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Bach's Schmucke dich, o liebe Seele, BWV 654 was one of Felix Mendelssohn's favorite compositions of this composer. Robert Schumann remembered him saying that "If life were to deprive me of hope and faith, this single chorale would replenish me with them both."
Would you like to learn this beautiful piece by watching me play and by practicing together (if the tuning of your instrument allows it)? Yesterday I recorded this chorale prelude in a very slow practice tempo from up close so that people could watch me playing and copy what I'm doing. It's like looking over my shoulder when I practice and people can practice together with me. The score is freely available, too. More importantly, I subdivided this chorale prelude into one-page chunks for practicing one page a week, so if the piece is 3 pages long, it would take 3 weeks to learn it. Each page has 5 lines of music, so if one learns only one line a day (and repeats the previously learned material), then it really takes 5 days a week of practice to stay on track with this schedule. Although I play all parts together, you can work in solo parts and in two-part and three-part combinations before putting everything together in each line. Because I play very slowly, you can copy my ornaments and my articulation (articulate legato), too. Here are the videos for Week 1, Week 2, and Week 3. Although I played from the Bach Gesellschaft edition with the alto clef for the left hand part, I also prepared a pdf score with the usual treble and bass clefs. Enjoy them but more importantly, I hope you will do something with these series. In order to learn to play Bach organ works on a good level, you should do the following:
1. Develop correct organ practice habits by creating a good long-term plan and sticking with it, practicing very slowly in fragments and in voice combinations. 2. Develop your organ sight-reading skills by playing one unfamiliar piece of Bach's organ music per day in a slow tempo. 3. Develop your organ technique by practicing scales and other exercises on the manuals and on the pedals. 4. Learn to apply the articulate legato touch in Bach's pieces by leaving small rests between the notes. 5. Learn to register the works that you study according to the rules of historical performance practice. 6. Use toes-only pedaling and avoid finger substitutions and glissandos. 7. Add historically correct ornamentation (especially in cadences). 8. Choose correct tempo for performance so that your pulse and sense of meter would be obvious to your listeners. 9. Memorize the pieces you are playing so that you know them by heart - this way you will defeat performance anxiety and reduce the level of fear to play them in public. 10. Develop your music theory and harmony skills so that you would understand how the piece is put together. Start applying these tips today in your organ practice. With time they will allow you to master Bach's organ music on a level that you deserve. By the way, if you haven't seen my Bach Organ Mastery (Level 1) course, check it out today. In this training program you will learn to play in public basic level Bach's organ works with fluency and ease. The polyphonic masterpiece by Bach - the Art of the Fugue, BWV 1080 presents a certain riddle to the performers who want to master this magnificent work (or separate fugues, called Contrapuncti).
Although originally it is notated in an open score notation on four staves, musicologists believe it is a keyboard work. Bach apparently chose the vocal score model with 3 different types of C clefs because this way all the parts are clearly visible and understandable. The reasoning behind this theory is this: 1) It was a custom at that time to write polyphonically complex keyboard works in an open score notation (compare, for example, Frescobaldi's "Fiori Musicali" which Bach owned). Organists at that time, especially in Italy had to display a skill in reading open score, called Spartitura. 2) Most of the fugues and canons are playable by 2 hands only. In fact, in many cases, the texture falls quite comfortably within the hands. If one adds a pedals for the bass parts (not in all fugues, though), then the writing is very organistic, indeed very similar to that of other Bach's fugues for organ. 3) The range of the voices go far beyond the limits of any solo instrument. The traditional melodic instruments of the Baroque period, such as violin, flute, oboe, bassoon and others have their fixed range. If we assign a certain voice to a certain instrument throughout the cycle, then it is impossible to perform it without some compromises. 4) There are some additional voices at the end of some fugues which is quite customary for the keyboard practice. For example, ad the end of such fugue the texture might increase to as many, as 7 voices (1- in the pedals, and 3 in each hand). Such texture would not be possible to play on any single melodic instrument. I have prepared a practice score of Contrapunctus I from the Art of the Fugue, arranged for the organ with pedals with complete fingering and pedaling written in for easy practice and ideal articulation. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide. Let's celebrate the 328th birthday of our great master with this wonderful performance of his Contrapunctus I from the Art of the Fugue, BWV 1080 by George Ritchie.
