SOPP548: My goal as an organ player is to be able to play organ for worship services regularly1/28/2020
Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! V: Let’s start episode 548 of Secrets of Organ Playing Podcast. This question was sent by Jake. He writes: “Vidas, My goal as an organ player is to be able to play organ for worship services regularly. The three things that are holding me back the most are: 1-lack of consistent practice. 2-lack of knowledge of what to practice. I need help building a practice schedule based on an organ method book. I’m using the red book by Roger Davis. But I do also own the little organ book by Peters 3-lack of access to a working organ.” V: Let’s say, Ausra, you only had those two books by Roger Davis, and by Flor Peeters. Would that be enough? A: Well, I don’t know Little Organ Book by Peeters, actually, but I know that by Roger Davis, we own it as well. So I cannot talk about Peeters’ book because I don’t know it, but I can talk about Roger Davis’ book. It has good repertoire, but actually, I wouldn’t suggest you use the Baroque pieces from this book, because definitely, they are not edited in a historically accurate manner. V: Yes. A: So basically, if you really need a good textbook for your practice and both sides of like Romantic and Modern and Early techniques, you need to get the Ritchie/Stauffer book because it’s very comprehensive, and it has a nice selection of pieces, and it’s a really good book. It gives a good idea how things need to be played. V: It’s like a treatise, basically. Nowadays, people don’t write treatises, but before, let’s say, the 20th century, there were a number of organ performance practice treatises written, let’s say, for playing flute by Joachim Quantz, for playing violin by Leopold Mozart, for playing Clavier by, let’s say, C. P. E. Bach. Those are very thick volumes and are very comprehensive. They encompass a variety of topics—basically everything you need to know as a particular performer, and even creator. They talk about creative issues as well—improvisational issues for performance, practice, styles… So, the same is with the Ritchie/Stauffer book. It’s very complex and comprehensive. I think if you get this volume, you will stick with it for several years at least, until you finish, plus you will regularly come back to it, like a compendium, like an encyclopedia in a sense. George Stauffer and George Ritchie have different personalities. Stauffer did the musicological research, and George Ritchie did the organ exercise parts—performance, practice, research, and they both cooperated really well. A: Yes, I think it’s a really successful book, so I strongly recommend it for anybody that wants to learn to play organ well. Another thing about consistence of practice, well, you cannot succeed if you will not practice consistently. And if you want to play a service regularly, then do it! And this will push you into consistent practice, if you will have worship to play every week, every Sunday. And maybe if you will start to play at the church regularly, you will get to practice on that instrument regularly, and this will solve your problem number 3, the lack of access to a working organ! V: Yes, but you have to still have basic skill in order to be invited to play for services. A: Yeah, that’s true. V: Before you have this skill, maybe you could volunteer. You could volunteer from time to time, like once a month, let’s say, not once a week, it’s too much, but maybe once a month you prepare a few hymns, maybe a prelude and postlude, and that would be your goal for one month. And, little by little, you get acquainted with the congregation this way, you get known in the congregation, you build reputation within that circle, people start to trust you, and sometimes they even ask you to play more regularly. Right? And by the time that happens, you will have acquired a decent skill for service playing, I think. A: That’s right. V: That’s what our student and friend John Higgins from Australia has done. At first, he volunteered just basically… he started from scratch! He didn’t study in the music school or the conservatory, he started studying with us on line, and then became our Total Organist student, was very curious, asked many questions, we created many training programs based on his ideas and struggles, and little by little, not only did he start playing in services, but he started playing recitals, A: Yes! V: And in recent years, he even came to Vilnius to play a recital on the largest pipe organ in Lithuania! A: He published his DVD as well! V: Yeah! This is an example of what you can achieve if you set your mind to it. If you have a, let’s say, a growth mentality, and not a limited mentality. A limited mentality is like you say, “I lack those three things,” or “many things,” “seven things,” “eight things.” And, “I’m frustrated.” And growth mentality says, “Yes, I have those struggles and challenges, but with consistent practice, I can overcome anything.” A: True. Consistency is a very useful tool. V: But, well, let’s be honest, it’s not easy to do it, and because it’s not easy, a lot of people quit half time or haven’t progressed at all. They quit before they even start seeing the results. Right? Because if you start seeing results, you get hooked. It’s easier to continue. It’s easier to continue when you start playing for the church service and people start to compliment your playing in a nice manner, even though you feel you’re not really worth it. But sometimes people see the good side in your playing as well, and even a relative beginner can play very simple things relatively well from time to time. Not always, because many time you will panic or slip or freeze. But from time to time good things will happen, and the congregation will notice! So, it’s important for Jake to have this growth mentality and, I think, to say that anything is possible. And actually, to have a higher goal. Not only to play for church services, but something a little out of reach. I would say it’s very good, because if you reach for the stars and only get to the moon, it’s not so bad. A: Yeah, true. V: What can you add, Ausra, to my long spiel? A: I think you are right! I couldn’t agree more! V: 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!
Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! V: Let’s start episode 542 of Secrets of Organ Playing Podcast. This question was sent by Maureen, and she writes: “Hello Vidas, Please can you direct me to any suitable organ music useful for devotions and quiet hours in the Catholic Church? I would possibly enjoy playing something around intermediate level as this would need to be learned as good sight reading at this stage. I am enjoying your expertise and that of Ausra. Wonderful! Thank you, Maureen” V: So, Ausra, do you know anything about Catholic liturgy? A: Well, I know some things. V: Probably, Maureen wants to know about music suitable for offertories and communions, and maybe some moments of adoration? A: Yes, it could be, because where else would you play quiet music? I guess these two main spots. V: Well, if I were summoned to play a Mass tomorrow, for example (we’re recording this on Saturday morning), I would obviously improvise. A: Yes, that’s what I thought, that you never need any score, because you can improvise so well. V: But, for people who don’t choose to improvise in public, yet, I recommend music like, maybe, how about Pachelbel Chorale Preludes. A: Yes, those are nice! I’ve played most of them in the church. Not in a Catholic church, but in the Christian Scientist church as I was working back in Michigan. V: Registration can be quite varied. You can play most of them in various dynamic levels. Right? A: Yes! And I also had another collection of 80 Chorale Preludes by various, mostly I think, German composers. It was published by Edition Peters, and it was called “80 Choralvorspiele.” And these were also sort of almost sight-readable, not really too hard, and I played them on many occasions when I needed something easy but decent. V: Well, probably César Franck’s “L’Organiste” A: Yes, of course. That would definitely work. V: We have fingerings prepared for that, too, if anybody wants to take advantage, and depending on your level, a lot of those pieces, too can be sight-readable.. A: Also, I think if you like Bach, then there is this “Neumeister” collection. This is very often forgotten by many organists and ignored by many organists, because it was discovered much later than other Bach pieces, and this collection survives from Bach’s teenage years, and it means that by studying this collection, you can get a better understanding of what stages Bach went through in order to become what he became! So look at that collection, as well. I think it’s published by Neue Bach-Ausgabe, yes? V: Yes. A: Which is a Bärenreiter edition. Another thing that might work is Frescobaldi’s “Fiori Musicali.” Not all of those piece, of course, are easy, but some of them are really well suited for quiet moments of the Mass. V: Not all of them are suited for quiet music, right? A: Yes. Yes, definitely. V: “Toccata Per L’Elevazione” for example. Those type of slow and toccatas full of suspensions, and in Italian, it would be Durezze e Ligature style. A: Yes. And another collection to look at would be probably the Georg Muffat and his “Apparatus Musico-Organisticus.” It has many, many toccatas, and these toccatas are sectional, so actually in just one piece of music, you can find a few different sections, and you might use some quiet spots for Elevation or for Communion and for Postlude and Prelude, other places. So, these are very suitable pieces for a Catholic church. V: Good. I hope this was useful to you, but Ausra also has something else to add. A: Yes, and I remember that time when I was working regularly as a church organist in a Catholic church, I also sang a lot myself, especially during communion. That way, you wouldn’t have to play so much solo music. So that’s what Maureen can do, too, because I think most Catholics really appreciate singing, they don’t appreciate so much solo organ music. Especially during Advent and Lent. V: Do you think the singing tradition is more like a Lithuanian/Polish tradition, more or less, than let’s say in Western countries? A: Well, but think about all this Gregorian Chant, all of this heritage of Catholic music and Catholic church. V: Yes, perhaps you’re right. A: So, I think it just probably is forgotten because maybe not so many organists can sing in general nowadays, but I think that the cantor was equally as important as an organist in the Catholic church, so… V: Yes… and make sure you learn to improvise. That’s a very handy skill later on. A: True. V: Then you don’t have to search for new music. You can make up new music. And, when you learn new pieces, even softer pieces for Catholic liturgy, you can, of course, record yourself and submit them to our Secrets of Organ Playing Contest. Okay, 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!
