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Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 635 of Secrets of Organ Playing Podcast. This question was sent by Scott, and he writes, Hi Vidas. I'm new to organ playing and came across your site. Do you have a course that goes in order from kind of the beginning? I'm an intermediate piano player who doesn't read well yet. I also don't have pedals nor multiple manuals right now. Just using a midi controller with organ presets. Can a membership on your site help me where I'm at now with organ? V: So Scott is probably wondering about Total Organist. A: Yes. I guess so. V: But he is interested in learning the organ kind of from the beginning. What I don’t really get is how he can be an intermediate piano player, but at the same time doesn’t read well. So if you are intermediate, you already read well, right? A: Maybe he meant that he doesn’t read difficult pieces well right away. V: If you are a beginner you don’t read well, but if you are intermediate you are reading well. A: But intermediate is not advanced. V: Mm. I would think advanced players read very well. Not well but very well. A: Maybe he’s just modest about… V: Or maybe he’s more of a basic level organist, not intermediate level - pianist - let’s say pianist. What’s your instinct on this, intuition? A: My guess that he needs right now, because he has only one keyboard and no pedal, to work on manualiter things, and do you have such a course in your Total Organist program? V: Oh yeah. Specifically designed for people who don’t have pedals, or who start with piano skills first. I made fingering for all the Bach Two Part Inventions and Three Part Sinfonias. But also, for Cesar Franck’s L’Organiste. Basically, L’Organiste teaches legato technique with finger substitutions, and Bach works show you and teach you about articulate legato style, suitable for early music. A: And all these great collections can be done on one manual, is that right? V: Yes. For Franck, sometimes you do need sort of a second keyboard because of a different sounds required for the right hand as a solo melody, or the left hand. Because if they were written, let’s say for harmonium, harmonium would have a divided keyboard. Certain stop would only affect let’s say the right hand side of the keyboard but not the left hand side of the keyboard. So you can draw out one stop and play with solo out melody, but left hand would be softer, and vice versa. So if you only have one keyboard, then you would not get this diversification easily, unless you have let’s say Hauptwerk or Grand Orgue, let’s say - virtual pipe organ software, where you could have a sample set for one organ, one organ, but with divided keyboard. There are some Spanish organs like that, maybe Italian organs, maybe Positivs for three or four stops - they could be suitable for this kind of division between the hands. What do you think, Ausra? A: Well what I think that it’s very important to spend every day practicing, no matter what kind of instrument you have at home. And maybe instead of searching for, let’s say more variety, other instruments, I think it’s more beneficial to spend that time just working and practicing and increasing your technique. V: Hm. You are so right, Ausra. You are painfully right, I mean you’re right at the degree that I don’t have anything else to add. And I would like to add something, actually, but I don’t know what. A: Yes, because you know, if we are talking about the same collection by Cesar Franck, L’Organiste, you can still do a lot on just having one keyboard without any other extra division and other manuals. Most of them can be done on one keyboard. V: Yeah. I didn’t specify that some of the pieces need a sort of division between the hands, but a lot of them not. A: So basically, all those, like Inventions by J.S. Bach and Sinfonias by J.S. Bach, and Cesar Franck L’Organiste can be easily done on one keyboard, and it’s just very important for Scott. V: Exactly. And by the time you finish learning all Bach’s Inventions and Sinfonias as well as most of the pieces by Franck in L’Organiste, probably you will have saved some money to get a MIDI pedalboard, or MIDI-fy your old pedalboard, sort of to be used together with the MIDI controller as a manual, together with pedals you could play both. It would be like a second step. A: Yes, and at that time you can start learning new pieces with the pedals. V: That’s a good advice. Thank you guys for watching, for listening to us. We really appreciate your questions. Doesn’t matter if you’re an advanced player or a beginner player, we really want to help you grow. And obviously there is no better way to grow than in a community. We have this Total Organist community on Basecamp, which asks and answers questions every day, reports how they’re practicing, what they’re practicing, what they’re struggling with, and they support each other. They sort of see commonalities between each of them, and it’s really really rewarding experience to be a part of that group. Even if you are an advanced organist, you would definitely benefit from being in a group