I remember witnessing two complete splendid performances of this magnificent polyphonic masterpiece within the same week, when I was a doctoral student at the University of Nebraska-Lincoln. Dr. Ritchie performed it on the famous landmark 17th century Dutch-style organ by Gene Bedient which stood at the time at Cornerstone chapel. Dr. Ritchie has since released a complete DVD and 2-CD set of the Art of Fugue with FugueStateFilms. You can read more about it and watch the introductory video of this work here. If you like Contrapunctus I, I have also prepared a practice score of this piece arranged for the organ with pedals with complete fingering and pedaling written in for easy practice and ideal articulation. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide. In the period of apparent decline of public appreciation of quality classical organ music in many countries a lot of organists fall into despair. We deal with this situation in many different ways. Some of us start playing pop music on the organ, some stop playing the organ altogether because they don't see any hope for it in the future.
What can we do to help revive the organ culture in the world? Are there any productive ways a single person can help to change the course of the future of our profession? My answer is EDUCATION. Not preaching about the organ to strangers from the roofs, though, but persistently showing attention to people who have curiosity. And believe me, there are a lot more people with curiosity about organ and its art than it might seem at first. I believe that in our multi-media age we have more than enough tools to help the people grow and inspire. Many of them are free and cost only your energy and time. It might be as simple as starting a blog and sharing your experiences from recitals of organ music you attended or as advanced as creating multiple lectures about the history of the organ art. I know that recitals of classical organ music are not well attended in many countries. We face the same challenge in Lithuania. If I played jazz or pop music on the organ, then surely many more people would come. But what would happen if I consistently showed up and write a little post about some organ piece in my language, what would happen if I started a project which was genuine, unique, and worth talking about even though it might not work? Even though there was a thought in the back of my mind, saying "this is foolish. You are wasting your time. It will never work.", I gave it a try. Actually, I gave it a try BECAUSE of that voice to prove it was wrong. So a little more than a year ago I started playing series of organ recitals from the cycle of "Seven Centuries of Organ Music" at my church dedicated to a different composer or national school of organ composition. About once a month whenever possible. And yesterday I gave my 12th recital from this cycle at Vilnius University St. John's church. This time it was all Bach recital in which I tried to show the fans of organ music in Lithuania some of the nicest pieces from the wide range of compositions by organ's greatest composer. The timing was suited for this kind of program - it's getting close to Bach's birthday - March 21st. I wanted to include in my program as much as possible of fast/slow, soft/loud, and sad/joyful music contrast so that the listeners could keep their focus throughout the recital. Here is the program of this recital: Toccata and Fugue in D minor, BWV 565 Trio sonata No. 1 in E flat major, BWV 525 Prelude and Fugue in C major, BWV 547 „O Lamm Gottes, unschuldig“, BWV 656 „Schmücke dich, o liebe Seele“, BWV 654 Piece d‘Orgue, BWV 572 I have to say that the recital was quite well attended - many more listeners than usual for organ concert came last night. Maybe it was partly due to the nice spring weather (though it was still cold with freezing temperatures), or to the fact that BWV 565 was on the program or perhaps my efforts to grow the fan base of organ music lovers are starting to pay off. By the way, today I would like to share a video excerpt from my last night's recital - "Schmücke dich, o liebe Seele", BWV 654 from the Great 18 Chorale Preludes, also known as the Leipzig Chorale Preludes. This is one of Felix Mendelssohn's most favorite Bach's organ compositions, in which ornamented Cantus Firmus in the soprano is accompanied by the three lower voices which move in the rhythm of the sarabande. Sarabande is a Baroque dance of the Spanish origin which has frequent harmonic accents on the 2nd beat in the triple meter. The alto and tenor parts were played from the original alto C clef (which was fun) on the Principal 8' stop from the 3rd manual. In the pedals I chose Principals 16' and 8'. In the beautiful ornamented soprano part - Cornet 8' stop from the 2nd manual with the swell box partly closed. This cycle of "Seven Centuries of Organ Music" is intended to introduce the widest possible range of organ music of various historical styles and national schools of organ composition - from the Estampie of 14th century to the compositions from 21st century to organ music fans of Lithuania. Together with this daily blog it is a part of my ongoing efforts to promote the art of the organ in Lithuania which may help to revive the organ culture in my country for future generations. Are you worried about the future of the organ in your country? How about starting something like that in the area where you live? Don't wait for someone to pick you. As Seth Godin says, "Pick yourself." By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide. If you open the score of Bach's Passacaglia, BWV 582, at the beginning of it is a theme which is 8 measures long. It is a basis of the entire composition. Not only in the variations but also in the fugue the composer uses the same theme as the basis for it's construction.
