that instrument, so I wanted to do it, too. Vidas: Yeah, why does it sound good on our organ? Ausra: Because our organ has so many 8’ stops. So I will be able to use them all, to demonstrate them. Because the range of dynamic is piano throughout the piece; so I can just alternate all these nice flutes and strings. Vidas: Great. Do you think that people could benefit from having a score with fingering of these piece? Ausra: I think it helps every time. Vidas: Right. And perhaps even lovers of Sweelinck’s music who want to play Fantasia cromatica, too. Ausra: Yes. Vidas: So we’re planning to prepare those scores in the future. Stay tuned. And I hope you will practice today, right guys? Because when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 93 of #AskVidasAndAusra podcast. Today’s question was sent by Simon, and he writes:
“Hello Ausra and Vidas, what are some tips for building up speed, and expectations for how long this should take – weeks, months? Learning a faster piece e.g Gigout Toccata, I can play the last section accurately at about 2/3 speed, but much faster and it starts to unravel. Playing same section over and over again I lose concentration, and probably just re-inforce mistakes. Greetings from Germany, and thanks to you both for your inspiration. Simon.” It’s nice that people from Germany are playing French music, right? Ausra: Yes, it’s very nice. Vidas: And getting feedback and help from us, and applying our tips in their practice, and getting better--even slowly, right? Talking about speed, Ausra: in your experience, does it come naturally to you, or do you have to force yourself to do something--tricks or tips? Ausra: Well, most of the time it comes naturally, but not always. It depends on the piece. Vidas: Well, you have to really remember that we have extensive piano training. From 7 or 6 years old we started playing piano. Ausra: Yes. Yes, that’s true. Vidas: And started playing professionally. Maybe we were not pianists, as in majoring in piano; but nevertheless we played piano every day. Ausra: That’s true, yes. Vidas: For many years before playing the organ. And when we started playing the organ, our finger technique was fairly developed, by that time. Ausra: Yes. But now, as talking about the speed, especially when you are practicing such pieces as Gigout Toccata, or basically any either Romantic or modern pieces (toccatas especially--Boellmann, Widor etc.), it’s a good idea to do half of your practice on the piano and half on the organ. It would be, I think, an excellent way to build up your speed--the tempo of the piece, too, while playing piano. Vidas: Your piece...on the piano? Ausra: Yes, that’s right! Vidas: But never forget that it’s an organ piece, right? Ausra: That’s true. Vidas: Don’t play with pianistic gestures and motions from elbows, and lift off your hands from the keyboard, and lift even your fingers so much--right? It’s not necessarily valuable for organists. Ausra: Yes, that’s true; but in some cases, especially if you have, let’s say, an early electronic organ, but you have a mechanical piano, too, then I think it would be very beneficial to practice on the piano. Vidas: A lot of people have pianos at home, right? Ausra: Yes. Because it has a mechanical action and it is good for your fingers--for developing your technique, and for building up the right speed. Vidas: I think in our community you will find plenty of people who have a digital organ, without pipes… Ausra: Yes. Vidas: And a normal, mechanical piano at home. Ausra: Then I would say, it’s better to practice on the piano; and maybe half and half, do half and half. Vidas: And by “piano” I don’t mean a Steinway, concert, full-size piano--but just an upright piano is perfectly fine. Ausra: That’s right. That’s right, yes. And with speeding up while playing, don’t be hasty. And don’t push yourself too hard to play in the right tempo right away. It will come in time. Just practice at the slow tempo first; and when you will be comfortable with that tempo, I think you may be able to speed up, little by little. Vidas: What helps me in these situations is when I have a difficult and challenging piece, and I know the music fairly well by now, I can play it in a moderate tempo, but it’s not yet concert tempo, and I want to speed up--I do the following trick: I play the piece from the beginning until the end several times, maybe 3 times, but stopping at every beat; and when I stop, I really look ahead, just one beat ahead; and I prepare my fingers in my mind, and then I play very very quickly just those 4 sixteenth notes, and not anything else. And then I stop and think ahead, and wait until I’m ready, and then play again four notes, very fast--I mean, in concert tempo, perhaps. Would you think that it’s helpful, Ausra? Ausra: Well, yes, I think it does help you. Vidas: Because it’s just the first step. Once you’re comfortable with this trick, you can double the fragment--maybe play half of the measure without stopping, in concert tempo; and then stop! and wait, and think ahead, and prepare yourself; and then play very fast again until the next fragment of 2 beats. Right? Ausra: Yes, that’s right. And when practicing, what might happen is if you push yourself too early to a fast tempo, you might lose your piece, because it might begin to get sort of dirty. Vidas: Exactly. Ausra: And then it will be very hard to correct it. Actually, I think sometimes it’s easier to learn a new piece of music than to correct a piece that is already muddy because you wanted to play too fast too soon. Vidas: I think the key is listening. You have to listen to what’s happening, even in a fast tempo; and if you can’t hear, that means it’s too fast for you, for your hearing. Ausra: Yes; and what you’re hearing, your listener will hear the same. So if you cannot hear what you are playing, your listener cannot hear it either. Vidas: Yeah, so spend some considerable time on these shorter fragments: one beat, two beats; one measure, two measures, four measures; one line, two lines; one page, two pages--making the fragments longer and longer by doubling them, but be very careful to go to the next beat very patiently. Ausra: Yes, because you still have to hear each note that you’re playing, and you have to be able to control yourself. Because if you will to pick up too fast a tempo, you might lose control. Vidas: Excellent. Do you think that people should play piano exercises or etudes from pianistic repertoire--once in awhile, for this case? Ausra: Yes, I think it would be good. Vidas: Chopin, Liszt? Czerny? Ausra: Well, Czerny, actually, is an excellent resource for building up technique. If you have trouble with some kind of technical problem, definitely you can find an etude by Czerny in which that problem will be solved. Vidas: Mhmm. Ausra: Because it’s an excellent source. People often rush to etudes like Chopin’s, and Liszt’s, and other virtuosos’... Vidas: They’re too advanced. Ausra: Yes, but sometimes they are too advanced, and sometimes I just think that for developing that necessary techniques, the Czerny etudes are the best. Vidas: Especially Op. 299--the “School of Velocity,” I think it’s called. So you will find any type of keyboard technique there. And just start from the beginning. Ausra: Yes. Vidas: Learn the first etude. Ausra: And I think it will help you later on, to play Romantic and modern music on the organ well. Vidas: Yeah, and your fingers will thank you for that. Ausra: Yes. You definitely will strengthen them. Vidas: Thanks guys, please send us more of your questions; we love helping you grow. And you can do that by subscribing to our blog at organduo.lt and simply replying to any of our messages that you will get. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 92 of #AskVidasAndAusra podcast. And today’s question was sent by John; and he asks how to create alternate harmonizations and descants for the last verse of the hymn. Basically, this is the question: how to reharmonize any type of melody, yes, Ausra?