Vidas: Hi, guys, this is Vidas.
Ausra: And Ausra V: Let’s start episode 503, of Secrets of Organ Playing Podcast. This question was sent by Maureen. And she writes: Vidas and Ausra, My three dreams are these. I would love to be able to play Widor’s Toccata, Bach’s Prelude and Fugue in D minor and to be a very good organ player for Mass including the Mass music and hymns. Thank you, Maureen V: What’s the deal with Widor’s Toccata? Why people want to play Widor’s Toccata? A: I guess this is probably the most known organ piece besides Bach’s D Minor Toccata and Fugue. V: But she doesn’t want play Bach’s Toccata in D Minor. She wants to play Bach’s Prelude and Fugue in D Minor. Which one? A: I don’t know. I guess she might mean Toccata... V: Toccata, right? A: and Fugue in D minor. Because there is really not such a famous D Minor Prelude and Fugue by J.S. Bach as his Toccata. V: Mmm-mmm. A: I guess what that might mean maybe people who like these two pieces, it’s okay. It’s sort of common way. V: Imagine what would happen—she will learn to play Widor’s Toccata and Bach’s D Minor Toccata, and become a very good player for Mass including music for Mass and hymns, right? She can play the hymns and everything else that is required for Mass, plus Widor’s Toccata and Bach’s D Minor Prelude and Fugue. So imagine she will play Bach’s D Minor Prelude and Fugue for the beginning and then Widor’s Toccata at the end. And then hymns and other Mass music in the middle. How would that sound? A: Well, after a few Sundays of these I think… V: Right! A: people will get tired. Because even the best piece doesn’t have to be played all the time, over and over again. V: Yeah. I think there is such a variety of organ music, vast variety that people don’t even, not only know about but don’t even, are not aware of them, right? You cannot know if you like those pieces because you even don’t know they exists. A: True, that’s true. And while talking about Widor’s Toccata, well, if you would listen other great French masters, and their toccata’s, such masters and Duruflé, Vierne, well, then might this Widor’s Toccata wouldn’t seem to nice to you. Because, honestly, what I think about for me, it sounds quite primitive. V: Mmm-hmm. A: And the same over and over again. V: True. It’s the most popular organ toccata, obviously, besides D Minor Toccata by Bach, but not the most artistically interesting, I would say. A: True. V: Mulet Carillon Sortie is much more interesting to me. As you say Dureflé’s Toccata is such a fantastic piece. But all of them require at least intermediate organ skills. A: True, and you should know really one thing—when you are picking up and playing the piece that the whole world knows by heart, such as Widor’s Toccata and Bach’s Toccata, you need to be brilliant in it. Otherwise it will be just a filler. V: Yeah, it will be a joke. A: True. Because in our school we have all these, such concerts, its traditional concerts. It takes place each year before Christmas break. It’s called Viva La Musica. And we have big competition because everybody wants to participate in it, and what teachers do, they select very well-known pieces for various instruments. V: Mmm-hmm. A: And I stopped going to that concert because then you are picking up really popular repertoire that everybody knows. You need to do it on the highest level. V: Yeah. I just remember this summer, I think, was one concert at the cathedral where one organist played something really recognizable to general audience, and there were two tourists from Russia. And Russian tourists are generally musically quite… A: Advanced, you mean, yes? V: Yes, advanced, and they have… A: Knowledgable. V: Yes, knowledgable, and they have good taste in music because of Russian music education obviously. A: And organ recitals are very popular in Russia because we don’t have organs in churches, obviously… V: Yes. A: because of the Orthodox of traditions. So they know that this concert repertoire. V: So this organist played the D Minor Toccata, and… A: And she was really sloppy. V: and very, very sloppy. Was it a lady or a man, do you remember? A: A lady. V: Lady. Okay. So then those two tourists left in the middle of the recital. A: True. V: Right? I’m not saying Maureen will play those pieces at the recital, perhaps not yet at least, but if you ever want to play them in church, then consider raising your skill level at least to the intermediate level. Basically before playing Widor’s Toccata, you need to be able to play in public, at the good level, easier toccata’s, like Gigout Toccata, Dubois Toccata, Boellmann’s Toccata. A: That’s right, yes. V: And before playing Bach’s D Minor Toccata and Fugue, consider playing in public at the good level, easier Bach’s free works, easier preludes and fugues. Maybe not even Bach’s, but maybe Eight Little Preludes and Fugues, and progressing through a little bit longer preludes and fugues, 533, 535, maybe Fugue in G minor 578, something like that. And then you might be ready for BWV 565, D Minor Toccata and Fugue. Right? But since Maureen has a dream besides those two big pieces to become a good, very good organ playing for Mass and play hymns, it means that she’s not there yet, right? So she needs to focus first on the hymns and easier organ music which could be played during Mass, as preludes, postludes, offertories and communions. A: True. And by expanding that easier repertoire, she can start to practice some harder organ works. And another thing that struck me, always strikes when people mention Bach’s Toccata in D Minor—it’s so funny because it’s possible that it’s not a Bach’s piece. V: Yes, it is possible. A: Because it’s so bizarre… V: It might be… A: comparing to his other pieces, other toccatas. V: It might be his youthful work, right? His student time work when he was maybe 16 years old. What kind of masterpiece is this? A: I know, so even while comparing Bach with his other works, I don’t think D Minor Toccata is the greatest piece, that… V: Yeah. A: J.S. Bach has written. V: It was made popular from 1940’s, Walt Disney Fantasia, when it was arranged for the organ and performed as a soundtrack of the movie. Hollywood made it famous, so it’s not Bach’s masterpiece that, not Bach’s genius that made it famous. A: I know because when you are thinking about pieces like E Minor Prelude and Fugue which, or Eb Major Prelude and Fugue from Clavierubung Part 3 and other great works, I think it’s, you cannot even compare those. They are so different. V: And Bach would have thought of this piece as a masterpiece. He would surely have... A: Published it. V: preserved and published for future generations, like Clavierubung. And we have Eb Major Prelude and Fugue from this collection. So. And the last thing that is missing from Maureen’s answer to me, I usually ask people about their dream in organ playing and challenges that they have to overcome in order to reach their dream. And she didn’t write anything about the challenges. A: True. V: And that’s what is the most important thing. We might talk for hours, right, about what she needs to do, but we don’t know anything about her. A: Mmm-hmm. V: What’s stopping her? Why she cannot play hymns now? So, guys, please be more—I wouldn’t say more specific, but be more honest, right? And tell us everything that you want to, that you want to say. Tell us everything that you wouldn’t say to anybody else, because we might know your situation then better and be able to recommend some things for you. Otherwise it’s just theoretical talking which may or may not help. Okay. 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!