of like-minded individuals who want to improve their organ playing skills, don’t you think, Ausra? A: Yes, I think it’s nice to be a part of community where share same ideas, and have some struggles that are common for everybody. V: From my experience, people basically quadruple their results from being a solo player, from studying on their own, and then when they join the community of Total Organist, in some months they quadruple their results. That’s unbelievable. A: I would say maybe double at first, but of course I’m a pessimist, or a realist in life, and you are optimist, so. V: Who wins in life, pessimists, or realists, or optimists? A: They end up the same for everybody. V: Which is? A: Death, of course. V: (laughs) A: You shouldn’t be laughing about that - it’s serious things. V: Yes, but since we all have the same results, so why bother? Can’t escape. A: Well, don’t talk nonsense, okay? V: All right. Ausra is getting too serious for this conversation, so we better go and play some organ duets now, right? A: Yes, because we have recording upcoming next week. V: Remind us, what will you be playing? A: I’ll play Offertory by Alexander Guilmant, based on two noels. And of course I’ll play a bunch of duets together with you. V: Christmas Oratorio excerpts, as well as Eine Kleine Nachtmusik by Mozart, and I will improvise something on the Christmas tunes. Wonderful! This was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying 
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 633 of Secrets of Organ Playing Podcast. This question was sent by André, and he writes, Hello dear Vidas, I received the statement from Patreon about your support. I am extremely honored and grateful for your help, which means a lot to me. First, because I’ve been following your channel for many years, long before you started using Hauptwerk. In fact, many years ago you recorded a video about possible works to study with only a manual, which was a starting point for me in the organ. And finally, I printed the paper pedal board that you made available on your website! Anyway, receiving your support means a lot because you have always been a person who inspired me! Here in Brazil things are scarce in relation to the practice of the organ, but I was never discouraged, I was always positive. And now with Hauptwerk, and with my future equipment, I will be able to study this instrument that I love so much more! Thank you very much, affectionately, André Barbosa V: André later wrote that he is looking forward to receiving his two keyboards and MIDI pedalboard later, in a few months. So this will really enable him to start playing real organ repertoire. A: Yes, this is such inspiring story for people showing that you just don’t have to give up. If you don’t have something available for you for a moment, that you still can do something and practice something. Maybe just do manual work first of all, and to have like a paper pedalboard, and with time, your dreams will come true. The most important thing is to do something constantly, to be very consistent and work on it on a regular basis. V: Sometimes I get to see people’s questions on various social media sites, and they ask, “What can I do? I don’t have an access to the organ anymore. My church is closed, so I don’t have a place to play and practice. My basically organ playing career is over.” And just recently I discovered this question on the forum, and suggested, “Maybe you need to start thinking about getting Hauptwerk organ of your own at home. Very affordable.” And the person wrote that she’s broke. And then I said, “Maybe you need to think about some revenue stream first,” instead of getting access to the organ, and only then about instrument. But as it turns out, organ and revenue is not mutually exclusive. You can get one and the other at the same time. I’m talking about a platform called Emanate now. Emanate is a platform which rewards musicians fairly instantly and directly. So if you upload your recordings, and with Hauptwerk you would get really high quality recordings right away, you share those links, your recordings with your friends, family, and work fans, and you will start getting real revenue. A: I think you know, if you really want to play organ, if it’s really important for you, you will find a way to do it if it’s really important for you. And if you don’t, maybe it wasn’t that important. V: Yeah. I think people are sometimes just looking for excuses instead of solutions. A: Yes, and sometimes people just like to complain. Some people complain about things all the time, like my mom, for example. V: But she cooks well! A: (laughs) Yes, I can see that, looking at you and at myself of course. She could cook much less. V: We look healthy, you mean. A: I don’t think we would look healthy for cardiologist. V: Yes, but she listens to our organ playing. That’s a good sign. A: Yes. We are educating her a little bit. V: And she uses tablet, internet. A: Very advanced. V: Yes. Can swipe with her finger from left to right. A: Okay, don’t make fun of my mother. Don’t want me to start talking about your mother. V: What did my mother