Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 402 of Secrets of Organ Playing Podcast. This question was sent by Ariane, and she writes:
 
I started with week 3 of my hymn improvisation course and tried to play my current organ pieces at a faster tempo (which I saw on YouTube- St. Sulpice...). But when I play faster it just sounds rushed, irregular and without any real feeling.
 
V: Let’s discuss, Ausra, first, those Hymn Improvisation Course exercises that she is working on in week three, because the first four weeks is created like note against note counterpoint, so against one note of the chorale, the student has to add one note of the counterpoint, and vice versa, and they switch, bass-soprano, soprano-bass. Does this sound reasonable for four weeks in a row?
 
A: Yes, I think that’s very good for starters.
 
V: I think there is no need to rush, because of course, you could do each week, one more difficult set—two notes against note, one note or three notes against one—but that would be, I think, too fast.
 
A: Especially if you are a beginner, because usually exercises like this are done in the written form before playing them and practicing them, so…
 
V: So, she’s in week three, and next week, she will get a set of exercises, too, and then in week 5, we will start practicing improvising the second voice in 8th notes, for the selected hymn tunes, which means two notes against one. And that will be another level. I think by that time, she will have some fluency over the first level, note against note, and she will be ready to jump in and get started with 8th notes.
 
A: Yes, if you go step by step, then yes.
 
V: It could be even a nice introduction for your hymn of the day when you are introducing your hymn, you can play with two voices and improvising the lower part, or improvising the upper part, but just note against note in church.
 
A: Yes, it’s possible, although, maybe you don’t want to play an entire hymn as an introduction. It might be too long.
 
V: To make it sound more appealing, you can add more gravity to the registration. Maybe, I would say, Organo Pleno with Principal Chorus and Mixtures. That’s sounds sometimes convincing.
 
A: Well, that’s possible, yes, especially if it’s an opening hymn.
 
V: And then, Ariane has, I think, a problem of playing faster, her pieces, because she looked at YouTube recordings of her piece, and played at St. Sulpice, and she probably felt that she could also try out at a faster tempo, but she writes “The playing sounds rushed, irregular, and without any feeling.” Why is this, Ausra?
 
A: Well, there might be different reasons. First of all, she did not mention what she thought about that YouTube recording at St. Sulpice, but I guess she might have liked it, because after she listened to it, she tried to play faster, and then it sounded bad for her. So, what that might mean, my guess as a professional musician, could be that she simply is not ready to play faster.
 
V: You know what I wrote to her on Basecamp is that slow practice leads to fast progress, I think.
 
A: It makes sense, of course.
 
V: I like playing pieces very slowly for a long time without rushing. And if I need to rush, I know there is something wrong with my planning. Right? If I’m still playing slowly, and my recital is three days from now, I know there is something wrong with my preparation and scheduling and planning in advance, because as I say, it has to be ready, for concert tempo, two months in advance, I think. That’s a safe zone. Don’t you think?
 
A: True. And in general, I think that picking up the tempo is very individual for each person. Because what works for one could not work for another, and for different reasons, and not only because of ability to play, but also because of the temperament, too. For example, when I heard for the first time how Joris Verdin plays Franck, well, it sounded really impressive! I was basically very much surprised, and some pieces it works pretty well, like in the Finale piece, for example, I think that that tempo worked pretty well, and no ritenuto at the end, but some pieces sounded just ridiculous for my taste.
 
V: And you have to remind our listeners, for which reasons Joris Verdin is famous.
 
A: Actually, for playing Franck very fast.
 
V: Because his theory is that the metronome markings of the day for the 19th century were meant for 19th century metronomes, and those were made a little bit differently, and therefore, the tempi should have been faster. And Franck would sound more virtuosic, then!
 
A: Well, yes, but why I wouldn’t play as fast, is because Franck’s harmonies are incredibly rich and incredibly beautiful. And, when you are playing them so fast, you basically don’t have time to enjoy them, to listen into them. But it’s a matter of taste, too.
 
V: Right. Sometimes you need to lean on dissonances, as our former professor Pamela Ruiter-Feenstra said, and….
 