Some people have asked me if this theme has to be performed legato or in a articulated style. I have heard both versions being performed. The legato style of performance have come to the organ from the Romantic piano tradition and it stayed for a long time. Even today there are organists who are not aware that articulated performance style even exists. Whether they practice or perform on the organ, they apply legato touch. Since Bach's Passacaglia is a Baroque composition, we must apply the articulate legato touch which was called the "Ordinary Touch" in this period. So we have to articulate the theme quite prominently when we play it on the organ, even with a feeling of alternation between strong and week beats. That's possible to achieve if you shorten the third beat. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my video Organ Practice Guide. This piece is one of the most favorite chorale preludes by Bach for many organists. It is included in the collection of 18 Great Chorales, otherwise known as the Leipzig Chorale Preludes.
It features a highly ornamented soprano line which carries out the chorale tune. The pedal line moves in constant eighth-notes and the two middle voices (alto and tenor) are given to the left hand. If you watch the performance of the great Ton Koopman on the Silbermann organ in Freiberg, you may feel you are in heaven for these 4.5 minutes (at least I do). I think one of the reasons it is so charmingly beautiful is the way Bach ornaments the melody AND at the same time let's us experience this fantastic harmony, chord progressions, and modulations. This composition, by the way, is a superb piece to play for your church service, public recital or just for the enjoyment of your friends or family. The difficulty, though, is in reading Alto C clef from the Bach Gesellschaft Edition. Also, since every voice is so independent here, you have to be able to listen to each part separately and analyze the form, tonal plan, and cadences in this piece. Otherwise, you will not be able to appreciate Bach's spectacular part-writing, voice-leading, harmony, and modulations. If you want to master this beautiful piece, check out my brand new BWV 659 Home Study Course in which I will teach you everything that you need to know to be able to play it in public. The score with the complete fingering and pedaling using treble and bass clefs is included with this course for easy practicing. Because Advent starts this Sunday and Christmas season is fast approaching, today I would like to give you a list of 10 possible Bach organ pieces to play at this festive time of the year.
1. Nun komm’ den Heiden Heiland, BWV 659. This chorale prelude was especially valued by Felix Mendelssohn. It has a highly ornamented melody in soprano of unprecedented beauty. The texture is in four parts. Medium. 2. Gott, durch deine Güte, BWV 600 from Orgelbüchlein. This is a canonic chorale – the canon happens in soprano and tenor (played by the pedals). The alto voice moves in eighth notes while the bass plays quarter notes. Medium. 3. Herr Christ, der einge Gottes-Sohn, BWV 601 from Orgelbüchlein. The texture is in four parts. Here the tune is given to the soprano voice. The piece is build around the suspirans motive which is imitated in the three lower parts. Medium. 4. Vom Himmel hoch da komm ich her, BWV 606 from Orgelbüchlein. In this chorale prelude the tune is given to the soprano. The two middle voices feature sixteenths and the bass has eighths. Medium. 5. Nun komm’ den Heiden Heiland, BWV 599 from Orgelbüchlein. This is the opening piece from this collection. The arpeggiated texture reminds of the harpsichord pieces by Couperin. Medium. 6. Puer natus in Bethlehem, BWV 603 from Orgelbüchlein. It has a flowing 3/2 meter, four part texture with the tune in soprano voice. Medium. 7. Der Tag, der ist so freudenreich, BWV 605 from Orgelbüchlein. This piece is written for two manuals and a pedal. The accompanying alto and tenor voices create a joyful rhythmical figure involving two thirtyseconds and sixteenths. Medium. 8. In dulci jubilo BWV 608, from Orgelbüchlein. This piece is based on the 14th century Macaronic Latin/German Christmas carol. This composition is a great example of Bach's contrapuntal writing - it is a double canonic chorale prelude (the soprano tune is imitated by the bass and the triplet figures appear in alto and tenor. Medium. 9. In dir ist Freude BWV 615, from Orgelbüchlein. This is the only piece from this collection which features the tune in fragmentation. It has a joyful character, fast tempo, and will not be too easy to play. However, once you master it, you and your listeners will surely enjoy it. Difficult. 10. Chorale prelude "Wachet auf, ruft uns die Stimme", BWV 645. This is the opening piece from the collection of 6 chorale preludes which became known as the Schubler chorales. The piece is written in a trio texture, with the chorale tune in the tenor voice. Medium. By the way, if you like chorale prelude "Wachet auf, ruft uns die Stimme", BWV 645 by Bach , check out my brand new BWV 645 Home Study Course in which I will teach you how to master this piece in 17 days or less while practicing only about 30 minutes a day! To your success in Bach organ playing, Vidas Pinkevicius The chorale prelude "Wachet auf, ruft uns die Stimme", BWV 645 is one of the most often played chorales by Bach. Originally it was a part of the Cantata No. 140 but Bach later transcribed it to the 3-part organ texture and included in the collection which later became known as 6 Schubler Chorales.
