A duet from Bach's cantata "Ein feste Burg ist unser Gott" arranged for organ and a solo instrument10/11/2017 Ausra and I are preparing for our new organ duet recital on November 18 and are on the look out for the delightful pieces to play together.
What can be more delightful than arias from J.S. Bach's cantatas? They are so beautiful and rather seldom heard. So the plan is to arrange for the organ duet a few of the arias from such beloved cantatas as "Ein feste Burg ist unser Gott", BWV 80, Herz und Mund und Tat und Leben", BWV 147, Wachet auf, ruft uns die Stimme", BWV 140 and others. Arranging the arias from cantatas is nothing new. Bach himself created the collection of 6 Schubler chorales out of some of his cantatas. While I was doing this (and enjoying playing with Ausra what I have arranged so far), I thought that some of our students would love to play them too. But not every organist has a partner organist around. So what can you do? Luckily a lot of people are still making music together but not as organ duet. Maybe with a friend or a spouse who plays a solo instrument. This is a duet "Alles was von Gott geboren", BWV 80/2 by J.S. Bach from Cantata "Ein feste Burg ist unser Gott" arranged for organ and solo treble instrument (oboe, flute, trumpet, violin, etc.) (full score - 6 pages, solo part - 2 pages). Let me know if you need a solo part for a transposing instrument. The organ part has a real trio texture. In the original scoring, the pedal part is played by the cello, violone, maybe bassoon, harpsichord or continuo organ. The left hand is sung by the bass soloist. The right hand part is played by the violin and the solo part - by the soprano solo and embellished by the oboe. Here's a nice recording of this music. When you play it, try to imitate the sounds that these performers make on the organ and let me know, how your experience with this delightful duet goes. You can check out the score here.
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Vidas: Let’s start Episode 86 of #AskVidasAndAusra podcast. Today’s question was sent by Neil and he writes:
“The only thing I struggle with now is my age. I am not able to play fast complex pieces any longer. My coordination is beginning to fail, so I just stick to easy, slower, less complex pieces. Mostly hymns and ballads. However, I really do enjoy listening or reading what you bring up on organ playing. I do learn things, and I also am reminded of things I already knew, but just forgot over time... Please keep doing what you are doing, it is appreciated. Neil” So, age, right Ausra--do you think people can still improve with old age? Or can they just repeat things over and over that they already knew, and basically enjoy older pieces that they learned at a younger age? Ausra: I think it’s possible to learn something new in old age, but it might take more time and more effort. Vidas: With old age, you have to realize that you don’t have to rush anywhere, right? Ausra: Yes. Vidas: You don’t have to compete with someone, you don’t have to compare yourself with the masters anymore. You yourself are in a position where you can enjoy what you are doing. Just like Neil is writing, probably. But perhaps even at this age--I don’t know what he means with “old age.” Some people write that they’re old when they’re 65, and some people write that they’re old when they are 85, right? It’s a big difference. Ausra: Yes. Vidas: And we do have people playing the organ at the age of 86, late 80s. I think one was even early 90s--91, I think. Ausra: Yes. Vidas: So people are still trying to improve at this age. Do you think it’s healthy for your brain to keep busy with reading music and coordination? Ausra: Definitely. And if I were a neurologist, I would do some extensive research on playing organ and about how your brain works during that process, because I think it’s very beneficial. And I strongly believe that it might slow down such illnesses--or prevent such illnesses--as Alzheimer’s or Parkinson’s, and so on and so forth. Vidas: Even at my age--I’m forty, what, forty-two now… Ausra: Forty-one. Hahaha… Vidas: Forty-one. Good. I forget my age! Ausra: Well, you definitely have to practice more! Vidas: Or maybe happy people don’t think about their age. So, but, you see what I mean. Even when I improvise--there was a period of time when I played those long improvisation recitals--storytelling events exclusively. And during that time, I didn’t play from the notes very much. I was very happy to improve my fancy and create in the moment. You know what I noticed? I noticed that my concentration did not improve, but deteriorated during that time; and it was more difficult for me to focus and to read, in general, long-form texts or books; because reading music is also related to those things, don’t you think? Ausra: Yes, definitely. Vidas: So, I started sight-reading more. And I do this now much more regularly, and I think it’s healthy. Do you think for people of older age like Neil, it’s good to sight-read also? Ausra: I think so, yes. That would help, too. Vidas: Keep your brain busy with unfamiliar musical ideas. Ausra: Yes. I think in general, reading new music and playing old pieces--it all keeps you in good shape: your muscles, your coordination, and your brain. Vidas: Yes. When you play old music, your muscles and coordination work, yes? But when you read new music, also your brain develops a little bit more, I think. You constantly get to think, mentally, about what you are doing--not from muscle memory positions, but mentally. Ausra: And when you are old, I think the most important thing is maybe not to develop something, but to prevent from damaging your body and your brain. To keep it in a current shape, I think, is the main goal. Vidas: Exactly. Do you think Neil can also exercise physically, or do some stretching, like sometimes people do easy moving--sometimes we do Pilates--or something else besides organ practice? Ausra: Well, I remember seeing sometimes a very elderly lady in our gym, and I think what she did is she went to yoga. Vidas: Yoga? Ausra: Yes and then to swim in the pool. And she seems very healthy at a very old age. Vidas: So it’s never too late to improve, basically. Ausra: Sure. Vidas: As long as you’re moving, you’re alive. Ausra: Definitely. Vidas: So keep moving, guys--keep your hands moving, keep your feet moving, and keep your brain moving! Ausra: That’s right. Vidas: Excellent. And please send us more of your questions; we definitely love helping you grow--it’s really fun! And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 85 of #AskVidasAndAusra podcast. And today’s question was sent by Bruce. He writes:
“Greetings Vidas, Thank you for your mailing list and your fine resources for organists. I am a big fan of J.S. Bach, a fairly proficient pianist, pretty knowledgeable about theory and acoustics, conduct a community chorus and orchestra (focusing on Bach cantatas), and am a big fan of the organ. I have recently been given access to a fine organ, and would like to give it a try. I know that finding a good teacher is important, but before I do that I would like to look at a few Bach pieces to get me started. I know Klavier-Ubung 3 - is there something in there to try, or is there something more appropriate and possibly less intimidating for a beginning organist? I would like recommendations for some pieces with interesting pedal parts, that are accessible (either with cantus firmus in the pedal, or with something like what I naively believe pedal parts are like). What would you start with if you were me? I've been starting with Bach chorales, but I would like something more like a chorale prelude or fugue, if possible. Cheers, Bruce.” Interesting question, right, Ausra? Ausra: Yes, very interesting. Vidas: Not too many people would like to start playing the organ with Clavierübung Part III. Ausra: Yes, that’s definitely not a good cycle for a beginner. Even though the short chorales have no pedal, some of them are very hard to manage; not talking even about the long chorales, and Prelude and Fugue in E♭ Major, which might be really challenging for even advanced organists. So I would suggest for Bruce to start with some other cycle, or some other pieces. Vidas: Orgelbüchlein probably would be appropriate for him. Ausra: Yes. Vidas: Because he has, probably, fairly well developed finger technique already. Ausra: Yes. Vidas: What’s the easiest chorale prelude, from your experience, in Orgelbüchlein? Ausra: I don’t remember now which is the easiest--which was the easiest for me--but definitely the nicest for me was “Wenn wir in höchsten Nöten sein”. Vidas: Slow notes... Ausra: Yes, very beautiful melody. Vidas: Maybe ornamented chorale is not that easy to manage to play, for the beginner. Ausra: But because of the slow tempo, I would say it probably wouldn’t be so hard to manage the pedal part. Vidas: And “Ich ruf’ zu dir” of course--it only has 3 parts, and it might be a possibility to start with this too. Ausra: Yes, it’s an F minor piece. I’ve done analysis of it. Vidas: That’s right. And in general, you can basically take any chorale prelude from this collection you want, and it will not be that far away from your current abilities, right? If you are at the level that Bruce is. Ausra: Yes. And for starters, I think that invention, like the one in C Major, BWV 772 would work well for the organ. Of course, you don’t have the pedal part; but if you have well-developed manual technique, I think inventions could be a good way to just get familiar with the organ and how it works. Vidas: He says he’s practicing Bach chorales--4-part chorales, probably harmonizations. Ausra: Yes, that’s what I understood. Vidas: That’s not a bad thing, either. Ausra: That’s a good way, yes. Vidas: This is more complex than playing hymns in four parts. Ausra: Yeah... Vidas: Because the inner parts are more moving-- Ausra: Yes. Vidas: And the pedal part is more advanced; and therefore, basically, the voices are more independent. Ausra: Yes. But as he mentioned, some of the chorale preludes, Orgelbüchlein; and later maybe like Great Eighteen, also called Leipzig Chorales. Vidas: Or maybe, let’s try to recommend him Schubler chorales, too. Ausra: Yes, but some of them have like, trio texture that might be challenging. Or I don’t know, maybe not. Vidas: He will find out for himself, I think... Ausra: Yes. Vidas: Sooner or later. If he starts, let’s say, with “Wachet auf,” and discovers that it’s too difficult to add the tenor voice in the LH, then he can go back to the easier pieces. Ausra: Sure. “Wachet auf” is not that bad, except for the cadences; the cadences are quite tricky. Vidas: Yeah, somewhere in the middle. Ausra: But the beginning of “Wachet auf” is very good for a beginner to learn the pedal part. Vidas: Yeah... Ausra: Because there are only two voices, pedal and RH. Vidas: The entire page is without the tenor line, and the tenor line doesn’t come in until after the initial Ritornello--after 12 measures or so. Wonderful. So, that’s a good start for him to undertake. And Ausra, in your opinion, how many pieces should he play from the easier collection, like Orgelbüchlein--to then be ready for the next stage: more advanced chorale preludes? Ausra: Like, you mean, the third part of the Clavierübung? Vidas: Yes, yes. Ausra: Well, I would say to play the Clavierübung Part III, it would take, I would say, 4 years of very extensive practice, at least. Vidas: So in this time, he will probably master the entire Orgelbuchlein… Ausra: Yes. Vidas: Or all the Schubler chorales, even Great Eighteen chorales-- Ausra: Yes. Vidas: Some of them are much easier than Clavierübung Part III. Ausra: Because when I think about some chorales from that collection, Part III--you know, like “Vater unser,” the long one, or “Jesus Christus, unser Heiland”--you know, it just makes me shiver. They are very complex, very difficult. Vidas: Or the one with six-parts, double-pedals... Ausra: Yes, “Aus tiefer Not.” Vidas: Also very difficult and dense texture. Right. Good, guys, I think you have good tips now to get you started; and if you have more questions, please send them to us. We love helping you grow as an organist. Okay, this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #115!
