Vidas: Let’s start Episode 124 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Dineke, and she wants to know when you really need to stop learning a piece--when enough is enough, when you have made enough progress so that you could pick up a new piece. First of all, I think it’s different for everyone, right Ausra?
Ausra: I think so, and I think it’s never enough to stop, actually--I mean, the piece is never perfect enough. I think if once, after playing a piece, you can say, “Oh wow, it’s perfect!” then it means that you don’t need to perform anymore. And I don’t think that’s possible. Vidas: Right. What about for you? For example, when you learned--remember the last piece you performed in public (it was a group of pieces, but), let’s say, Variations in D, Andante by Mendelssohn. Right? So, when did you decide to stop practicing this piece? Ausra: I never stopped practicing the piece. That’s my point. Vidas: Uh-huh. Ausra: Okay, I did it--I played in during a recital. But I will play it in the future, so I will still be working on it. Vidas: With some breaks, right? Ausra: Yes, with some breaks, yes. Vidas: In between those periods, you pick up other pieces. Ausra: Yes. Vidas: Depending on your goals. Ausra: Yes. And you know, after a while, I may be returning to that piece, and I will play it maybe differently. With new ideas. So polishing a piece--it’s never a finished process, for me at least. I don’t know, what about you? Vidas: That’s a good question. I feel that whenever I’ve learned a piece inside-out (very deeply analyze it, write down fingering and pedaling, even memorize it--sometimes I go very crazy and transpose it to keys that have different accidentals)--so whenever I do this, I know that whenever I need to take a break, even a break of several years, I can pick up this piece with relative ease, and continue practicing relatively without any struggle and frustration. Of course, several days and weeks might go shaky; but then, little by little, my memory refreshes, and I start playing just like a few years ago--or even a decade ago, I would think, too. But first of all, you need to learn the piece very very thoroughly, in order to do that after a while. Ausra: Yes. But in general, if you want to know if you’re over with that piece, you just have to be able to play in the right tempo without any mistakes, I would say, at least 3 times in a row. What about you? What do you think--would you agree? Vidas: That’s an excellent point, I think. If you want to be more secure, I think 5 or even 10 times in a row would work for some people. And it depends on the occasion, and on the stress level, and the level of what is at stake, right? Ausra: Because if you are playing for yourself, and you are making mistakes… Vidas: Nobody cares, right? Ausra: Yes--well, yes, but it means that definitely you are not done with this piece, because in public performance, it will be ten times worse! Vidas: But if you are playing it for a competition, let’s say, and somebody who’s an expert will judge you, and 10 or 20 other high-level organists will compete with you, then you have to be really precise, and perfect this piece up to the point that you can’t even make a mistake. That’s how professionals are different from amateurs, I’ve heard. Amateurs practice until they get it right, and professionals practice until they cannot make a mistake anymore. That’s a big difference, right Ausra? Ausra: Yes. Vidas: So, I think you have to be strict with yourself, when deciding when it’s enough, when it’s okay to show to the public; and be realistic of your level, because stress and all the stakes will get ahold of you during a public performance. So you actually have to play automatically-- Ausra: Yes, that’s right. Vidas: Be able to play with your eyes closed, in complete darkness, let’s say. Ausra: Yes. And you know, it’s often the case with organists, that you practice on one organ, and then you have to perform on another organ. It also will make things harder, actually; so you have to be really really ready, and know your piece very well. Vidas: And if you’re used to playing your RH on the upper manual, and the LH on the lower manual, it will make a big difference if you reverse the hands, if you’re not used to the reversal. Ausra: Yes, so you have to be really comfortable, to feel comfortable with your piece, to be able to do all these additional things. Vidas: It all comes quite naturally, I think, over time. Ausra: Yes. Vidas: You don’t need to rush those things; you don’t need to be in a hurry to reach perfection, I