Since the Advent and Christmas season is comming up soon, this piece will be an excellent addition to your repertoire of this exciting time of the year. If you want to learn to play this wonderful composition on the organ, follow these 9 easy steps: 1. Analysis. I advice you look at the tonal plan and discover how the piece is put together. Find the closely related keys and cadences. Also make sure you analyze the form of this chorale prelude and make note of various appearances of Ritornellos. 2. Fingering. Because this piece has 3 flats, and originally was not composed for the organ, it will not be always possible to avoid the thumb on the sharp keys. However, at least avoid finger substitutions. 3. Pedaling. In order for your performance to be stylistically correct, play using alternate toe technique without heels. However, in instances when the pedal part goes to the extreme edges of the pedalboard, you can play with the same foot. 4. Ornamentation. In order to play in the genuine Baroque style, make sure you play all the ornaments - trills, appoggiaturas etc. correctly. Play them starting on the beat and not earlier. 5. Articulation. This piece has lots of original articulation indications written in which you should try to re-create. Also, many notes have to be performed using Articulate Legato touch. 6. Tempo. Remember that practice tempo should be much slower than that of the performance tempo and you should always be in control of each note. 7. Registration. The composer indicates that both hands should play on different sounds based on 8' stops. The pedal part should be based on the 16' stop. 8. Practice. Do not try to play all the parts together in this piece from the beginning until the end. For the best results, work in voice combinations in shorter fragments. 9. Memorisation. Although this is an optional step, I highy recommend it, if you intend to play this chorale prelude in public. Note that even if you choose to perform it in public from the score, knowing the piece by heart will give you this extra confidence and fluency. By the way, if you like this chorale prelude, check out my brand new BWV 645 Home Study Course in which I will teach you how to master this chorale prelude and even provide a score with complete fingering and pedaling written in for easy practicing. BWV 645 Home Study Course To your success in Bach organ playing, Vidas Pinkevicius Happy Thanksgiving! As you celebrate this wonderful evening with your families and think about the many things in life we all have to be grateful for, I have a fantastic piece for such an occasion - Nun danket alle Gott, BWV 657 by Johann Sebastian Bach. This is a chorale prelude from the famous collection of 18 Great Chorales, also known as the Leipzig Chorales. This is a four-part setting and the melody of the chorale (Cantus firmus) is presented in the soprano in longer note values. The tune is written in the Bar form (AAB). This is a traditional form of the German Lutheran chorales where the part A (Stollen) is repeated with a different text. Section B (Abgesang) is usually longer than A. The chorale prelude is written in the key of G major. At the beginning Bach uses Vorimitation technique where the first line of the tune is presented in imitation before the general Cantus firmus enters. The beginning features fugal entries of this phrase first in the soprano (tonic), the alto (dominant), and the bass (tonic). Phrases 1 and 2 of the tune are connected with an interlude where the tune is present in the tenor part. Then both phrases are repeated exactly from the beginning. Abgesang is prepared by the 3 fugal entrances of phrase 3 of the tune (tenor, bass, and alto). This time the key is D major and the fugal entries are written in the tonic, dominant, and tonic, respectively. Before phrase 4 (in D major) Bach writes another set of fugal entries using Vorimitation technique (tenor - tonic, bass - dominant, and alto - tonic). Phrase 5 is foreshadowed by the alto, tenor, and bass fugal entries in the left hand part and pedals. The piece is concluded by the phrase 6 in the alto (dominant) and soprano (tonic) and a long sustained tonic pedal point on the note G in the soprano. This is a traditional place to touch the subdominant key and and wrap up the entire composition. It is like an extended Plagal cadence involving the chords of the subdominant (C major) and the tonic (G major) which share the same common note (G). I hope you enjoy this brilliant piece performed on the organ at St. Thomas church in Leipzig: http://youtu.be/zynjWa4EbOQ If you cannot see the video, click on the title link at the beginning of this article. By the way, do you want to learn my special powerful techniques which help me to master any piece of organ music up to 10 times faster? If so, download my free video Organ Practice Guide. Or if you want to learn to improvise in the style of Bach? If so, I suggest you check out my free 9 day mini course in Keyboard Prelude Improvisation. |
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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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