Vidas: Let's start the episode 37 of #AskVidasAndAusra podcast. Today's question was sent by Maik. He writes:
"Hi Ausra and Vidas. I listened to your last podcast, and then a question came to my mind. When or how to use Bourdon 16' in the manuals? Greetings, Maik." That's a very interesting question, right, Ausra? Ausra: Yes, that's a very good question. Vidas: Do you often use Bourdon 16', or any other 16' stop, in the manuals when you play? Ausra: Yes, actually. I use it quite often because I like it. Vidas: I think it's a good stop to add the gravity to the sound, right? Ausra: Sure. There are a few cases when I use it in the manuals. For example, when I have Pleno, and if I have 16' in the manuals, I usually add it, because it gives to the Pleno this nice sound of gravity. Vidas: Exactly. There is a specific instant in the Pleno with the mixtures when you must use 16' in the manuals. This is when the mixture is very low, has very low foundation. Maybe 4' basis. Basically, the lowest pipe in the mixture is 4'. Ausra: Yes. Vidas: Does that make sense? Ausra: That's right, yes. Vidas: Like at St John’s here in Vilnius, where we work, this mixture on the first manual is based on 4' level. A lot of organists who don't know this sometimes use 16' in the manuals when they see the need, but sometimes not, with the Pleno, with the mixture. I think on this particular manual they have to use it, because the mixture is very low. Ausra: Also, another case to know when you can use Bourdon 16' in the manuals is, for example, imagine that you have no time to practice hymn playing for your service, and you still want to have some lower sound and don't want to use the pedal at all. You can just play, add the Bourdon 16' in the manuals and play it on the manuals. Vidas: Exactly. It's much easier this way, but you have to understand, we are not advocating for omitting pedals. It's just for emergencies. Ausra: Yes, it's just for emergencies. Yes. Another thing, when you know you can use the Bourdon 16' in the manual, for example imagine let's say, some kind of romantic piece, where you also have only manuals. Written for manuals. You have to have accompaniment in the left hand and, let's say, a melody in the right hand. You're playing on two different manuals. It would be very nice to have Bourdon 16', maybe Flute 8', in your left hand on one manual, and then to have something solo in the right hand. Vidas: It's like a Bicinium, right? Ausra: Sure. Vidas: Bicinium. Two separate melodic lines. In the right hand you have this chorale melody, Cantus Firmus. Maybe without ornaments, or with ornamentation. You need this maybe a soft reed, or even a trumpet, or even mutation combinations. Even Cornet for the solo in the right hand. Then, as Ausra says, you need to have foundation in the bass with the left hand, so we add Bourdon 16' with the Flute. Ausra: Sure. There might even be some interesting trio texture in the piece, where your left hand might play as a pedal line. Then you could also use Bourdon 16', and maybe have a solo voice in the pedal played by, let's say, 4'. Vidas: Or 8'. Ausra: Or 8'. Vidas: The reed. Ausra: Yes, reed. Vidas: In the tenor basically. Ausra: Sure. Vidas: The lowest voice in this chorale setting would be the left hand. Ausra: Sure. Vidas: The left hand. Ausra: I think in the literature you can find cases like this. Vidas: You can even try to play Wachet Auf by Bach from Schubler Chorales. This way, basically the left hand would play the lowest part and the pedals would play the tenor chorale melody with the trumpet, let's say. Ausra: That's a possibility. Also there are composers who write their registration down, so if they were to ask for Bourdon 16', you definitely use it. Vidas: Excellent. Do you think that Bourdon 16' alone would sound well without any other stops on the manual too? Ausra: Well, sometimes yes. That's not often, but yes, I think so. Vidas: Sometimes when I improvise I need some dark textures in chords, and juxtaposed with some virtuoso melodic lines, flourishes in high pitch level at 4' registration, then I need to contrast it with darker sounds like to depict some different, darker moods. I use Bourdon 16', perhaps alone even. In the depth. In the bass register, so that listeners could get this dark feeling. Ausra: Yes. Vidas: Great, guys. I hope this was useful to you. Please send us more questions. The best way to do this is actually through email. Subscribe to our blog at www.organduo.lt if you haven't done so already. Just reply to any of our messages that you would get as a subscriber. Remember to practice, because this is the most important thing, because when you practice- Ausra: Miracles happen.