Vidas: Hi guys! This is Vidas.
Ausra: And Ausra. V: Let’s start episode 474 of Secrets of Organ Playing Podcast. This question was sent by Tim. And he writes: Well, I work as a musician playing organ in churches for weddings, services and funerals, mostly funerals. So the challenge for me is always staying on top of the work. Sometimes also arranging music choices so that they can be played on the organ. Obviously, this is a question for Tim when I asked him how his organ practice is going, and what are some things that are challenging for him. So, he’s a church musician obviously, and probably needs to find more time to practice, is what you understand, right? A: Yes, and also how to arrange the repertoire, how to choose the repertoire probably. V: Oh, you mean… A: I think it’s… V: Choral pieces or piano pieces. A: As he says, arranging music choices. V: What does it mean? A: Well, don’t you remember, when working a church, you had to select what to play? Was it always easy for you? To arrange music or to, maybe sometimes you would choose not original piece, you would have to adjust it to the organ? V: Yes, so you mean like piano piece or choral piece. A: Yes, that’s right. V: Um, that’s I think, so usual for church musicians today. Sure you can work through your organ repertoire in church, but in most cases, requirements are much wider. And sometimes you have to adapt choral music, piano music, music for other instrumental ensembles, if you find that suitable for your occasion. And that’s an extra skill to learn. A: True. And it’s interesting that Tim’s playing mostly for funerals. So I guess it must be an old congregation that there are so many funerals. V: Mm hm. A: More funerals than weddings. V: Bach would be glad, right? A: Yes, because when Bach went to live and to work in Leipzig, he was promised to be paid extra for such activities as playing funerals. But apparently he didn’t have too many of them to play, because he was writing to his friend, to Poland, and complaining in his letter that healthy wind is blowing and nobody is dying. So at least, Tim has more funerals to play than Bach did! V: Right. A: I hope he gets paid well for them, as well. But definitely, it’s not the most pleasant thing to do, to play for funerals. I guess you might get used to them after playing for many years, but it’s still not the easiest task. V: Mm hm. Can you select, maybe ten pieces for your funerals, and rotate them, so that you can be prepared for any occasion? A: I think that’s what you should do, probably. Because deceased wouldn’t complain probably. Don’t you think so, Vidas? V: Deceased might not be angry with you, but their relatives might be. A: True, but still, you know, unless there are like some people who often attend funerals just because they like it, and they might notice that, you know, a few funerals, that you are playing the same music over and over again. V: You mean like funeral crashers? A: Yes. V: Uh huh. But I think it’s a good idea for people with less experience, with little experience, to gather ten or twelve pieces in your repertoire, and play a number of them in one funeral, and then select another choices but from the same program in another, and rotate them, and then gradually you start learning something new. A: And I have seen many collections that are used for weddings, written for wedding music, collect for wedding music, and usually they contain lots of arrangements, but actually, I haven’t seen any for funeral, funeral collections, funeral music. Have you seen? V: There must be. A: There must be some. But definitely, if you have a couple collections for funeral and couple collections for wedding, I think it’s more than plenty. V: We never needed those collections, because we selected our own repertoire, or improvised, like a chorale prelude, which would be played on a soft registration would sound very nice, I would say, for any funeral. A: True. And plus I think a lot of that funeral music might be used in service to (another) occasion. V: During communion, you mean? A: Yes. Or offertory. V: During funeral, your purpose probably is to play in a manner that wouldn’t distract the family in attendance and mourners. Basically, it should be like background music, meditative music. A: True, true. V: So, there is plenty of such meditations written throughout ages. As I said earlier about chorale preludes, communion pieces, in later times. Elevations, also. A: True. V: All right. So, I hope Tim will find something for himself as well. And, arranging for music, of course, is a different, separate skill that he needs to work on. I think writing it down is a good idea for beginners who have never done this before. A: Probably, yes. When I just started to play in church, when I was in the second grade of Academy of Music, I wrote down many church hymns. Because some of them were not harmonized, it had only one voice, and some were written in very uncomfortable keys, and because it was new, all that liturgy playing, it was quite hard, because you have so many things to absorb and to do. So I would write them down. V: But now you don’t have to do it anymore, right? We are playing a symphonic poem by Mikalojus Konstantinas Ciulionis, Lithuanian romantic composer and painter, and from the beginning of 20th century – it’s called “In the Forest.” And we’re playing from the piano duet performance arrangement, but we’re playing on the organ, as an organ duet. Obviously for piano, this texture works just fine. But for the organ, we need to adjust it in many cases. But I chose not to write it down, and do it on the spot. Would that be accessible for beginner? A: I don’t think so. I highly doubt it. V: Mm hm. A: But that’s what we do, actually, because we realized that, instead of writing it down, we better practice more. V: Right. At our level, it’s already doable. 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… A: Miracles happen.
Vidas: Hi guys! This is Vidas.