think. Right, Ausra? Ausra: Well, sometimes you do, if you have a deadline very soon. Vidas: What do you mean? Ausra: Well, if you have a recital in a few days, for example. Vidas: And...? Ausra: And you are not ready yet. So then you are in big trouble, and you have to worry. Vidas: So maybe your planning, then, is not okay. Maybe a person like this chose all the pieces that are new, and all the pieces that are very long, and all that are very difficult. That’s a big lack of understanding how to plan, right? Because you don’t need to play everything that’s difficult stuff, and everything new, like you cannot repeat. Ausra: That’s right. So, I don’t think there’s any one answer when your piece is ready. You just have to decide for yourself. Vidas: And know that whenever you come back to this piece, you will find something new to work on. Ausra: That’s right. Vidas: That’s okay. Even after a while, after a few years, your level might have grown, and you will figure out some new things on how to perfect it even further. Your taste might change, right Ausra? Ausar: Yes, that’s right. Vidas: Okay! Good luck, guys, in perfecting the pieces that you choose. You will never reach perfection--I will never reach perfection, and Ausra will--I don’t know, will you reach perfection, ever? Ausra: NO. Never. Vidas: Never? So, we have to live with that. But probably, the main point here is to become a little bit better each time we practice, than yesterday. Compare ourselves with ourselves yesterday-- Ausra: That’s a very good point. Vidas: --And not to the masters and other virtuoso organists whom we hear from recordings and videos. Polished. And you never know, if you pick up a CD, if the CD is a live performance, or if it’s edited with many many takes, and glued-together fragments, right? It’s not live anymore! Ausra: Yes, that’s right. Vidas: So, how do you record pieces, Ausra? Do you record it in one sitting, or do you take multiple takes? Ausra: Well, I record it in one sitting, actually. Vidas: Mhm. You don’t edit things? Ausra: No. Vidas: You might stop, when it’s a big break, right? In an episode, or at the end of a movement? Ausra: Yes, of course. Vidas: End of a movement. But it doesn’t make sense to me; I don’t like editing too much. I try to play with feeling and with liveliness. Of course, some sloppy mistakes are not okay for official recordings... Ausra: Sure, of course. Vidas: And I need to redo it--retake it until I get it right. Ausra: But then, I just record everything again. Vidas: Mhm. Ausra: From the beginning to the end. Vidas: Right. Thanks, guys--this is really interesting. Please send us more of your questions; we love helping you grow. Right, Ausra? Ausra: Yes. Vidas: And remember, when you practice… Ausra: Miracles happen.
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Would you like to master the famous Bach's Passacaglia, BWV 582?
If so, my new PDF score with complete fingering and pedaling will save you many hours of frustration and help you achieve the ideal articulate legato touch. 13 pages. Advanced level. 50 % discount is valid until December 20. Free for Total Organist students. Welcome to Secrets of Organ Playing Podcast #124!
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Tabitha is also Music Director and Organist at Church of the Holy Family in Park Forest, IL. She also has a private studio of piano and organ students and is a sought after workshop organizer and speaker on the topic of training part time organists. To support and encourage music performance and participation in the greater Chicago area, she serves on the board of the Chicago Chapter of the American Guild of Organists and is the parent/board liaison of the Suburban Youth Symphony Orchestra. In this conversation Tabitha shares her insights about her educational outreach activities. I think you will enjoy discovering what she is doing to introduce organ to children in particular. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. If you like it, feel free to subscribe to our channel on Musicoin. By the way, you can upload your own recordings to YOUR channel to maximize revenue. If you have some audio recordings of your organ performances, you can do the same. Feel free to use my invitation link to join Musicoin: https://musicoin.org/accept/MUSICa45e5f26ede2be5dd4411747 Thanks for caring. Listen to the conversation Relevant link: Chicago International Organ Academy: http://www.cioa.global Wow! It seems like just a couple of months have just passed since the beginnings of Secrets of Organ Playing.