Ausra: Yes, I believe so. Vidas: So, here’s the situation as I understand it. You have a 4-part setting of a hymn from the hymnal; you normally play from the sheet, from this setting, playing four parts, maybe with pedals, maybe without pedals; and then when the last verse comes, you want to be able to play something else based on that melody, right? Something with different harmony. So Ausra, what would you do in this situation? Ausra: Well, to change the harmony completely might be a little bit of a dangerous thing for the congregation. You could do that, probably, yes. But in order to reharmonize, you have to know what is written in your original hymn. Vidas: Mhm. Ausra: And then based on that, you could reharmonize it. But definitely, there are various ways to harmonize the same melody. You can use different chords. Or you can do a different texture, too. Vidas: Let’s talk about adding different chords, first. Wouldn’t it be easier to simply play from the sheet, looking at the solo melody, without the given harmonization, and add your chords--add your harmonization on top of that solo melody? Ausra: Yes, that’s a possibility, definitely. Vidas: At home, you would write down the melody on a separate sheet of paper, the soprano line; and when the last verse of the hymn comes, you start playing not from the hymnal, but from that sheet. Ausra: That’s a possibility, definitely, yes. Vidas: Right? And you can add whatever you want to. Ausra: Well, yes, but it should fit the melody, too. So you still need to follow some rules. Vidas: What is Rule #1 here? What’s forbidden, maybe? What would you have to avoid, when harmonizing the soprano line? Ausra: Well, probably, the basic things are: to avoid fifths and octaves; to avoid augmented intervals, jumps of augmented intervals; then, to avoid leading all four voices to one side, either moving up or down. Vidas: What is the number one solution to all these problems? Ausra: Well, you would have to...Well, if you would write the harmony down, if you harmonize it, then you could check it for those mistakes. Vidas: What I mean is, when you harmonize the soprano line, what would you do with the bass, normally? Do you go in the same direction, or-- Ausra: Well, no, actually, usually the bass moves in the opposite direction compared to the soprano. Vidas: Why? Ausra: Well, then it creates a nice contrary motion. But sometimes, the soprano and bass can move in the same direction, but maybe one of the inner voices can just stay in the same spot. Vidas: Yes. So generally what you mean is, the easiest thing to watch out for is contrary motion between the outer voices, soprano and bass. Ausra: Yes, yes. Vidas: But sometimes, maybe the inner voices can have contrary motion with the soprano as well. And that’s how you avoid those forbidden intervals, right? Ausra: Yes, that’s right. Vidas: And...Okay. What else should John know when he wants to reharmonize the melody? Maybe how to discover the chords from each note of the melody. Let’s say the melody is in C Major, and you see the note C on the page, right? What kind of chord would fit on that? Ausra: Well, tonic chord; and then sixth scale degree; root position chord; and of course subdominant chord; so basically, you have some choices. Vidas: Tonic would be C-E-G, sixth scale degree chord would be what, A-C-E, and subdominant would be F-A-C. Ausra: Yes. Vidas: You see, in each of these 3 chords, there is the note C present; therefore, it fits nicely. Ausra: And the third scale degree chord, too, has this; but it’s maybe not often used, but it could also be used, in some cases. And of course you could not use chords in root position--not only root position. Vidas: Mhm. Ausra: You could use inversions, too. Vidas: First inversion, normally. Ausra: Yes, first inversion, yes. Vidas: What if I have the note D in the melody? Ausra: Well, it could be a dominant. Vidas: G-B-D? Ausra: That’s right. Vidas: What else? Ausra: Seventh scale degree, first inversion. Vidas: D-F-B. Ausra: Of course you could use dominant inversions, or dominant seventh chord, and inversions of it; so it’s G-B-D-F and its inversions. Or the seventh scale degree, seventh chord-- Vidas: B-D... Ausra: F and A. Vidas: F-A. Or just a second scale degree root position chord. Ausra: That’s right. Vidas: Or first inversion. Ausra: Well, yes, but be careful with that chord--it’s not so often used in root position, especially in the minor keys. Vidas: Uh-huh. Ausra: In major keys it’s okay, but in minor keys it’s a diminished chord, so it’s not often used-- Vidas: Oh, it’s forbidden. Ausra: Yes. You could use inversions of it, mostly the first inversion. Vidas: Mhm, that’s right. And so on, right? Ausra: Yes. Vidas: You have to think. You don’t have to know, mentally, all the names of these chords, but you can discover them by building them up from the bass, right? From the note E, you would discover E-G-B, when E is in the lowest position; or in the middle, it would be a tonic chord, C-E-G, right? E is present. Or, the sixth scale degree, when it’s on top: A-C-E, right? Ausra: Yes. Vidas: So people can really experiment, I think, with these chords and melodic notes, right? And see what fits. And what color it creates--each particular chord--because not every chord fits nicely with the next one, right? Ausra: That’s true. Vidas: What are the 3 main functions that people should be aware of? Ausra: Well, tonic, subdominant, and dominant. And what you have to know is that the tonic may appear after each of these functions. Vidas: Mhm. Ausra: Basically. It’s the main function. And subdominant may come before tonic, and go after tonic, and then after subdominant, dominant may come; but after dominant chord, you never use the subdominant chord. Vidas: Unless there are some exceptions, right? Ausra: Yes, there are some exceptions, but… Vidas: It’s too advanced…[? 