Vidas: Hello and welcome to Secrets of Organ Playing Podcast!

Ausra: This is a show dedicated to helping you become a better organist.

V: We’re your hosts Vidas Pinkevicius...

A: ...and Ausra Motuzaite-Pinkeviciene.

V: We have over 25 years of experience of playing the organ

A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011.

V: So now let’s jump in and get started with the podcast for today.

A: We hope you’ll enjoy it!

V:  Hi guys, this is Vidas.

A:  And Ausra.

V:  Let’s start episode 663 of Secrets of Organ Playing Podcast.  This question was sent by Daniel, and he writes,

Hello Vidas,
My ultimate dream in regard to organ playing would be to gain the technical facility and coordination necessary to perform the masterworks of the Baroque repertoire (e.g., BWV 582, HWV 432, the entirety of BWV 1080).
Beyond that would be to gain the ability to improvise/think contrapuntally.
The three areas that are impeding these goals would be detailed as:

• Development & understanding of physical technique/coordination.
  • I come from a piano/composition background, and have a well-developed hand technique, but encounter difficulty cultivating the coordination between limbs, while maintaining a balanced position. I have also studied the literature available regarding coordinate technique, such as the writings of Abby Whiteside and the work of Dorothy Taubman/Edna Golandsky, and have been trying to apply these principles to organ technique, which has been a process of  gradual integration. There are other methods of body re-education such as Feldenkrais or Alexander Technique, which may indirectly facilitate techniques that may be worth studying as well.
• Audiation:
  • I am also very interested in the concept of audiation, aural skills, or "mental hearing" and have studied the available literature as well (partimenti, thoroughbass, the pedagogy of Nadia Boulanger). The concept of understanding the music at a deeper level and eventually being able to "think contrapuntally" must certainly translate into greater musical capabilities. I am still experimenting with and researching different methods to cultivate this ability. Sight singing appears to be a great adjunct to this skill. There are those who can purportedly just read the sheet music and hear it in their head without the aid of an external instrument as well.
• Fingering principles/Sight Reading:
  • Prior to beginning organ, I have achieved a level of proficiency on the piano, and the fingering principles do not intuitively apply to the organ repertoire. This in turn hinders my ability to sight read. I am new to the repertoire, but am still trying to discern basic principles for good fingering choices.

I can expound on any of the items listed, if further detail if needed.
Thank you again and best regards,
~Daniel
​
V:  What can I say, Ausra?  Was it detailed enough?

A:  Yes, it’s very detailed.  And from my experience both as a music practitioner and also teaching theory for many years now, I could say that you should not study so many theoretical books and all those methods about fingering, pedaling, composition, and you know all those other things that, technical stuff too, as Daniel mentioned.  It seems for me that he spends many many hours of studying about music.  But if I would be him, I would spend more time actually practicing and spending time with an instrument, because no books will teach you, no methods will teach you how to play.  The best teacher is your own ears and your own fingers.  And you need to spend as much time at the instrument as you can.  Another thing about coordination problem, well I was told by the physical therapist that in general men have more coordination comparing to women.  So...

V:  Why is that?

A:  I don’t know.  He told me that from his experience, from his patients that he had had.

V:  Maybe it’s because women can do multi-tasking better.

A:  I don’t know if it’s related to that, but definitely there is something about that.  But once again, you have to work more on that.  Because often the pianists struggle with coordination when we switch instruments from piano to an organ.

V:  So to go back to your beginning statement, probably I could put it in another way, saying that Daniel is studying about studying, and not doing actual studying more.

A:  Yes, you know, let’s see since I’m working at the theory department, well and I’m a practitioner because I play organ a lot.  Not as much as I wish I would play, but still a lot comparing to my colleagues for example at the same department.  And they know a lot about music, they can hear perfectly, they can easily write polyphonic dictation, let’s say consisting of three parts, but very seldom could any of them sit and play a piece or sight read very well, although they know all this in theory, all the keys and they have most of them perfect pitch and so on and so forth.  But if you don’t practice on regular basis, you will not play an instrument.  Just reading about how to do it right will not teach you to play.  Well and about notion of the right fingering - if we are talking about Baroque repertoire yes, then it’s quite different from what you have learned to play on the piano and what you are playing on the organ.  You need some specific knowledge about it and some additional skills.  But if we are talking about Romantic and Modern, Contemporary Repertoire, then basically the fingering is same, where you don’t need to rediscover and to recreate the bicycle, it already works.

V:  Yes, organ fingering specific to organ probably applies mostly to Early Music, whereas you see on the organ in Romantic Era, they tried to recreate perfect legato without the sustain pedal that piano has, so you have to do everything with your fingers.  You can do perfect legato on the piano with the fingers, but also with the help of the sustain pedal, don’t you think?  And that might be different fingering choice, too.

