Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 442 of Secrets of Organ Playing Podcast. This question was sent by Erika, and she writes:
 
“I’m working on the choir piece for Easter. Beautiful piece. Quite a bit trickier than I usually do. It’s become an Easter tradition. A couple of sections are like a fugue and there is one section that I didn’t practice as I should have when I first learned it several years ago. So now I have to drill it every year or my fingers seem to fall into the wrong place at the wrong time.”
 
Ausra, does it sound familiar?
 
A: True! It sounds so familiar.
 
V: Why?
 
A: Even painfully familiar. Because, that’s what I did in my youth when I would learn music incorrectly, or wouldn’t work on certain spots as well as I had to. And I have said this many times already, but I will repeat it once again, that it’s easier to learn a new piece than it is to correct an old one that you have learned incorrectly. Don’t you agree?
 
V: Exactly. If you imagine teaching your dog some tricks, it’s easier to teach a new trick to your dog than to change some variation of the same trick to the same dog.
 
A: Well, I’m not a dog trainer, so don’t know, exactly.
 
V: But you’re training me!
 
A: Well, it’s a hard job!
 
V: How is it going?
 
A: Not well! So far not well! Not too much progress!
 
V: But you are a good coach, right?
 
A: I don’t know. I’m not sure.
 
V: You give me treats!
 
A: I’m not sure.
 
V: Treats in the form of sweets!
 
A: Well, that’s not a good way to train anybody, you know, because you might get diabetes!
 
V: Exactly. You have to punish for mistakes, instead of rewarding them. Right Ausra?
 
A: I think you are nonsensical!
 
V: Excellent! So, do you think Erika could reward herself a little bit for her achievements on some piece? Do you think that this would help her develop good habits?
 
A: That might be a case, but I’m wondering, since it’s not a new piece and she’s repeating it not for the first time and she still struggles in the same spots, I would suggest strongly for her to rethink her fingering, and to restudy those spots, because something might be really wrong with them. Because it shouldn’t be like this, if you are repeating this piece over for many years.
 
V: Yes, that’s what she writes; she “has to drill it every year, or my fingers seem to fall in the wrong place.”
 
A: Or it could be that those particular spots are just really difficult, and simply you have to work more on them.
 
V: Even for choir accompaniment, sometimes it’s important to write down fingering.
 
A: True, and since it’s accompaniment, you could actually change it a little bit. You might omit or rearrange some things if it really gives trouble.
 
V: I agree.
 
A: Of course, to give more specific advice, I would have to check the score for myself, and then I could suggest what you could omit or do another way or differently.
 
V: Yeah, it’s hard to be specific when we don’t even know the name of the piece.
 
A: Because you know, if an accompaniment is originally, let’s say, composed for the organ, then it might not be a good idea to play it differently. But often, the case of accompaniment is that the piece wasn’t composed originally for choir and organ. It might be composed for a choir and piano, or choir and orchestra, or choir and instrumental ensemble. So, you really need to check the origin of the piece.
 
V: It might have been a piece for choir and orchestra arranged for choir and piano.
 
A: That’s right. So, in that case, if it’s not an original piece, you are free, actually, to do things that you need for the accompaniment to make it to fit the organ and to make it comfortable for yourself.
 
V: Exactly.
 
A: Because if you are accompanying choir or ensemble or any other instruments or soloists, and if you will not feel comfortable with your accompaniment, it won’t be good, because it’s you who are giving support, who are basically leading the entire choir.
 
V: You’re right, Ausra. Can it be done on the spot, or do you have to write it down.
 
A: Well, I would do it on the spot. Maybe I would add some markings in the score, or cross off some things.
 
V: I think  this would….
 
A: But I would not rewrite the entire score.
 
V: I think we will put it to practice this summer, as well, because we are committed to performing a symphonic poem by a Lithuanian Romantic composer and painter, Mikalojus Konstantinas Čiurlionis, and this symphonic poem is called “In the Forrest,” and we are playing from the arrangement for two pianos. And we are sitting on one organ bench, performing on separate manuals, but on one instrument, and not the piano, and on the organ. So, obviously, we will have to adapt it to fit the texture of the organ. But, we’re not going to write it down; we are doing it on the spot.
 
