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Playing the Prelude and Fugue in B flat Major, BWV 560 with convincing registration will result in more authentic performance. Organists who practice this piece should know general rules for choosing which stops to use. With this piece, the registration for public performance should be different than for practicing alone. If you are searching for the best ways to register this prelude and fugue, read the following 9 tips.
1) Registration change in the fugue is not necessary. Although it is often possible to add a reed stop in the two-part cycle, such as this, the length of the piece does not suggest the need for stop changes after the prelude. Since this prelude and fugue last only about 3 minutes, it is better to play with one registration throughout. 2) "Organo Pleno" registration. The traditional way of registering a prelude and fugue in the German Baroque style is to use "Organo Pleno" registration or a principal chorus. This concept means that you should build a pyramid of principal stops, starting with the principal 16' or 8' and building upwards (4', 2 2/3', 2 etc.) 3) Use mixtures both in the manuals and the pedals. Try out the mixture alone on the main manual and see if it is based on the 16' (starts at 5 1/3' level) or 8' (starts at 2 2/3' level or higher). If it is based on the 16', then use 16' stop in the manual together with it. Otherwise, playing with 16' is optional. 4) Add flutes if the mixtures are too harsh. Check your mixtures and see if you like their sound. In some Neobaroque-style organs, the mixtures are really high-pitched and sound harsh. In such case sometimes it is OK to omit the mixture and use higher principals and mutations instead (1 1/3' and 1'). 5) Check if the principals are not too narrow. In many Neobaroque-style instruments, the principals are quite narrow in diameter. In such case, try to add 8' and 4' flutes for more rounded sound. However, under normal circumstances, principals and flutes should not mix in the Organ Pleno registration. 6) Couple the manuals if you want. If you have more than one manual which has a principal chorus as well, you can couple them both. This way your registration will be even more powerful. 7) Add pedal reeds for more spice. Use the powerful 16' and/or 8' reeds in the pedal division, such as Posaune and Trompete. If you decide to use only one reed stop, the first reed you should add is Posaune 16' and not Trompete 8'. This is because in Central Germany in the Baroque period, even relatively small organs very often had Posaune but not Trompete. 8) Check the balance between manuals and pedals. Once you choose the manual and pedal stops, try to listen to the overall sound ensemble. Since it is a polyphonic composition with highly independent parts, both manuals and pedals should be clearly audible but not too loud in comparison with each other. 9) Practice registration. It is best to practice using only the soft stops, such as 8' and 4' flutes with 16' in the pedals. This way your ears will not become tired and you can practice for a longer period of time. Remember these tips when you practice or perform the Prelude and Fugue in B flat Major, BWV 560 in public. It is a good practice to listen to different recordings of this piece on historical organs and to compare the registrations in each. Since every organ is different, try to follow your taste and ears based on your idea of the "ideal Baroque sound" for this composition. This way your playing will become more authentic and you will use your organ more convincingly. 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 Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading.