9:07] Ausra: But they are very rare, and you need to know how to use them. Vidas: Mhm. Ausra: So basically after a dominant chord, you use either another dominant chord, or you just resolve it to a tonic chord. Vidas: Right. Right, so guys, if you want to re-harmonize your melody, you can follow those simple suggestions. If you want to create an additional melodic line, a fifth voice, which is called a descant--this is something else, right, Ausra? Ausra: That’s right, yes. Vidas: This is especially nice if, let’s say, a trumpet (or cornet) plays a very high-pitched melody on top of the harmonized 4-part setting. Ausra: That’s right. Vidas: For the last verse of the hymn. And I believe there are many collections that people have created for ten or one hundred hymns from the hymnals; or maybe in every hymn setting they have reharmonized everything and created an additional descant, right? Ausra: That’s right. Vidas: So people could open a specific title of the song--of the hymn--and choose the descant, and just play it, right? But what if a person wants to try to create a descant? It’s kind of tricky, because you have to create an additional voice; but it may be less tricky if you think in terms of creating a melody based on those chords. Ausra: Yes. Vidas: You can double, right? You can double some of the voices, sometimes, right? Ausra: But not all the time. Vidas: No, just once in awhile, double; because you see, in every three part chord, tonic, subdominant, and dominant, let’s say--there are three notes, but there are four voices, SATB; and at the end you want to add the descant, which is a fifth voice. So you have to double something. Ausra: Yes. But you also could create some diminutions, maybe, in the soprano voice. Vidas: Oh, that’s right! You could basically...What I have found very useful is to try to play a voice which is a high-pitched voice, but not the melody--not the soprano; not the women’s high-pitched voice, but let’s say, men’s part. Ausra: Like tenor. Vidas: Exactly. Because it’s an inner voice, they never hear it on top of the melody. And it’s feels very very nice if you play with cornet or trumpet. Ausra: Yes, I think it should work. Vidas: That’s the easiest way. No reharmonization necessary, you just have to play a different setting of the hymn. So imagine of course, your RH should be free to take this descant with the solo stop; what would your LH do then, Ausra? Ausra: Probably play 3 voices and then the bass line in the pedal. Vidas: 3 voices in closed position, probably. Ausra: Yes, all of course in closed position. Vidas: Soprano, alto, and tenor, closed enough. Ausra: You wouldn’t be able to play in open position three voices in one hand. Vidas: Closed position means that each of those three voices has to be closer than a fifth apart. Basically not more than a fourth, a perfect fourth. Ausra: Yes, that’s right. Vidas: So then...And the distance between those three outer voices, soprano and tenor, should not be more than an octave, because your hand will be too narrow. Ausra: That’s true. Vidas: So...And the pedals can take the usual bass line, I think, right? Ausra: Yes, yes. Vidas: So guys, try this at home; and try, of course, before, well ahead of time; and try many times, and work in fragments and sections, and not necessarily everything together, but...how about just practicing the tenor lines with the RH alone? Just to make sure you know the movement? Ausra: Yes, that would be good way to practice. Vidas: Mhm. Ausra: I just thought about modulation, going right away a whole step or half step up like in pop movies and music; you could do that for the last verse of the hymn, too. Vidas: But for that you would probably need a modulating interlude. Ausra: Well, in pop music sometimes they do it right away, without any interlude. Vidas: So yeah, it depends on your style and choice, and taste, probably. Ausra: Haha yes, that’s true. Vidas: And skill. If you know how to modulate from C Major to C sharp Major, then go ahead and do that for four or eight measures, and then you can add the last verse a half step higher. Ausra: Yeah. Vidas:That’s nice for Easter or Christmas, solemn occasions. Do you think, Ausra, that people could benefit from our courses on harmonization? Ausra: I think so, yes. Vidas: Something like a workshop on hymn harmonization? And I think Harmony for Organists, Level 1, too. Ausra: That’s true, it explains the main voice leading. Vidas: Yeah. Ausra: And actions of the chords. That’s a valuable course for beginners. Vidas: Right. And you did this course with Victoria, too, right? I think, explaining a little bit those concepts which also could be helpful. All right, so guys, go ahead and apply our tips in your practice. And send us more of your questions; we love helping you grow. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.  Would you like to learn to play Introduction-Choral by Leon Boellmann from his Suite Gothique, Op. 25?
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Vidas: Let’s start Episode 91 of #AskVidasAndAusra podcast. And today’s question was sent by Max, and he writes:
“Hi Vidas, just letting you know I love your channel and have found a lot of useful hints in your theory videos, particularly. You have a clear and unaffected teaching style which is rare on YouTube. Suggestion for topics I would submit (if you were looking) would be organ playing in terms of continuo and supporting vocalists (I really like the use of it in Monteverdi's Orfeo, for example).” First of all, it’s nice that people are using my music theory advice from YouTube videos. And talking about continuo organ playing--can we give some tips and pointers to Max, Ausra? Ausra: Well, I hope so! Vidas: So, what is continuo--or basso continuo; or general Bass, in German; or figured bass, or thorough bass, in English? Ausra: Well, this is a system basically based on functional harmony. Vidas: But it’s a precursor to tonal harmony-- Ausra: Yes, it is. Vidas: To functional harmony, where it’s an abbreviated system, right? Ausra: That’s right, where you have only the bass line, and you have the numbers written below the bass line. Vidas: And sometimes you have a melody, too. Ausra: Yes, sometimes too. But real basso continuo, that’s only one line with numbers below. Vidas: Uh-huh. Sometimes you might have a soprano line or a classic melody, if you’re accompanying a soloist or if it’s hymn or a chorale. So then, based on those numbers, you have to do what? Ausra: To fill in those chords. Vidas: At least. Ausra: Yes. Vidas: That’s the basic understanding. Ausra: Yes, and it depends on the tempo of the piece, actually, which that particular movement is written in. Because if the tempo is very fast, like allegro or allegro molto, then only chords are sufficient; but if you have a slow tempo such as adagio or grave, then you can add more stuff. And if you are playing with a soloist, you may create dialogues and duets, which will work very nicely. But you will not be able to do that if the tempo is very fast. Vidas: Would do you mean that in intervals of thirds and sixths? Ausra: Yes. Vidas: With the melody, with the soloist. Ausra: Yes, that’s true. Vidas: Why thirds and sixths? Ausra: Because they sound so nice, and they are good intervals in functional harmony. You would not want to create duets and dialogues in fifths or octaves! Vidas: What about fourths? Ausra: Well, not as bad as fifths and octaves, but still...not the best intervals. Vidas: They would sound empty. Ausra: Yes. Vidas: The perfect, pure