Today's guest is a young a talented American organist Katelyn Emerson. She performs throughout North America and Europe, showcasing repertoire from the 14th-21st centuries with “impressive technical facility and musicianship” in performances that are “thrilling from beginning to end” (Cleveland Classical). Upcoming and past recital venues include such illustrious locations as Walt Disney Hall (Los Angeles, California), Hallgrímskirkja (Reykjavík, Iceland), Cathédrale Saint-Omer (France), Kurhaus Wiesbaden (Germany), the Riverside Church (New York, New York), the American Cathedral (Paris, France), Musashino Civic Cultural Hall (Japan), Krasnoyarsk Philharmonic Hall (Russia), Cathédrale St-Quentin (Hasselt, Belgium), the Hauptkirche St. Petri (Hamburg, Germany), Merrill Auditorium (Portland, Maine), Bradford Cathedral (England), the Cathédrale Poitiers (France), Severance Hall (Cleveland, Ohio), among others. As first prizewinner of the American Guild of Organists’ (AGO) 2016 National Young Artists' Competition in Organ Performance (Houston, Texas), the Guild's premier performance competition, Katelyn will be honored with a recital at the 2018 National Convention of the AGO in Kansas City (Missouri). She received the Second Jean Boyer Award in the 2014 Fifth International Organ Competition Pierre de Manchicourt (Béthune and Saint-Omer, France), the second prize of the 2015 Arthur Poister Scholarship Competition (Syracuse, New York), and the third prize of the VIII Musashino International Organ Competition (Tokyo, Japan). Katelyn was awarded the title of “Laureate” and Third Place, among other prizes, in the VIII Mikael Tariverdiev International Organ Competition (Kaliningrad, Russia). Winner of the 2011 Region V AGO/Quimby Regional Competition for Young Organists (Lexington, Kentucky), she has also received a number of scholarships for her musical and academic work, including the 2013 M. Louise Miller Scholarship and the 2015 McClelland Community Music Foundation Scholarship. Katelyn Emerson released her first recording, Evocations, on the Pro Organo label in May 2017. Her interviews and performances can be heard on radio programs on such programs as Radio Russia, NPR’s Pipedreams and Radio Présence Toulouse, France. As recipient of the prestigious J. William Fulbright Study/Research Grant, Katelyn studied at the Conservatoire à Rayonnement Régional in Toulouse, France for the 2015-2016 academic year with Michel Bouvard, Jan Willem Jansen and Yasuko Uyama-Bouvard. In May 2015, she graduated from Oberlin College and Conservatory (Oberlin, OH) with double bachelor's degrees in organ performance and French as well as with minors in music history and historical performance (fortepiano). During her time at Oberlin, she taught music theory at the Oberlin Community Music School, received the Selby Harlan Houston prize for distinguished work in organ and music theory, and was inducted into Pi Kappa Lambda, the national music honors society. Katelyn began her organ studies in 2005 through a scholarship of the Young Organist Collaborative (Portsmouth, New Hampshire). She has studied with James David Christie, Olivier Latry, Hans-Ola Ericsson, Ludger Lohmann, Marie-Louise Langlais, Ray Cornils, and Dr. Abbey Hallberg-Siegfried. She has also studied organ improvisation with Jeffrey Brillhart, Marie-Louise Langlais, and Bálint Karosi, piano with Arlene Kies, fortepiano with David Breitman, both harpsichord and continuo with Webb Wiggins, flute with Trisha Craig, and voice with Ellen Hargis. In addition to her travels, performances, and teaching, Katelyn is Associate Organist & Choirmaster at the Church of the Advent (Boston, Massachusetts), where she works with the historic Aeolian-Skinner organ, the professional Choir of the Church of the Advent, and the volunteer Parish Choir. From 2010-2015, Ms. Emerson was music director of St. Paul Lutheran Church (Amherst, Ohio). In January 2012, Katelyn served as the Oberlin Sacred Music Intern under music director Keith Tóth at the Brick Presbyterian Church (New York, New York), where she also substituted for Mr. Tóth for the months of July 2012-2015. Katelyn has been on the faculty of the McGill Student Organ Academy (Montréal, Canada), numerous AGO-sponsored Pipe Organ Encounters, and the Oberlin Summer Organ Academy (Ohio). She regularly presents masterclasses on organ interpretation and church music for AGO-sponsored events and was invited to present workshops on recently published organ music for church services in the 2013 Regional Convention of the AGO (Hartford, Connecticut) Regions I & II, and the 2015 Northeastern Regional Convention of the AGO (New Haven, Cnonecticut) and serves on both the Executive Committee of the Boston Chapter of the AGO and as an officer of the Northeast Division of the AGO Young Organists. Katelyn Emerson's North American appearances are managed by Karen McFarlane Artists, Inc., www.concertorganists.com. In this conversation, Katelyn shares her insights about dealing with wrist pain, panic attacks and unpredictability of rehearsals before public performances. Enjoy and share your comments below. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. And if you like it, please head over to iTunes and leave a rating and review. This helps to get this podcast in front of more organists who would find it helpful. Thanks for caring. Listen to the conversation Related Link: https://www.katelynemerson.com