A:  Well yes, but you know the good pianist will also think about fingering.  Because only using pedal and cheating by that will not substitute a legato, really legato touch.

V:  Mm hm.

A:  And some of the pianists, some bad pianists, they simply overuse the pedal.

V:  Right.  And if we’re talking about organ fingering, early organ fingering let’s say, or early keyboard fingering, you don’t need to aim for legato at all.  You can use position fingering basically.  Change positions and change fingers when you change positions, when you change chords, right?

A:  Sure.

V:  It’s more complicated than that, but the basic principle might be like this.  There are more nuances of course, which you can learn in other trainings that we have.

A:  Yes, but you know what I mean actually that read less books and practice more.  Even J.S. Bach he haven’t rewritten any treatises of his time, and he actually haven’t written any treatises of his own, but as he was a child and lived with his brother, he wrote down music by other composers.

V:  Remember he wrote one page of, sort of rules in playing thoroughbass.

A:  Sure.

V:  One page!

A:  And that was enough.

V:  Mm hm.

A:  Because I think that practice is all or the most that you need.  Of course you need some guidance definitely, you need some guidance, some rules, and some knowledge but not overwhelm yourself with it.  Because you won’t have time and energy left to practice.

V: Thanks guys for listening to this conversation! 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!

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Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 546 of Secrets of Organ Playing Podcast. This question was sent by Diana, and she is our Unda Maris organ studio student. She is practicing only the second year, and she writes that she struggles the most in coordination. Is this, Ausra, a common struggle for new organists?
 
A: It is, I think, very common.
 
V: More than pedal playing?
 
A: I think it’s all connected in between themselves.
 
V: When you were a beginner, or first started playing the organ decades ago, do you remember what was the most difficult thing for you?
 
A: Yes, I remember that it was playing the pedal together with the left hand. Especially if the direction was different for pedals and the left hand. Then I would want to play in the pedals the same as what was written in my left hand.
 
V: It’s basically the same thing that Diana is talking about, probably.
 
A: Yes, and I guess the only solution is to practice more in combinations, because you have to overcome this obstacle. Otherwise, you will just have to say goodbye to the organ.
 
V: Not to practice all parts together, but separately.
 
A: Yes.
 
V: One voice at a time, then two voices at a time…
 
A: Well, I don’t think that one voice at a time would help, you know, unless you really are a very very beginner. But if you need to work on your coordination, it means that you have to practice two voices at once, because otherwise it will not give you any benefit to your coordination. So, I guess it would be right and pedal, left and pedal mostly.
 
V: And left and pedal is the most difficult to do.
 
A: Sure. So maybe if you are practicing one piece like five times through with your right hand and pedals, you need to do at least ten of that with your left hand and pedals.
 
V: If your main hand is your right hand; if you are right handed.
 
A: Yes, that is right.
 
V: If you are left handed, then maybe the left handed combination with the pedals is not so difficult. Ausra, when did you discover that you no longer struggle in coordination?
 
A: Well, to tell the truth, I never did. Of course, it became easier with years, but still, I wouldn’t say I feel as comfortable with my left hand as I feel comfortable with my right hand. I guess that’s just a thing with the brain. Of course, after practicing for many years, you can play anything smoothly, but I still don’t feel that my left hand is the same as my right. Do you?
 
V: No. My left hand is also weaker than the right hand, but it doesn’t stop me from practicing, or playing the organ, or improvising. Right?
 
A: Yes!
 
V: It just takes more practicing.
 
A: Yes. Like we say at the end of each conversation, “When you practice, miracles happen.” It means it’s really to practice a lot in order for most miracles to happen, because all these things that we are talking about take time and they take patience. So you just have to stick with it.
 
V: Yeah. I guess people often lack patience, right? Because they want to achieve things fast. But with practice, it’s nothing fast. Sure, you can maybe get some quick results here and there, but in general, I think you cannot cheat yourself.
 
A: Sure.
 
V: But still, I want to know the time frame, if Diana is struggling in her second year—in the middle of her second year now, do you think that in, let’s say, two more years, she would feel much more secure?
 
A: Well, I think so, but you know when you’re saying she’s playing the second year, it doesn’t say anything, because it depends on how much do you practice each day, and how sufficient your practice is. Because you know, some people practice for ten years in a row and they don’t make any progress.
 
V: You mean practice has to be efficient!
 
A: Yes, that’s right. And it has to be regular practice. If you will practice once a week, you won’t make any progress, either. So it’s basically very important to practice every day, especially for beginners.
 