Comments
Welcome to #AskVidasAndAusra 34!
Some people suggested that audio only episodes of the blog aren't as powerful as having a text accompany our voices. We understand that our accents aren't always easily recognizable to some organists from other countries. If you've been our subscriber for a while, you probably know how committed we are to helping you grow as an organist and providing as much value as possible. In order to do just that, right now we are trying out the Rev transcription service (thank you James for your recommendation). We've used it before on some other projects and were impressed with their work. Please let us know, if having a transcript of the audio is helpful because we presume some people like to read while others - to listen (and now you can do both, actually). Anyway, here's our answer to today's question about how to quickly change stops by hands. Listen to the audio or read the transcript bellow.
TRANSCRIPT
Vidas: Hi guys this is Vidas. Ausra: And Ausra. Vidas: And let's start episode 34 of #AskVidasAndAusra podcast. Today's question was sent by John. And he writes, „I have an Allen protégé L10 organ at home, a three manual help worked midi works set up in our church with only an 8 gigabyte memory computer and I play once a month on a two manual organ at Freemantle's Wesley church and a three manual organ at St John's Lutheran in Perth which has recently been fitted with a Peterson computer system. Sadly the wooden frame under the lower positive manual of that organ is slightly too low, so I have problems with playing the pedals properly on that organ. It wasn't built to AGO standards. Before I read this question further Ausra, do you think that he can adjust the height of the bench a little bit? Ausra: Yes, that might be a possibility, but it's always fascinating that you never expect to know that the organ will fit you well. You need to know to adapt to an organ, and that's the most fascinating thing of being an organist. Vidas: A challenge, but also a benefit, right? On the piano, you know exactly that your instrument will be more or less familiar, right? Familiar environment and mechanics will be more or less similar, although the touch is different, but not as drastically different as the organ. So, advice probably would be to adjust, right? Ausra: Yes. Vidas: To just in your mind that probably the ideal situation when the bench would be at the normal height, is ideal right, but ideal circumstances are not always found. Ausra: Sure and he says that it's not up to AGO standards, the pedal board, but if he will travel to Europe, I don't think he will find organ in usual standards at all. It is rare in Europe actually. Vidas: Yeah, you can find maybe at Paris Cathedral right, Notre Dame and many other famous places which were fitted specifically to AGO standards, and GDO standards German system is a little bit different too and a lot of European organs have this German system too. So, you need to adjust, I think. The more organs you play the better you will feel in any situation, I think. Ausra: That's true. Vidas: So let's continue, right. John writes further, „now that I am getting weekly lessons as compared to the occasional lesson once every so often on the pipe organ that didn't have a swell box, like many Dutch organs as I found out during the recent Dutch organ tour visiting Zutphen, Arnhem, Doesburg, Helmond, Roermond and others, all except for Doesburg organs are without swell boxes and no registration helps like thumb and pedal pistons. He writes, „I am beginning to use the swell pedal more often and operating the swell pedal as it is not hidden in the music score as often is a problem, but I am slowly getting there I think.“ So Ausra, about swell pedals a little bit. When we don't have for example in our house we don't have a swell box, how do you practice pieces with swell box at home? Ausra: Well I just imagine that I have a pedal and I am imitating that I am operating that pedal; opening it or closing it according to the score. And actually it helps. Vidas: Yeah, you need to mentally visualize the swell box and place the right foot in approximate place. Ausra: Yes, because even the swell pedal, you never know how it will be, because for example, like in our Philharmonic hall yes, on the Schucke organ, we have swell pedal which is far on the right side and it's really tricky to use it. So you just need to mentally adjust. Vidas: Did you mention that the swell box operates in the opposite direction too? Ausra: Yes. So it's kind of tricky. Vidas: Yeah, but you need to adjust in your mind. Ausra: Yes because if you are practicing the organ without the swell box and you will not imagine it, then you will get to the real organ with a swell pedal it will be a problem. Vidas: So he writes further, „quickly changing stops, or even operating some pistons according to the score, isn't always easy either. There are often so many things to think of together, but it keeps you on your toes and it‘s an interesting hobby. So, John's main concern is as I understand, changing stops quickly right? By hand or by pistons, or toe pedals. How could he make this technique easier? Ausra: Well, I think it will come with practice. The more he practices, the easier it will get. But for the beginning, for starters, you could use, maybe less registration changes if it bothers him a lot, and then he will get more comfortable with it, he can