A: That’s right, because we don’t have time to rewrite it all, so…
 
V: “Necessity is the mother of invention,” as they say. So maybe Erika could also develop the skill of rearranging a little bit, some things. Thanks guys, 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.

Vidas: Hi, guys, this is Vidas.

Ausra: And Ausra.
 
V: Let’s start episode 426, of Secrets of Organ Playing Podcast. This question was sent by John, and he writes:
 
I have struggled to get much quality organ practice in the last 2 weeks, but family has to come first. Prior to that I have been diligently practicing the first 10 Hanon exercises with a metronome, starting at 60 bpm and working my way up to 80. I started noticing a few small issues where I was drifting off beat. I have also tried practicing pieces to a metronome as I am subconsciously changing the tempo without realizing.

I have learnt the first 2 pages of Wachet Auf from Schubler chorales, and playing it ok, it took quite a while to get the chorale tune, it certainly tests my coordination and independence of RH, LH and pedals. Page 3 with the modulation to minor mode is taking even more work, but slow practice is working.

I am playing for our church service on Sunday, I am really excited as I haven't played at church for since January due to Isaac arriving. One of the hymns is a new one, and when I practiced it, I had a special moment of realizing how much my skills have improved. After 3 days of very slow practice, I was able to play all four parts together with hardly a mistake! I reckon even 2 years ago it would have taken 7-10 days to achieve this. In fact 2 years ago I remember emailing you saying I was struggling with playing all four parts of hymns when I had only 1 weeks notice. I think I have finally reached a point where I am committed to trusting the learning process, whereas sometimes I would skip some combinations, or try and play at performance tempo.  Now I really focus on slowing the tempo right down, and sometimes practice each fragment 10 times instead of 3 times.

I wanted to thank you and Ausra for being the reason for my first DVD sale in the USA from one of your subscribers Paul Anderson!

I had a go at organizing the payment and shipping through PayPal, and so far so good.

Also could you and Ausra give your advice on a podcast on some practical strategies to improve my phrasing, this could apply to hymns but particularly Bach pieces and music in general. How do you incorporate pauses/breaths while still keeping a steady tempo.

It is getting close to 1 year since my Vilnius trip, the memories are still fresh, and I would love to come and visit you guys again one day! I hope the weather will soon warm up and bring you more energy!

Take care,
God bless,
John...

V: So, Ausra, it’s very nice to receive a letter like that from John from Australia, who exactly one year ago played a concert in our church.
 
A: Yes, I think I saw it on Facebook today that it’s exactly one year...
 
V: Mmm-hmm.
 
A: since he performed at St. Johns, in Vilnius.
 
V: By the time our listeners will hear this conversation it might be more than one year. But still, the memories are fresh, and we were really amazed at the, John’s improvement over seven years of training. And, now, he writes that he was able to master a hymn in four parts with hardly a mistake, after three days. And this is achievement in itself, because two years ago, he remembers that he had to do this in maybe, seven to ten days.
 
A: Anyway, hard work always gives its results, at the end.
 
V: Mmm-hmm. I, you know, it’s so nice that he made his first sale of his DVD to one of our subscribers—Paul Anderson. And I guess it’s not easy to sell something online, right! And I’m very happy that from our discussion when we mentioned John’s DVD, people picked up. If anyone wants to get a copy, the best way would be to contact John by email: [email protected].
 
A: True. And I think it might be interesting for somebody to see what the organs look [like] in Australia. Because for many of us, it’s still such an exotic and far away country.
 
V: Right. So, John is wondering about advice on improving phrasing, maybe incorporating pauses and breaths. In Bach’s pieces, not only in Bach’s but also in other stylistic influences. Do you think that phrasing is important, Ausra, first of all?
 
A: Yes, of course! It’s very important.
 
V: What would happen if we didn’t include phrasing in our playing?
 
A: Well, all the pieces of music would sound very dry and mechanical, and lifeless.
 