6 years ago I posted a number of articles on EzineArticles and started teaching people from all over the world about all things organ playing helping them to achieve their dreams. Soon afterwards, I began posting my articles on this blog which was initially created as a platform for Ausra's and my organ duet activities. Later Ausra joined this blog too and her expertise and good will helped tremendously. Long story short, now we have podcasts, organ training materials too many too count, Total Organist membership program and recently have started our channel on Musicoin, a platform built on the revolutionary blockchain technology dedicated to treating musicians fairly. If it wasn't for our readers and students we wouldn't be here today still posting, still teaching and still helping you. Passion alone can only lead you so far. Thank you so much for your support. People often ask me how can I do so many things and where does my energy come from? Well, I guess the answer is rather simple. I don't go to meetings, I don't surf social media and I tend to act first and apologize later. In short - over time I built a habit of doing things which other organists are afraid of doing. This alone saves me at least 4 hours a day and gives me endless energy and motivation. Time flies by so quickly and my Death Clock says I have 12909 days left so I have to make them count. I hope you'll do the same. Thanks for being part of this journey! Please send us your questions - we love helping you grow. And remember, when you practice, miracles happen. #AskVidasAndAusra 123: How to execute the B minor arpeggios of tonic chord over two octaves?12/8/2017 Vidas: Let’s start Episode 123 of #AskVidasAndAusra podcast. Listen to the audio version here. This question was sent by Lilla and she writes:
“Hi Vidas, could you explain/make a video of how to execute the B minor arpeggios of tonic chord over two octaves? In particular, the low f# is marked to play with the right heel. And also, I need to support myself with my hands keeping on the bench (not on my lap). I am not sure how to change this to keep my balance without hand support. Thank you for your help!” So, playing arpeggios with feet. It’s not very easy, right Ausra? Ausra: Yes, that might be tricky sometimes, yes. Vidas: But I think it’s very beneficial in the long term, because it will develop your heel flexibility, yeah? Ausra: Yes. But from what I understood from her question, she places the heel on the low F♯. Vidas: Mhm. Ausra: I wouldn’t do that. Vidas: Yeah, because… Ausra: I don’t think it’s possible to hit the low F♯ with the heel. Vidas: She is studying from my Organ Pedal Virtuoso Master Course, and in that particular arpeggio in b minor over 2 octaves, I probably made a typo: on the low F♯, I placed the heel. So obviously, it has to be-- Ausra: Toe. Vidas: Toe. On any F♯s, you need toes. Ausra: Yes. Vidas: So, this means that you could actually play the b minor arpeggio with the pedaling indicated to f♯ minor, which is R-L-R, then L-L-R-R-R, R-R-L-L, and L. So, to clarify that, B would be played with right toe, the low F♯ with left toe, B again with right toe, D with left heel, F♯ with left toe, then B with the right toe, D with right heel, F♯ with right toe, and then backwards: D right heel, B right toe, and then F♯ with left toe, then D left heel, and the last note B with the left toe. So...is it complicated, Ausra? Ausra: Yes, yes. It seems very complicated when you are telling each note so slowly. Vidas: Yeah, I don’t want to make a mistake, telling people what not to do! And the other part of the question was that Lilla is not comfortable sitting on the organ bench and playing, right? Keeping her hands on the bench, while playing without the hands, on the pedals. How to change the position and keep her balance without hands. Could you help her with that, Ausra? Ausra: Well, I hope so. Maybe she’s sitting in that position--I mean, maybe the bench is too close to the keys, or too far away from the organ. That might be a problem, too. Vidas: Basically, the rule to change position is to always face your knees to the direction of the pedals that you’re playing. Ausra: Yes. Vidas: If your pedals are left and your knees are facing right, you will easily damage your knees, right? Ausra: Yes, that’s right. Vidas:So, how