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Organ Playing: 7 Tips in Finding the Best Tempo in Prelude and Fugue in B Flat Major, BWV 5606/13/2012 Are you wondering what is the best tempo in Prelude and Fugue in B flat major, BWV 560? Are you struggling with playing this composition up to tempo? Or perhaps you are not sure at which tempo you should practice it? Here are 7 powerful tips in finding the best tempo of this piece. 1) The concert tempo. Since it is a joyful and energetic composition, the concert tempo of this piece could be around 70 beats per minute for the quarter note. 2) Same tempo in the prelude and fugue. When you practice this piece, keep the same tempo both in the prelude and in the fugue. Sometimes it is very tempting to change the speed in the fugue because of the meter change. Note that the quarter note in the prelude should be equal to the quarter note in the fugue. 3) Practice tempo. Practicing tempo should be much slower. For best results it could be very slow - around 40 beats per minute. In general, try to pick such a tempo for practice in which you could avoid making mistakes. If you make a mistake - slow down. 4) Keep in mind the acoustics of the room. The space that you are playing will be one of the major factors in determining the speed of this piece. If you play in your practice room or at home, you can perform much faster than in a cathedral or church with huge reverberation. 5) Keep in mind the mechanics of the organ. The type of organ action also determines the tempo of this piece. In general, if you are performing on the tracker or the mechanical action instrument, try to play a bit slower because of the action. On the other hand, if you are playing on the electro-pneumatic or electronic organ you can play much faster. 6) Play fast in short fragments. If you want to achieve faster tempo in this prelude and fugue, try to practice in the following way. Press an opening note, stop, think about what's coming up next and play in a concert tempo for 1 quarter note. Then hold the note. Prepare for the next beat and play it in a fast tempo. Then stop at the next quarter note and so on. Continue this way until you reach the end of this composition. 7) Increase the length of the fragments. After you have practiced several times while stopping at each beat, increase the length of the fragment by doubling them. Try to stop every half measure (in the prelude), later stop every measure, then continue increasing the length of the fragments until you can play the entire prelude and fugue at a concert tempo without stopping. Use the above 7 tips while practicing this wonderful composition today. You will discover how easy it is to practice it at the right tempo. While practicing this way you can achieve the concert tempo in no time. 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 Organ Practice Guide. Or if you really want to learn to play any organ composition at sight fluently and without mistakes while working only 15 minutes a day, check out my systematic master course in Organ Sight-Reading. Organ Playing: 4 Tips in Choosing the Best Ornaments for Prelude and Fugue in B Flat Major, BWV 5606/11/2012 Ornamentation in the Prelude and Fugue in B flat major, BWV 560 has its own rules and every organist who practice this composition should be aware of them. However it is not uncommon even nowadays despite the wealth of information available to play the ornaments of this piece incorrectly. In this article, I will give you 4 tips in choosing the most stylistically appropriate ornamentation for this piece.
1) All of the trills and mordents notated in this piece stylistically have to be played starting from the upper note. For example, if the trill is written on the G, start it from the A. Likewise if the trill is placed on the A, start it from the B flat (not from B because of the key signature of 2 flats). Your cadential trills could consist of 4 or 6 notes depending on the speed. For example, in the trill on the G, you could play A-G-A-G or A-G-A-G-A-G. Try to hold the first note of the trill a little longer and speed up later. 2) Use fingers 2-3 or 3-4 in the right hand for the trills. These fingers were traditionally used in playing ornaments with the right hand in Bach's time. For some people playing with 2-3 is easier than with 3-4. Try both versions and decide which one is more suitable for your finger technique. 3) Start the ornaments on the beat. Quite often people play the trills and mordents before the beat. In other words, they start the ornament before as un upbeat and finish it on the beat. This is not correct. The Baroque ornament should take some rhythmic value of the note on which it is placed. In order to achieve that be aware of the beat on which the ornament should be played and practice slowly. 4) Look at each cadence and mark additional ornaments. Note that it is stylistically perfectly acceptable to add suitable trills and mordents on important cadences. This is especially noticeable in the fugue. Here you can add an upper mordent at the end of each subject entrance. Sometimes you can experiment with the lower mordents, too. While performing the ornaments, try not to play the notes which are foreign to the current key, such as B flat major or F major. Use these tips as you practice this piece and try to re-create the authentic ornaments. Remember that ornamentation is also a part of performance practice, so if you want your playing to sound like in Bach's time, pay careful attention to the trills and mordents, practice them in a slow tempo first until you master them. 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 Organ Practice Guide. Or if you really want to develop unbeatable sight-reading skills, check out my systematic master course in Organ Sight-Reading. 8 Tips in Choosing the Best Fingering for Organ Prelude and Fugue in B Flat Major, BWV 5606/11/2012 Are you stuck in finding the best and the most efficient fingering for Prelude and Fugue in B Flat Major, BWV 560 for the organ? It is important you find the best fingering solutions because they will save you time practicing and you will learn to play this composition fluently and without mistakes easier. Here are 8 tips which will help you write in fingering for this piece.