V: Alright, I hope Diana can take advantage of our tips, and other people, if you struggle with coordination, as well. There is no workaround for this basic problem except playing in combinations of pedals and separate hands…
 
A: And in a slow tempo at first, too, which is also very important.
 
V: At least twice as slow as you would normally play.
 
A: That’s right.
 
V: At least! It could be even slower. Most likely slower than twice as slow. Maybe at 30% of tempo, let’s say. That would be kind of an achievable tempo for starters. Alright 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 457 of Secrets of Organ Playing Podcast. This question was sent by Bass4Art, and he writes:
 
“Hi Vidas
I have a Kawai Electronic full console organ here at my house. While I took some time away from practicing, I have been taking piano lessons, in fact, I am up to advance level 5 and beginning level 6 and still plugging away at it. Now I have gotten myself up to that level, I like to push my organ playing up to that level as well. I do have to work on my pedaling some more work on my coordination between hands and feet. While I have gotten rid of a lot of the organ music I had. I still have a full pile of it. So how would you advise? Not this coming up month, but more towards the end of the year. I do plan on purchasing your organ training course to help me with those things.”
 
V: So, Ausra, he seems to be able to play at the level of 5 and 6 in piano, so maybe that’s grades 5 and 6 in some systems.
 
A: Well, I’m not sure, you know?
 
V: Me, either.
 
A: In what kind of system is he training? Because, if he would be like our old piano students are at my school, at this grade, he would be quite advanced already.
 
V: Yeah!
 
A: Because we are playing really difficult repertoire at such level. But, the thing that concerns me is that it seems he wants to proceed probably with both instruments at the same time, and I think it might be quite hard, because although both these instruments have keyboards, they are quite different, and they require quite a different approach and different techniques to be developed. And finally, you still have to decide what you are. Either you are an organist or you are a pianist. You cannot be both at the same time.
 
V: At the same level.
 
A: Yes, at the same level.
 
V: Yes, yes. This is wise, to choose at some point. So, he has to ask himself what he values more, and what is more important to him. But, if he wants to advance in organ from this level, I’m not sure again—it’s speculation, because we don’t know exactly what pieces he’s playing. Right? But presumably, in the piano area, he has some finger proficiency. It’s not level one, but it’s 6. But it’s not level 10, so maybe somewhere in the middle, depending on actually reality. Sometimes, people say they can play that level, but it’s not quite clear if they can perform at that level. Right? For example: if I’m practicing Chopin Etude at home, it doesn’t mean I can play Etude at the recital.
 
A: True.
 
V: So… maybe some basic organ works would suit him—short chorales from “Orgelbuchlein,” maybe,
 
A: Yes!
 
V: We have plenty of fingering and pedaling for that.
 
A: True.
 
V: Not too long pieces, I would say. And, it depends on his preference of style. Maybe he likes legato stuff more, then maybe he should take a look at Romantic composers—a little bit easier pieces. But with pedals, probably.
 
A: Definitely, if you want to play the organ, you need to learn to play pedals.
 
V: Alright! And of course, pedal technique will advance much further if he took our pedal virtuoso master course. So, we hope this was useful to you. Please send us more of your questions; we love helping you grow. This was Vidas,
 
A: And Ausra,
 
V: And remember; when you practice,
 
A: Miracles happen! 

Vidas: Let’s start Episode 86 of #AskVidasAndAusra podcast. Today’s question was sent by Neil and he writes:

“The only thing I struggle with now is my age. I am not able to play fast complex pieces any longer. My coordination is beginning to fail, so I just stick to easy, slower, less complex pieces. Mostly hymns and ballads. However, I really do enjoy listening or reading what you bring up on organ playing. I do learn things, and I also am reminded of things I already knew, but just forgot over time... Please keep doing what you are doing, it is appreciated. Neil”

So, age, right Ausra--do you think people can still improve with old age? Or can they just repeat things over and over that they already knew, and basically enjoy older pieces that they learned at a younger age?

Ausra: I think it’s possible to learn something new in old age, but it might take more time and more effort.

Vidas: With old age, you have to realize that you don’t have to rush anywhere, right?

Ausra: Yes.

Vidas: You don’t have to compete with someone, you don’t have to compare yourself with the masters anymore. You yourself are in a position where you can enjoy what you are doing. Just like Neil is writing, probably. But perhaps even at this age--I don’t know what he means with “old age.” Some people write that they’re old when they’re 65, and some people write that they’re old when they are 85, right? It’s a big difference.

Ausra: Yes.

Vidas: And we do have people playing the organ at the age of 86, late 80s. I think one was even early 90s--91, I think.

Ausra: Yes.

Vidas: So people are still trying to improve at this age. Do you think it’s healthy for your brain to keep busy with reading music and coordination?