do? My mom is teaching also online, like you. A: So she’s much more advanced, comparing to my mother. But she doesn’t cook for us, so…. V: Yeah, too bad. A: I prefer my mother. V: What if both of our moms could cook for us. (laughs) A: Hardly to imagine that - your mother cooking all the time for us. V: And listening to organ music in the background. So, wonderful question. Yeah - André really made my day with this answer on Patreon. Sometimes, sometime ago, when I decided to support more organists on Patreon, I was looking for other small channels. And apparently there are not many. There are a few big names which have at least hundred subscribers, which really don’t need much support from outside right now, because they are already flying well. And there are a few of us who are doing small work, like André Barbosa, Paul Fey, James Flores, our channel, and that’s about it. You know, there are a few amateur organists who don’t play organ repertoire, but just play pop music on the organ. So I was not compelled to support them, because they’re not really organists. A: Maybe they have more even followers than we do, don’t you think so? V: No, no. A: Oh, good. I’m so much relieved. V: Yeah. At first I thought maybe, but I didn’t feel any emotional connection with their music, so… so I guess Barbosa is one of them who is connected with us. A: Yes, I really like his playing and I’m following his YouTube channel. V: And he only has one keyboard right now! One MIDI keyboard. Anybody can have a keyboard at home, you know, like it costs, let’s say for argument’s sake the cheapest one is less than $100. You can find $50 keyboard right now. Or a used one you can get for $20 or $30 - very cheap. If you install Hauptwerk, or if you don’t have resources for Hauptwerk, you can install Grand Orgue - it’s free. And you can start making music from your home with virtual pipe organ software, with beautifully sampled pipe organ sounds - virtual pipe organ sounds. And you’re no longer stuck - you’re starting, you have a starting point. Then later, little by little, you can earn more money, and later you can buy a pedalboard. A: Yes, and the rest is up to you, right? V: Yes, the rest is history. Excellent. So guys, don’t give up, even if you’re in a country where organ culture is not popular. You just have to keep positive mentality and look for solutions to your challenges, and not for excuses. Thank you guys! This was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. Vidas: Let’s start episode 626 of Secrets of Organ Playing Podcast. This question was sent by Mario, and he writes: “Hello Vidas, my name is Mario I am a 25 year old musician from Panamá. My dream is to become Panamá's first organist, we have two pipe organs in the country and lucky for me I have access to both. One is Spanish pipe organ with 2 manuals and 30 note straight pedalboard and 51 keys on each manual. Second is a Renaissance pipe organ built in 2019 by a Polish organ company, it has 3 manuals with 51 keys also and a 27 note pedalboard. I am very interested in developing my sight reading abilities to a high level, where I could Just grab any composition and play it at tempo, and I mean piano or organ composition. I am wondering if your sight reading course would be good for me. I am comfortable sight reading hymns, but I don't have knowledge on pipe organ repertoire, only Bach. I practice on a digital Piano a Yamaha p155. I bought an AGO pedalboard and it should arrive in 2 weeks. Let me know if you can help me become a master at sight reading.” Vidas: So Ausra, where do we start? Ausra: Well, what I can say: Mario seems to me a very ambitious young man with a future vision! Vidas: Yes. Now he has access only to two organs in Panamá. Both… the only two organs in Panamá. And he has a goal in the future to have a pedalboard at home so he could easily practice every day. Right? Ausra: Sure, of course! Vidas: The first thing that came to mind is how did a Polish organ company build an organ in Panamá? Ausra: I also thought it sort of bizarre, and the choice of building a Renaissance pipe organ, which is also very bizarre. Are they sort of doing something with early music in Panamá? Vidas: Yeah, strange coincidence. Maybe Mario could follow up and tell us the story of how this organ came to Panamá. Ausra: Because I don’t think that Poland itself is very famous for Renaissance instruments. I think it’s more famous for Baroque and later instruments. Vidas: Right. Well, there are a number of historical organs, probably old ones from the Renaissance times in Poland, but it seems strange to build in organ in the country which only in the previous days has only one previous organ. Right? And you are building a second organ which will be a Renaissance type organ. Ausra: Yes, because this sort of very much reduces the chances of your repertoire, because if it’s a renaissance organ, then you will be able to play only Renaissance music on it, and it’s not such a large variety of repertoire. Vidas: I hope we are missing something. Maybe there is something behind the scenes that we don’t know. Ausra: Yes, could be. Vidas: So, concerning probably the sight-reading goal that Mario has, he has probably a basic understanding of playing hymns. Right, Ausra? Ausra: Yes, that’s what I understood, because he says that he sight-reads hymns. Of course he didn’t tell us if he just plays them on the piano, which is one thing, and if he plays them with the pedal, which is a big difference. Vidas: Yes, it is. But obviously, if he took my sight-reading Master Course on the organ, then obviously, he will start with one single voice, like any other student, and progress through other voices, then within a number of weeks, he will start playing two voice combinations, later add three voices, and finally sight-read all four voices together. Does this plan sound like something Mario could do? Ausra: Yes, obviously he could do it. Of course, I don’t know if he would be sort of fluent in sight-reading any music at any tempo after that, but I don’t think very many people could do that in general. Vidas: This course is not a substitute for regular organ repertoire. You have to mix both things together. You have to simultaneously play repertoire and at the same time this course, let’s say. And then you will progress through sight-reading that repertoire which you are playing much faster. Does that make sense? Ausra: Yes, it makes sense, of course. Vidas: So that’s my main suggestion. Obviously, you need a pedalboard, and it’s best to have it at home, so maybe in two weeks, or maybe by the time that Mario hears this podcast episode, maybe he will already have acquired a pedalboard at his home. Possible! Ausra: Yes, that’s possible, of course. Vidas: I would think that a digital piano like Yamaha would have a MIDI outlet, right? Ausra: I’m not good with technologies, but yes, I think it should have one. Vidas: This particular model I’m not sure, but in general digital pianos should have MIDI-in and MIDI-out, so if it does then he could connect Hauptwerk. Ausra: Yes, that’s a possibility. Vidas: Hauptwerk is a virtual pipe organ software where you download samples, install sample sets, from real sounding organs, and you can choose many many sample sets on your machine and switch them according to the needs of your repertoire. If you’re playing Baroque music, you can choose a Baroque organ, if you’re playing Romantic music, you could choose a Romantic organ. French, German, Dutch, whatever you want, you know! Ausra: But since Mario has only one keyboard and one pedalboard, I don’t think he could benefit a lot from adding Hauptwerk, because if you want to use Hauptwerk, you have to have at least a couple of keyboards. Don’t you think so? Unless you practice only Baroque music. Vidas: Yeah, for this particular course, Sight-reading Master Course, this could be done. This could be done with pedals and one keyboard. Remember, we listen to the entire “Art of Fugue” on harpsichord without… Ausra: Of course, but I’m not talking about “Art of Fugue!” I’m talking about what you just told about—the possibilities of Hauptwerk having all of these different French, German, Dutch instruments. I’m saying that it doesn’t make sense to have all these sample sets if you don’t have more keyboards. Don’t you agree? Vidas: Agree. Ausra: Okay! Vidas: Alright! So, it seems that… but my proposition to try out Hauptwerk is because if you are playing on a digital piano, you will have piano sounds, and piano sounds are not the same as organ sounds. Maybe it’s just a basic one-keyboard organ sound that he needs, but still, to have a virtual, at least one sample set installed would be nice! Ausra: Yes, especially since he will have a pedalboard as well. Vidas: Right. So guys, we hope this was useful to you. Please send us more of your questions; we love helping you grow. And remember, when you practice, Ausra: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying Last Sunday I went to play an Advent Mass at my church. Part of the music performed was Nun komm, der Heiden Heiland, BWV 659 from 18 Great Chorales by J.S. Bach. The registration was Cornet 8' in the right hand, Salicional 8' and Flauto Major 8' in the left hand and some 16' and 8' stops in the pedals. The piece was finished earlier than the bell rang so I had to improvise an ending to it. I played chorale harmonisation a couple of times with interludes and plagal extension at the end. Hope you will enjoy it!
Score: https://secrets-of-organ-playing.mysh...   I hope you will enjoy practicing this beautiful chorale prelude Herzlich tut mich verlangen, Op. 122 No. 9 by Johannes Brahms. I have prepared a practice score with complete fingering written in which will help you save many hours, practice efficiently and achieve a perfect legato touch. PDF score. Basic level. 2 pages. Thanks to Juan Osorno for transcribing the fingering and pedaling from the video. This piece is free for Total Organist students. Check it out here O Welt, ich muss dich lassen, Op. 122 No. 11 by Johannes Brahms with fingering and pedaling12/6/2020  I hope you will enjoy practicing this beautiful chorale prelude O Welt, ich muss dich lassen, Op. 122 No. 11 by Johannes Brahms. I have prepared a practice score with complete fingering written in which will help you save many hours, practice efficiently and achieve a perfect legato touch. PDF score. Basic level. 2 pages. Thanks to Jeremy Owens for transcribing the fingering and pedaling from the video. This piece is free for Total Organist students. Check it out here