1) Write in fingering in technically difficult places. Some organists have a very systematic approach to fingering. Before they practice it, they write in fingerings on every single note. If this seems too much for you, for the best results I recommend you write in fingering in every technically challenging spot of the piece. 2) Consider the fingering for two voices in one hand. Playing with correct fingering one line passages is not as difficult as episodes with double notes in one hand. Therefore, it is especially important to figure out the fingering in places when one hand has to play two voices. 3) Avoid thumbs on sharps and flats. Since it is a Baroque piece, try to avoid placing the thumb on the sharps and flats. However, it will not always be possible to follow this rule since the key is B flat major and the scale starts from the flat. 4) Avoid finger substitution. Substituting one finger for another while holding one key is one of the ways of achieving a perfect legato. However, since this piece is written in the Baroque period articulate legato touch is more appropriate. Therefore, finger substitution is more suited for the performance of Romantic and modern organ music. 5) Avoid finger glissandos. As in finger substitutions, finger glissandos are the trademark for the Romantic and modern organ music and therefore not suited for the performance of this piece. Moreover, glissandos sometimes are the result of accidental fingering choices. 6) Play the same intervals with the same fingers. If you see several intervals of a third in a row, it is stylistically correct to play using the same fingers. This technique creates perfect articulation. 7) Try different solutions. Sometimes there is more than one version of fingering which suits your hands. Feel free to experiment with different fingerings and choose the most efficient. 8) Stick to your fingering. When you have written in your fingering on the score, try to use it in practice. Do not play with accidental fingerings but apply your written in fingerings repeatedly for the best results. Use the above tips and write in your fingering in Prelude and Fugue in B Flat Major, BWV 560 today. By choosing the best and the most efficient fingering you will save time practicing this piece and be able to play it fluently, without interruptions and with confidence. 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 Organ Practice Guide. Or if you really want to develop unbeatable sight-reading skills, check out my systematic master course in Organ Sight-Reading. Before attempting to practice Prelude and Fugue in B flat Major, BWV 560 on the organ, it is important to analyze the structure and form of the piece. This analysis helps to know the piece inside out. In other words, you will have to know how the piece is put together. In this article, I will share with you 7 easy steps in analyzing the form of this composition.
1) Notate all cadences. A cadence is a melodic or harmonic figure which indicates the closing of a musical idea. Note if a cadence ends on the tonic chord (final cadence) or on the chord other than the tonic (half cadence). 2) Find all important modulations. A modulation is a key change with a cadence. Usually the modulations in such a piece will be to closely related keys. In this piece such keys either have the same number of accidentals or differ from the home key by only 1 flat. 3) Find all sequences. A sequence is a harmonic or melodic idea which is repeated in an ascending or descending order. Sequences are perfect tools for travelling from one key to another. In such case, the new accidentals usually appear gradually one by one. 4) Count the number of fugue subjects. This fugue opens with a theme or a subject which is 6 measures long. Go over the entire fugue and mark the numbers of the themes with pencil. 5) Indicate which voice has a subject. Take a pencil and write in S (soprano), A (alto), T (tenor) or B (bass) next to each entrance. 6) Notate tonal areas of each subject entrance. Remember to check for additional accidentals which will be determining factors for different key areas. Similarly to the prelude, in the fugue the modulations will be to closely related keys. 7) Mark scale degree numbers of each subject entrance. Keep in mind the home key of B flat major. Then write the scale degree numbers or chords (T, S, D etc) relative to the tonic key. For example, the subject in B flat major will have 1st scale degree or the Tonic while the answer in the F Major will have 5th scale degree or the Dominant. Apply the above 7 steps in analyzing the form of this piece today. While doing so, you will put yourself in the composer's shoes and will have a much deeper understanding of how the piece is put together and be ready to start practicing it. 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 Organ Practice Guide. Or if you really want to develop unbeatable sight-reading skills, check out my systematic master course in Organ Sight-Reading.