Ausra: Definitely. And if I were a neurologist, I would do some extensive research on playing organ and about how your brain works during that process, because I think it’s very beneficial. And I strongly believe that it might slow down such illnesses--or prevent such illnesses--as Alzheimer’s or Parkinson’s, and so on and so forth.

Vidas: Even at my age--I’m forty, what, forty-two now…

Ausra: Forty-one. Hahaha…

Vidas: Forty-one. Good. I forget my age!

Ausra: Well, you definitely have to practice more!

Vidas: Or maybe happy people don’t think about their age. So, but, you see what I mean. Even when I improvise--there was a period of time when I played those long improvisation recitals--storytelling events exclusively. And during that time, I didn’t play from the notes very much. I was very happy to improve my fancy and create in the moment. You know what I noticed? I noticed that my concentration did not improve, but deteriorated during that time; and it was more difficult for me to focus and to read, in general, long-form texts or books; because reading music is also related to those things, don’t you think?

Ausra: Yes, definitely.

Vidas: So, I started sight-reading more. And I do this now much more regularly, and I think it’s healthy. Do you think for people of older age like Neil, it’s good to sight-read also?

Ausra: I think so, yes. That would help, too.

Vidas: Keep your brain busy with unfamiliar musical ideas.

Ausra: Yes. I think in general, reading new music and playing old pieces--it all keeps you in good shape: your muscles, your coordination, and your brain.

Vidas: Yes. When you play old music, your muscles and coordination work, yes? But when you read new music, also your brain develops a little bit more, I think. You constantly get to think, mentally, about what you are doing--not from muscle memory positions, but mentally.

Ausra: And when you are old, I think the most important thing is maybe not to develop something, but to prevent from damaging your body and your brain. To keep it in a current shape, I think, is the main goal.

Vidas: Exactly. Do you think Neil can also exercise physically, or do some stretching, like sometimes people do easy moving--sometimes we do Pilates--or something else besides organ practice?

Ausra: Well, I remember seeing sometimes a very elderly lady in our gym, and I think what she did is she went to yoga.

Vidas: Yoga?

Ausra: Yes and then to swim in the pool. And she seems very healthy at a very old age.

Vidas: So it’s never too late to improve, basically.

Ausra: Sure.

Vidas: As long as you’re moving, you’re alive.

Ausra: Definitely.

Vidas: So keep moving, guys--keep your hands moving, keep your feet moving, and keep your brain moving!

Ausra: That’s right.

Vidas: Excellent. And please send us more of your questions; we definitely love helping you grow--it’s really fun! And remember, when you practice…

Ausra: Miracles happen.

Vidas: Let’s start Episode 81 of #AskVidasAndAusra podcast. And today’s question was sent by Alan. He writes:

“Hello Vidas and Ausra, this is a very interesting problem that Vince describes, and one I can empathise with.”

By the way, Vince had a problem: that when he makes a mistake, he really cannot hear it. Basically, he might play a piece of music, but mistakes elude him, especially in the inner voices. So Alan writes further:

“In my case, I seem to be somewhat dyslexic between my feet and my left hand. Which is to say, when I make a mistake, I often find that I have confused the left hand (tenor) and pedal (bass) lines. Somehow I am reading the bass line but the instructions are being carried out by my left hand instead of my feet (and visa versa)! I have to stop, recognise what is happening, and mentally reassociate parts with hands and feet in order to continue. It is frustrating, but I do believe that the right sort of exercises/training could improve independence of motion, and strengthen the linkage between parts and hands/feet. I have tried to develop a few such exercises myself, but I haven't had very much success in eradicating the problem yet.

I continue to enjoy and benefit from your daily postings. Thanks and keep up the good work! Regards, Alan from Australia.”

So, what do you think, Ausra? In my opinion, this problem that Alan experiences has to do with hand and feet coordination.

Ausra: That’s right. And this problem, I think, most of the organists at the early stage of their practice - beginner organists encounters this problem. Very few can escape it.

Vidas: Especially right-handed ones.

Ausra: Yes, especially right-handed ones.

Vidas: So, when we were beginners, remember, 30 years ago or more, we had a fairly good background in piano playing; and then pedals came along with the organ. And now our teachers gave us pieces to play on the organ...How did you feel with the LH and feet combinations--reading three staves?

Ausra: Actually, very bad, at the beginning. I just remember that my LH always wanted to play the same line as the feet - my LH wanted to double the pedals.

Vidas: Yeah...for me, too.

Ausra: And I remember one piece I had to play a passage up with my LH, and at the same time my feet had to move down. And I could not do that. It just seemed like my brain was divided into two parts.