intervals sound empty; but major and minor thirds and sixths are the most beautiful in tonal harmony, and could be used in alternation or in parallel motion. Ausra: Yes. Vidas: Or in contrary motion. Ausra: And in Baroque times, composers used that basso continuo technique very often, because it saved them time; it saved them paper, which was so expensive at that time; you would just have to write the bass line and then put some numbers. Vidas: So, if you see, let’s say, in the bass clef, the note C, right-- Ausra: Yes? Vidas: Without any numbers--what would you play with your RH? Ausra: That’s the fifth chord, you would just have to add in the RH E, G, and C. Vidas: Or C-E-G. Ausra: Yes. Vidas: Or G-E-C. Ausra: Yes, it depends on what you want and what fits. Vidas: Those three pitches. Ausra: Yes. But yes, the note without any number means the fifth chord. Vidas: Root position-- Ausra: Root position. Vidas: Triad? Ausra: Yes. Vidas: And sometimes it’s major, sometimes it’s minor. Ausra: It depends on what the accidentals are, next to the clef. Vidas: For example, if the bass note is A without any numbers, then it’s… Ausra: A minor. But if you have 3 sharps next to the clef, it means A Major chord. Vidas: Don’t you think that they would write “♯” above the note? Ausra: Well, if that’s an accidental that’s not next to the clef, then yes; but if it’s next to the clef, then no, no. Vidas: Mhm. So basically, they would add additional accidentals-- Ausra: Definitely, yes. Vidas: Into the notation of the numbers. Ausra: Yes--flats, sharps, naturals, yes. Vidas: For example, if you see the numbering 5 and 3, and 3 is with a sharp or flat… Ausra: Yes, it means that you have to raise the third from the bass. Vidas: Or lower. Ausra: Or lower, yes. Vidas: What about 54? Ausra: 54 means that this chord has suspension. Vidas: Suspension? Ausra: Suspension, yes. Vidas: 54 leads to 53. Ausra: Yes, that’s right. So you always have to count from the bass. Vidas: Bass up. Ausra: Yes, from the bass up. Vidas: What else? For example, what if it’s a 6 above the bass? Ausra: Well, it means a 6 chord. Then it means, let’s say if you have C in the bass, it means that you will have to have E and A. Vidas: Why E, then? Ausra: Because that’s a 6 chord. That’s the way we write it in basso continuo. Vidas: And from C to E it’s a third. So if nothing is written, we have to imply that it’s a third, also. Ausra: Definitely, yes. Vidas: Unless it’s a fourth, too. Ausra: Yeah, could be, then it would be 64 chord, of course. Vidas: The numbers would be 64, and then the spelling out of the chord above C would be-- Ausra: C, F, and A. Vidas: Uh-huh, 64 chord. What about a 753 chord? Ausra: That’s a seventh chord. Vidas: So you add those three notes above the bass-- Ausra: Yes. Vidas: Above, let’s say G--would be what? Ausra: G, B, D, and F. Vidas: So G would be in the LH, and the three upper notes in the RH. Ausra: Yes, and while playing what’s the most comfortable thing. If you are doing it on the organ, just play the bass line with your pedal, and add the next 3 voices in your RH--that’s the most comfortable situation. Vidas: Mhm. Ausra: And I would suggest the same if you are playing on the harpsichord, except that now your LH would be playing the bass line. Because the closed position is so perfect for basso continuo playing. Vidas: And sometimes those numbers could have just one number, or two levels of numbers, or even three levels of numbers. Or sometimes four, if four notes have to be played in the RH sometimes. Ausra: Yes. Vidas: Remember when we played recitatives from Bach’s cantatas? Ausra: Yes, I think the recitatives are the hardest thing, probably, to accompany. Vidas: Or from the Passions. Ausra: Yes. Vidas: Especially from the Passions. Ausra: Yes. Because the harmony is so chromatic in those pieces. Vidas: But it’s not really rocket science, is it? Ausra: No, it’s not. Vidas: You just have to count intervals, and add necessary accidentals, if they happen. Ausra: It’s just a matter of practice and experience. Vidas: And once you get used to adding those chords, you could have those melodic lines, and dialogues and duets. Ausra: Definitely, definitely. Vidas: Remember somebody wrote about Bach’s playing continuo, that he would add one extra voice, always-- Ausra: Mhm. Vidas: One completely, sort of, written-out and through-composed voice. If it’s a duet, he could add a trio texture. If it’s a trio, then a quartet would sound. Ausra: That’s an amazing thing. Vidas: He would think linearly--horizontally, not only vertically. Ausra: Yes. That’s amazing, actually, pretty amazing. That’s a hard thing to do. Vidas: But probably not as hard as it sounds, because you have to just think about the melody that your other voices are playing… Ausra: Well, yes, but if I had to do it in written form, I could do it, definitely, because that way I would have time to think about it; but if I had to do it on the spot, just sitting at the instrument right away, it would be very hard, for me at least. Vidas: It’s a matter of practice, of course--how fast you can think. Ausra: Yes, it’s also a matter of practice, that’s true. Vidas: If you can think as fast as you can play… Ausra: But for starters, let’s just be able to add those scores on the bass line, while given only numbers. It will be good enough for starters. Vidas: Alright, guys, go ahead and try out some continuo settings. What would be a good collection for them to look at? Ausra: Well… Vidas: Clavierubung Part I by Krebs, probably? I've created fingering and continuo realization for his "Allein Gott" chorale setting from this collection. Ausra: Yes, because Krebs gives 2 voices to the soprano and the bass, so you would have to only add the 2 middle voices; and of course, I would say Handel’s continuo exercises. Vidas: And here we have to mention, probably-- Ausra: Handel’s harmony is simpler than Krebs’, because Krebs lived later. Vidas: If you want a deeper understanding of basso continuo, and how it relates to, let’s say, Bach’s school, and later to improvisation--let’s recommend Pamela’s method book. Ausra: Definitely, yes. That’s a good book. Vidas: And by the way, she just released her second, long-awaited volume for polyphonic playing, and I think in the first volume you will find a lot of things and exercises with continuo. Ausra: Yes. Vidas: Bach and the Art of Improvisation by Pamela Ruiter-Feenstra. Thank you, guys, for listening, and thank you for applying your tips in your practice--that makes a lot of difference in your playing in the long term. This was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 90 of #AskVidasAndAusra podcast. And today’s question was sent by Sunny. And she writes:
“It would be good to mention the type of shoes you should wear while playing and NOT barefoot like I've gotten in bad habit. My teacher taught me to wear same shoes, with 1/2' heels, carry in bag with my music or keep at the organ. AND one rule we have in our house: NEVER touch ANY of the 4 keyboards in my home without washing your hands. That’s a big time no no. My grand daughter scolded one of our guests who sat down at our grand piano to play. Too funny, but people don't realize how over time, grime from one’s hands becomes a problem with build up gunk so washing hands should be taught to others for any instrument.” So first of all, Ausra, let’s discuss: what type of shoes should organists wear while playing the organ? Ausra: Well, if you live in the United States, then it’s not a problem to get organ shoes, because they have a company that delivers you organ shoes. The only thing you have to do is to submit an obligation--to give them your size, to pay money; and the shoes will come to you. Vidas: You’re talking about Organmaster® shoes? Ausra: Yes, that’s what I’m talking about. Vidas: And you’re wearing those shoes, too, yourself? Ausra: Yes; and I paid double for them, because we don’t have that treaty between the United States and European Union, so everything that goes above $20, you have to pay extra. Vida: Yeah, fifteen percent of taxes. Ausra: Yes. And so now, my last organ shoes are just golden! Vidas: Yeah. Ausra: I paid for them twice! Vidas: But they are good for you, right? Ausra: Yes, they are good for me. I’m very glad I have them. But in general, if you cannot access real Organmaster® shoes, you could find similar to what you need for the organ. Vidas: Something for ball dancing, right? Ausra: Well...no, no... Vidas: No? Not the same? Ausra: No, no, it’s very different. If you mean like folk dancing, then yes, but not ballroom dancing. Vidas: Mhm, not ballroom. Ausra: Because they have that very high and narrow heel. Vidas: Hmm. Ausra: Thin heel. So you could not play organ with those shoes. Unless you would be like, a French madam. Vidas: So probably...an inch would be enough, right, for you? Ausra: Yes, an inch, maybe an inch and a half. Vidas: Yeah… Ausra: But no more than, probably, two inches. I would say that two inches is the highest heel. Vidas: Sunny writes that a half inch is a little too small. Ausra: Yes, definitely, yes. Vidas: Mhm. Because then you have to twist your ankle a lot when playing heels. Ausra: Yes. An important thing is that the tip of your organ shoes would be a little bit narrower. Vidas: The toes? Ausra: Yes, toes. Vidas: Mhm. But not too long. Ausra: Yes, not too long, definitely. Vidas: So they all should be leather-based shoes--the soles should be leather, right? Not rubber. Ausra: Yes. Yes, then you could nicely glide through the pedal keys. I think it’s easier for men to find the right organ shoes. But the most important thing is that your organ shoes must be clean, that you would not bring dirt on the organ. Vidas: For some beginner students, we don’t want to invest, for example, a lot of money for shoes, if they don’t know if they will be playing for a long time, and they just want to try it out. It’s better to just wipe your feet on the carpet (if you have a similar type of shoes). But you want them to be clean: so before playing, have a special carpet next to the organ bench, and clean or wipe your soles, and then you should be ok. For the short term, of course. Ausra: Yes, for the short term, definitely. Vidas: What about the second part of the comment, about washing your hands? Have you seen? Remember when we went to some country organs, and we saw some grease on the keyboard, and that means that people really don’t wash…? Ausra: I know… Vidas: They maybe eat bacon and then sit down and play. Ausra: Ooh. That’s disgusting. And I think then rats will just eat those keys! Because they feel some grease on them. Ugh! Sounds very bad. So better wash your hands before playing any type of instrument. But actually, on the other hand, sometimes you can get another problem: for example, I have very dry skin on my fingers. So if I wash my hands each time before sitting down to the organ, I simply will not be able to play. Because the blood will just start to flow from my fingers. I will hurt them. So what I actually must do before playing organ is, I must use some hand cream. Vidas: Moisturizer? Ausra: Yes, moisturizer. I wasn’t even even able to give my fingerprints when I needed a new passport. Vidas: Really? Ausra: Yes. Vidas: So you could be a great bank robber. Ausra: Yes. They could not scan my fingerprints; and finally they gave me such a very greasy cream to put on my fingers. And after that I was able, finally, to give my fingerprints. Vidas: I know what you should do. You should break into the Organmaster® shoe company and steal some shoes! Ausra: Oh yes, but then I would have to go to America, and it would be too expensive! That’s just a joke. Vidas: You don’t have to explain to people that’s just a joke--it’s not a joke! It could be a real plan, right? Ausra: Well, you could write a story about that. Vidas: I may, sometime! Ausra: It will become a bestseller. Vidas: At least, in our circle, right? Ausra: Yes. Vidas: I will have at least one reader. Ausra: Sure. Vidas: ...And that’s you. Ausra: Yes. Vidas: Good. So guys, what about playing in your socks? Have you played in your socks? Ausra: Yes, I did that a few times. Vidas: Did you like it? Ausra: Well, it’s okay. It’s better to play in your socks than to play with uncomfortable, unfitting shoes. But definitely if you are playing modern and Romantic music, then you will hurt your ankles so badly, because you will have to turn your feet a lot. Vidas: I think too much, probably. Ausra: Yes, too much, and it will be very uncomfortable. Vidas: True. Ausra: But for example, what I experienced when I played in wintertime in an unheated church--when it’s very cold, then it’s better to play in your socks. That way your toes will not freeze so much. Vidas: Exactly. And your socks could be thick, right? Ausra: Yes, like wool. Vidas: And you could add a special leather sole to it, right? Ausra: Not necessarily. It could be just regular old socks. Vidas: Uh-huh. Alright, so people can try out what they like, especially in winter. But most importantly, rule number one is: have your shoes or socks or whatever you wear cleaned. Ausra: Definitely. Vidas: Because dust and dirt will definitely damage the action of the organ. Thanks, guys, for listening! And send us more of your questions; we love helping you grow. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.  Welcome to Secrets of Organ Playing Podcast #116!