By Vidas Pinkevicius (get free updates of new posts here)
Toccata for organ from the 5th symphony by Charles-Marie Widor is one of the most popular organ works, second only to Bach's D minor toccata. Rapid tempo, perpetual toccata figuration and splendid harmonies make it a perfect piece for recital, postlude, or wedding recessional. It is a dream for many organists to be able to play this piece. In this article, I will give you tips on playing Widor's toccata on the organ. Practice on the piano. Since this toccata requires a fairly well-developed piano technique, I suggest you practice this piece on the piano. If you play it on the piano, you will soon notice any uneven notes. Try to work on making all notes sound even and precise. The more you practice this piece on the piano, the more comfortable it will be to play it on the organ. Do not rush. Practice this piece in a slow tempo because it is easy to play it too fast. If you play it in a fast tempo, chances are that the notes will sound sloppy and your playing will lack precision and clarity. Even after you master this toccata and perform it in public, take a rather moderate tempo. By playing too fast, it is a high risk of missing important structural and harmonic elements. In fact, Widor himself criticized organists, who play this piece too fast. Observe precise staccato articulation. When playing the sixteenth-note figuration, try to achieve the precise staccato. Many organists miss this important point and slur the notes which in a rapid tempo and vast acoustical space will lack clarity. The eighth notes in the other hand should also be played staccato. The best way to perform staccato in a French tradition is by shortening the notes by a half, e.g. by playing sixteenth notes and making sixteenth note rests. Option: play one octave lower. If you perform this piece on the organ which has screamy and high-pitched mixtures and very few 8' foundation stops in the manuals, you can play it one octave lower without the 16' stops. Playing this way will give your organ more gravity and the mixture sound will not be as screamy. This toccata is especially suited for such a trick because the left hand never goes below tenor C. Play scales in double thirds and sixths on the piano. As you probably are aware, this toccata requires to have a fairly advanced piano technique. This means, that your fingers must have the necessary dexterity, evenness, and independence. One of the best ways to achieve such a skill is by regularly practicing scales in double thirds and sixths on the piano. In order to successfully master such scales in all major and minor keys, you will have to use finger substitution technique to achieve a perfect legato. If you follow my suggestions and practice this toccata in a slow tempo, observing a precise staccato on the piano, and develop your technique by playing scales in double thirds and sixths, you can successfully master this wonderful composition. Just be patient, have your goal in mind, stick to your plan and your performance level of this toccata will become much higher. You can use my practice score of Widor's Toccata with complete fingering and pedaling for efficient practice. The Prelude and Fugue in C major, BWV 553 is included in the collection of 8 Short Preludes and Fugues formely attributed to J.S.Bach. Although the author of this piece remains unknown it is generally reffered as a composition of the Bach circle, possibly by Johann Ludwig Krebs.
This popular work can be played on the organ in these 8 easy steps. 1. Analyze the form and tonal plan of the piece. Play this composition a couple of times so that you could understand the structure of the prelude and fugue. The prelude is in a binary form, which means that it consists of two parts, each of them repeated. The first part ends with the cadence in the key of G major, which is the Dominant of C major. The second part also has a cadence in A minor, and ends in C major. When analyzing the fugue, count the appearances of the subject or the theme. Note the keys that the theme is in. 2. Write in fingering and pedaling. Playing with correct fingering and pedaling has many advantages, it gives you much precision and clarity. Therefore, when you discover some trouble spots in the music, it is best to write in the correct fingering so that you will never have to think about it again. I recommend writing in the pedaling on every note. Use alternate toe technique and avoid using heels. 3. Make sure the articulation is precise. Once you have fingering and pedaling in place, you have to decide on the correct manner of articulation. In the Baroque period, the normal way of articulating notes was so-called ordinary touch or articulate legato. This means that the notes in the piece must be somewhat detached. However, they should be played in a singing or cantabile manner. 4. Decide on ornamentation. The trills in this piece should be played from the upper note. Although there are only one trill noted in the prelude and three in the fugue, you should feel free to add similar ornaments in every structurally inportant place of the piece. In other words, the trills can be played in every cadence. 5. Decide on tempo. The normal tempo in this piece should be somewhere around 80 in the metronome. However, for practicing purpose use much slower tempo. Always try to feel the strong and week beats of the measure. 6. Decide on registration. The registration for this prelude and fugue should be Organo pleno, or principal chorus with or without 16‘ in the manuals. On some modern organs with very screamy mixtures, this registration works best if you add 8‘ and 4‘ flutes. 7. Practice the piece. When practicing this prelude and fugue, you can work in fragments of 4 measures or even shorter. When these fragments become easy, combine the fragments and practice longer episodes. However, whenever you make any mistake, go back a measure or two, correct it and play this fragment a few times. 8. Memorize the piece (optional). Although memorization is not required, you will play with greater confidence if you know the piece from memory. These are the steps necessary to play and learn this composition. If you follow them precisely, you will be rewarded by the wonderful impact the music can have on the organist. If you intend to practice this piece, check out my practice score of the Prelude and Fugue in C Major, BWV 553. It has complete fingering and pedaling so you could start practice immediately. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Cesar Franck (1822 - 1890) was the composer, organist, and pedagogue of Belgian and German descent who lived in France. He is considered as one of the most influential figures of the late Romantic period in the second half of the 19th century. In 1858, he became the organist of the famous Basilica of Saint Clotilde where he worked until his death.