Vidas: Mhm. That’s very natural, right? Because we have to understand what’s happening in our brains, then. When we pick up a new instrument, like the organ, which has an extra part--solo part, pedal part, which is like a third hand, by the way--our brain has to develop new neural pathways, basically, which are not there. It’s like riding a bicycle for the first time. You stumble, you fall, you trip...and then you get better, a little bit...and then you STILL fall and trip many times. But less, with practice.

Ausra: Yes. And of course, in this case, I think every person is different. For somebody it might come very easy; and somebody may not even encounter such problems; but for others it might be a real, big problem, and it might take a lot of time to make it work.

Vidas: Well exactly, because as you say, some people can manage coordination and doing several tasks at once in their brain, right? Like talking and driving. But others cannot really concentrate on talking or on driving; they have to do one thing at a time. Unless they are naturally very good at this.

Ausra: And it might even be a gender thing, at some point, because I think that women can multitask better than men.

Vidas: Why is that?

Ausra: I don’t know, it’s because of our brain.

Vidas: Evolution?

Ausra: I don’t think it’s because of evolution, but…

Vidas: I’ve heard it’s because of evolution, because women had to take care of many things at the same time.

Ausra: Yes, but also, women just have more neural connections in their brains.

Vidas: Ahh, that’s right, perhaps. But because of that kind of evolution maybe, they have more neural pathways, right?

Ausra: Yes, it could be, but I also encountered this combination problem at the beginning, as a beginner organist, and I struggled with it for a while. But you just have to be patient, and you have to practice in slow tempo, and you have to work in different combinations. There is no easy way to overcome this problem. There is no magic stick that will solve all your problems right away.

Vidas: You’ll maybe feel better when we say that we also had to overcome this challenge in our beginner days, right? When we were just starting to play the organ, we also played lines with our feet, but in our minds, it got mixed up with the LH, and vice versa.

Ausra: Yes.

Vidas: It’s normal.

Ausra: And I wonder how do left-handed people feel? Do they have the same problem with RH and pedal? I never heard about it.

Vidas: Oh, guys! If any of you listening to this discussion is or are left-handed, please write to us: what’s your beginning experience with pedals and LH combination? Maybe it’s easier for you than for right-handed people; I don’t know. We are both right-handed.

Ausra: Yes. But it’s good, because after a while, while practicing organ, most of the domestic things you have to do, you can do with both your hands; because you sort of have both your hands well-developed.

Vidas: Not only hands; you can also pick up things with your feet.

Ausra: No. I am not doing that.

Vidas: I do! I do pick up eraser and pencils all the time with my feet. Yes. I cannot really write with my feet yet, but I’m trying. So guys, this was fun. We hope this was useful to you. Please don’t feel discouraged and frustrated, because everybody is suffering from this at the beginning. You just have to go over that dip of frustration and continue to the other side.

Ausra: It will get easier in time.

Vidas: Exactly. And of course, if you want other exercises which are good facilitators, then of course, regular organ music definitely works, right? Because LH and pedal part are definitely different and varied; in many cases they don’t usually double each other. And if you want extra exercises, you can take a look at our Organ Playing Master Course, Level 1, where we have exercises for RH, and LH alone, and pedals alone. That’s the beginning stage. Once you can do this correctly, you can easily go to the Left Hand Training, I would say, Ausra.

Ausra: Yes.

Vidas: Remember, this training has all 6 trio sonatas by Bach, transposed in all keys, and you can practice for LH and feet, LH combination alone, and RH alone, and pedals alone. That’s the next stage after the Organ Playing Master Course, Level 1. Once you get through this, then the next stage would be Two Part Training, which also deals with trio sonatas in different keys; but then you have those 2-part combinations which Alan is struggling with, and obviously these exercises from trio sonatas could help you improve your hand and feet coordination enormously.

Ok, please send us more of your questions; we love helping you grow as an organist. This was Vidas.

Ausra: And Ausra.

Vidas: And remember, when you practice…

Ausra: Miracles happen.

Welcome to Secrets of Organ Playing Podcast #112!

Today's guest is an American organist Robert L. Morehead, CAGO. He is a native of Pittsburgh and is the Director of Music Ministries at Emmanuel Lutheran Church in Vienna, Virginia.

Robert began his organ studies at the age of twelve in Germany under the instruction of Tassilo Schlenther. For twenty-five years, Robert has held Director of Music positions in German Lutheran, Presbyterian, Episcopal, and Evangelical Lutheran churches. Robert holds a Bachelor's of Music degree in Organ Performance from Malone University in Canton, Ohio. While at Malone, Robert received instruction from W. Robert Morrison, FAGO and also earned a piano teaching certificate.