A: Well, you know, Americans very often talk about dissonances, and I have heard in Europe, that somebody laughs at Americans, because they always lean on the dissonances, and sort of exaggerate the role of dissonance in music, but the more I live, the more I agree with the Americans, that it’s really very important to lean on dissonances, because why are all suspensions written on the strong beats? It means something to you.
 
V: Right. So, when I’m going to play today, I’m going to lean on dissonances even more. You will hear it!
 
A: Okay! I’m looking forward to it!
 
V: And, you know, I’m playing Ad Patres Sonata by Brunius Kutavičius in preparation of my Notre Dame recital in the summer, and you know, this piece is entirely made of dissonances.
 
A: Well, but that’s another story! It’s a modern composition in minimalistic style, so that’s completely another story. What I was talking about is music written in a common period.
 
V: I will still lean on dissonances, you will hear it!
 
A: Good luck with that! Then your sonata will take forever to play!
 
V: Yes. Thank you guys for sending wonderful 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 252 of Secrets of Organ Playing Podcast.  Today’s question was sent by Steve. He writes:

Good morning Vidas,
Another very fine podcast topic, very helpful, and thank you for posting.

A couple of additional thoughts came to my mind as I listened to the podcast ...

When I pedal this piece, I keep in mind the type of organ for which it was written.
On French organs there's a stiffness in the pedals, because of linkage, that makes it a little more difficult to use the heels in rapid passages.
Using the toes allows you to lean into the pedal more.
So, with the opening theme, I keep the pedal legato with the right toe on D, stepping over it with the left toe taking C and Eb.
Same with the F and Gb, I use the toes only ... right toe on F and left toe on Gb.
The left heel could be used on the first note C, but if we use the right heel on D and F it's more difficult to get those 16th notes short enough, especially when the tempo is faster.

I don't play this Toccata extremely fast ... for many reasons, but one reason is so I can get those 16th notes in the theme just right.
It's hard to take in the countryside at 500 mph.
It's the same with music.
I've heard many organists using the heel on D with phrasing that isn't written into the score, who detach the C's and Eb's and hold those 16th notes on D too long.
This changes the character of the theme completely.

I also nuance the music at important places by inserting pull-outs (stretch-outs), with a slight slowing of the tempo when something else starts, like with the return of the theme in the pedal toward the end.
Those big pedal octaves have to come out clear and even, and can't be taken too fast to give those big pipes time to get on speech.
The ankles have to move very quickly here with both heels on D and be synchronized with each other, which automatically sets certain technical bounds to speed.
A slight slowing of the tempo also helps to get those arpeggios in the hands to come out clean and clear.

Speed is a wonderful gift to have, but speed is an illusion.
The instrument in its own acoustical setting will suggest its own tempo by the way it breathes and responds to the organist's touch.
Racing through this Toccata at tornado speed is something I avoid like the plague.
That's virtuosity, but not serving the music.
I'm a clarity guy, and it's just what sounds best to me.

Steve

V: So Ausra it seems that Steve is taking the suggestions about playing at a tempo that is clear for the listener not only for you and not for the sake of racing, right?  Very seriously.

A: I think that’s a very healthy attitude towards music in general, not only just this toccata but you need to hear what you are playing, you need to control what you are doing otherwise it will be just a mess.  Don’t you think so?

V: I agree with you Ausra and what was the last piece you played extremely fast.

A: (laughs)  Well I think back in the year 2000 when I was working on Louis Vierne’s Toccata No. 3 and was playing it St. John’s Church, all five movements.  At that time I think I played those pieces extremely fast and probably couldn't control everything so well as I could now.

V: So I gather you would slow down the tempo a little bit today.

A: Yes, yes.

V: Why?

A: Well because now I already have that ability, being capable while being upstairs to hear what is happening downstairs.  Because what you hear on the organ and what you hear downstairs is completely different.

V: And when you hear the echo does it slow down your tempo or not?

A: Well not necessarily, it depends on what you are playing but if you think about that Vierne Symphony, especially about the 1st and the last movements, and especially about the 1st movement when you start to play everything in unison.