change as much as he needs. Vidas: Do you remember the first time you had to change stops by hand, a long time ago probably, at the Academy of Music, right, or later? In Academy of Music we didn't practice that much with registrations. Ausra: Well, in Lithuania it's funny, because you always just have assistants, even two of them on each side of the organ. But, and it's funny, like in the Academy of Music we had an organ with what 12 stops. Vidas: Twelve or thirteen stops. Ausra: Yes and still had at least one assistant. Vidas: And sometimes two. Ausra: Yes and sometimes two, but everything changed when we went to study to the States and we had to change registration by ourselves. It was a challenge for us at first, but I found out that its actually easier in some way to change registration for myself because I know exact spot where I have to change it. It makes actually my playing more musical. Vidas: You slow down at this place. Ausra: Yes, a little bit and it makes it good. Vidas: You're prepared mentally. Ausra: And then other assistants help me with registrations sometimes, we play things too early or too late. So I think it's better to do it yourself. Vidas: Unless it is really, really too complicated. Ausra: I know, yes. There is some type of music where it is probably impossible to assist yourself. Vidas: Right. Remember at Music Academy we were in awe of one organist from abroad, but I don't remember, from Germany I think, he played Reger also on this Schucke little studio organ and he did everything by hand, and he operated swell pedal with his right foot you can say if you remember his name. Ausra: Weinberger? Vidas: Weinberger yeah! Weinberger was so virtuoso with his right foot on the imaginable swell pedal. And he did all kinds of virtuoso pedaling changes in order to accommodate swell pedal and also changed stops by hand. So, I think it comes with practice obviously. It's not an overnight adventure. Okay, then John, then later writes, „there are so many things to think of together when you play the organ but it keeps you on your toes and its an interesting hobby. Getting time to practice is also a problem and even more so that now I am retired.“ You see, people when the work right, during the day time, they have the day job and later in the evening perhaps they can practice the organ. But now, in John's case, he is retired and still he gets difficulty in finding time for practice. What would you suggest for him? Ausra: Well I don't know. What would you suggest? Vidas: Good question. Probably priorities right? You have to set your priorities straight. If I were in John's shoes, I would do a list of things I want to do. 25 most interesting things in my life I want to do. 25. Maybe every day, right, if I have that many. Then, cross out lower 20 and leave only the top five. And never think of the lower 20 again and you will find time for the top five things easy. Ausra: That's a good suggestion. Vidas: Because its just too much, life is short and you only live once and you have to concentrate on the most crucial things, the most things that make your life matter, right? Ausra: Yes. Vidas: And not all the passions are important I think, right? Your maybe top five. Concentrate on that and you will find you have enough time, I think. Excellent. So he continues to write, „we are running a members for members concert this Saturday afternoon at the Scotch College Chapel which has an Allen Bravura L10, similar to mine. But then we have a Wurlitzer instead of an English organ selection. The other organs on that organ Baroque, French and American classics, are the same. Except for one or two stops it is a similar organ, so that means I can practice for my pieces at home. I am playing Largo by Gianbattista Martini, manuals-only piece and Louis Vierne's Communion on Opus 8 which needs some stop changes and swell pedal action. We normally have real pipe organs for our Organ Society of western Australia functions, but haven't had a digital organ for some time, hence the decision for a recent Allen installation. Keep up the good work! I like your emails and appreciate your efforts. Kind regards. John.“ So Ausra, do you think that it is a benefit to have a similar organ at home and a similar organ in the recital? Ausra: Well definitely. It saves some time and it makes you feel better. Vidas: Right. It's a rare coincidence I think right, to have two similar organs at your disposal. So guys, I hope this episode was useful to you. Please send more questions to us and the easiest way to do this is by becoming a subscriber to our blog at www.organduo.lt. You can receive the updates to our latest podcast episodes and you can reply to our messages via email and we can answer your questions on this podcast very easily then. But please be patient because right now we have quite a number of future episodes lined up because people are really responding and sending us their questions. But make sure you wait, and if we don't respond right away with our answers, please know that they are on our radar and we will respond in the future ... in time, because other people are also sending many questions to us too. Wonderful! This was Vidas... Ausra: And Ausra Vidas: And remember, when you practice ... Ausra: Miracles happen. #AskVidasAndAusra 24 - How to make appropriate registrations for different kinds of pieces?7/13/2017
Curious brown toad
Has to register music Alone without me.