Over the years, Robert has earned three organ certifications: the D-Schein from the Lutheran Church in Germany, the Service Playing certificate from the American Guild of Organists, and the Colleague certification from the American Guild of Organists. Robert is an eighteen-year member of the American Guild of Organists, and has served on the Executive Committee for the Lehigh Valley chapter. He continued his organ studies in Allentown, PA with Stephen C. Williams. Robert has served as Director of Music at St. Paul's Evangelical Lutheran Church in Red Hill, PA, Good Shepherd Lutheran Church in Kreidersville, PA,  and as Contemporary Worship Coordinator at St. Mark's Lutheran Church in Pennsburg, PA. In addition to managing his own piano studio in the Lehigh and Perkiomen valleys, he was the choral director of the Lehigh Valley Saengerbund in Allentown, PA.

In 2007, Robert received his Master's degree in Music History from West Chester University of Pennsylvania, where he also earned a research award from the university for his work on the topics of Ralph Vaughan Williams' agnosticism. Robert's thesis was based on the jazz organ music of Dr. Joe Utterback of Rowayton, Connecticut. He also has played harpsichord and sung for the Renaissance and Early Music ensemble, Collegium Musicum, at West Chester. He also toured Germany performing organ concerts in Nochern, Wiesbaden-Bleidenstadt and Taunustein-Hahn.

In July 2009, Robert returned to the Pittsburgh area. Until May 2011, he was the Director of Worship and Music at Pleasant Hills Community Presbyterian Church in Pittsburgh, PA. Robert served as Director of Worship and Music at Beulah Presbyterian Church in Pittsburgh, PA from 2011-2016 leading a comprehensive music ministry that included nine music ensembles.

On August 1, 2016 Robert began his ministry at Emmanuel Lutheran Church in Vienna, VA where he is the Director of Music Ministry /Organist and directs the Sanctuary Choir and Cross Generational Choir and plays with the Revelation Band. He also records and publishes on You Tube a “Hymn of the Week” series which includes history of a hymn from the Evangelical Lutheran Worship each week.

Robert also is the coordinator of his family’s Christmas Praise series: A Christmas benefit concert now in its 28th year of works from chant to modern which is performed at a different location every year during Christmas week.

Before we recorded yesterday's portion of our podcast conversation, Ausra and I had a big smile on our faces - Minori wrote a kind note to us:

Thank you for #AskVidasAndAusra 58!

I do appreciate your advice, which, I am sure, suggest the best solution and help me to tackle my struggle!

What is most enlightening (and what I have failed to pay attention to so far) is the fact that you cannot play everything on every single instrument and that you need to pick the right music for the right instrument.  

Organ playing begins when you select the repertoire for the instrument, not when you sit on the organ bench...  I will keep your advice in mind so that I feel more comfortable and confident when I encounter a new instrument.

And thank you for another great advice, "Every tenth instrument" principle, which encourages me to keep trying overcome my struggle. 
I will take every opportunity to play on as many instrument as possible in Japan (to begin with) and overseas (if conditions permit)!"

These type of messages go into our special Love Letters folder because it shows that we are helping real people.

So anyway, now let's go to the podcast for the day.

Vidas: We’re starting Episode No. 60 of #AskVidasAndAusra podcast. And today’s question was sent by Minori. He writes that he has a small physique:

“My height is 155 cm; small hands (I reach an octave, but not beyond); I have difficulty in maintaining postural stability while playing organ works with pedal part (perhaps because of poor muscle strength). I am always wondering what kind of exercise would improve my postural stability  while playing the organ.”

So Ausra, you are well-equipped to answer this question, because you are a little bit taller, I would say, but not too tall.

Ausra: Well, yes, I’m 162 cm high, so just a little bit higher than Minori is, but still not as high as I wish to be. But actually, at first I can suggest what he could do about strengthening his muscles. So, I just found a year ago the so-called Pilates system of exercise, and actually it helped me a lot, to strengthen the whole body, to strengthen my muscles. And since I started to do Pilates, I have never had any trouble with my back anymore. And I can sit and practice on the organ very easily.

Vidas: Yes, it’s very good for recovery after illnesses, after stress, after injuries, and it’s a low-stress exercise, basically. You can have muscle fatigue after that, but not necessarily--sometimes you even feel refreshed. Like after yoga, but the difference between yoga and Pilates is that you move quicker in Pilates.

Ausra: Yes, and you know, for me, for example, it’s hard to do yoga because I don’t have such a slow character. It’s hard for me to focus while doing yoga; but in Pilates, you just keep moving all the time. But it’s not like a very fast movement as it is in some other kinds of sports; but it’s sort of well-balanced between motion and breathing. So it’s very good. I suggest, really, every organist to try it. Maybe you will not like it, you never know, but I have learned a lot from these exercises.

Vidas: Somehow it’s not very popular with men, right? In Lithuania...