V: That’s the Third Symphony.

A: Yes, the Third Symphony.  Well, if you play that extremely fast on huge mechanical organ at St. John’s Church you will get a mess.  Now I don’t think I would play probably entire symphony on that organ because I think the second movement and the first movement works extremely well for that organ.  The beautiful first movement and the beautiful Unda Maris stop at St. John’s is just perfect. Not the first movement and probably not the third movement, Scherzo or Intermezzo as Vierne calls it because I think it needs lighter action.

V: Right and usually french organs have barker machine.

A: True.  So on the french organ I think it would work fine and such a tempo as well but not at St. John’s church.

V: What about me?

A: So you tell it.  So what have you played very fast lately when you remember it.

V: Good question.  Thank you. I remember practicing and performing Durufle Toccata back in Michigan I think.  That was the time when I played it extremely fast I think. This way my audition piece for Doctoral studies in Rochester.  Remember we went to Rochester, New York, Eastman School of Music to play there and also to Nebraska, to UNL so I remember playing also this piece in Detroit, St. Paul’s Anglican Cathedral and this was part of the student recital we both played.

A: We both played, I don’t think it was part of the student recital.  We both I think did solo recitals, short ones, I think half an hour. I remember that I played Liszt’s Prelude and Fugue in BACH and you did Durufle.  I think a couple of the movements from the Suite, Op. 5.

V: And I think I played the suite too fast there and in general because I was worried about the speed in general because it was a toccata and toccata is supposed to be played virtuosically and really fast.

A: And to be honest I think this is one of the hardest toccatas that have ever been written for the organ, don’t you think so?

V: Yes, it is one of the most difficult pieces I have ever played probably.  Not necessarily the most, but one of the five maybe. Technically very challenging.  So I think the tempo might have been a little bit too fast there, especially on a large instrument.

A: Because as Steve mentioned so nicely about how the pipes respond and how the organ responds to your touch.  I think he is so right and I’m just very glad that he thinks about these things because they are very, very important.

V: And when we go hopefully to play at St. Paul’s Cathedral in London in a week and a half I think the acoustics, the echo there will be enormous, gigantic, right?
A: Yes, probably the largest we have encountered yet.

V: So I guess the tempi also will have to be adjusted a little bit too.

A: True, true.  And articulation too.

V: It’s not like if you are playing at St. John’s church here in Vilnius where the echo is maybe five seconds.

A: Well, it’s larger if it’s in the church at night, it’s seven.

V: But we never play concerts at night.  I played actually once for a group of friends.  But in general it’s like more or less, five seconds and if you go to London, St. Paul’s Cathedral how long is the echo there?

A: Twelve.

V: So more than twice as long echo.  Does that mean we have to slow down twice or more?

A: No, but we need to keep that in mind and to slow down a little bit.

V: To emphasize a little bit the texture, the harmony.

A: Because in order to show the structure you need to be able to hear it yourself so it means you need to take bigger breaks after phrases.

V: Let the instrument breathe more.

A: True.

V: Well, we hope to record this recital too and maybe when we come back we can share it too.

A: Yes, that would be nice.

V: OK, and please guys, send us more of your questions, we love helping you grow.  And remember when you practice…

A: Miracles happen.

Before we go, we'd like to remind you that this week we're running Total Organist Summer Special with 50% discount. And of course, you will get the 1st month free too. You can cancel anytime. This offer is valid until tomorrow, July 25.

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Here's what one of our students is saying:

Dear Vidas
At the moment I’m focusing at sight reading improvement…
Also I’m interested on registration  but not yet started.
I’m curious and interested on fingering of Bach’s pieces because according the opinion of my teacher at conservatory I play Bach too much legato …possible because I’m coming from piano…
 
In general I review the list of argument present on the total organist and all the pieces and think that is a very interesting work but I do not want to waste opportunity piking too quickly arguments …I like to profite in deep of each opportunity and I need time of coarse to do that.
 
I spoke about your site with an organist my friend that is teaching at the government music school in Italy and he told me that this kind of material is not too useful and that is not so easy to profited and have good results from internet learning.