Today's guest is Dr. Kalle Toivio who is a Finnish-born American virtuoso concert pianist and organist living in New York City. Dr. Toivio is the winner of the third prize at the 2016 American Guild of Organists National Organ Improvisation Competition held in conjunction with the 2016 AGO National Convention in Houston, Texas. In the Semifinal at the 2017 Montreal Organ Festival, Kalle Toivio was chosen as a finalist of the 2018 AGO NCOI, which will be held in conjunction with the 2018 National Convention of the American Guild of Organists in Kansas City, Missouri. Kalle Toivio has played organ recitals and performed at the Church of Saint Ignatius Loyola, Riverside Church, St. Mary the Virgin and at the Kennedy Center Millenium Stage in Washington D.C. In honor of the Jean Sibelius 150th Anniversary Celebration, Kalle Toivio gave a recital featuring organ music and song cycles of Jean Sibelius together with soprano Sharon Harms at the Cathedral of St. John the Divine, in November of 2015. This recital was featured in the 2015-2016 Season of 'the Great Music in Great Space's Great Organ Recital Series.' In April of 2016 Kalle Toivio gave a recital at the Central Lutheran Church of Minneapolis, where he improvised an entire organ symphony in four movements, a feat Dr. Toivio repeated at the 2017 Mänttä Music Festival. Kalle Toivio has toured in Europe, Japan and the United States. He has performed in Television and Radio in Finland, England, Belgium and Austria. In the United States Kalle Toivio has played recitals at the Myra Hess Memorial Concert Series in Chicago and at the Carnegie Hall. Before moving to the United States, Kalle Toivio performed at numerous Mänttä Music Festivals since their founding in 1999. Besides being a versatile career as a soloist and a chamber musician, Mr. Toivio is a producer of cultural events and concerts. As the Music Chairman of the Finlandia Foundation New York Chapter, Kalle Toivio arranged and produced the New York Debut Recitals of accordionist Veli Kujala and composer Sampo Haapamäki. Together with Mr. Leland Hoch, Kalle Toivio produced the first full performance of Rautavaara's 'Vigilia' in the United States, conducted by Kent Tritle at the Cathedral of St. John the Divine in November of 2016. Dr. Toivio is the founder and Sub-Dean of the Finland Chapter of the American Guild of Organists. Kalle Toivio is the Organist and Director of Music at the Church of Notre Dame in New York City. Before his tenure at the Church of Notre Dame, Mr. Toivio served for five years as the organist of Christ Church Bay Ridge (Episcopal) and served concurrently as the Cantor-Organist of the New York Finnish Lutheran Congregation. Kalle Toivio founded and was the leader of the Christ Church Schola Cantorum. Dr. Toivio is in the organ faculty of Manhattan School of Music Precollege as well as on the Piano Faculty of the Stamford Music Arts Academy. Kalle Toivio has graduated from the Sibelius Academy with Bachelor and Master of Music degrees in Church Music as well as Master of Music degree in Piano Performance. After moving to New York City Kalle Toivio continued his organ studies at the Manhattan School of Music. He received a Master of Music degree in Organ Performance and was honored with the Bronson Ragan Award, given to an individual who has demonstrated outstanding ability in Organ Performance. For more than seven years Kalle Toivio studied the Art of Organ Playing and Improvisation with the late McNeil Robinson. For almost two decades Kalle Toivio has studied the Art of Piano Playing with Nina Svetlanova. In May of 2017 Kalle Toivio received his Doctor of Musical Arts degree from the Manhattan School of Music. Dr. Toivio was once again honored with the Bronson Ragan Award. The doctoral dissertation of Dr. Kalle Toivio is on transcriptions for the organ of concertos by Antonio Vivaldi. In this conversation, Kalle shares his insights about organ improvisation and the great McNeil Robinson tradition. 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: http://kalletoivio.com/ Kalle Toivio on Facebook and YouTube
Vidas: Let’s start Episode 89 of #AskVidasAndAusra podcast. Today’s question was sent by Anne, and she writes:
“Hi, I really enjoy watching your videos and have found them very instructive. I am an organist/pianist/violinist. However, I've recently been diagnosed with an ulnar compression which is affecting the sensation and dexterity of my ring finger and little finger on my left hand. It is also causing me issues in using the pedals because I am finding that, when playing the organ, I cannot move or sit in an optimum position. I have been told by my physio that this is from wear and tear from playing and practicing, and I was wondering if you know of other musicians who have had a similar problem? Although I am doing exercises to try and relieve the compressed nerve I have been told that to resolve it I will probably require surgery. The only other choice would be to stop playing, which obviously I cannot do. Do you have any suggestions? I'd be very grateful to hear your thoughts. Thank you, best regards, Anne.” So: nerves, sensation in her ring finger and little finger in her left hand, affecting her dexterity of the fingers. This might be a serious problem, right? Ausra: Yes. Vidas: Have you ever had problems with fingers and wrists, and things like that? Maybe ankles? Ausra: Yes, with wrist I have had problems, way back in the Academy of Music when I was playing very much, and doing hard music such as Reger. Vidas: And...did you go to a doctor? Ausra: Yes. Vidas: And what did he recommend? Ausra: Well, there were discussions between doctors: one advised me to do surgery, and one did not. So I did not do that surgery--wrist surgery. And I’m still playing! I’m still feeling all my fingers. Vidas: Uh-huh. So basically you had to somehow adjust your practice procedures. Ausra: Well, yes; and I realized that for me, swimming is very beneficial to relax all my muscles. Vidas: Do you think that Anne could also try swimming? Ausra: Could be; or some other physical therapy exercises. But everything is individual for each person. Vidas: She has to try out a lot of things and then discover what works for her, basically. Ausra: Yes. But if that’s a problem of nerves, she might have to have real surgery. Vidas: Depending on how far advanced this ailment is. Ausra: Yes. Vidas: I see. In high school, I also had problems with my little finger--I think with the right hand--because of playing Scriabin etudes, I think. So at this time, my teacher gave me to play left hand etudes, and I didn’t practice with my right hand for three months, maybe. And after that, of course, the pain stopped. But I had to be much more careful with my playing. Ausra: And I often tell my students at Čiurlionis Art School, that the most important class for them is actually physical exercise class. And they laugh at me! They just think, “Oh, she’s crazy haha, she tells us in a school of music that the most important class is physical exercise.” But I seriously mean it. Because if you don’t exercise enough, you will not strengthen your muscles, and just practice for long hours. And Anne told us that she plays three different instruments. Vidas: Yeah. Ausra: Including violin. It means that your body has to adjust to all these instruments. And if you don’t exercise enough, in time you might encounter various health problems. Vidas: You’re absolutely right, Ausra. Ausra: Because even while living healthy and exercising enough, it’s hard to prevent your body from damages. That’s what happens when you practice for long hours. Vidas: When was the time when you first understood that physical training is important for musicians? Ausra: Actually, it was in America. Vidas: Me too. I had all kinds of exercise equipment in my home, but I never really took advantage