The first compositions of this composer were published only in 1868 when he was 46 years old. From 1872 until his death Franck was professor of organ at the Paris Conservatoire. Among the most famous of his students are Vincent d'Indy, Ernest Chausson, Louis Vierne and Henri Duparc. As an organist, Franck was mostly appreciated because of his notorious improvisational talent. Although he wrote only 12 major organ works, Franck is considered by many as the most important organ composer after J.S.Bach. His compositions layed the foundation of the French symphonic organ style. Among his organ compositions perhaps the most influential was Grande Piece Symphonique, which paved the way to the organ symphonies of Charles-Marie Widor, Louis Vierne, and Marcel Dupré. Piece heroique, M. 37 was composed for the organ of the concert hall of Trocadero. For this reason it is not a religious composition. It continues the tradition of Beethoven, Berlioz, and other Romantic composers. Two major thematically contrasting ideas dominate the piece: the first is written in minor (the heroic theme) and the other is in major (lyrical theme). At the beginning of the work, these two themes are presented one after the other. In the middle of the piece, these two different ideas have a musical fight. Franck develops the themes and reveals their true melodic, rhythmic, and harmonic potential. At the last major episode, or Recapitulation, both themes are brought back, only this time the second theme becomes a triumphant and is performed with a Tutti registration. Because of the clash of the two themes, this composition has many similarities with the Sonata form. However, in a classical sonata concept, at the exposition the second theme is presented in a secondary key, usually in the Dominant (or in the relative major). It is important to point out that both themes here first appear in the Tonic key of B minor. Nevertheless, Piece heroique fascinates listeners and organists because of its chromatic harmonic language, sudden modulations which explore the range of major-minor scale, and very balanced form. I use the most reliable scholarly Wayne Leupold edition of Franck's organ works which also includes a sixty-seven page preface including essays on Franck, the Organs, Touch, Rhythmic Alteration, Tempo, and Ornaments; twenty-nine pages of Interpretive and Critical Notes etc. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music. Although the most popular of all organ toccatas by Johann Sebastian Bach is the legendary Toccata and Fugue in D minor, BWV 565, perhaps even more masterful is the splendid and brilliant Toccata and Fugue in F Major, BWV 540.