Ausra: And Ausra. V: Let’s start episode 471 of Secrets of Organ Playing Podcast. And this question was sent by Jeremy. He wrote on our Basecamp communication channel for Total Organist Community: Going to be a busy week, so I hope to get to the organ a little more than I think I will. We are having new floors put into our upstairs, so I will be hanging around the house. Piano practice will probably not happen, and my dogs will be going a little nuts with the construction happening. If possible, I will practice on the G minor Little Prelude and Fugue for Postlude on Sunday, and Demessieux's Attende Domine for Prelude. After that, I will be working on my normal repertoire. And I wrote to him: I have a feeling your congregation will enjoy hearing Demessieux. Do you write some program notes in the church bulletin? And Jeremy answered: No. Only a portion of the congregation listens to the preludes and postlude, so that lets me plan things like the Demessieux or even Messaien. And then, Dianne jumped into the conversation as well: A portion is something! When I subbed for my daughter, I played the last half of a 3 minute postlude to an empty sanctuary, save one little old lady, who stood up and applauded when I was done! My daughter says this is normal for her as well, and she is an excellent organist. And they mostly talk through the preludes, or enter the sanctuary at the last moment. To this, I responded: This is all quite sad to hear. Really what happens is that service starts with a prelude and ends with a postlude. So lots of education needs to be done. Including clergy. Maybe write short program notes about the music to be played that week in the church bulletin. What do you think about our correspondence, Ausra? A: Well, that’s very nice that people on Basecamp can communicate between themselves. I think it is very helpful. We can share problems, we can support each other. But the thing that struck me was that old lady who listened to that postlude and applauded afterwards. And it makes me feel that, you know, it doesn’t matter how many people listen to you. You always have to do your best. Because sometimes one old lady might be more important than entire crowd. V: Yes. A: You never know when you will reach somebody’s heart with your music. V: And this old lady might be a very famous organist, for example, traveling the country. A: Well, it doesn’t matter if she is famous or she is not. The most important thing for me is that you reach her, you touch her with your music. And that’s, you know, I think that’s what music is about. V: Touching people’s hearts? A: True. Don’t you think so? V: Of course. Then, I would think that educating people, educating congregation would help here a lot. Do you remember our church, Grace Lutheran Church, when we worked in Lincoln, Nebraska – they had a tradition that musical director, Sara Schott, would write a short note about today’s music selections. And I’m not sure if people read it or not, but it was there, and anybody who was interested could actually get educated this way. A: I don’t remember that, actually. Probably I haven’t read the notes. V: Well, you were busy playing. A: True. V: And, what’s your impression about preludes and postludes in our church, at Grace Lutheran Church at that time? Did people listen? A: Well, some of them listen, but some of them do not. I think it’s common for many congregations around the world. V: Mm hm. A: Somebody cares, and somebody not. You know, I remember thinking in Catholic Church, I sometimes observe people during the mass, that as soon as we receive communion, we leave the building, church building. V: Wow! A: Yes, we, some of them really doesn’t wait for final blessing and the end of the mass. What could you, how could you force them to stay and to listen to your prelude, I mean, for your postlude, if we leave right after receiving communion? V: Maybe you could play the postlude during communion! Ha ha! A: That wouldn’t be good. You would be kicked out of church! V: Yeah, that’s a tricky situation. When people don’t care, what can you do? A: But you know, when we are talking about this problem, I remember this comic strip on the, I believe it was on Dr. Quentin Faulkner's door… V: Yeah. A: Where you know, old lady… V: Brenda. A: Brenda, yes – she was standing next to the organ bench with a long… V: Gun? A: Gun. It’s like hunting gun, I believe. V: Gun shot. A: Yes. V: Shotgun! A: Yes, shotgun! And it said, “Brenda silenced the crowd for her prelude.” (laughs) And I have experienced episodes like this, when I’ve wanted to shut people down for my prelude or my postlude. Especially when I would learn something really sophisticated. V: Yeah. Ausra stands up from, on the organ bench and yells, “You should have listened to my prelude!” A: But the most important thing, I think, and one of the hardest things while serving the church is to play as well as you can, no matter what happens downstairs. And just focus on your music, no matter what. V: Mm hm. It would be interesting to hear other listeners’ opinion and feedback in their churches. Do people appreciate music, or is it just a background noise? A: I think it’s different in each case. I think you can find people always that appreciate music and people who don’t care about it. V: Mm hm. That’s right. The good thing today is that you can find fans for your music, listeners for your music, much easier with technology than earlier. Playing in church is no longer a, you know, one opportunity for the organist to play in public or engage with the organ nowadays. A: You mean not the only opportunity, yes? V: Not the only, yes. Put it online, put your video online, and watch it spread. A: Yes, like Vidas does! V: And sometimes Ausra! A: Yeah. V: Excellent. Thanks, 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.
Vidas: Hi guys! This is Vidas.
Ausra: And Ausra. V: Let’s start episode 450 of Secrets of Organ Playing Podcast. This question was sent by Mark, and he writes: Vidas and Ausra, 1. What is my dream for my organ playing? Answer: to be able to play all the hymns of my church (The Church of Jesus Christ of Latter-Day Saints) and Sunday organ solos as needed using the foot pedals. I'm a "recovering pianist" who started playing the organ at age 62. I haven't yet been able to master the skill of playing the foot pedals along with both hands. I can play the bass part of most hymns using the foot pedals alone. As soon as I try to play the pedals and manuals together, everything falls apart. Instead, I use an electronic bass coupler on my church's digital organ to automatically play the bass voice while I play the manuals with my hands. 2. What are 3 most important things that are holding me back from realizing my dream? Answer: 1) lack of time. I also work a full-time job, exercise at a gym, and I'm preparing 3 to 4 hymns every week for presentation each Sunday at church. I'm the only organist in our congregation so it falls on me to have all of these hymns ready to go each week. 2) having to be at the church building in order to practice playing the hymns on an organ. I do have a full-size digital keyboard in my office that I use to practice playing hymns with my hands only, but it's not the same as the organ manuals and, of course, it doesn't have a pedal board. 3) lack of knowledge of an effective and time-efficient method for a pianist to learn how to play the organ manuals and pedal board together. Thank you for making the Total Organist program available and for asking the above 2 questions. I look forward to your answer. Sincerely, Mark V: So, basically, let’s start from the beginning, Ausra, right? A: Yes. V: Remember, Mark wants to be able to play all the hymns for his church, and organ solos on Sundays, with pedals as well. And the foot pedals are holding him back, right? So, let’s start with the lack of time, first of all. He has a lot to do, but he has to also prepare three or four hymns every week. How to manage this if he’s only a pianist? A: Well, in a way, we definitely are not magicians, and we cannot make Mark have more time, since he’s working a full-time job and exercising at the gym. I would not suggest for him to quit his job or stop exercising. I guess he just has to plan his free time more efficiently. V: Mm hm. And I would add that, with time, he will get better in preparation for the church with his hymns, and that will require less and less time. A: Well yes, I think the main problem, you know, is he doesn’t have an instrument with a pedal board, other than when he’s at the church. And since you are not practicing with the pedal all the time, you will not improve very fast. So what I could suggest him probably to use the artificial pedal board made out of paper, like some of your students from Unda Maris studio does. V: Yeah. Let’s see how people can download it. It’s very easy. If you go to our homepage, organduo.lt, on the sidebar, you can see our picture, right? And above the picture there is this email subscription form. But below that, there are some entrances and some information about us, and just before the end, just before the button for RSS feed, there is this question: Don’t have an organ at home? Download manuals, paper manuals and pedals. Print them out, cut the white spaces, tape the sheets together, and you’ll be ready to practice anywhere there is a desk and a floor. Make sure you have a high rise chair, of course. So this is really simple. Let’s see if it works. I’m trying to download it. Yes, the manuals are clearly visible, and the pedals work as well. So this is a good starting point for people, Ausra, who don’t have a, let’s say real pedal board, right? A: Yes, because if you won’t practice with the pedal, you won’t improve. And in Mark’s case, I think he lacks coordination, which is very common for people who play piano but haven’t played organ. For beginning organists. V: Mm hm. A: So, he really needs to work in combinations. Not try to play everything together, but