I think different, I think that your work is very useful to organists because a loto of arguments are developed and is not so easy to find this kind of information even the teachers in the 40 minutes of lesson weekly cannot t give  the information in deep all is very very fast,  hurry, and the student will practise frequently in the wrong direction loosing time. 
 
That is my starting opinion …we will see in a couple of months what will happens.
 
Best Regards
Ferruccio

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Vidas: Let’s start Episode 111 of #AskVidasAndAusra podcast. And today’s question was sent by Robert. He writes:

Hi Vidas. Robert here from Vancouver, Canada. I was wondering if it is possible to find the booklet from August Reinhard Op. 74. Heft I (so first half). I have the second half. In German it's "50 Übungs und Vortragsstücke für Harmonium”. As I mentioned I have the second half but it would be nice to get the first half too, to complete the set. It's great stuff!

Keep up the wonderful work you both do, and so now and then I keep purchasing a piece you've worked out if I can manage it. I'm still working on BWV 577. I find it hard to get it fast and smooth. Slowly! Blessings, Robert

First of all, Ausra, Robert asks for the piece collection and etudes, basically exercises, for harmonium. And I found it online, available from the publisher Heinrichshofen. And I think they have the entire set of 50 exercises here. And I will include the link in the description of this conversation, so that Robert and other people could check it out.

Ausra: Excellent. I think this should be a nice source for church organists.

Vidas: I think it’s like etudes, right?

Ausra: Yes.

Vidas: They are not necessarily created as chorale-based melodies or chants. As we see it in the preview, they’re like short preludes, basically, in many keys.

Ausra: So you could use them for preludes or postludes

Vidas: You could use them on the organ, too.

Ausra: Yes, definitely.

Vidas: Uh-huh. And they are without pedal. Excellent. So the second half of the question was something we can talk about. Robert finds it hard to get the Gigue Fugue by Bach fast and smooth. Difficult for him, right?

Ausra: Well, that’s a gigue. Gigues are all hard to play--you know, to keep a nice tempo. But maybe, you know, he wants to play too fast too soon?

Vidas: That’s my impression, too. Maybe people sometimes get frustrated with their progress and they want to advance faster than they should; they pick up the tempo sooner than they are ready.

Ausra: Yes. Of course, you know, they’re playing pieces based on dances: like gigue, gavotte, and minuet, and others. It’s very important to keep up strong and weak beats. All this pulse is necessary. It’s necessary in any piece, but especially in those that are based on dances.

Vidas: Because if you listen to pop music, right--

Ausra: Yeah...

Vidas: They’re entirely based on dances, right? And in pop music, rhythm is the most important element.

Ausra: So, like playing the Gigue Fugue, you know, rhythm is the most important. At least, that’s my opinion about it.

Vidas: Mhm. So if Robert can play it slowly enough that he will have good pulse, is he on the right track?

Ausra: I think so, yes. Because he will add tempo later. Actually, the tempo will speed up itself.

Vidas: When he’s ready?

Ausra: Yes, that’s right.

Vidas: Are there any tricks/shortcuts to take?

Ausra: I don’t think so.

Vidas: We’re in the wrong business, right?

Ausra: Yes, yes, that’s right.

Vidas: We’re not in the business of shortcuts. If we were, we wouldn’t be here, actually, recording this, because we would have been frustrated sooner than we would have sensed the advancement of the results, and we would have quit a long time ago.

Ausra: Yes, that’s right.

Vidas: But perhaps Robert and others who are frustrated with their progress in fast pieces can enjoy moments of the entire process. Not necessarily the result, which is slow, but the process--what they have achieved today.

Ausra: Yes. And you know, this might comfort you: keep in mind that gigue is the hardest of dances to play, so it’s natural that you have some trouble now. But I hope that you will overcome those troubles.

Vidas: It seems that people like Robert sometimes get too focused on one piece, and they spend months on one piece. Is that a productive strategy?

Ausra: I think sometimes it’s better to divide your focus on several pieces.

Vidas: And practice and perfect the piece only to a basic level, right? And then go to the next piece, and to the next piece, and to the next piece; and only after a few months, he can come back to this Gigue.