Vidas: Let’s start Episode 84 of #AskVidasAndAusra podcast. Today’s question was sent by Dan, and he writes:
“Vidas, I have been purchasing materials from you. I have about 3-4 years experience on the organ. I am using your resource for 8 Preludes & Fugues. I am only starting the 8 P&F series and have not mastered them. I also purchased BWV 565. I am trying to learn 8 P&F and BWV 565 all at the same, time taking bite sizes out of each one. Is BWV 565 too advanced for my level and should wait on this until after 8 P&F? Thanks Vidas”. Good question, right? About the ordering of your study when you master pieces by Bach, especially not based on chorale melodies. Free pieces like preludes and fugues, toccatas, fantasias, passacaglias, chaconnes, and things like that. So Ausra, the end of the collection is the eighth prelude and fugue--which is in Bb Major, right?-- Ausra: Yes. Vidas: Imagine that Dan has already mastered 8--will he have sufficient experience to tackle the long Toccata and Fugue in d minor? Ausra: I don’t think so. I think he has to learn something else first, before moving to d minor Toccata. Vidas: Because the Fugue is especially complex and virtuosic. Ausra: Yes. Vidas: Toccata might work… Ausra: Yes, Toccata might work but not Fugue. Vidas: Toccata is just three pages. But then, students should learn maybe more shorter fugues. Ausra: That’s true. Vidas: Like BWV 578, which is g minor Fugue; or preludes and fugues which are shorter. In e minor, BWV 533… Ausra: That’s a good choice, yes, Vidas: Or Prelude and Fugue in G Minor, BWV 535. I don’t know if we have fingering and pedaling created for this piece yet. Ausra: I don’t think so. Vidas: Probably not yet. But in general, in shorter preludes and fugues--you see, you have to understand that the Eight Little Preludes and Fugues, each probably lasts not more than...let’s say, three minutes? Ausra: Something like that. Vidas: And Toccata and Fugue in d minor lasts, what, ten minutes? Ausra: I think a little bit more--maybe twelve. Vidas: Maybe. Depending on who’s playing, and where you are playing it. Ausra: Yes, that’s true. Vidas: So, you have to have something in between, then: maybe a 5-minute piece, maybe 7-minute piece, a little bit longer. Even Pièce d’Orgue by Bach, BWV 572, is easier than Toccata and Fugue in d minor, probably. Ausra: Yes. Vidas: Because it doesn’t have that many virtuoso pedal passages. Ausra: That’s true. Vidas: Even though the middle section has 5 voices. Ausra: Yes. Vidas: So guys, please learn more shorter pieces by Bach. Ausra, would you think that chorale preludes also facilitate the learning process, too? Ausra: Of course. For example, if you would play Orgelbüchlein, you would learn all kinds of Baroque passages and figures. It would be a great help for you, when later on playing flashy pieces. Vidas: You have to remember that Bach created this entire collection--which, by the way, is not finished: he planned to finish 143 chorales, I think, but finished only 45 or 46--basically with the intent of covering an entire range of techniques, right? Ausra: Yes. Vidas: And you can discover the same techniques in free pieces, in preludes and fugues, as well. Ausra: That’s true. Vidas: So if you like Bach’s music, don’t neglect the shorter chorale preludes from the Orgelbüchlein collection as well. And there are longer of them, right? Like Schubler chorales. Ausra: Yes. Vidas: And Leipzig chorales, also. They all work to the perfection of your organ technique, probably. It’s a mix; you have to understand that your organ repertoire has to be quite varied, right? Ausra: That’s true. Vidas: Do you think, Ausra, that people should also practice Romantic music, with legato technique? Ausra: Yes, of course! Vidas: Why? Ausra: Well, you don’t want to play only one composer. Unless you are obsessed with it, I don’t know. But in general, you want to present various musical styles, from different times. Vidas: And of course, you go to different instruments... Ausra: Definitely. Vidas: And one instrument would be more suited for Baroque music; and another more for symphonic music, and for Romantic music, maybe; and the third