Today's question was sent by Ugochukwu. He wants to know how to make appropriate registration for different kinds of organ pieces.
Listen to our answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT: Vidas: Let's start now Episode 24 of #AskVidasAndAusra Podcast. Today's question was sent by Ugochukwu, and he asks about the registration. How to make appropriate registrations for different kinds of pieces? Well, Ausra, is it a narrow or a broad question? Ausra: This is a very broad question. Vidas: Yes. We could write a dissertation about that and it would only scratch the surface, right? Ausra: Yes. More than one actually. You could write many doctoral dissertations on this subject. Vidas: You could write one dissertation for registering let's say chorale preludes, another for registering free pieces, for registering French organ music. Ausra: Sure, Italian, German. It also depends on which century the music was created. Vidas: Okay, but still we need to give some advice how to start thinking about the registration, if you don't know anything, right? Let's pretend that the person doesn't know anything, and he or she is positioned at the organ bench for the first time, and they need to learn something, to play something maybe for church service. Imagine yourself in this situation. What would you do for starters? What's the basic principle of organ registration for you? Ausra: Well, if it's unfamiliar organ and I don't know what to do, I would just use the Principal 8’ at the beginning. Vidas: That's the most basic organ stop, and usually you can see this in the façade and you can hear it very clearly, and it fits well for a lot of organ music, a lot of kinds of organ music, a lot of types of organ musical compositions. Even for let's say a fugue. You could play a fugue, entire fugue or fuguette or chorale prelude just on one Principal. Ausra: Of course, if you need a louder sound, you could add different principals like 8’, 4’ and 2’. You would get pretty big sound already then. Then in the pedal I would say you would use if it's loud registration, 16’ Principal and 8’ Principal and maybe a 4’ Principal. This would be loud enough. If you need softer registration, then just take a flute. Take 16’ and 8’ flutes of the pedal and do the same the hands, only an octave higher so it would be 8’ flute and 4’ flute. Vidas: Usually, we need to have 16’ in the pedals, right? Ausra: Yes. Vidas: Unless ... Ausra: Unless it's indicated in the score. So when you are taking a piece of music, always look at the suggestions because especially modern composers they always add what kind of registration they expect you to play, so always look at that. Then of course we have always adjust to particular organ because the composer might imagine one stop, but your organ might not have it, so you have to adjust somehow. Vidas: Exactly. Ausra: Sometimes, we have to do tricks like, for example, to add only 4’ flute for example and to play it an octave lower or things like this. Vidas: Yes. Another principle is of course to remember that in earlier days before the 18th century, 16’ in the pedal was not always a norm, not always the required thing, right? Ausra: Yes. Vidas: Not always. If you play a chorale prelude or chorale fantasia in a certain episode, you have a chorale tune in the pedals… Ausra: ...Then you will have to play it on a higher flute. Vidas: Then you need to think about the range. If it's a bass range, then 16’ Posaune it would sound well, but if it's a tenor range then of course 8’ Trumpet would be appropriate, not 16’, right? Sometimes, the composers wrote chorale preludes where organist would play the tune with the pedals, even though it was written in the alto or the soprano ranges. So you need then to have 4’ reed like that or even a 2’ Cornetto or something. I think they call it Cornetto with a very short resonator and high-pitched stop in the pedals at 2’ level. Ausra: Of course, there are also stops that you cannot use alone without other stops. For example, you could not use mixture alone without other stops, or you should not use undulating stops like Unda Maris. Vidas: Mixture for avant-garde music lends well, right? Ausra: Yes. Vidas: If you are composing a piece which is very weird and has modern sounds, then solo mixture or tin bell or sharp sometimes might be very appropriate just for effect. Ausra: Yes, but not for a Common Period.. Vidas: Right. Exactly. What else can we suggest for starters? Never change the registration too often. Ausra: Sure. Vidas: That's one of the common mistakes people make. You have to look at the texture of the music and see if one episode is entirely in one color, entirely in one character, then you don't need to change it within the episode. Then when something new comes into the piece, then you can change something, correct? Ausra, how do you decide when to play on one manual and when to play on two manuals? Ausra: It depends on the structure of a composition. Vidas: For example, if it's not written in the score, you probably look at the solo line, right? If that solo line can be played with one hand and the other couple of voices can be like an accompaniment, not as important, then you could play the solo line on the separate solo stop. Ausra: Sure, yes. Vidas: Like reed, mutation combinations, flute combinations, right? Ausra: Yes, and if you are a beginner organist and you're playing at church, where you have a few combination sets, so just program them in advance and do let's say number one the loudest registration and then softer and so on and so forth. That way you can change registration pretty easily during service. Vidas: And a lot of organs have presets, right? Ausra: Sure. Vidas: They’re not necessarily very well constructed. You have to check them if they suit your style and taste. Ausra: Well, always listen to what you're doing. I think your ears are the best help. Vidas: Okay. Always simplify, simplify, simplify, at least for starters, right? Ausra: If you don't know how to use a particular stop, just don't use it until you will find out what it is, if it is suitable or not. Vidas: Exactly. I think for starters people can experiment with various sorts of registrations in their pieces, in their music. And please send us your questions. Ausra: Sure. Vidas: We would love to help you grow as an organist, and the best way to contact us is through email. When you subscribe to our blog at www.organduo.lt, you can respond to any of our messages and therefore we could help you grow. Thanks guys. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice- Ausra: Miracles happen.
Lovely Bassoon stop
Sounds like Canadian geese Five octaves lower.
Today's question was posted by Joanna. Here's what she writes:
Dear Vidas and Ausra, Can both hands play on the swell manual or is it usually the right hand which plays on the swell? I am studying a piece which needs Bassoon 16' for the left hand and on my home organ I do not have the Bassoon 16' stop on the great manual. I only have it on the swell so the left hand would play on the swell. Is it possible to just change hands and manuals at will according to the available stops? Listen to our full answer at #AskVidasAndAusra Please send us your questions. We love helping you grow. TRANSCRIPT Vidas: Hi, guys. This is Vidas ... Ausra: And Ausra. Vidas: Let's start today's Episode 18 of #AskVidasAndAusra Podcast. Today's question was posted by Joanna. She writes, "Dear Vidas and Ausra, can both hands play on the Swell manual, or is it usually the right hand which plays on the Swell? I'm studying a piece which needs Bassoon 16’ the left hand, and on my home organ, I do not have the Bassoon 16’ on the Great manual. I only have it on the Swell, so the left hand would play on the swell. Is it possible to just change hands and manuals at will, according to the available stops?" Ausra, do you understand this initial original situation? I think the piece that she's playing calls for Bassoon 16’ just for the bass, right? Ausra: Yes, that's right. Vidas: The right hand would play something different, right? Ausra: Yes. Vidas: Do you think that she could play it on manual or two manuals? Ausra: I still think she must play it on the two different manuals. Simply what she has to do is to play it with her left hand on the other manual, which has 16’, and then on the Swell in this case, and then to play the right hand on the Great. Vidas: Right. Bassoon 16’ is sort of a German Fagott in the Swell division, too, or Ruckpositive sometimes. It's not like a very loud Trumpet 16’. Ausra: Yeah. Vidas: It's not a Trumpet or Bombarde 16’ like on the Great sometimes they have. It's sort of a reed, which can be played as a bass part, like for continuo part in Baroque pieces for the left hand for the bass, but one octave lower than normal 8’ pitch level, right? Ausra: Sure. Vidas: I imagine one particular piece which generally works for this is from Bach's Clavierubung III “Christ, unser Herr zum Jordan kam”. Ausra: Of course. Vidas: It has four parts, four voices, and the left hand has the running 16th-note motion. Ausra: Yeah. Vidas: There are two voices in the right hand part, soprano and alto. Ausra: Correct. Vidas: They sort of imitate each other in 16th notes, more or less. That is obviously on another manual, maybe, with principal stops, right? Ausra: Yes. Vidas: The pedals then take eight foot trumpet for the choral tune. Ausra: Yes. Vidas: In larger note values. That's very common, I would say, even in the baroque type of choral prelude, this position, this type of Bassoon or Fagott 16’ for the left hand, for the bass part. Ausra: Yes, that's true. Vidas: Have you played it yourself sometimes, this type of registration, Ausra? Ausra: Yeah, I believe I played like this quite a few times. Vidas: How does it sound? Do you like it? Do you like