to play right and pedal, left and pedal – probably pedal alone first of all, and then to try to put all things together. V: Well, exactly. It’s no wonder he struggles with pedals if the only thing he does is practice the hands and then adds the pedals, or practices the pedals alone and adds the manuals together. I think it’s the last step, but we need to have fifteen steps for four-part hymns. A: True, and if he will practice at least with the artificial paper pedal board, he will be able to coordinate much better, because you will know when you have to do something with your feet all the time. V: Yes, so to answer the third challenge that he’s having about the lack of knowledge an efficient method, right, how to play organ manuals and pedals together, he could take advantage of our courses. A: True. Although, you know, about time efficient methods, everybody wants to get fast results, good results, but that’s absolutely impossible in the field of making music, you know, playing nicely. Because there are some steps that you cannot skip, and some things that you cannot do as fast as maybe you wish to. V: Absolutely. You have to gradually proceed to the next level without skipping anything in between. A: Of course, you can make your practice more efficient, you know, and use right methods that will make your practice more efficient, and you will achieve results faster. But still, you have to take each step. V: I could compare something that other people could really understand – like working out, for example. I’ve been doing this pull-up routine on my hymns, not hymns, but rings in our garden, on the apple tree. And before I went to Poland to play my recital in Torun at "Pro Baltica" Music Festival, I could do 18 or 17, I forget, maybe 18 pull-ups, I think. A: 18, I think. V: 18, yeah, it was my record. Barely, of course, it was really difficult, but 18 is a good number. But then, a second trip came up to Malta, and I didn’t do anything during that time, and afterwards I was kind of tired and besides lazy, and only this weekend I’m starting to pick up my pull-up routine again. And I cannot do 18 of course, but I can do 13. So, I’m starting where I am right now, and gradually, the pull-up number will increase. I’m not worrying about that. A: But when you began it, tell everybody that you could do barely one. V: No, I couldn’t do one. A: So… V: I couldn’t do one last August when I started. I could only hang on the pull-up bar, for, I believe, 10 seconds. Yeah, 10 seconds was my first try. Then gradually, a week later, it was 20 seconds, one week later 30 seconds, and then I started doing one pull-up afterward. A: So I guess the same is with organ practice, no? You cannot play entire hymnal book right away. You need to more gradually learn each of them. V: Good example – thank you, Ausra. Also Laurie, who has transcribed this podcast conversation has this idea for Mark: "I might suggest to Mark to use his cheat-button for 2 of the hymns each week, and concentrate on learning ONE hymn each week with pedals so it is not overwhelming. This is similar to what you told him - small goals are more achievable." V. So, I hope this was useful to you guys. Apply this in your practice and you will reap good results. We hope to receive more of your questions very soon. And remember, when you practice… A: Miracles happen.
Vidas: Hi, guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 415, of Secrets of Organ Playing Podcast. This question was sent by Jeremy, and he writes: Played for church this morning. Krebs e minor prelude and fugue for prelude, accompanied a handbell piece on the organ and ended with Piece Heroique of Franck. Standard hymns and some piano playing in there as well. I did improvise a bit today during the passing of the piece. Played through a hymn, then tried to improvise a canon between the soprano and tenor over a pedal tone while keeping the alto the same. I thought it worked pretty well. V: So Jeremy is not only transcribing our fingering and pedaling videos, but he’s on the list of Total Organist students. And at the end of each day, I ask them how their day went, and what did they do? So Jeremy wrote this answer to us, Ausra. A: Very nice, I think. I feel sorry but I couldn't listen and to attend the service, because everything sounds very nice, organized. V: If he ended the church service with the Pièce Héroïque by Franck, it should have been like a small recital. A: I know! You could feel yourself like, being embarrassed. V: Mmm-hmm. Remember when we visited organ builder Gene Bedient and his wife, there, a few summers ago? We went to St Sulpice I think, on one Sunday, and at the end of the mass they have, they have a short recital there. A: Yes. It was wonderful. V: And guest recitalists played there. A: And too bad that we could not go upstairs to the organ to congratulate her because now there is a policy in France, and in Paris in particular because of the terrorist attacks. They not allow people to go next to the organ after the recital. V: Mmm. Yeah, at that time, security alert was elevated. A: I think it’s always like that in Paris now. V: Hmm-hmm. A: Nowadays. V: So, anyway, it was really nice hearing, I think one of the Dutch organists played there. A: Yes, I think she was Dutch, yes. V: Mmm-hmm. Playing B minor chorale by Franck. A: Yes, my favorite piece. V: What else did she play—maybe, maybe a slow movement of Bach’s E minor Trio Sonata? A: Franck was what stuck with me, so… V: Uh-huh. A: I don’t recall other pieces. V: Is that the reason why you practiced Franck today? A: Well, no, not because of that. Because I need to repeat this piece. V: Mmm-hmm. Yeah, I need to play more Franck too, and I think I will. So… A: Do you like Pièce Héroïque? V: It’s very compact, very beautifully worked out, well thought, and for people who, for example, haven’t played large scale works like Pièce Symphonic or the Chorales, that might be a good starting point, or one of the easier pieces, I would say. A: Well, yes, but although it’s not as hard to learn this piece, but it sounds like a… V: Heroic. Mmm. A: Truly heroic piece. And while listening to it you could tell that it’s an easier piece. V: No. A: Well, I don’t think that any of Franck pieces of his big organ works are very easy. But of course there is a big difference in between of his level of difficulties of his music. V: Mmm-hmm. A: For example the day when I played B minor Chorale, I just sight-read a little bit from the A minor Chorale, which I also have played many years ago, and it’s at least three times easier comparing to the B minor Chorale. V: Even thought the third choral is the last one. A: Sure. V: Mmm. A: But if you have quite good piano technique then it’s very easy, because it doesn’t have so much thick texture, it’s more playful, very few pedals. V: I think our friend and colleague Paulius Grigonis wants to play some Franck and he was thinking about A minor Chorale. Do you think he would manage it? A: I don’t know how good is his piano technique. Because you need to have piano technique in order to play this chorale well. Otherwise [it] might sound sloppy, or you might not play it up to tempo. Because out of all these chorales, the A minor is the fastest. V: True. And Jeremy played the handbell piece, accompaniment on the organ. Do you like handbells? A: Very much! V: Mmm-hmm. A: This was the only time when I encountered it was in the states. Before that I didn’t even know that such thing existed—the handbell choir. And remember once we had even to perform because our church was short on handbell choir, I remember, so they asked us to play and we did. V: That was for Easter, I think. A: Yes. V: And… A: And we had special glass… V: Mmm-hmm. A: And various bells. It was fun. V: Wonderful. And I remember that I also played some percussion instrument, right? A: What an honor. V: Mmm-hmm. A: You can put it on your CV. V: (Laughs). Right. So Jeremy just mentioned that he improvised a hymn, making canon between soprano and tenor over a pedal tone, while keeping the alto the same. What do you understand from this, ‘keeping the alto the same’? The same stationary note or playing the same melody from the hymnal—in the alto part? A: I’m not quite sure. Could be either way, I think. But anyway, it sounds very interesting. V: It sounds difficult. A: Sure! It sounds truly difficult. Because when you start to explore some polyphonic technique, as canon for example, it makes a whole difference. It’s not like just playing plain chords with some variation. V: The easiest canon that beginners could start learning is the one that Franck uses so often. In one hand you play, let’s say, a moving melody, and you stop. And when you stop, you repeat the same thing an octave lower, for example, with the left hand. And then stop again with the left hand, and then start to move at the same time with the right hand. Basically hands move interchangeably, not at the same time. And then you don’t have to think about two things all the time. A: I think he uses this technique in his L’Organiste collection. V: Mmm-hmm. Yeah. That’s the easier one to start with, thinking polyphonically. You don’t have to think about intervals, about what kind of allowed intervals are there, because in Renaissance times, they have these very strict rules—which type of intervals produce, which type of canons. And I’m sure Franck knew that. But for beginner purposes, I don’t think it matters. You can create a canon quite easily while following his model, basically playing movement between the hands interchangeably. A: True. V: And it would sound actually convincing. It wouldn’t sound very easy. A: That’s right. V: So, we hope was useful to you guys. Explore your different techniques that Jeremy uses and others might suggest. We hope this was useful to you and please us more of your questions. We love helping you grow. And remember; when you practice... V: Miracles happen! DON'T MISS A THING! FREE UPDATES BY EMAIL.