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. Vidas: Let’s start episode 624 of Secrets of Organ Playing Podcast. This question was sent by Diana, who transcribes fingering and pedaling from our videos, and she writes that: “Sometimes I read a treble clef like a bass clef...” Vidas: I don’t know if it’s a common problem or not, Ausra. Ausra: Well, actually, it’s a very uncommon problem. The problem is usually that people read bass clef as treble clef, but not otherwise. So, I really don’t know what to say and how to help! Vidas: Yeah, because if you start your musical training with the bass clefs, so it becomes your native clef, so you learn it first, and then every other clef becomes like an addition to that, so you then judge, let’s say, treble clef by the notes of the bass clef. Ausra: Well, do you know many musicians who start their training with bass clef? Because I personally don’t. Vidas: Exactly. That’s what I meant, you know, common experience is starting from the treble clef nowadays. Maybe she means that she’s mixing up treble clef with bass clef, but the other way around, could be. Ausra: Yes, that would be a very common problem for people, but I would say that the more you play in different clefs, the easier it gets, because usually this problem is for beginners only. Do you mix clefs, Vidas? Vidas: Yes, I mix them all the time, but intentionally, because I know 10 clefs. There are five C clefs on every line which indicate treble C, there are two F clefs like a bass clef and the baritone clef. They indicate the note tenor F. And there are three... or two… two G clefs. The descant and the treble clef. And I probably should mention that there is another one; an extra F clef to basso profundo. Right, Ausra? Ausra: Yes. And are you comfortable with all of those clefs? Vidas: No, I don’t use them everyday, but probably the four of them are the most common: treble clef, bass clef, then alto clef and the tenor clef. But I also use very often soprano clef. What about you? Ausra: Well actually, I use four of C clefs very often, so soprano, mezzo-soprano, alto, and tenor, but not so often the baritone, and of course the treble and bass clefs. I don’t use this contra- clef or another F clef. Vidas: You teach students at school about those clefs. Right? Ausra: Yes. Vidas: What do they say when you teach them? Ausra: They hate them, and they hate me! Vidas: “Why do we need them?” Right? Ausra: Yes! Actually, not really, because among my students, there are some who use C clefs in their daily life, because they play alto cello and like trombone, so they are sort of used to other clefs as well. Vidas: But I mean when you explain why they need them, what do you say? Ausra: Well, I explain how the tradition of writing music was, that paper was very expensive and the use of these clefs allow us to omit ledger lines, so and in that case you save space, you save paper. Plus, it was tradition that each voice has its own clef. It was really comfortable. And I give them for an example Mozart’s Requiem. Vidas: “Lacrymosa?” Ausra: Yes, because it’s in the textbook, but I guess other parts of and movements of the Requiem are written in the same manner. Vidas: To me, there is another benefit of using clefs that changing clefs and using them in my daily training, because if you have a theme written, let’s say in the treble clef, the theme of a musical, idea four measures long or two measures long, whatever your theme is, or even an entire chorale or hymn written in the treble clef, and you want to improvise on that theme, one of the techniques that makes your improvisation more colorful and interesting is to transpose this theme into other keys. Not to play in one key, which is okay for a short time, but to change to the dominant key, to the relative key, to the subdominant key, to the relative of the dominant, relative to the subdominant, those closely related keys, let’s say, and one of the ways to easily do this is by changing the clef. You read the notes as they are on the stave, but in your mind, you change the clef, and therefore, you read different notes—you transpose them to different keys—adding different accidentals, of course. Ausra: But that way you really need to be closely familiar with these keys and clefs. Vidas: Of course! Ausra: Because what I do when I have to read, let’s say, from the C clefs, I just transpose back of an interval. And I’m very good at doing that. Do you think it’s possible it’s also one of the right ways to do it? Vidas: Well, yes, it’s not difficult if you are transposing just a major or minor second up or down, but other than that, you need to then switch something in your head. Right? So either you switch the clef, or you switch the position of the note on the staff. You can choose whichever feels more natural in this particular