of those. And I never really developed a habit of exercising. Maybe I could do some sporadic exercises; but it didn’t count, basically. But what you’re saying is I think very common for musicians-- Ausra: Yes. Vidas: Because all they want to do all day long, really, is play! Ausra: Yes, yes. And I mentioned swimming, earlier; I think it’s very beneficial for a musician to swim; because, well, you cannot hurt yourself while swimming. It really makes your body relax and release all the tension, and you will not hurt your fingers while swimming. Vidas: Even people with older age, with joint problems, knee problems… Ausra: Yes, and maybe not to swim, but do some exercises in the water. That’s very beneficial, too. Of course, you have to consult a professional, in order to learn those exercises. Vidas: And as I was saying, even people with joint problems or knee problems, they cannot really take a walk or run, or do other kinds of exercises that other people can, but they normally can swim. Ausra: Yes, and our host family--the mom of our host family--she had knee issues, way back in Michigan (we were living with an elderly couple for 2 years). And she had both her knees replaced. And actually, at quite an early age; she was still young when she had that surgery. And after that, she never felt good in her life. And she could hardly walk. She would be walking, but it would give her a lot of pain; so she could not take long walks, or run, or do other exercises. But she could swim; and that’s what she did every day. Vidas: True. I hope that people in our Secrets of Organ Playing community--they are from all backgrounds, not only professional musicians; and a lot of them are from different professions-- Ausra: Yes. Vidas: And hopefully they do understand the importance of moving. Ausra: Yes. Vidas: And stretching, and things like that. Ausra: And as for a physician, it would be definitely good to find a physician who specializes in people with special needs--people like musicians. Because when I consulted doctors, way back when I was young, they could not help me much, because they just kept complaining that, “Oh, you musicians, you have everything developed so strangely in your arms…” Vidas: Mhm. Ausra: So...they are like a different world. But if you live in a larger country, you have more physicians, and more choices. So try to search for a good one, for somebody who specializes… Vidas: To sum up, of course, our recommendation: not only do you have to consult a physician, and of course do some exercises that they recommend, but you have to practice in a different way now. So look at your feeling… Ausra: Listen to your body, basically. Vidas: Yeah. Do you really feel pain all the time, or just when practicing for a longer period of time? If that’s the case, then maybe you could stop practicing before the pain arrives. Ausra: Yes. Because what Anne wrote about...I think it might be because of the violin. Vidas: Left hand, you’re right. Ausra: Yes, I get that feeling, that it’s because of playing violin. Vidas: You might be onto something here. So maybe violin is not very healthy for her in the way that she’s currently practicing. Maybe she can practice for shorter amounts of time and take longer breaks, relaxing her arm. Ausra: I remember I once had a student who was a violinist, and she had to graduate in a couple years. And she started to have hand problems; and she went to doctors, and she was diagnosed with--overuse syndrome, sort of she already overused her arms. Vidas: So that’s what Anne is talking about--wear and tear. Ausra: And actually, she had to switch her major, and I think she graduated as a composer from our school. Vidas: I see. Ausra: And I think she didn’t go to the Academy of Music later on. Vidas: She didn’t pursue a professional musician career? Ausra: Yes. Yes yes yes, because of that. Vidas: I see. Well, as Ausra says, listen to your body and consult your physician. That’s the best we can advise, right? Excellent. Please, guys, send more of your questions; we love helping you grow in any way we can. We don’t always know all the answers; but we maybe help you understand some of the problems, and maybe direct you to real professional help. Excellent. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 88 of #AskVidasAndAusra podcast. Today’s question was sent by Daniel. He writes:
“Hi Vidas. In my church in Watertown, SD, I have 2 organists, whom I don't think ever got trained to be church organists. I can tell that very easily, because their way of playing hymns sound tired and funeral-like. They have been with my church for a long time, longer than me. I got really tired of listening to them playing hymns. So, what I do is sometimes I go to another church as a guest musician to play music there. And sometimes when that church has no need for me, I attend the contemporary service. In order to understand what I am saying, you and Ausra may need to sometime come to my church and listen to those organists. They also don't play background music during prayer time, which as a result the prayer time sounds empty and meaningless. There were several people, including me, who complained about one of the organists. Have you and Ausra encountered such organists in your area?” What do you think, Ausra? Ausra: Oh, yes. Vidas: What’s the situation with church organists in Lithuania, in general? Ausra: Well, now it’s maybe changing a little bit, but in most churches--in most, almost all churches--we don’t have professional church organists playing for church services. So you can find all kinds of variety in the church. Vidas: Because, of course, the Lithuanian Academy of Music now has graduates--I don’t know how many, 40, 50, maybe 80 graduates, over decades, right? And a lot of them stay in Vilnius and work in churches here in this area. Ausra: But actually, only a few work in churches, out of them. Vidas: So in general, in the capital, the situation is much better than in the provinces, right? Ausra: Yes. But in the provinces, in smaller towns we encountered, there are sometimes music teachers from high schools--that play organ in church services; so you can find all kinds of funny things--I hear all kinds of funny things. Vidas: And we have to be fair: there is a number of people who are good organists, even when they are amateurs. Ausra: Sure. Vidas: Never trained professionally--they try to improve over time. There is a number of those. But they’re not in the majority, I would say. Ausra: Yes. Vidas: What’s the funniest thing you heard them play? Ausra: Well there was this nun in Tytuvenai and it was Easter time, and Catholics have these long answers of Alleluia around Easter time. Vidas: At the end of the mass. Ausra: At the end of the mass, yes. And it was so funny, when she tried with one finger to play that answer on the organ and to sing it...and it was out of tune, with wrong notes, and big pauses in the middle of it...it was just so funny! Vidas: So, in Latin it would be “Deo gratias, alleluia.” And the pries sings “Ite missa est,” I think-- Ausra: Yes. Vidas: The priest adds “Alleluia” in singing, in chanting; and the organist, or the choir, has to respond with Deo gratias. Ausra: To respond, yes. Vidas: Usually in Lithuanian, of course: “Go, the mass is ended,” basically, it translates, “alleluia.” And they respond, “Thanks be to the Lord, alleluia.” Ausra: Yes. Vidas: And she was completely lost. Ausra: I know, and it was so hilariously funny--I think it’s not nice to laugh out loud in church, but that’s what I did in my mind! Vidas: Another joke we always like to tell is that--I think somebody told us that it’s apparently a real thing--that some village organists play white keys on weekdays, and black keys on Sundays and festivities. Ausra: Hahaha! Vidas: Can you imagine what this sounds like? Ausra: Yes. Vidas: It’s a real thing