it one octave lower for the bass sound? Ausra: For the left hand, you mean, yes? Vidas: Yes. Ausra: Yes, I like it, actually. Vidas: It's sort of a rumbling bass, right? Ausra: Yes. Vidas: Like a wind instrument playing lower, one octave lower. In my mind, it sounds very convincing. Ausra: Yes. It sounds like you are playing pedals, basically, in your left hand. Of course, you can do much more with your left hand than with your feet, I assume, so it sounds very nice and exciting, that left hand voice. Vidas: Yes. Even the famous choral prelude by Bach Wachet auf, BWV 645, could be played this way. The bass could be played with the left hand using 16’ stop. Ausra: Yes. Vidas: Then tenor Cantus Firmus could be played with the pedals, maybe the trumpet. Then, of course, the Principal 8’ would be played by the right hand in the soprano. Ausra: Yes. Vidas: You people can try this position. It's different. You have to get used to this. How was your day so far, Ausra? Have you had the chance to touch the instrument? Ausra: Yes, I did have a chance. Vidas: What did you play today? Ausra: Piece d’Orgue and I’m working on Mendelssohn’s Andante Variations. Vidas: What's the most challenging thing for you right now in Mendelssohn? Ausra: To play a legato, actually. Vidas: Right, to use finger substitutions, probably? Ausra: Sure, yeah. Vidas: Yeah, that's a must in this style, I think, too. You have to be very precise and use all kinds of legato techniques, which are not used for Baroque style, for early music. I went to church today to tune this organ, and our student, Arnoldas from Unda Maris studio helped me to press the keys, and I tuned the organ for tomorrow's recital that Weston Jennings will be playing, from America. He's visiting our church. Afterwards, we had lunch with Arnoldas. Actually, we had podcast conversation. So it will be very interest to find out for our listeners, probably, in depth what he is up to, what are his challenges, and things that he's working, and his plans for the next year, things like that. Ausra: Okay. I'm looking forward to hear it. Vidas: So, guys, I hope this conversation was useful to you. Send us more of your questions, of course. Please visit our website at www.organduo.lt where of course you will find lots of organ playing advice and inspiration and 10 day organ playing mini course. You can subscribe for that. And remember, when you practice ... Ausra: Miracles happen. By Vidas Pinkevicius (get free updates of new posts here)
When Ausra and I had traveled across Lithuania with numerous organ demonstrations, we found many village churches which housed beautiful yet small organs. Sometimes local organists asked us to play some hymns during the service which preceded our demonstration. Before doing that we would listen to the local organist register the hymns and were often amazed at how boring and one-sided their choices were. John from Australia also has this challenge. The organ at his new church has 2 manuals and pedals - only 13 stops total - multiple 8' stops, a few 4' stops, 2-rank Mixture and Bourdon 16' in the pedals (plus the usual couplers, of course). He wants to add variety in his hymn playing registration but fears that his playing would be too soft to lead congregational singing. It doesn't have to be this way. I had an experience in the US playing 3 stop one manual organ (Gedackt 8', Flute 4' and Principal 2' in the facade) on Saturday night services at our Grace Lutheran church chapel. You wanna know what I did? I counted how many color combinations can I have in this instrument. And I used them all in my hymn playing: 8, 4, 2, 8/4, 8/2, 4/2, 8/4/2. 7 combinations! Not once was I criticized about the stop choices (the pastor didn't like my tempos sometimes but that's a story for another time). Can you count how many combinations are there on a 13 stop organ? I tried to do this on my "Creative Small Organ Hymn Playing Registration" training but I literally lost count. Be brave. Make your goal to find one more registration combination which nobody else uses. Remember, there was a point in history when a mixture had more than 50 ranks! (and no possibility to separate them into different stops). By Vidas Pinkevicius (get free updates of new posts here)