instrument might be quite eclectic, and suitable for any kind of music rather well. Right? So...it’s like food, probably. We don’t eat just one sort of meal every day for months. That would not be healthy, probably, Ausra? Ausra: Yes. Vidas: We have a variety of meals throughout the day, and we mix them up during the week; and in general, that’s a quite healthy approach, I would say. Ausra: I think so, yeah. Vidas: And then some people have to take vitamins and supplements--in organ terms, it would be what--exercises, probably? Ausra: Yes, that’s true! Vidas: Exercises, and scales, and arpeggios, with your hands and feet. Ausra: And usually when you receive basic training in organ performance, you play various musical pieces. You must do that, you know: your program requires that--that you would play everything from like, late Renaissance to 21st century. But later on, when you graduate, then you will play what you want. And most of us focus more on, let’s say, Baroque music, or Romantic music, or modern music; but still we have to play various musical styles. Vidas: Exactly. For Dan--and others who (probably) are studying for their own enjoyment only, and don’t normally play, for example, in public very often, or in church services--can we suggest, Ausra, arranging a few possibilities to perform those pieces in a public setting, as well? Ausra: Yes, sure. Vidas: Would that be beneficial? Ausra: Yes, that would be very beneficial. Vidas: Like Dan says, he’s starting with 8 Preludes and Fugues; and once he has a couple of them mastered (or even one-), maybe he can go to a church in his town, get to know the organist, introduce himself...and ask to play on that organ. Maybe not in public first; but just play it through, to get familiar. And if the organist would approve of that, maybe in a couple of weeks, he could play that prelude and fugue as a postlude. Or prelude. Ausra: Definitely, yes. Vidas: That would be great public playing experience, which would probably enable Dan to go on to the next level much faster than just playing on his own. Ausra: That’s true. Vidas: Ok guys, please send us more of your questions; we love helping you grow as an organist. And you can do that by replying to any of our messages that you are getting as a subscriber to our blog at www.organduo.lt Wonderful! This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 83 of #AskVidasAndAusra podcast. Today’s question was sent by Radavia, and she writes that she is a beginner already, in advanced age--55 years old--in piano, and she loves organ. Radavia writes further:
“I have a virtual organ in my house (Grand Orgue software). My aim is to learn simultaneously the technique of the two instruments. I depend on reading (still easy) scores and I would like to memorize them, but I have some difficulty with this. Do you have memorization tips to achieve this goal? PS. Your site is very cool, but many of the techniques presented are still difficult to understand, for MY level of learning. I hope someday to get there ... with your help, if possible. Thank you very much, from Brazil, Radavia.” Wonderful, people are learning organ playing from different corners of the world, right Ausra? Ausra: That’s true! Vidas: Even though she’s a beginner, and some of our techniques and trainings are more advanced, I think she can really find out more for her level, right? But first let’s talk about what things would help her, when she would like to train herself how to memorize organ music. Ausra: Well, you have to memorize short passages. Vidas: Fragments of pieces? Ausra: Fragments, maybe just one measure at the beginning, and then add the second measure to that first measure; and so on and so forth. It’s a long process. Vidas: Remember, Ausra, when we were just starting playing the organ, nobody really taught us these things, and we didn’t have to memorize organ music... Ausra: Yes. Vidas: It wasn’t required. But piano-- Ausra: Piano, yes. Vidas: It was required. How did you feel about memorization in piano? Ausra: Actually, difficult. Vidas: It was difficult for me too. Ausra: I was always scared that during the actual performance I would have a memory slip. Vidas: I struggled with memorization a lot during these days, because my teacher would normally say, “Ok, next week, learn and memorize...let’s say…hands separately.” Or, “In two weeks, the entire piece both hands together.” That’s it. She didn’t somehow teach me a precise technique how to do this. There are various ways to do this, right? Ausra: That’s true. Vidas: Remember when we got to the states and George Ritchie told you about Walcha’s technique. Ausra: Well, because Walcha was a famous German organist and composer, and he was, unfortunately, blind. So he had to actually play from memory all the time. And learning