Ausra: Well, it’s actually too bad. I think it would be very good for both genders. It’s very useful.

Vidas: What about breathing? Is Pilates helpful for developing your breathing, and focusing too?

Ausra: Sure, you have to learn how to breathe correctly in order to do those exercises; breathing is very important. So then, it helps you too, because knowing how to breathe well, you can use that while sitting on the organ bench, especially during performances, or before performances. And that short height… I know, it might be a problem when you have to reach for example the fourth manual and reach pedals at the same time, but you can get used to it. Sometimes maybe you have to adjust the height of the bench; sometimes maybe don’t use the upper keyboard; but still, you can do it. I think it might be even easier to adjust while being just, 155 cm high, than to be 2 meters and 20 cm high!

Vidas: Exactly. To reach with your short legs the extreme edges on the pedalboard is easier than being extremely tall, and trying to tense your leg muscles and abdominal muscles all the time when you sit on a lower organ bench.

Ausra: And also, you have to choose your repertoire wisely; because definitely there is some kind of music that I would not suggest Minoru to play. It might be too hard; because he reaches only an octave with his hands, so that means that some pieces by César Franck, or some pieces by Max Reger would be unreachable.

Vidas: Late Romantic…

Ausra: Late Romantic, yes. When you choose new music, maybe just sight-read it and look if the intervals are not too wide in the hands. For example, such pieces as Franck’s “Prière”--which is a beautiful piece--I would never play it myself, because I might hurt my hands, not being able to reach those intervals. And when I looked at pictures of Franck, actually I saw that his hands were just enormous! So that’s why he composed pieces like this.

Vidas: He could reach a tenth, probably.

Ausra: I think easily, if not more.

Vidas: So guys, if you are struggling with adjusting to the organ because of small physique, I think yes, you could strengthen your muscles and tone your muscles with some kind of exercise system. Do you think, Ausra, that martial arts would help Minori?

Ausra: I don’t know how he feels about martial arts. It might help but I think it’s more for focusing your mind, maybe. But I practiced karate for one year, back in the States. And it was good, but I find Pilates much more useful, at least for my nature. And also, you need to find, the pieces which will be your strength; for example, mine is with trio texture, which is the best texture where I feel very comfortable, where I have three different voices and they are all on an equal difficulty. And that way, because I am sort of small, I can move very easily on the organ and feel comfortable with it; I don’t hurt my hands, and my feet while playing, for example, a trio sonata by J.S. Bach.

Vidas: You mentioned earlier karate and martial arts, how they helped focusing and mind strength; it’s the same with Pilates too. Pilates also develops your focus, too, because you can focus on your breath.

Ausra: Yes, and Pilates is very good for your back. I know organists very often have back pain.

Vidas: Because of slipping?

Ausra: Yes. Because of slipping, and because of playing pedals. It’s not that easy, but it’s very good for your back.

Vidas: Okay, so Pilates would help; playing pieces with thinner textures, like trio textures, or early music, probably?

Ausra: Yes.

Vidas: What about improvisation, Ausra? You would think that when a person improvises, he or she could really play whatever is comfortable for his or her physique, right?

Ausra: Yes, that’s true, but it’s actually your strength, improvisation; so maybe you can tell us more about it.

Vidas: Well, it’s very simple. Because when I improvise, I never play something I cannot play, right? I play something which I can do. Of course there are challenges, and things I’ve never tried; and I push myself a little bit further each time. But those things that Ausra was talking about--reaching an interval of a tenth or more, or playing in extreme edges of the pedalboard--it’s not really necessary when you improvise. You can do all kinds of things without that.

Ausra: Yeah.

Vidas: Wonderful. Please, guys, send us your questions; we love helping you grow. And you can do this by subscribing to our blog at www.organduo.lt if you haven’t done so already, and simply replying to any of our messages. This was Vidas.

Ausra: And Ausra.

Vidas: And remember, when you practice…

Ausra: Miracles happen.

First, good news - our 3rd e-book is finally ready:

"I Have Forgotten the Basics" (And Other Answers From #AskVidasAndAusra Podcast, Vol. 3)

It's free for Total Organist students and everyone else can get it for a low introductory price of $4.99 until August 30.

When you read it, please let us know what is #1 advice you will apply in your organ practice this week.

And now let's go to the podcast.

Vidas: Let’s start now Episode 54 of #AskVidasAndAusra podcast. And today’s question was sent by Morton, and he is struggling with Guilmant’s prelude based on the hymn “Thine is the Glory,” which is the paraphrase of a chorus in Judas Maccabeus. He writes:

“I really hope to get that up to standard by Eastertide of 2018.  My "struggle" is with certain places where I have to coordinate my hands and feet together...