can you push over with one foot? Is it difficult, Ausra? Ausra: Well, not so much, I would say. Vidas: Which foot do you use to push? Opposite? Ausra: Yes. Vidas: If you go upwards, you use the left foot. Ausra: Yes, that’s right. Vidas: If you go downwards, you use the right foot to push off, changing direction. Ausra: Yes, that’s right. And you know, if something feels very uncomfortable for you, it means that you are doing something wrong. It shouldn’t be torture, playing organ. Vidas: And I think it’s best to adjust the bench’s position, as Ausra says, so that you’re neither too high nor too low, neither too far from the pedals nor too close to them--and actually, sit on the edge of the bench. Ausra: Yes, yes. Vidas: Not too deep on the bench. Ausra: That’s right, yes. Vidas: Basically, lean forward. Ausra: Yes. A little bit, yes. Vidas: Does it take practice to figure out a comfortable position? Ausra: Of course. It takes a lot of practice. Vidas: So, I guess people who will be struggling with this need to remember that it’s not an overnight success; because you have to play around, and figure out your comfortable position on the organ bench while playing technical exercises like scales or arpeggios with pedals. Ausra: And also the bench height might not be correct for your case, so you need to adjust that, as well. And--have you noticed that some organists place the organ bench a little bit... Vidas: Diagonally? Ausra: Diagonally, yes. Vidas: To the left. Ausra: What do you think about that position? Vidas: The left side is farther from the keyboards than the right side, right? Ausra: Yes. Vidas: You sort of face a little bit...strangely. The idea behind this approach is that you put your right foot on the swell pedal a lot-- Ausra: Yes. Vidas: To manipulate the box. And for this technique to work, you need to pedal your pieces extensively with the left foot. I don’t think it’s an ideal position; I think we use both feet equally often. Ausra: That’s right, yes. Vidas: Especially if one piece in your repertoire is like, from the 18th century, from the Baroque period, without any swell pedal, and then you suddenly change to Franck or Widor, where you need the swell pedal. Do you think you will have time to change the position of the bench? Ausra: Probably not. But I know that some organists sit like this all the time. They come to be so used to this diagonal position of the organ bench that they cannot play straight. It sort of amazes me. Vidas: And they’re very particular about this. Ausra: I know! Vidas: They mark the distance on the floor with a special marker! Ausra: Yes. So, but you need to see for yourself what works for you. Vidas: And sometimes it doesn’t work. Sometimes you encounter an uncomfortable bench, or uncomfortable pedalboard. So, that’s ok, too. You have to know that it’s temporary, because you will not play (probably) on that organ for your entire life, right? Ausra: Yes. Vidas: You will switch to other instruments. And you will get used to this a little bit, and adjust. Ausra: That’s right. Vidas: Alright, Ausra--what would be your last, final advice for people about playing pedals without hands? Ausra: Well, just try to do it, and... Vidas: Don’t give up. Ausra: Yes, don’t give up! Eventually you will succeed. Vidas: Because...your feet also have muscle memory! Ausra: That’s right. And it’s not as hard as it seems in the beginning. Vidas: And I think you could also take a slower tempo. A lot of people say, “I’m practicing very slowly!” But when I check their tempo, they’re too fast, actually. Ausra: Yes. Vidas: Twice as fast as we would advise! Alright, thanks, guys! This was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. Would you like to learn "Kyrie, Gott Vater in Ewigkeit", BWV 669 by Johann Sebastian Bach from the 3rd part of Clavierübung?
If so, my practice score with complete fingering and pedaling (2 pages) will help you save many hours of your precious time and achieve articulate legato touch. 50 % discount is valid until December 13. PDF score (2 pages, intermediate level). This score is free for Total Organist students. Enjoy your practice and let me know your experience with this piece. PS If you like BWV 669, you will enjoy BWV 676 too. Would you like to test the limits of your hand and feet independence?