a new piece, he would be learning it voice by voice. Somebody of his students or colleagues play for him one line of his piece, and he would memorize it. Vidas: A couple of measures, probably, first. Ausra: Yes, and then he would add the second voice, and so voice by voice he would memorize the entire piece, and learn the entire piece; so he would know it so well. And George Ritchie often used this method for learning music, himself. And I think this is a fascinating way. Maybe, of course, it’s time-consuming; now, in our modern times, we might not get so much free time to do this kind of thing. But that’s a good way to learn a piece really well. Vidas: The advantage of this technique is that after decades of not touching this piece, when you come back and play it from memory, you will discover that you almost can do this perfectly, except a few strange spots which you have to just double-check. Like, in one measure, is it a quarter note or an eighth note and eighth note rest in one voice? You don’t remember those exact details, maybe, after years of not playing this piece. Ausra: Yes; because, there are a few types of memory, actually, in each person. There is, this muscle memory, that works--let’s say, you keep repeating the same piece like a hundred times, and then your muscles, your fingers, will just remember. You can play it from memory even not thinking about it; but that’s probably not the best way to learn it. You can really use your brain to do it--understand how the piece is put together, how the structure works, which key you are playing in, what sequence you are playing in… Vidas: You mentioned key sequence--so people should also know music theory, probably? Ausra: I think everything should come in some sort of package. Vidas: That’s why we teach Total Organist concept. Ausra: Yes. And I think, with small kids--when they start learning, it’s harder to do that, because they don’t have the brain of an adult, and it’s harder for them to understand theoretical stuff. But if you are an adult, then things are easier. Vidas: Of course, maybe your hands will not move as fast. Ausra: Yes, that’s true, that’s two sides of the same coin. Young people have one advantage, and adults have another advantage; but I think we have to use that advantage that we have. Advantage of who we are. Vidas: And kids don’t usually have the inner motivation, perhaps? Ausra: Sure. Vidas: They need a push from external sources: teachers, parents, competitions, right? They want to win trophies and prizes, be first-prize winners, and basically be successful artists… I’m not saying that adults don’t want this, but they also have this inner motivation to perfect their art and skill; and sometimes it’s the only thing you need to keep going. Ausra: Yes, and learning music from memory, you just have to be patient, and to memorize it measure by measure. And then to learn some spots which would be easier for you to start over, if something happens during the performance, and you will have some breakdown so that you could pick up at another spot and play fluently, further. Vidas: Well, exactly. There is another technique that sometimes I like to use, which Marcel Dupré recommended in his Preface from 79 Chorales. He writes that it’s best to memorize all parts together at the same time right away, but memorize just one measure at a time, in groups of four-measure episodes. So you take measures 1, 2, 3, 4, separately, and memorize them. Then, you do 2 measures at a time--1-2, 2-3, 3-4; then you memorize 1-2-3, 2-3-4, and then 1-2-3-4 together. That’s your first fragment. When this is done, you can take a break, or come back the next day, maybe repeat the same thing a little bit, and then learn the next fragment of four measures similarly. Ausra: That seems very logical because a four-measure musical excerpt is a sentence, actually. And each sentence consists of four measures; and these four measures consist of two phrases; each phrase has two measures. And then, each phrase consists of two motives, and a motive is usually a measure long. So that’s very logical. Vidas: Exactly. Can we recommend people another course that we have created, remember “Memorize Easier?” Ausra: Yes, I think this course might help. Vidas: We describe various ways of memorizing organ music effortlessly; and we discuss that in greater detail in the videos, which you can then really apply in your practice, if you’re struggling with memorization. So guys, we hope this was useful to you; please send us more of your questions. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
First, the news: If you would like to learn the famous Toccata from Suite Gothique by Leon Boellmann, I have prepared this PDF score with complete fingering and pedaling which will be helpful in your practice process.