This composition might have been created in Weimar when the true compositional style of a master composer was formed. Virtuosic Toccata and Fugue in F Major usually is a true technical and mental challenge for many skilled organists. If performed well, it is a real treat for every organ music lover and listener. Otherwise, it has the potential to create a sense boredom. The Toccata leaves the impression of a chase between voices and begins with a prolonged and playful two voice canon over a long tonic pedal point (Idea A). After this canon Bach writes another virtuosic episode - a pedal solo in the tonic key which leads to a cadence in the Dominant - C major. Now the voice parts switch places and the canon begins all over again, only this time in the Dominant key (C major). These two sections serve to establish both the Tonic and the Dominant keys and have a function, similar to the North German Passaggio in a Praeludium. After this episode, the chase stops but all voices begin a long and tiring journey (for the performer, that is) through various related keys in descending and ascending sequences (Idea B based on arpeggio figure). Through the course of this Toccata, canonic idea A and sequential idea B alternate and create an intriguing structural balance. In developing the idea A, Bach evidently shows his mastery of a double and sometimes even triple invertible counterpoint at the interval of an octave. This basically is a technique allowing voice switching. It only works if the composer uses the suitable intervals (most of the time thirds and sixths, avoiding fifths which in inversion become a forbidden fourth). Suspensions of a second and seventh are welcomed in this technique, too. Because of repeating two musical ideas, this Toccata shows the influence of the Italian Ritornello form. Bach learned to use this form in Weimar from transcribing for keyboard the concertos of Vivaldi and his contemporaries. The fugue, on the other hand, provides a welcomed relaxation for the organist from the technical point of view. However, Bach provides another challenge, e.g. old-fashioned "Palestrina" style fugue with alla breve meter (cut-time) in Style antico (the old style). This is a double fugue, which means that a composer has to develop two musical themes. Both of the themes must work in invertible counterpoint with each other. In the exposition and counter-exposition of the first theme, Bach develops the solemn, slow, and vocal musical idea in all four voices. The second theme appears to be playful, dance-like, which reminds of a Baroque dance Gavotte. During this section, the pedal part remains silent and waits its entrance until the powerful combination of both themes towards the close of a fugue. While listening of the fugue in this wonderful video, feel free to count the number of appearances of the first theme. I recommend using the New Bach Edition for playing this piece. It is reliable and solid. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" here: http://www.organduo.lt/organ-tutorial.html Olivier Messiaen (1908 - 1992) was a French composer, organist, and ornithologist. He entered the famous Paris conservatory being 11 years old, and his teachers were such influential personalities as Paul Dukas, Charles-Marie Widor and Marcel Dupre. In 1931, Messiaen became an organist at the church of La Trinite in Paris where he worked until his death. Messiaen's compositional style was very complex - he used Greek and Hindu rhythms, and specially designed modes of limited transposition. In addition, some of his other significant influences include his profound Catholic faith, music of exotic cultures (Japan, Indonesia, and Gamelan). He also had a curious ability to see his modes and harmonies in different colours which he also used in his works. However, perhaps the most important influence on Messiaen's style was bird songs. He travelled widely, recorded, transcribed songs of birds of various regions of the Earth, and used them extensively in his compositions. Because of all these influences Messiaen's style is very unique, and it is almost impossible to mistake him with somebody else. "Le Banquet Celeste" (Heavenly Feast) is one of his earliest compositions. In this incredible slow-tempo work, his truly original conception of time is apparent. Although the piece is only 2 pages long, it lasts about 7 minutes. This slow tempo is a symbol of the heavenly feast which lasts eternally. In fact, it raises certain challenges to the performer which are quite different from fast compositions. Both performers and listeners have to employ all their mental powers, focus and treat this piece as real meditation. This way one can dive for 7 minutes into the depths of the limitless time. You can listen to the superb playing of Pierre Cochereau of this mysterious composition at the end of this article. One of the most significant compositional technique that Messiaen uses in this piece is the Octatonic mode. This mode is built of succession of 8 notes which alternate in half steps and whole steps. For example, the Octatonic mode from the note C is formed from these 8 pitches: C D flat E flat E F sharp G A and B flat. Messiaen composed "Le Banquet Celeste" using this mode almost exclusively. This mode provides many possibilities to built some very colorful chords: among others Major and Minor chords from C, E flat, F sharp, and A; Dominant seventh chords from C, E flat, F sharp, and A; fully diminished seventh chord from each note of the mode. All of these chords with some other additions are present in this composition. In order to avoid tonal monotony in this piece, Messiaen transposes this mode every few measures. This means that the same mode with alternating half steps and whole steps can be built from not only from C, but also from C sharp, and D. The Octatonic mode can be transposed only twice. Because of regular succession of half steps and whole steps, the transposition from E flat would inevitably sound the same as from C. Therefore, this mode belongs to modes of limited transposition that Messiaen either invented himself or borrowed from already known modes. If you want to get Alphonse Leduc edition of Le Banquet celeste just click on this link. By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide: "How to Master Any Organ Composition" here: http://www.organduo.lt/organ-tutorial.html |
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