If so, try to learn "Allein Gott in der Höh sei Ehr", BWV 676 by Johann Sebastian Bach from the 3rd part of Clavierübung. Here each part has a completely independent movement making it a perfect trio which is notoriously difficult to master. It's no secret that a trio texture like in a trio sonata sounds so simple but is exceedingly difficult to perform elegantly. I'm practicing it for our upcoming Bach's birthday recital in March. Wish me luck. I'm working on it in a very slow tempo to diminish my inherent clumsiness. If you would like to join me, check out our practice score with complete fingering and pedaling written in. It will save you many hours of your time. I have written the left hand and pedal parts and Ausra - the right hand fingering. By the way, she has played the entire 3rd part of Clavierübung back in Lincoln, NE for one of her DMA recitals on the oldest-sounding organ in the US - the famous Bedient Op. 8. 50 % discount is valid until December 13. This score is free for Total Organist students. PDF score (6 pages). Advanced Level. Enjoy your practice and let us know your experience with this piece. Vidas: Let’s start Episode 122 of #AskVidasAndAusra podcast. Listen to the audio version here. Today's question was sent Robert, and he writes:
“My dream is to be able to play any hymn from our hymnal in church meetings when needed even with very short notice.” So, Robert wants to be a liturgical organist, right Ausra? Ausra: Yes, that’s how I understand this question. Vidas: It’s very useful to be able to sightread any hymn when you need to, right? Because you don’t usually select the hymns unless you’re musical director. Ausra: Yes. Vidas: Ausra, can you sightread any hymn you want? Ausra: Yes, I can do that. Vidas: When did you discover this magical skill? Ausra: A long time ago; I already cannot recall the exact date. Vidas: Were you born with this skill? Ausra: No, definitely not. I’m not Mozart; I’m no Bach! Vidas: Neither was I. But I don’t think either Mozart or Bach was able to sightread any hymn when he was a baby. Ausra: Well, I don’t know! Vidas: So, you can probably build this skill over time. Ausra: Definitely. You just have to do it every day. But, as Robert said in his previous question about having enough time to practice every day (and trying to procrastinate the practicing)--in that case, you will not be able to sightread hymns very well, unless you do it regularly every day. Vidas: Mhm. So, people who are in a similar situation like Robert, who want to excel in sightreading hymns and be great liturgical organists, but feel kind of stuck in the current situation, and they cannot really force themselves to do this every day--they have to remember their goal every day, right? Ausra: I think so, yes. And you just need to find out what is motivating you the most. Maybe meeting those congregation people, who will tell you after you play any hymn from the hymnal, “Wow, how can he do this this well, just sightread any hymn!” Maybe this will be good motivation enough for you to do it on a regular basis. Vidas: Is this a good idea: to write down your goals? Ausra: I think so, yes. For some people it is a good idea. Vidas: To write down their goals, and leave them in a place they could see every day. Ausra: On the refrigerator. Vidas: Refrigerator, somewhere near the mirror, next to the TV, next to the organ--everywhere there are distractions, right? Maybe they could even save their goal on the screen of the smartphone when they turn it on! Ausra: That’s right! Vidas: Remember Hans Davidson and his motto? Ausra: Yes, I remember that. Vidas: What was his motto? Ausra: Carpe diem. Vidas: What does it mean? Ausra: It means “seize the day” or “use the day.” Basically, don’t be lazy, and use every minute of your day. Vidas: And we know what Hans Davidson has achieved already, right? He organized and managed to build amazing historical instruments and replicas, not only in his native Sweden, but also across the pond in America. Ausra: That’s right. Vidas: Right? And for this he will be remembered! Ausra: Yes, of course. Vidas: Yes, definitely. At least for this. I think even more, for more things. So...we only live once, right Ausra? It seems like a long life, right Ausra? I have this clock here on my screen; it says that I have 12,919 days left to live. And this is called a “Death Clock”--you can install it in your Chrome browser, and you insert your birthday, and it gives you the number of days, hours, minutes, and seconds, with approximate average length of human life. And I think it’s good to know how many days are left, and to make them count. As a reminder. Ausra: Don’t you feel scared about this?! Vidas: Not at all. I