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 389, of Secrets of Organ Playing Podcast. Today, I would like to read a comment from Jeremy and Alan in the conversation, and then Dianne later on joined, and Laurie, and Danielle. All of those students are from our Total Organist group. And let’s start with Jeremy. Jeremy writes: Jeremy: Concentrating during preludes and postlude. My congregation (and minister) tend to see this time as social opportunities rather than as part of the service. This morning the minister decided to discuss his week with the lector, who us seated two feet behind me. I opened the swell box at opportune (and musical!) moments until he decided to move on. Petty of me. How do you all focus when that is going on around you? V: Alan replied: Alan: I have a different problem with concentration: I don't have much trouble when there is activity around and I don't feel as though people are paying that much attention, such as during postludes. But during introits, anthems, even hymn introductions, I often lose concentration, get panicky, make mistakes. It's my lifelong struggle with performance anxiety; wIthout question my biggest challenge. V: I wrote, my comment here: The best medicine is to immerse yourself in such situations more often so that this anxiety could be controlled. Dianne added: Dianne: Alan, I am exactly the same way. The problem is that I now only get to sub on the organ a couple times a year, so I don't get too much practice at controlling my performance anxiety there. But, even when I started out on the digital keyboard at my current church, I would become anxious with offertories and hymn introductions. After 3 years, I am much better! It really is true - practice and opportunity is the answer to most performance problems… V: Laurie added: Laurie: I have a pretty good congregation, and the pastor would never talk during a prelude. But, sometimes if there are a lot of noisy people, I like to lift my hands and feet off the organ at a phrase break and pause a brief moment. The silence catches their attention, and for a moment, they quiet down....until I start to play again and then they start to talk again. It's very difficult, and I don't envy your position. V: And Danielle writes: Danielle: This situation has an element of a philosophical problem... are we playing a concert or playing a worship service? This is not an either/or easy question and will have a different answer depending on the denominations or liturgical traditions we are employed by! I do agree the ending of a service would ideally be more reflective for each worshipper and having a postlude supports this goal. Maybe than getting into a situation where you might be labeled passive aggressive for making pointed crescendos, you could have a direct conversation with the minister. And if this does not work, perhaps channel your energy into preparing these pieces for a recital and just work on improvisation for your postludes...if they are not listening, that gives you more freedom to explore and push yourself so it’s interesting for you. Good luck to everyone with this situation V: And Jeremy later added himself: Jeremy: I have come to accept that the majority of the congregation doesn't listen to the preludes and postludes I prepare. I have taken on the philosophy that this my contribution to an otherwise sophomoric service (in my opinion, the church I play for is moving towards a simple theology based on contemporary cultural references—the sermon two weeks ago referenced World of Warcraft). It is the distraction of the minister speaking loudly two feet away from me that is the problem. It is distracting me from trying to pay attention to what I have prepared. I am not the Music Minister at the church and have mentioned it to him. No changes however, and thus the passive aggressive organ playing I did last week. V: That’s a long story, but Alan added: Alan: I like to remind myself that nobody came to listen to me play the organ; they came for the fellowship and to worship. This helps me with my performance anxiety, and also reduces tensions around some of the situational things I need to deal with. For example, I am so single-threaded that it is difficult to avoid making mistakes when people talk to me, which often happens at the end of service because the console is right there at the front of the pews. Concentration can be a challenge, but I envy Jeremy his lack of (or control over) performance anxiety. Maybe I'll try hypnosis. V: So, that’s a lot of ideas, Ausra. A: Yes, it’s like a… V: What comes to mind? A: It’s like a podcast in itself, I think. You could let it be published just like that. V: Mmm-hmm. A: But I think we all experience this annoying feeling that we prepare beautiful music for prelude and to postlude and nobody… V: Cares. A: Cares. V: Organist is generally just tolerated. A: Sure. And I don’t think we really need to get upset about it. I think that nowadays it’s very important for people to socialize. And for somebody, the only place where we can talk and communicate and socialize with others is the church. So that’s what people do. V: Mmm-hmm. A: They come to church to talk, to interact with each other, and not so much probably to listen to organ music, or to what minister has to say during the sermon. V: Lucky for me, when I play the postlude at St. John’s church—and it happens very rarely of course, because I’m not a regular church organist, I’m just sometimes invited to substitute an ensemble when they cannot perform—so then I take advantage of the situation and play the organ all the time, except for singing Psalm, Hallelujah, Sanctus and Agnus Dei. Those parts that are really required to sing, I would play prelude, postlude, offertory and communion totally with my improvisations. And I’m very pleased that after the end of them, postlude, people applaud, almost, all the time. A: That’s wonderful! It means that some of them really care about what you are playing. That’s a nice thing. V: Maybe Jeremy and others who joined in this conversation, could try a trick—if they have a choir who is still listening to you, maybe, if they are listening to you, you could ask them to applaud to you afterwards. Like a reminder for others also to listen and to appreciate what you’re playing. A few times, not all the time but one, two, three times maybe, and then see what happens, if they stop. A: Well, but not all these choir members might appreciate organist and organ music. I remember quite a few times, when we, for example, were playing recitals or making organ demonstrations in Lithuania… V: Mmm-hmm. A: And other local choir members of the church, and they would stay after mass upstairs in the balcony near the organ… V: Mmm-hmm. A: And we would have to perform, and they would talk and interact between themselves like we even didn’t exist and we didn’t perform at that moment, and it was just so horrible. V: Mmm-hmm. Then maybe Jeremy could talk to the music director. A: That’s a possibility too. V: Mmm-hmm. A: That might help, might not. You never now. But I think it’s worth trying. V: And it that doesn’t help, I understand that Jeremy needs like a creative output in the church. He prepares for entire week and nobody cares and listens, right? That’s frustrating! Then, I suggest, somebody else suggested, right?, like playing a recital—separate event, once in a while. That’s a good combination. Or Jeremy and others who would like to have opportunity to regularly prepare in public and appear in public, could record their video and submit it to our Secrets of Organ Playing contest. I remember Laurie telling that, she is already improving in her organ playing, just because of that constant deadline every Monday. And this is I think, wonderful opportunity for people to express themselves if the church doesn’t appreciate, we will appreciate. A: Sure. V: Our community will appreciate their Youtube performances. A: And I think it will help for you also to improve your performance anxiety. I would say not improve but reduce your performance anxiety. V: Mmm-hmm. Yes… A: Then you will be doing that regularly… V: Yes, because... A: Recording yourself... V: Because... A: Admitting your recording. V: When you know that somebody is recording you or even just your smart phone is recording you, you know that you cannot stop—it’s a one time performance, and no matter what, you finish. You could play like several takes and choose the best one, of course. But each take is still you do your best in each take. And in general it’s a very good practice for controlling your nerves. A: That’s right. V: Thank you guys. We hope this was useful to you. Please send us more wonderful questions that you come up with. And your struggles, and dreams are very important to us. And remember, when you practice... A: Miracles happen! 