situation. Ausra: You know, for me, for example, it’s very easy when I have to transpose things a second or a third below the given melody, and therefore in order to use all these C clefs, I’ll just have to switch in my head between treble and bass clef, and I can do that very easily then. Vidas. Right. So I have this training, “Transposition for Organists, Level 1,” which teaches you to transpose 4-part hymns at sight fluently. And the goal of this course is to help people perfect their hymn transposition skills so that they would be able to transpose any 4-part hymn at sight fluently and without mistakes by the intervals of the half-step and the whole-step up and down. So this is the first step. The first level. Then the second level would be probably wider intervals, like a major or minor third up and down, and then a perfect fourth up and down, a fifth, and so forth. Ausra: Well, but you know in a practical way, I wouldn’t say that you need to go to wider intervals, because you rarely will encounter a case that you have to transpose so far away. Vidas: Yes, the widest interval that is probably practical, I would say, is perfect fourth up. Ausra: Well, I would go to a major third, probably. Vidas: But, you know, if you want to transpose from C major to G major, what do you do then? Right? Ausra: Well, yes. Vidas: From the tonic to the dominant. Ausra: But lets say we are talking now about hymn transposition, and all the vocal music including hymns are related to a human voice, to a diapason of human voice, and I don’t think any of us have such a wide range in our diapason, so I don’t think you need to transpose in such wide intervals. Vidas: No, but if your goal is to learn to improvise, transposition is one of those steps. Ausra: Well, yes. Vidas: Trust me. I know. Ausra: Anyway, I don’t have any trouble to transposing anything to any key, so I don’t think it’s really for me, your teaching. I could teach you. Vidas: Yes. Which intervals would you teach me? Ausra: Perfect octave! Vidas: Perfect octave. Ausra: That’s the easiest transposition! Vidas: Yeah, but people who need to perfect their, let’s say, transposition skills would find this course really helpful. This course is not written, of course, in different clefs. It’s in treble clef. Or not… let me think… Oh yeah, actually, I’m looking at the picture of the course, and yes, we have alto clef! Yes, we have transposition by the clefs, so it applies to those people who want to read the clefs, too. Ausra: Well, because what I’m thinking is that if you are transposing only by a second or a third, then you could think about a given interval and which direction you are transposing by a second or by a third, but if you need to transpose by a wider interval, then probably you need to imagine a different clef. It’s easier that way. Vidas: Yes. And the wider the interval, the more difficult it becomes. So level 1 is just major or minor seconds. So I suggest people start from there and see how it goes for 12 weeks in a row. That’s the length of the course. Ausra: Well, another way would be if you imagine all the music in the scale degrees, then you could use that skill to transpose, and I don’t think then the right interval would be a problem. Vidas: Yes, but then this music needs to stay in one key, like a hymn. But in hymns, sometimes, we have also temporary excursions to different keys like the dominant or to the relative key as well. So in that instance, in your mind you have to switch to another key, and then to another scale degree. That’s complicated a little bit. Ausra: Isn’t that self-explanatory? Vidas: Maybe, but we have to explain everything none-the-less. Right? Ausra: Well, if you are smart enough to understand that the key is changing in a concrete part, so I don’t think it would be a trouble for you to switch to other keys’ scale degrees. Vidas: You haven’t forgotten how you first learned, let’s say, about those clefs and transposition twenty years ago or more… it’s really... Ausra: Yes, it was a very long time ago! Vidas: Yes, so I think people start really from scratch and they need to do the basic stuff. Ausra: Probably 30 years ago! Vidas: Could be. We are very old. So guys, check out this course, “Transposition for Organists Level 1” and spend some time with those clefs and see if that helps you internalize them and my experience tells me you need one month for one clef to perfect it. Ausra: Well, for some people it’s trouble to play in treble and bass clef enough that they struggle for years and still cannot do that. Vidas: I mean one month, seven days a week, eight hours per day, you know! Ausra: Like a full-time job, yes? Vidas: Yes! For one month! Alright guys, please send us more of your questions; we love helping you grow. And remember, when you practice, Ausra: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying SOPP631: What is a minimum of major/minor scales, vs Hanon finger exercises, vs practicing a piece?12/4/2020