feel kind of motivated to make them count. Because it’s only my life--my one and only life. What do you think about that, Ausra? I didn’t tell you that before! Ausra: It’s very scary, actually. I’m in shock. Vidas: Shock? Ausra: Yes. Vidas: So, because we are the same age, you have the same number of days, hours, minutes, and seconds left, too. Ausra: Well, I’m a little bit younger; and plus, I’m a woman. Usually women outlive men. Vidas: Mmm, true. I could have inserted your birthday! Ausra: Well I’m just making joke. Nobody knows exactly how much it will take for us to live. Vidas: So yeah, you can google “death clock” if you want one in your browser. It’s kind of a nice reminder, at least for me. And it says, “Life is short; make the most of it.” And then, of course, sightread hymns every day! Ausra: Yes, because if that’s your goal, you have to do it every day. Regularly. Vidas: At least for 6 months, right? Or even less: let’s say 67 days. That’s as many days as it takes to build a habit. After that, it’s easy. Ausra: Yes. Vidas: Excellent. Ausra, what habit will you be building today? Ausra: Well, I have so much to do that I don’t have time to build a new habit! Vidas: So explain to us, what will you be doing in the afternoon? Ausra: I will have a concert that I have to lead. Vidas: Uh-huh, which is called “ABC.” Ausra: Yes. Vidas: What does it mean? Ausra: I will be talking about music keys. Vidas: Hmm. A Major, a minor, B Major, b minor… Ausra: Yes, yes, that’s right. Vidas: And schoolchildren will play a piece or two from each of these keys, right? Ausra: That’s right, yes. Vidas: And what will you say? Ausra: Well, historically what each key meant. A little bit about composers and compositions. So on and so forth. Vidas: Even though they will be playing on the piano, it’s important for them to realize the difference between the keys, right? Ausra: That’s right. Although, I have like 12 pieces written in a minor for this particular concert. I don’t know what different 12 things I can say about the key of a minor. Vidas: So this concert should be named not “ABC” but “A”! Ausra: I think so, yes. And there is only one piece in the entire recital--it has like 29 pieces--written in b minor. And no B♭ Major, no b♭ minor, no B Major… Vidas: Just one piece in b minor? Ausra: One piece in b minor. So it’s not like ABC recital, but it’s like A and C, and B just, you know...I hope that girl who will play in b minor will not get sick. Vidas: Uh-huh. Ausra: Because that way, we will have to rename the recital--or cancel it! Vidas: Yeah, everything is on her now. The pressure! Ausra: Yes. So...I have plenty to do today! Vidas: Wonderful. How much time did you devote to preparing for this speech? Ausra: About 8 hours. Vidas: 8 hours? Ausra: Yes. Vidas: Was it a fun process for you? Ausra: Yes, it was fun. But I would not like to repeat it soon. Vidas: So, you said yes, but you kind of regret it...or not? Ausra: Yes. Actually, I do. Vidas: You would not say yes anytime soon, for this particular occasion? Ausra: Oh no, oh no, no, I will not say yes, I think! Vidas: Guys, if you want to have enough time for your dreams, and sightreading hymns, and doing things that you love--you have to learn to say no. Ausra: That’s right. Vidas: To say no to the projects that seem kind of interesting, but don’t necessarily align with your goals. They might align with other people’s goals, right? But since life is short, and for example, I have 12,919 days to live...I kind of feel that I have to do my own thing. Ausra: Yes, that’s right. Vidas: Which is meaningful. And no one else can do this for me, but me. Ausra: Yes, I’m just glad that today it will be over! So that’s it. Vidas: Excellent. What’s next for you? Bach recital, probably? Ausra: Well yes, Bach recital; plus also I have some extra work, at work that I have to do. Vidas: Mhm. Ausra: Which will take a lot of my time, too. But such is life. Vidas: Excellent. Today I will also be practicing Bach recital pieces that I’ve chosen. They’re wonderful, and I think I’m going to add some fingering and pedaling, at least in some of them. One of them is Bach’s Passacaglia! Ausra: Excellent piece. Very nice. Vidas: Wonderful. So, stay tuned if you want to master this piece with my fingerings and pedalings, with ideal articulation: articulate legato! Thank you guys. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Vidas: Let’s start Episode 121 of #AskVidasAndAusra podcast. Listen to the audio version here. And this question was sent by Robert. He writes that “I’m not taking enough time every day to practice.” So Ausra, do you think that he doesn’t have time enough, or he cannot force himself to practice?