The good news is that I have brought the following up to performance level for Eastertide, in case I'm asked to play a few selections at the chapel's Spring musicale: Charles Callahan.  An Easter Site  II. An Easter Meditation. Martin Gaskell - The Strife is Oe'r. Prof. Gaskell has a youtube web site, and you may get in touch with him there and also listen/view recordings of some of his compositions.

I'm working on JSB's - arrangement by Virgil Fox  Now Thank We All Our God. Still a long way to go, but at least it is coming together.  

I would like to learn Jose Lidon's Sonata on the First Tone but the problem is with fingering, and perhaps trying to learn too much too fast!  I found one free edition on line with some fingering. Some fingering for me is better than no fingering but it would have been nice to have a bit more fingering.”

So, an interesting question, right, Ausra? Long, but basically we can subdivide it into two parts. Morton is struggling with coordination of hands and feet, and the second part is with fingering.

Ausra: Sure. Very common problem, shared by many organists. So, when talking about coordination, I think the best way to improve it would be to practice in different combinations, and not trying to put all things together at once. It will save you time eventually. It might not seem like this when you will start to practice, but definitely it will save you time. What do you think about that, Vidas?

Vidas: I agree with you, and I also think that from the pieces--list of pieces that Morton has listed here, he is practicing quite a few compositions, maybe too many at the moment.

Ausra: Could be, this could be a problem, too.

Vidas: How many pieces can a person comfortably practice during one practice session--what’s your opinion?

Ausra: Well, it depends on what kind of pieces, basically; but if it’s a long piece, I would suggest to practice it alone, during one practice session. Otherwise, I’m not imagining it is a productive practice time. What do you think about it?

Vidas: So you’re basically suggesting to practice one episode of one piece and then having a break.

Ausra: Yes.

Vidas: And then coming back and doing something else.

Ausra: Yes, sure.

Vidas: With another piece. So, exactly. And since we always recommend having a break, every thirty minutes or so, so then you should maybe divide your practice time accordingly: if you have two hours a day, so maybe you can practice four pieces --maybe spend thirty minutes on each piece. Or, if you have just one hour, maybe two pieces will be enough. Is that a good idea, Ausra?

Ausra: I think it is a good idea. Because, especially when we’re young, we can practice for many hours, and don’t take breaks at all; but later, it will injure you, your health--your body, actually, for practicing so many hours without a break!

Vidas: Right.

Ausra: So you better, exercise in between your practice.

Vidas: So, this famous Pomodoro Technique, where you practice or do something very focused for twenty-five minutes, and then have a five-minute break, is very useful, right? You can simply exercise, drink a glass of water, take a walk, stretch, during this break; and then come back to practice for twenty-five minutes more on another fragment, in another piece, maybe.

Ausra: I think that’s a good idea.

Vidas: So, going back to Morton’s question about coordination: as you suggest, it’s really wise to spend a considerable amount of time with combinations in separate voices.

Ausra: Yes.

Vidas: Don’t go to another combination unless you can play--without mistakes, fluently, three times in a row--the current one.

Ausra: Sure, because, for example, if you are playing, you know, a hard spot only with your left hand and feet, and you still struggle with it, definitely if you will add the right hand, you will not be able to play it correctly. So just be honest with yourself.

Vidas: And don’t try to rush; there’s no point of rushing. I think you have to enjoy the process and not necessarily the result. Don’t be anxious to get the result too fast.

Ausra: Well, if you will practice right, the results will be good, I believe.

Vidas: Every day you will get better--you will notice that.

Ausra: Yes.

Vidas: And that’s the biggest joy, I think.

Ausra: Sure.

Vidas: Wonderful. And going back to fingering portion of the question--Ausra, is there a way for him to get the fingering easier, if the piece is not fingered enough? For example, if he’s practicing José Lidón‘s “Sonata on the First Tone”--so, he would like to have some fingering, right? Maybe we could do a score with fingering for him, too. But if there is no score with fingering, what should he do?

Ausra: Well, he could write down his own fingering, actually, I think, especially the hard spots. Maybe not the entire piece, but those hard episodes.

Vidas: Exactly.

Ausra: This would help. Otherwise, also writing down fingering will save you a lot of time. Because if you practice without any fingering written down, it means that every time you will play the same spot with different fingering, and it will slow down your process of learning.

Vidas: Exactly. So guys, we hope that this has been useful to you, and please send more of your questions, and you can do that by subscribing to our blog at www.organduo.lt (if you haven’t done so already) and simply by replying to any of our messages. We would love to help you grow as an organist. Thanks guys, this was Vidas.

Ausra: And Ausra.

Vidas: And remember, when you practice…

Ausra: Miracles happen.