Ausra: Yes; sometimes it’s good to take a break on a piece, and return back after some time.

Vidas: Tell me when you found yourself in such a situation--when the piece was frustrating for you, and you had to go to something else, something more exciting for you at the moment; and then you came back and noticed something different and more advanced.

Ausra: Yes; that’s what I’ve felt, actually, quite a few times. And sometimes it’s enough only to take a break for only like 2 or 3 days, and come back to a piece, and it’s already easy--it seems already easy.

Vidas: Like when we’re preparing for this weekend’s recital, sometimes we skip a day, right?

Ausra: Yes.

Vidas: And it gets better, actually, because of that. Because we play so often together, and sometimes it gets stuck in one...mode of playing. And if we give it a break, then we can come back with a fresh mind.

Ausra: That’s right.

Vidas: Sort of, we start to miss our playing then, right?

Ausra: Yes.

Vidas: You have to miss it. And then come back.

Ausra: Plus, also some technical things: If you are practicing day after day after day, especially in a fast tempo, things might get muddy, unclear. So sometimes it’s nice to have a rest, and come back later. And then it seems much better, much easier.

Vidas: Excellent. So guys, we hope that this advice was helpful to you. Try to apply it in your practice. And send us more of your questions, right Ausra?

Ausra: Yes! We are waiting for them!

Vidas: And remember, when you practice…

Ausra: Miracles happen.

Vidas: Let’s start Episode 93 of #AskVidasAndAusra podcast. Today’s question was sent by Simon, and he writes:

“Hello Ausra and Vidas, what are some tips for building up speed, and expectations for how long this should take – weeks, months? Learning a faster piece e.g Gigout Toccata, I can play the last section accurately at about 2/3 speed, but much faster and it starts to unravel.   Playing same section over and over again I lose concentration, and probably just re-inforce mistakes. Greetings from Germany, and thanks to you both for your inspiration. Simon.”

It’s nice that people from Germany are playing French music, right?

Ausra: Yes, it’s very nice.

Vidas: And getting feedback and help from us, and applying our tips in their practice, and getting better--even slowly, right? Talking about speed, Ausra: in your experience, does it come naturally to you, or do you have to force yourself to do something--tricks or tips?

Ausra: Well, most of the time it comes naturally, but not always. It depends on the piece.

Vidas: Well, you have to really remember that we have extensive piano training. From 7 or 6 years old we started playing piano.

Ausra: Yes. Yes, that’s true.

Vidas: And started playing professionally. Maybe we were not pianists, as in majoring in piano; but nevertheless we played piano every day.

Ausra: That’s true, yes.

Vidas: For many years before playing the organ. And when we started playing the organ, our finger technique was fairly developed, by that time.

Ausra: Yes. But now, as talking about the speed, especially when you are practicing such pieces as Gigout Toccata, or basically any either Romantic or modern pieces (toccatas especially--Boellmann, Widor etc.), it’s a good idea to do half of your practice on the piano and half on the organ. It would be, I think, an excellent way to build up your speed--the tempo of the piece, too, while playing piano.

Vidas: Your piece...on the piano?

Ausra: Yes, that’s right!

Vidas: But never forget that it’s an organ piece, right?

Ausra: That’s true.

Vidas: Don’t play with pianistic gestures and motions from elbows, and lift off your hands from the keyboard, and lift even your fingers so much--right? It’s not necessarily valuable for organists.

Ausra: Yes, that’s true; but in some cases, especially if you have, let’s say, an early electronic organ, but you have a mechanical piano, too, then I think it would be very beneficial to practice on the piano.

Vidas: A lot of people have pianos at home, right?

Ausra: Yes. Because it has a mechanical action and it is good for your fingers--for developing your technique, and for building up the right speed.

Vidas: I think in our community you will find plenty of people who have a digital organ, without pipes…

Ausra: Yes.

Vidas: And a normal, mechanical piano at home.

Ausra: Then I would say, it’s better to practice on the piano; and maybe half and half, do half and half.