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 631 of Secrets of Organ Playing Podcast. This question was sent by Keith, and he writes in response to my letter asking what are his goals and challenges in organ playing. He writes, Vidas, Thank you for sharing your knowledge and love of organ playing. My dream for organ playing is to facilitate the expression of worship in music, with the language of harmony. What things are holding me back from my dream? 1. My ignorance/lack of skill. - In February I dusted off my marginal four years of grade school piano lessons, after 34 years. 2. Realizing what good technique is - what such technique should feel like when I practice and play. 3. Practice method/discipline - What is a minimum of major/minor scales, vs Hanon finger exercises, vs practicing a piece. - I practice about an hour a day, some days twice that. Wish I could practice more. The mini-course emails have been very helpful to me. I let them queue up behind each other, until I have a chance to fully consider each one. Regards, Keith V: So Keith has been a recent subscriber to our newsletter, and his question is kind of very interesting, right? Where do we start, Ausra? A: Well I wish to congratulate him first, that after not playing for so many years, he realized that he needs to do it. I think that’s a wonderful way to get back to music. V: Yeah. We’re recording this in the month of November, so he writes that in February he started playing again the instrument, right? Which is half a year or so, more a little bit, almost a year, I would say closing to one year. So his dream of facilitate the expression of worship with the language of harmony, how do you understand it, Ausra? A: Well that’s a very poetic way of expressing himself. V: Language of harmony. Harmony means connection and science about the chords, right? So does it mean that the harmony needs to be taken into consideration when Keith plays in a worship, or what.... A: Well I think in this context I would say that harmony doesn’t mean that what I teach my school kids about connection of chords. It’s more probably about harmony in general, as overall understanding of music for worship. V: Uh huh. How music harmonizes our souls, right? A: Yes, I think this is more what he meant, if I’m correct. V: Okay. So the things that are holding him back - the first is lack of skill and his ignorance. Obviously after not playing for 34 years, you have to start someplace, somewhere, right? Doesn’t always mean that you start in an advanced stage. Most likely you start at the basics. A: Sure. But you know, it’s good that you don’t start from scratch, because I understand from the letter Keith had a few years of school piano lessons, which is good. Because then it’s easier to remember what he has done, and for his muscles, it’s easier to remember what he has done and to practice and to improve in an organ. V: So to answer the first part of the question, it’s like the skill will increase along with his experience. The more he practices, the more it will increase. A: Yes, it’s very simple. The more you will put in, the more you will get back. V: Mm hm. The second question is about the technique. What good technique feels like when people play. I would say, before you answer, Ausra, I would say that it’s very obvious. It’s effortless. A: Yes. That’s what I wanted to say. If you sit down on the organ bench and you can play a chosen piece without any hesitation and without too much of an effort, and obviously fluently without mistakes, then I think you will know that your skills are good enough, and that you are using good techniques and right fingering. V: So correct. I think the technique will come also from practice. And I think he doesn’t have to worry about the end result right now, it’s just he has to do the steps, do the process right now. A: Yes, it’s like right now I am working on the Bach’s Prelude and Fugue in G Major, BWV 541, and it has that nice opening in the pedal section where it’s only one single line. But then later, after two lines, the whole texture appears, and pedals come up and it’s quite a thick texture. And I usually play that introduction at the right tempo, at the concert tempo, and then I have to slow down when other voices come. But I dreamt that someday I can play everything in the same tempo and I won’t have to slow down when the hard spot begins. And I’m getting close to it, and it’s, actually it’s coming very gradually. But it’s sort of like a miracle, all this learning process. V: To me, I just played my recital last weekend, so I’m also starting to pick up new repertoire for my next recital by recording 10 step videos for people to practice alongside with me. And I also notice that when I sit down on the bench, I know that I can practice the first step, but not the tenth step. Tenth step is way out of reach today. But in a longer piece, like today I played the five pages long Allegretto by Vierne, it is an intermediate level piece, very nice harmony, Vierne’s chromatic harmony, and I thought that I would need a couple of more days to master this. So today, it felt rather good, but tomorrow when I will come back, I know that what I worked on today will be much less secure. And that’s okay, you need a few extra days and don’t rush things. A: Well, and