Ausra: Well, from his statement, it sounds like he might be probably too lazy to practice, like we all are sometimes. At least, I had such an impression, after reading his statement: “I am not taking enough time every day to practice.” Vidas: “Lazy” might be a cause for this, but I think this inner drive should come first, right? If you’re so motivated, and passionate about that, and if you want it so badly, then you don’t have to really force yourself. It comes naturally, right? Ausra: Well, then you will understand that practice is a privilege; and yes, you will practice every day. Vidas: I’ve heard an explanation about this issue: that you have to feel like a gun is pointing at your head, and then you will feel motivated to do whatever it takes! Ausra: Well, what I personally think is, I think your practice needs to become your habit. It’s like having lunch or dinner. You eat every day--I believe so, yes? So that’s what you have to do with practice: it just has to become a part of your routine, of your schedule, of all the necessary things that you do. Vidas: But Ausra, what if you stopped eating or drinking? For a week? For a month? Ausra: Well, you will die. Vidas: You will die, yes? So that’s why we keep eating and drinking. What would happen if Robert (or anyone else in his shoes) would stop playing? Ausra: Nothing. Vidas: Nothing. That’s why he is not taking enough time every day to practice. Ausra: But, because he already sent us this question, that shows that he actually worries about it. And actually, without practicing, he doesn’t feel well enough. Vidas: Mhm, mhm. Ausra: That he has that--I don’t know what to call it, inner guilt? Vidas: Yeah, it’s like this dog that we have to feed, and he’s saying, “Feed me, feed me, feed me!” and we forget every day, right, and he dies after three weeks. Ausra: Yeah. Vidas: I have this dream once in awhile. Or, you had this dream right? Ausra: Yes. Vidas: About a hamster? Ausra: Yes, yes. Vidas: I had another dream that I would skip classes--I would teach music classes in some school, and I would forget those classes for six months. So that would be...uhh, not a nice feeling in the morning. It’s kind of like that with Robert, too. He feels this guilt, I think, too; because he wants to succeed, but it takes willpower to do this. Ausra, is there any shortcut, silver bullet, or magical pill? Ausra: I don’t think so. It would be too easy--too simple! Vidas: Anybody could succeed, right? Ausra: Yes. Vidas: And anybody would succeed, actually. Ausra: Yes. Vidas: So, the best I can advise Robert is of course, imagine what bad would happen if he stopped practicing for himself--what life would look like if he didn’t practice for six months, for him. He has to visualize it, right? Or the other way around--imagine how his life would be if he practiced every day for six months, and what he could achieve in that time, right? Ausra: Yes. And of course, from his question, I could also understand that maybe he practices every day, but not enough. Vidas: Hmm. Could be. Ausra: So, that could be another issue: that you know, in that case, if he practices every day, but not enough, then he will never play well enough. Vidas: What is enough? Ausra: Well, it depends on how good you are already, and what your goals are. It’s different for each person. Vidas: Is 15 minutes enough? Ausra: I don’t think so. Vidas: Minimum of 15 minutes a day. If you are, you know, so busy, so tired, so exhausted, that you kind of feel like skipping today, we say: do just 15 minutes, and you will thank yourself the next day that you didn’t break the chain. Right? But if you’re serious about it, it should be more. Ausra: Yes, of course! Vidas: At least what? Ausra: Well, at least an hour. Vidas: At least an hour, probably. Ausra: At the very minimum. Vidas: Mhm. If you want to learn a few more advanced pieces and go further along into the perfection of organ art. It’s not easy to force yourself, right? Because life is so full of complications, and we have so many distractions every