This score is available here with 50 % discount which is valid until October 11. It's free for our Total Organist students. And now let's go on to the podcast conversation for today. Vidas: Let’s start Episode 82 of #AskVidasAndAusra podcast. Today’s question was sent by Peter, and he writes, “Dear Vidas and Ausra, I recently learned a new and ugly concept: Convenience rubato. Meaning slowing down, when it gets difficult. It hit me by my heart, because it is, what I do during rehearsal. But how do I avoid it during a performance e.g. a service (especially during preludes or postludes, since the hymns normally stick to the the tempo)? Thanks for your continuous work teaching and inspiring me. Regards, Peter.’ Remember, we also had a similar experience while playing piano. One of our former professors said, “Oh, when it gets difficult, just expand the tempo and slow down!” Ausra: Yes, I remember that! It was funny. Vidas: Of course, he didn’t mean we should do this all the time, but he tried to make us feel better about difficult spots, basically. Ausra: Sure. Vidas: Did you, for example--while working, remember, with our organ studio, Unda Maris people--did you ever hear somebody slow down when it gets difficult? Ausra: Oh, definitely. There are some students that change tempo--like in the two beginning opening lines, they change tempo a few times! Vidas: Or speed up when it gets easier. Ausra: Yes. And that’s especially obvious in fugues, because one subject enters alone, and it’s easy to play it, so you can take a fast tempo. And then, each subsequent subject would just slow down the tempo a little bit; and finally maybe after a few lines you establish the right tempo. It just means that you have to pick your opening tempo according to the hardest spot of the piece, from the beginning. Vidas: The densest texture. Ausra: Yeah. Vidas: Just look at your piece of music that you’re currently playing, and find the spot which has the most difficult rhythmic values--maybe syncopations, maybe four or five parts--and then try to play all the parts together. If you cannot really play at the concert tempo without mistakes, all parts together, at that spot, slow down until you can. And that’s your current practice tempo, basically. Ausra: And I think what creates this problem that you cannot keep a steady tempo in the hard spots and just slow down--It’s very hard for us to push ourselves, for example, while practicing, to start to work on those hard spots first, and then only after practicing those hard spots, to play everything right from the beginning until the end. Because, that’s what kids do at school. They always try to play from the beginning to the end. And in that case, you will never be comfortable with those really hard spots, because they need your additional attention--extra practice. Vidas: Or kids even do other things, like playing pieces which are easy... Ausra: That’s true. Vidas: And not practicing pieces which are difficult at all, for some time, until it is too late. Ausra: Because always, if you don’t keep a steady tempo, it means that you either have some technical difficulties in some spots, or you are not listening to what you are playing. But I think in this case, this is the first scenario: you still have trouble playing some difficult spots. Vidas: Would recording yourself help? Ausra: Yes, that would help, definitely. Vidas: Because then you would find out how much your tempo fluctuates. Ausra: Yes. Vidas: And in which places. It’s pure math, I think. As Ausra mentioned, for example: fugues. And fugues sometimes have four voices--but not at the beginning. So at the beginning, you have just one voice, a single line. Then a second voice enters: you have two voices. Then three voices, and then four-voice texture; that’s the hardest part, perhaps. And there are several of them during the entire piece. So what happens? At the second entrance of the fugue, you have two voices. But you have not two problems here, but three: because you have to solve the first voice separately, second voice separately, and both voices together--that’s three problems. When you have three voices...you have seven problems! Right? Because each voice is separate, and then two-voice combinations are three, and plus additional three-part texture--all parts together. And when you have four parts, you have fifteen problems to solve! That’s why it is fifteen times harder to play the middle of the fugue than the beginning of the fugue--right, Ausra? Ausra: Yes, that’s true. Vidas: So, I hope, guys, you can practice more of those combinations in difficult spots. Ausra, are there any other exercises that people could do, which would help them stick to the tempo? Or would just mastering the challenging parts help? Ausra: You could exercise, but I think it’s good to master those hard spots in a specific piece of music, for keeping a steady tempo. Vidas: Because like Peter writes, about hymns--it doesn’t happen with hymn playing, right? He sticks to the tempo in hymns, normally. But preludes and postludes give him more trouble. So normal organ music would be a good place to look at-- Ausra: Yes. Vidas: And to practice difficult spots. Considerably more times than the easy spots. Ausra: Definitely. Vidas: Okay guys, please send us more of your questions. We really enjoy helping you grow. And...this was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Would you like to learn the famous Toccata from Suite Gothique by Leon Boellmann?
If so, I have prepared this PDF score with complete fingering and pedaling which will be helpful in your practice process. This score is available here with 50 % discount which is valid until October 11. It's free for our Total Organist students.