First of all, I want to remind everyone who is planning to enter our Secrets of Organ Playing Contest Week 2 that less than 24 hours are left to submit your entry.
And now let's go to the podcast for today: Vidas: Hi guys, this is Vidas. Ausra: And Ausra. V: Let’s start episode 376, of Secrets of Organ Playing Podcast. This question was sent by Damian. And, he writes: You once asked me what is my biggest challenge in organ playing. I play in a church, and in Poland a church organist must play at the same time (hands and feet of course), sing and switch song lyrics that are displayed on the screen. This is the biggest challenge for me to do all these things at the same time, and to do all of them well. As for the technique itself, I'm not very advanced, but I happen to make mistakes in very easy fragments of songs that I know well, which I've always done correctly and I never know when I will stumble somewhere. Eliminating this is the biggest challenge for me right now. Thank you for all your work! V: And Damian is from Poland, and Poland is our neighbor. A: Yes. Nice to hear from him. And when you were reading Damian’s letter, I just remembered how I started to work at church, and I had the same things to do as he does now. I had to play and to sing, to lead basically congregational singing. V: Mmm-hmm. A: Because there were a few elderly ladies from downstairs who would sing too. So I would sing and try to keep the tempo because they would try to drag me down and slow me down, and all the struggles, so I know how he feels. And it would be easy for me to sing the soft verse because the text would be right behind, written right below the melody. But then for the second, the third and other stanzas I would have to look at the bottom of the page… V: Uh-huh. Yes. A: to see what comes next. And this was a hard thing for me, at least at the beginning. V: When did it start to become a little easier? A: Well I guess when I didn’t have to think so much about pedal. V: Hmmm. A: Because I started to work at church on my second year of organ studies. So at that time I was still not that good with pedal playing. V: But in the third year, you were relatively well advanced. A: Yes, that’s true. V: So you struggled for one year. A: Yes. But what helped my life easier and I would suggest Damian made you something similar; I tried to play three voices with my right hand, and bass line with my pedal—with my feet. V: Mmm-hmm. A: And then I would have my left hand free, and it would make life so easy. V: In the hymns. A: Yes. In the hymns. V: But then you have to rearrange the inner voices. A: I know. But it’s not that hard to do sometimes. V: Oh, you switched tenor with alto. A: Yes. V: Mmm-hmm. A: So that you would have a close position. V: Mmm-hmm. That’s possible. It’s sort of cheating though. A: Well, but do you think somebody will notice from the church, that you are doing that? V: Angels will notice! A: Well, who cares! V: Angels, care. And, of course, you are the boss. A: Well, another thing that would make life easier; I don’t know which way is easier for Damian;if it’s easier for him to memorize music, or is it easier for him to memorize text... V: Mmm-hmm. A: word text. So if it’s easier for him to memorize music then just memorize the hymn, that you could play it from the memory and look at the text. Or do it vice-versa. V: And it seems to me that this is the struggle that every beginner organist faces in church. And, as you said, it will pass, if you persevere after one year or so. A: Also remember, if you will continue working in church for, let’s say many year, well hymnals of course they are huge, but you will see in time that you will start repeating hymns, and as you come back to hymn next time, and the next time, it will get easier and easier and easier for you. But of course I agree that it’s really hard job to play and to sing at the same time, and do things right, and because it’s important. So it’s like in Lithuania it’s cold in winter time, and it gives, it makes things even harder. V: Right. And Lithuanian system is very similar too. We also have to sing and play at the same time, unless of course there is another choir director and there is a separate choir, but only on festive occasions, maybe on Sundays. A: But sometimes what happens if you have a group of people who are helping singing, you need to conduct them as well during your playing. V: Oh that’s another burden. A: So that’s what happens—that you play, sing and conduct with your head at the same time. That’s very often the case in Lithuania too. V: Uh-huh. Right. So lots of multitasking. Exactly. And he also wrote that he happened to make mistakes in very easy fragments of songs that he knows well, which he is always done correctly. That’s the situation that a lot of people with limited experience, struggle with, right? A: True. Because I think if you can do that hymn very well, but think about mass setting. You need to always to follow what is happening in church, actually. And you need also to think where you will end with certain hymn. So maybe that also takes some of your attention away and… V: Mmm-hmm. A: that’s how you make mistakes. That could be one of the reasons too. V: Exactly. When you are just practicing on this organ bench, nobody is disturbing you, you are focusing on the music and the text. And you can even practice singing at the same time as playing, and it might go well. But in live situation, congregation is downstairs, probably choir members are around you, there is a little bit of noise, and things are happening with the priest, everybody is doing their own business, and you have to be aware as you say, of all these changes, and where to stop and how to play it. And if you don’t have much experience, you’re starting to lose focus and as a consequence, making mistakes. Right? This is normal. This is not Damian’s cause. This is everybody’s situation, I think at first, for the first one, two, maybe three years. A: That’s right. V: So, what I recommend is just to stick with it and in a year or two or three, it will pass, I think. He will start to feel more secure in church. A: Sure. I just could say that he’s doing extremely valuable job. I really respect those church organists so much. From my own experience, how hard it is to do things. V: Mmm-hmm. Right. Of course we’re only talking about playing hymns, not playing real organ music, which adds another layer of complexity. A: That’s right. But I guess that this kind of experience that Damian has and we had in our youth is, it’s unforgettable actually. And I think it’s people, let’s say in the states probably, who have well organized church music, they even don’t understand what we are talking about, I think. V: They even have this title, Director of Music, or Director of Parish Music, right? Parish Music Director. Your title makes you an officer in the church, basically, and you have your own office, heating, your practice… A: Yes. V: instrument, separate from the church instrument. You have separate rooms, right, for choir rehearsals and everything. We don’t have those very often in churches in Lithuania and I presume in Poland too. Mmm-hmm. But people still keep playing, keep practicing and keep perfecting their skills, which is really nice. A: So let’s just wish good luck to Damian and other church organists around the globe. V: Yes. And remember, when you practice... A: Miracles happen! 
Vidas: Hi guys, this is Vidas.