Vidas: And by “piano” I don’t mean a Steinway, concert, full-size piano--but just an upright piano is perfectly fine.

Ausra: That’s right. That’s right, yes. And with speeding up while playing, don’t be hasty. And don’t push yourself too hard to play in the right tempo right away. It will come in time. Just practice at the slow tempo first; and when you will be comfortable with that tempo, I think you may be able to speed up, little by little.

Vidas: What helps me in these situations is when I have a difficult and challenging piece, and I know the music fairly well by now, I can play it in a moderate tempo, but it’s not yet concert tempo, and I want to speed up--I do the following trick: I play the piece from the beginning until the end several times, maybe 3 times, but stopping at every beat; and when I stop, I really look ahead, just one beat ahead; and I prepare my fingers in my mind, and then I play very very quickly just those 4 sixteenth notes, and not anything else. And then I stop and think ahead, and wait until I’m ready, and then play again four notes, very fast--I mean, in concert tempo, perhaps. Would you think that it’s helpful, Ausra?

Ausra: Well, yes, I think it does help you.

Vidas: Because it’s just the first step. Once you’re comfortable with this trick, you can double the fragment--maybe play half of the measure without stopping, in concert tempo; and then stop! and wait, and think ahead, and prepare yourself; and then play very fast again until the next fragment of 2 beats. Right?

Ausra: Yes, that’s right. And when practicing, what might happen is if you push yourself too early to a fast tempo, you might lose your piece, because it might begin to get sort of dirty.

Vidas: Exactly.

Ausra: And then it will be very hard to correct it. Actually, I think sometimes it’s easier to learn a new piece of music than to correct a piece that is already muddy because you wanted to play too fast too soon.

Vidas: I think the key is listening. You have to listen to what’s happening, even in a fast tempo; and if you can’t hear, that means it’s too fast for you, for your hearing.

Ausra: Yes; and what you’re hearing, your listener will hear the same. So if you cannot hear what you are playing, your listener cannot hear it either.

Vidas: Yeah, so spend some considerable time on these shorter fragments: one beat, two beats; one measure, two measures, four measures; one line, two lines; one page, two pages--making the fragments longer and longer by doubling them, but be very careful to go to the next beat very patiently.

Ausra: Yes, because you still have to hear each note that you’re playing, and you have to be able to control yourself. Because if you will to pick up too fast a tempo, you might lose control.

Vidas: Excellent. Do you think that people should play piano exercises or etudes from pianistic repertoire--once in awhile, for this case?

Ausra: Yes, I think it would be good.

Vidas: Chopin, Liszt? Czerny?

Ausra: Well, Czerny, actually, is an excellent resource for building up technique. If you have trouble with some kind of technical problem, definitely you can find an etude by Czerny in which that problem will be solved.

Vidas: Mhmm.

Ausra: Because it’s an excellent source. People often rush to etudes like Chopin’s, and Liszt’s, and other virtuosos’...

Vidas: They’re too advanced.

Ausra: Yes, but sometimes they are too advanced, and sometimes I just think that for developing that necessary techniques, the Czerny etudes are the best.

Vidas: Especially Op. 299--the “School of Velocity,” I think it’s called. So you will find any type of keyboard technique there. And just start from the beginning.

Ausra: Yes.

Vidas: Learn the first etude.

Ausra: And I think it will help you later on, to play Romantic and modern music on the organ well.

Vidas: Yeah, and your fingers will thank you for that.

Ausra: Yes. You definitely will strengthen them.

Vidas: Thanks guys, please send us more of your questions; we love helping you grow. And you can do that by subscribing to our blog at organduo.lt and simply replying to any of our messages that you will get. This was Vidas.

Ausra: And Ausra.

Vidas: And remember, when you practice…

Ausra: Miracles happen.

Do you feel like you can't play your organ piece fast enough? You worked in fragments and in separate parts and different part combinations diligently, right? But somehow your fast piece doesn't sound well. Is it that your technique is not strong enough?

Maybe. But it also might be something else. Maybe you need another practicing approach here. This video will help you to solve this problem and move to the next level in your organ playing.