day, right? TV, computers, phones everywhere, and everything is shiny and wonderful… And they call to us: “Pick me, pick me, pick me! Do this, do this, do this! Forget organ practice! Just once!” So Ausra, what motivates you to practice? Ausra: Upcoming recitals. Due dates. Vidas: External motivation. Ausra: Yes, yes. Vidas: Hmm. I probably would practice less than now if I didn’t have my concert schedule lined up. So yes, guys, if you suffer from this trouble of not making enough effort and practicing every day, then schedule some public performances. Ausra: Yes. Vidas: That will be helpful, right? Ausra: That will force you to practice enough! Vidas: Does it have to be a full recital, Ausra? Ausra: Not necessarily. Vidas: What do you mean? Ausra: Well, you could do just one piece, I don’t know; it depends on your situation in life. Vidas: Could you find an organ friend in a church--like, an organist--and get to know him or her, and ask for permission to perform a postlude or prelude or communion piece… Ausra: Of course you can do that. Yes, you can do that. Vidas: In a month, let’s say, right? Ausra: Yes. Vidas: And then, there you go. You have a deadline. Ausra: That’s right. Vidas: Or two pieces, if you are more confident. Or, for people who want to advance even further, they could do half an hour of some sort of celebratory recital after some festivity in the church, like Easter. Ausra: Yes, because I believe that there is no better motivation to practice than fear of public performances coming up. Vidas: Everybody’s afraid, right? You think that you will mess up your playing, and everybody will make fun of you, and your career will be over, and your life will be over, and you will go to prison, and you’ll die eventually. Ausra: I don’t think you will go prison if you didn’t play a recital well. I hope not! Vidas: To organ prison! Ausra: Yes. Vidas: Where all the bad organists are staying! Or you will go to purgatory! Would you like to go to purgatory? Ausra: No. No. Vidas: Where all the bad organists are staying? Who play only white keys on weekdays and black keys on Sundays and festivities? Ausra: Yes, that’s funny. Vidas: So guys, look seriously and decide what you want to achieve within the next six months, right? It could be very small: learn and master 2, 3, 4 pieces, maybe. Just like that. And then, schedule some external accountability, like public performance. And then you will thank yourself later, because you will have to force yourself. Right, Ausra? Ausra: That’s right, yes. Vidas: Thank you, guys, for listening. Thank you for sending us your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen. SOP Podcast #123: Luca Massaglia on acoustics, expanding your repertoire and giving presents12/3/2017 Welcome to Secrets of Organ Playing Podcast #123!
Listen to the conversation
In this conversation, Luca shares his insights about his interest in Jazz, the modes of Messiaen, harmony, music of Jehan Alain. He also recounts his experiences from his concert tours in Russia where big audiences are attending organ concerts whereas in Western Europe not so many anymore are interested in this art. We also talk about the opera influences on Italian organ music, Renaissance music, acoustics, expanding your repertoire and giving musical presents. You can find out more about Luca's activities at www.lucamassaglia.com. 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. If you like it, feel free to subscribe to our channel on Musicoin. By the way, you can upload your own recordings to YOUR channel to maximize revenue. If you have some audio recordings of your organ performances, you can do the same. Feel free to use my invitation link to join Musicoin: https://musicoin.org/accept/MUSICa45e5f26ede2be5dd4411747 Thanks for caring. Listen to the conversation Relevant links: www.lucamassaglia.com Luca Massaglia's channel on YouTube |
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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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