Ausra: And Ausra. V: Let’s start episode 352 of Secrets of Organ Playing Podcast. This question was sent by Anders and he writes: “Hi Vidas and Ausra I have written to you before and I was quite happy that you published my thoughts. What I’d like to tell you is that I’m really happy to have entered the world of organ playing. It is indeed a world in its own. So sad sometimes when I realize that my work mates or friends really don’t understand what they miss. They just don’t know what I’m talking about, poor souls. I have been given the keys for 2 of the churches in my parish and I’m quite grateful for that. One organ has pneumatic action and the other is mechanical. It is very interesting to change between them, they are very individual and have their own personalities. I’m not at all good at playing, only simple pieces, but that doesn’t stop me from enjoying what I’m doing or trying to make progress. 1.) I’m very happy that I can sit alone in a church and play. It is a very special and somewhat mystical experience to see the afternoon sun shine through the beautiful coloured windows when I play some soft piece of music. 2.)The organs make a lot of mysterious sounds sometimes and I think somebody entered the Church. 3.) It’s much more demanding than I could imagine to play with the feet. My shoes seem to be way too big sometimes, though I have special shoes. Sometimes I mix up my hands, the feet and manuals totally….Then it’s a good thing no one listens. 4.) It’s much more difficult to play with a lot of stops pulled out. The voices of one manual may be completely drowned by the other and I’m lost…Registry is an art. 5.) If I have "mastered" a piece, then I may try to play loud and not before. 6.) I have escaped from my work many times (without my boss knowing) to be able to find time for the organ. That’s very bad for my future career. But I just couldn’t resist. 7.) When I become retired after a few years I don’t need any money like so many others dream about. I’ll just sit in the Church playing organ. That’s really good! And completely free. 8.) Your advice has been really helpful. Partly because of the specific information but mostly as an important inspiration. Especially about the necessity to have a "professional" attitude about practicing in the face of being tired or feeling that time is scarce. 9.) I can play for about 2,5 hours, then I get tired and have to make a pause of at least a few hours before continuing. It is contra-productive to press on too much. The music has to sink in for a while. 10.) As you say that practice make miracles happen, that is true. Even if the miracles are a bit slow in my case, practice and practice intelligently is the only way forward. Best Regards Anders Ståhl, Sweden.” V: Well that’s a very comprehensive question. A: Actually its not more like questions, like sharing Anders experience with us and we are very thankful for it because it’s a wonderful letter and we appreciate it very much. V: When I read this actually it’s like a post, right, with ten points. It could actually be written with the title “Top 10 Things I’ve Learned In My Organ Playing Career” or something. “The List of 10 Things You Should Be Aware When Playing Organ” or something. These types of titles are very user friendly and readers are just eating it up. Would you suggest Ausra to put Anders’ post online, maybe on his own website or on any other platform? A: Yes, if he has it then definitely yes. Why not do it? It’s wonderful how he shares his experience. I think that many organists will feel with him together while reading his letter because I think some of those moments we all experience. V: Exactly. A: And I strongly believe that we organists we are sort of very happy ones because we have this experience with the organ that others don’t and it’s truly magical. V: Let’s take for example point by point. Number 1 for example. Are you happy when you sit alone in a church? A: Of course it’s truly my time, my time and organ time. V: When I do this every morning when I go to church and I see the janitors doing their work, cleaning the floors, or drinking some tea, or chatting, I am very happy that I can sit and play and I’m free to play whatever I want. A: Yes and I think that the most magical time to spend at the organ is the night and I sometimes envy the night guards in some churches because if I would have such a position I would spend it on the organ, practicing. V: What about number 2? That organs make a lot of mysterious sounds. A: True and especially this is true if you are playing at night because at that time all the other surrounding sounds are dead so that’s when the organ really speaks to you. V: And number 3 is it’s harder for him to play with the feet than he imagined before. A: I think it’s often the case with many beginning organists. V: But not all, I’ve seen people playing very easily with pedals too. A: Well some have better coordination, some don’t. In general it’s a problem for many. V: Number 4. He talks about registration, it’s difficult to play with loud voices. A: I have to agree with this point. I feel the same way when I play at St. Johns Church. If you are playing only with a few stops then tracker action is much easier. But if you pull out many stops then yes, it’s much harder to push the key and to control everything. V: In number 5 he talks about that he usually practices softly and only after he masters the piece then he plays loudly. A: That’s a very wise way to do it because if you will practice loudly all the time you might damage your ear because it’s not good to practice always with loud registration. You might become deaf with years and that’s actually the case for some organists and some percussionists. V: In number 6 he writes how he escapes from work to organ bench and it reminds me how kids escape from school, go to the movies but here he goes to play the organ. A: It’s fascinating absolutely. I just love this point. V: Number 7. After a few years he will have the freedom of playing the organ all day long because he will be retired. A: And I find that actually many people who have tried organ before in their lifetime but then they didn’t have time to practice during most of their life they come back later to this habit, to this passion and they start to play more when they retire and I think that’s a very good way to keep yourself in good shape both physically and mentally. V: And we both know people in our acquaintance area who are retired but don’t do much. A: Yes, just watch TV and that’s about it. V: And that makes us sad. A: True. V: But what can you do? Number 8 he talks about how our advice is helpful for him not only because of specific information but as a general inspiration. A: I think we all need that inspiration. V: When somebody sends their words or whispers in your ears as a Podcast every day something, right? It definitely, inevitably sinks in day after day and whatever you are saying, it might be something that your saying about registration, pedaling, or fingering and the problem that another person is having is about something entirely different, about practicing, about performance anxiety, improvisation, but the fact that we are there for him or her makes those people realize that they can achieve so much more too. It’s like a little bit of a community feeling when somebody else is doing the same thing. A: I think it’s very much a community feeling because we all have problems and I think it’s nice to share them and try to help and try to share them because even just telling about your problem is a big help. And for us too, this kind of work is sort of like an anonymous alcoholic. V: Alcoholics Anonymous. A: Yes. Where everybody gather and talk about the problem so we are sort of talking about organ problems and enjoying them together sharing our experience. V: It starts like “Hello, I’m Vidas and I’m an organist.” And everybody says “Hello, Vidas.” (Laughs.) A: True. V: In number 9 he talks about how he can practice for 2 and a half hours and then he has to rest. For me it is just 30 minutes and then I have to rest. A: Well, obviously Anders is more advanced in practicing for many hours than you are. V: I generally tend to stop before I’m tired. I’m kind of cautious. A: I guess you are very soft on yourself. V: Like my mother. That’s what my father used to call me. A: Maybe he was right. V: In number 10 he says that miracles really happen but in his case it’s more like slow miracles. A: I think for all of us it’s slow miracles but at least they happen and that’s good. V: Umm-hmm. The only way that miracles happen is you have to make them happen. A: True so you need to put some effort in order to have that miracle. V: OK. Thank you guys for sending these wonderful questions and definitely put your thoughts online, not only to us. It’s nice that people are sending these questions but they are not sending every day. Anders is not writing to us every day but maybe he’s thinking every day you see and those ideas might be very helpful to a lot or organists around the world too. Thank you guys, this was Vidas. A: And Ausra. V: And remember when you practice… A: Miracles happen. 
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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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