about the last part of the question, how about… V: Scales, Hanon exercises, and the repertoire practice. A: Yes. About proportional, how all this should be done. I guess half and half would probably wouldn’t be the right way. I would do much less. Just simple exercises and more work on the repertoire. Because while working on the repertoire, you can solve also some of your technical issues, technical problems, and just playing scales and arpeggios and chords might be too boring, and you might give up after awhile. So I would say if you are practicing for an hour every day, do 10 minutes of practicing scales and arpeggios, and spend 50 minutes for working on the repertoire. V: You, so you mean like ⅙ of the time should be spent on the technique, right? If you have only one hour. A: Yes, that’s what I said. V: If you have three hours, then you can spend more. A: Yeah. V: But in one hour, it’s not enough to play the repertoire for 20 minutes or 30 minutes. You have to do more at the expense of the technical exercises, obviously. Hopefully, Keith can practice more than one hour per day if he wants to achieve better results from time to time. A: Yes, because this art of playing organ, of playing any kind of musical instrument is time consuming thing. V: Yes. Today I practiced, I think for two hours almost. One hour and 15 minutes I spent on that piece, Allegretto by Vierne, and 30 minutes, I spent 35 minutes maybe, on improvising a fugue. And that’s not enough. Obviously I will practice at the end of the day the rest of my concert repertoire. A: Yes, and people who are not related to music, non-musicians, they don’t understand the time we spend actually working on our repertoire to get ready for our recitals. Like my cousin just asked me recently, “Why do you still need to practice? You are a professional.” And I told her that if I would play the same repertoire over and over again, let’s say I would have like 10 or 20 pieces that I would play my entire life and would repeat them over and over again, then yes, of course I wouldn’t have to practice. We would be alive all the time. But because I’m playing a different repertoire and still learning new pieces, so I still need to practice. V: Yes, and I mean that you need to repeat each step that you're learning at least three times in a row without mistakes. Well at least three times in general, not counting the mistakes. But imagine if you just sit down and play one step, whatever that step may be at the current stage, either in quarter notes or in half notes, or one line at a time, or maybe one hand at a time, or just the pedals - whatever is your current goal with that segment or that piece. So, if you just play through, what you're doing is you’re basically just repeating previously mastered material. Yesterday - you learned something yesterday, you repeat it today. And that’s it. You don’t progress. But if you play it one more time, the second time you start to feelsome, a little bit of progress. Obviously not enough to advance faster, but the second time is already I think noticeable. So I suggest you do it at least three times. Do you feel that way, Ausra? A: Yes, I feel that way too. V: Each step, I mean. A: Yes. V: Mm hm. So when you practice G Major Prelude and Fugue 541, you practice it three times as a rule, right? A: Yes, that’s what I usually do. And the first time is always the worst. And the last one is the best. And if I would, let’s say I would come up the next day and I would be able to play right away as my third time of previous day, I would feel very happy. V: But that only will happen when you are ready, right? When you have repeated, I don’t know how many times, 100 times entire piece? Played all those steps totalling 100 repetitions. A: Well, I haven’t counted them, but yes, I guess you need to do that. Because it’s sort of, it’s a not very hard piece, but it takes some time to learn it. V: Yeah, it’s not very hard when you’re playing in the comfort of your home. But if you’re pretending to play in public, like at home but recital, like we do on Hauptwerk, or in a church, different acoustics, also in public, then entirely different situation. So yeah, spend at least three repetitions with each step. That’s the minimum to progress. And only 10 minutes a day for technical issues. A: If you’re practicing only for one hour. V: Yeah. All right, guys. This was Vidas. A: And Ausra. V: Please send us more of your questions. We love helping you grow. And remember, when you practice, A: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying This is a delightful piece by the Dutch organist and composer Minne Veldman whose YouTube recitals I like so much. I ordered some of his pieces recently and decided to play this Fantasie-Toccata in my upcoming recital. So today I'm going to share with you my process of 13 steps in mastering this amazing work. I'm using Salisbury Willis sample set by MDA on my Hauptwerk setup.
Score: http://www.minneveldman.nl |
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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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