sometimes. So basically what they think is, “Oh, black keys are more advanced, so basically I reserve them for festivities and Sundays; and regular weekdays I will play just white notes!” Ausra: And I think that’s quite normal, because if you cannot make a living from playing organ in your town, and you have to do other jobs as well (and maybe a few more jobs in order to keep yourself and your family afloat), you cannot spend much time practicing organ and improving yourself; so that’s just too bad, that’s all you have. But definitely, there are awkward choices of repertoire, while listening to the organ in church; poor technique; very slow tempos; and there was in the question a remark about silence during prayer time-- Vidas: Yeah. Ausra: No background music. So, in our situation in Lithuania, very often the priest requires having complete silence for prayer time, and does not allow any music to sound in that moment. So...I don’t know if that’s the situation in that case, but that’s what we have in Lithuania. Vidas: Yeah, sometimes Catholics like to contemplate and meditate in complete silence. But...remember you played in Holy Cross church once, where your priest was willing to hear some meditative chants, maybe hymns, towards the end of prayer time Ausra: Yes, I remember that. Vidas: Did you sing something or play solo music? Ausra: I think I sang something. Vidas: Uh-huh. Adoration. Ausra: Yes. Vidas: Mhm. Okay, so guys, I think the situation is always different in different parts of the world. And I would say that if we went, as Daniel says, to his church in South Dakota, that would be really interesting to hear. By the way, we would definitely go to Vermilion, right? Ausra: Yes, that’s an excellent museum. So if you are close to that area, definitely go to visit it. Vidas: If you are basically in any kind of part of the Midwest, and you have some time--several hours drive--or go to South Dakota, Vermilion is a small town in the middle of the winter time. It was very snowy and cold. But they have...What do they have? Tell us! Ausra: Well, that music instrument museum, it’s just outstanding. It’s one of the best in the world. You can see a variety of harpsichords, organs, string instruments--they have a hold there where you can see 5 Stradivarius! Vidas: Violins? Ausra Yes, violins. And guitars. Vidas: And organs, and clavichords, and harpsichords Ausra: Yes, it’s just amazing. Vidas: From all ages. Ausra: Wind instruments, as well. So it’s just an amazing collection of musical instruments. And actually, I think we went on Friday, if I remember correctly, and they have lunch recitals on Friday--“Brown Bag Lunch Recitals,” so you can just pick up and take your lunch in a brown bag, and eat it during the recital. It’s very fun. Vidas: Did we eat something during the music or later? Ausra: I don’t remember now, maybe we ate something. Vidas: Excellent. That was a great time. Our professors from UNL from the University of Nebraska, Lincoln, George Ritchie and Quentin Faulkner, drove us--took us with the van, I think--from the university, took the entire organ studio-- Ausra: I think we had two cars. Vidas: Two cars; basically a field trip to the music instrument museum. And the importance of this museum can be described in just one sentence: Imagine that the Smithsonian Museum wanted to buy the entire collection and transfer it to Washington! But Vermilion didn’t let it, right? The local people wanted to have it right there, and said, “If you want to visit those instruments, you have to come to Vermilion.” Ausra: That’s a nice thing. I don’t think everything must be concentrated, in capitals or in the largest cities. Vidas: So I hope Daniel has visited this entire fantastic museum many times, and has sat in the Brown Bag Lunch Recitals; and if not, maybe he can do that in the future. And hopefully the organists are better than in his church, and can play not only white keys but also black keys--on weekdays as well! Ausra: Yes. Vidas: Wonderful, guys. Please send us more of your questions; we love helping you grow. And this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 87 of #AskVidasAndAusra podcast. And today’s question was sent by Robert. He writes:
“Hi Vidas, when I purchased your score of music (Bach’s Pastorella) I was out of town and will be till Sunday. I can download it at a later date can't I? I can still get access? Didn't know I had to go away, should have waited I guess”. So, this is an easy question, right Ausra? Ausra: Yes, and I think you could answer it very well, because you are so technologically advanced compared to me! Vidas: Yes, I’m like robot! I’m an android. I have augmented chips implanted into my brain (talking with my robot voice)... Ausra: That’s just a joke. Vidas: No it’s not. Ausra: Don’t scare people! Vidas: Hahaha! Good, excellent, so here’s what happens when you order something from us--a piece or score with fingering and pedaling, or a training program which goes for a longer time (for example, several months): You’ll get, of course, a notification in your email, right, from our online store, with the download link. If the score is a PDF score, we can attach it to the email so you will get this score right away. You just click and download. If it’s a longer course which you need to get emails every week--let’s say, for three months, or two months, or whatever--then you will get not a link to the download of the scores, but to the registration page of the scores. Basically, I’m attaching a sheet of paper, a PDF file, where you will find a link to click and enter your name and email address to register, to get those training materials week by week, on a weekly basis. And here’s the thing: these things are available to you all the time. It doesn’t matter if you ordered it last week, and went out of town right away, and couldn’t download right away--just like Robert, he was away and purchased Bach’s Pastorella. But he can click on that initial email that he got after payment confirmation--click on that download link, and download that Pastorella. So, all those scores and trainings are available for you as long as we are in business, right? And all those video courses, which are also training materials--they will be available to you as long as we are actively involved with training organists. And we intend to, don’t we? Ausra: I hope so! Vidas: Because your support means that we can keep going, okay? This is very very beneficial to all of us, right? You give us support, and we support you with our training, and it’s a win-win situation--we love helping you grow. And we help a lot of people around the world from different countries. Last time I looked, it was 89 countries. Ausra: Wow, that’s so interesting! Vidas: We even have student subscribers from Madagascar, I think! Ausra: Yes. Vidas: Two of them. Of course, subscribers and paying customers are not the same, right? Many more people read our trainings and listen to the podcast than purchase training materials. What I mean is, really, the reach of our advice is probably across the globe. If you want to see the map of our Secrets of Organ Playing community, just click here. Ausra: Yes, I think so. Vidas: And it’s very nice to hear when people write from Canada, from Australia, from Nigeria, from Japan, from Argentina, from Spain--from all over the world. I won’t even begin to describe the corners of the earth! Wonderful. So guys, please keep us busy with your questions you send us, when you subscribe to our blog at www.organduo.lt: just simply reply to our messages, and we will be delighted to help you out. Okay! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. |
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 Photo by Edgaras Kurauskas
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. 
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