My student is practicing Prelude and Fugue in F major, BWV 556 and wanted to know what kinds of stops I would suggest for him to use when he will come to the church alone. This is a wonderful place to start for anyone who wants to eventually master all Bach's organ works. I selected the stops and he made a photo on his phone so that later he can refer to it when he came for practice. But then I thought I would explain the principle for feeling if the balance is right. This is not a very dramatic piece, so I think Organo Pleno registration with mixtures would be ideal. I wanted something lighter. Maybe 3 principals (Principals 8', 4' and 2') or 3 flutes (Flutes 8', 4' and 2'). Then is the question of pedals, right? How to know if pedals are not too loud? Well, for starters, always use your ear. Your good taste will determine that. But another point to keep in mind is this: If the pedal line is very straightforward, not polyphonic at all, like an accompaniment, of course the registration could be softer. This works for the prelude. But in the fugue, the pedal part takes the theme so it becomes melodically independent. Often here we can add a little juice for your feet. This is of course when you can't use the same registration in the pedals throughout. Otherwise, why bother, right? When you can simplify, do it. So in this case, if the manuals use 8', 4', and 2' stops, the pedals could go one octave deeper: 16', 8' and 4'. Hope this helps. And remember... When you practice, miracles happen. By Vidas Pinkevicius (get free updates of new posts here)
I was sitting next to the organ on the side in my church writing one of the posts for this blog when I noticed a strange noise coming from the inside of the instrument. It seemed to come from some part of the mechanical action elements from the pedal division. My student was practicing a fanfare, playing the combination of right hand and pedals together and using a soft flute registration. Actually she was really good in keeping focus on the precise rhythms and articulation and kept a steady slow tempo. But what seemed suspicious to me was the energy with which she pounded the pedals. I asked her to imagine she was playing mezzo piano and went to the side of the organ to listen if the noise from the key action diminished. It did! So I guess it really helps to depress the keys (both with fingers and the feet) very gently. Always remember the loudness on the organ primarily is achieved by adding more stops and not more force. Take care of your instrument and the instrument will take care of you. By Ausra Motuzaite-Pinkeviciene (get free updates of new posts here)
I forgot to add mixture in the last part of Allein Gott by Krebs. You'll probably see why - at that moment my both hands were busy drawing a few stops at the same time. And the stop handles are very difficult to handle on this organ. I was really worried my principal chorus registration wouldn't sound very powerful. I felt bad about it. So bad that Vidas had to convince me that it was OK to post this recording online. I know deep down it doesn't matter if I add a mixture or not. This is a once-in-a-life performance of this piece. Unique. Next time maybe I'll play it differently. Nobody cares anyway. Here's what matters: I plan a lot of things to go certain way. But often they go differently from what I planned. And I would be stressed out because of the different outcome. I wouldn't know if the outcome would be better or worse. Just different. I need to relax. I'll get another chance. If not, that's OK, too. By Vidas Pinkevicius (get free updates of new posts here)
Do you like spicy food? I don't but for some reason a little bit of pepper sometimes makes some dull dishes taste better. Sometimes not. Mixtures on the organ also add spiciness to the sound of the principal chorus. Many organists know the mixtures usually consist of a few ranks of pipes at octave and fifth pitch level (4', 2 2/3', 2', 1 1/3', 1' etc.) Sometimes the row of the pipes break and the highest one goes down an octave to make the pitch less piercing (not so in progressive mixtures). Did you know some regions had mixtures with the tierce pipes? In Central Germany they definitely had them. So if you want to play Bach with the sounds closer to what he had in mind, you need tierce pipes in mixtures. It's not the same as adding a 1 3/5' sound to the full principal chorus registration, though. But it's better than nothing, in my opinion. When I added the tierce stop for Piece d'Orgue, BWV 572, Ausra initially resisted the idea because it really spices up things. But she soon agreed it's more colorful this way. What do you think? By Ausra Motuzaite-Pinkeviciene (get free updates of new posts here)
Whenever I play on modern organs (especially built in the Neo-Baroque style), one of the most common defects is harsh mixtures which are very painful to people with hearing aid. Should you follow strictly composer's suggestions about using mixtures or should you be mindful of how it sounds? Of course, the real result out in the nave is what matters, not what stops you use. Often Principal chorus (Organo Pleno) registration where you normally would play with mixtures is sufficient on 8', 4', and 2' principals, especially when the building is not very reverberate. I recommend avoiding such mixtures or using them very sparingly, perhaps only in a couple of culminations. PS The same goes with difficult to play couplers on certain mechanical action organs. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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