Vidas: Let’s start Episode 81 of #AskVidasAndAusra podcast. And today’s question was sent by Alan. He writes:
“Hello Vidas and Ausra, this is a very interesting problem that Vince describes, and one I can empathise with.” By the way, Vince had a problem: that when he makes a mistake, he really cannot hear it. Basically, he might play a piece of music, but mistakes elude him, especially in the inner voices. So Alan writes further: “In my case, I seem to be somewhat dyslexic between my feet and my left hand. Which is to say, when I make a mistake, I often find that I have confused the left hand (tenor) and pedal (bass) lines. Somehow I am reading the bass line but the instructions are being carried out by my left hand instead of my feet (and visa versa)! I have to stop, recognise what is happening, and mentally reassociate parts with hands and feet in order to continue. It is frustrating, but I do believe that the right sort of exercises/training could improve independence of motion, and strengthen the linkage between parts and hands/feet. I have tried to develop a few such exercises myself, but I haven't had very much success in eradicating the problem yet. I continue to enjoy and benefit from your daily postings. Thanks and keep up the good work! Regards, Alan from Australia.” So, what do you think, Ausra? In my opinion, this problem that Alan experiences has to do with hand and feet coordination. Ausra: That’s right. And this problem, I think, most of the organists at the early stage of their practice - beginner organists encounters this problem. Very few can escape it. Vidas: Especially right-handed ones. Ausra: Yes, especially right-handed ones. Vidas: So, when we were beginners, remember, 30 years ago or more, we had a fairly good background in piano playing; and then pedals came along with the organ. And now our teachers gave us pieces to play on the organ...How did you feel with the LH and feet combinations--reading three staves? Ausra: Actually, very bad, at the beginning. I just remember that my LH always wanted to play the same line as the feet - my LH wanted to double the pedals. Vidas: Yeah...for me, too. Ausra: And I remember one piece I had to play a passage up with my LH, and at the same time my feet had to move down. And I could not do that. It just seemed like my brain was divided into two parts. Vidas: Mhm. That’s very natural, right? Because we have to understand what’s happening in our brains, then. When we pick up a new instrument, like the organ, which has an extra part--solo part, pedal part, which is like a third hand, by the way--our brain has to develop new neural pathways, basically, which are not there. It’s like riding a bicycle for the first time. You stumble, you fall, you trip...and then you get better, a little bit...and then you STILL fall and trip many times. But less, with practice. Ausra: Yes. And of course, in this case, I think every person is different. For somebody it might come very easy; and somebody may not even encounter such problems; but for others it might be a real, big problem, and it might take a lot of time to make it work. Vidas: Well exactly, because as you say, some people can manage coordination and doing several tasks at once in their brain, right? Like talking and driving. But others cannot really concentrate on talking or on driving; they have to do one thing at a time. Unless they are naturally very good at this. Ausra: And it might even be a gender thing, at some point, because I think that women can multitask better than men. Vidas: Why is that? Ausra: I don’t know, it’s because of our brain. Vidas: Evolution? Ausra: I don’t think it’s because of evolution, but… Vidas: I’ve heard it’s because of evolution, because women had to take care of many things at the same time. Ausra: Yes, but also, women just have more neural connections in their brains. Vidas: Ahh, that’s right, perhaps. But because of that kind of evolution maybe, they have more neural pathways, right? Ausra: Yes, it could be, but I also encountered this combination problem at the beginning, as a beginner organist, and I struggled with it for a while. But you just have to be patient, and you have to practice in slow tempo, and you have to work in different combinations. There is no easy way to overcome this problem. There is no magic stick that will solve all your problems right away. Vidas: You’ll maybe feel better when we say that we also had to overcome this challenge in our beginner days, right? When we were just starting to play the organ, we also played lines with our feet, but in our minds, it got mixed up with the LH, and vice versa. Ausra: Yes. Vidas: It’s normal. Ausra: And I wonder how do left-handed people feel? Do they have the same problem with RH and pedal? I never heard about it. Vidas: Oh, guys! If any of you listening to this discussion is or are left-handed, please write to us: what’s your beginning experience with pedals and LH combination? Maybe it’s easier for you than for right-handed people; I don’t know. We are both right-handed. Ausra: Yes. But it’s good, because after a while, while practicing organ, most of the domestic things you have to do, you can do with both your hands; because you sort of have both your hands well-developed. Vidas: Not only hands; you can also pick up things with your feet. Ausra: No. I am not doing that. Vidas: I do! I do pick up eraser and pencils all the time with my feet. Yes. I cannot really write with my feet yet, but I’m trying. So guys, this was fun. We hope this was useful to you. Please don’t feel discouraged and frustrated, because everybody is suffering from this at the beginning. You just have to go over that dip of frustration and continue to the other side. Ausra: It will get easier in time. Vidas: Exactly. And of course, if you want other exercises which are good facilitators, then of course, regular organ music definitely works, right? Because LH and pedal part are definitely different and varied; in many cases they don’t usually double each other. And if you want extra exercises, you can take a look at our Organ Playing Master Course, Level 1, where we have exercises for RH, and LH alone, and pedals alone. That’s the beginning stage. Once you can do this correctly, you can easily go to the Left Hand Training, I would say, Ausra. Ausra: Yes. Vidas: Remember, this training has all 6 trio sonatas by Bach, transposed in all keys, and you can practice for LH and feet, LH combination alone, and RH alone, and pedals alone. That’s the next stage after the Organ Playing Master Course, Level 1. Once you get through this, then the next stage would be Two Part Training, which also deals with trio sonatas in different keys; but then you have those 2-part combinations which Alan is struggling with, and obviously these exercises from trio sonatas could help you improve your hand and feet coordination enormously. Ok, please send us more of your questions; we love helping you grow as an organist. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Today I'd like to share with you my newest storytelling improvisation recital video - "David and Goliath" which I played last Saturday at Vilnius University St John's church.
By the way, it's the second time I improvised on this story, the first time was with the saxophonist Petras Vysniauskas back in 2013. I hope you'll be able to hear some special effects I put into it to demonstrate the sobbing of Goliath in the 2nd video. When Ausra and I listened to the recordings on Sunday morning, she started having a cipher in her ear. :). Let me know if these videos made you feel sorry for Goliath (or for the organ or for your ears...). |
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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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