V: Have you ever listened to that 18th Century mechanical organ? Remember, I think in Nebraska, somebody gave us a recording of Handel’s Concerto, as recorded on that particular mechanical organ.
 
A: I don’t recall it right now, but you do.
 
V: Yes, I do.
 
A: Evidently you do, so maybe you could explain what you mean.
 
V: And it was very virtuosic. Absolutely stunning passages, and ornaments. But I found it quite unmusical, actually. Because to program a piece on a mechanical device like that, in 18th Century, would have been really difficult. Now you can play back, play something on a media equipped organ or keyboard, and it would playback exactly as you were performing.
 
A: You know, in some sense, it seems that it’s harder to learn all the technical stuff, to develop your technique, in order to be able to play in the right tempo and without mistakes, with the right articulation. But, on the other hand, I think phrasing and playing musically things, is probably the hardest thing to do, especially if you don’t have it from your birth. And by telling this I can tell one example. I had recently, have had a student, with whom we were working on several pieces, and basically I was arranging each measure for her—what to do and how to play it and where to slow down and which chord to listen to more carefully than another one, and explain that all. Basically, I arranged it sort of like a, I don’t know…
 
V: Show?
 
A: Like a, well, not exactly like a show, like a theater…
 
V: Mmm-mmm.
 
A: production.
 
V: Right.
 
A: And still at the end, it all sounded just like chopping the wood sticks with an ax. She couldn’t pick it up.
 
V: Hmm-hmm. She needs musical intuition. But that comes I think, with experience also.
 
A: So, what would help in case like this? I think you need to listen to a lot of music in general.
 
V: Mmm-hmm.
 
A: All kind of music. Not only organ music, but organ too—by various performers.
 
V: Mmm-hmm.
 
A: And you will find out that after comparing, let’s say, some of different people playing, let’s say the same piece, you would feel that you like one recording more than another.
 
V: Exactly.
 
A: And you will develop a musical taste and musical intuition. And later on it will be easier for you to adapt it in your pieces that you are playing.
 
V: I would say the more you notice something happening in the music, the more you can show it to your listeners. And that includes phrasing, breaths and pauses, all those things, in certain places. Not in all episodes, but where something important is happening in music. So you have to dig deeper into the composition itself, analyze it, and notice it.
 
A: Yes. I think that this musical logical background is also very important—in knowing structure, in knowing style.
 
V: One last think I want to say, is, that I remember when I was a student, my professors would tell me sometimes that I’m playing statically. Especially if it’s a slow tempo piece, that, the music doesn’t flow. Did you ever have this experience?
 
A: Yes. I have had it.
 
V: Mmm-mmm. Earlier.
 
A: Yes, it was a way back.
 
V: Mmm-hmm.
 
A: Now, it’s hard for me even to remember it, already.
 
V: And exactly. And I was thinking about your performances, my own performances, but probably I’m a little bit, less objective about myself. But you could tell me about me. I never once noticed static performance from you. What about you?
 
A: I also haven’t noticed a static performance of you. I think you have just changed a lot...
 
V: Uh-huh.
 
A: over past what, 25 years.
 
V: We never think about it—playing statically or not statically, right? We make music.
 
A: Yes. It comes naturally.
 
V: We make music. It’s like telling musical story. If you don’t know where the story ends, then you might tell your story statically, right?
 
A: True. I think it’s very important to sing your pieces.
 
V: Mmm-hmm.
 
A: Because very often we might play unmusically, and dull, and statically, but people rarely sing unmusically—unless we don’t have musical pitch.
 
V: Mmm-hmm.
 
A: Sort of it’s hard to put an accent, let’s say, at the end of the face if you’re singing it. It comes naturally because it’s all related with the breathing, and somehow, I think, it’s in everybody’s insight.
 
V: Mmm-hmm.
 
A: This gives you that right feeling of right phrasing. So just sing what you are playing.
 
V: Good advice. Thank you guys. This was Vidas.
 
A: And Ausra.
 
V: 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!

Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 418 of Secrets of Organ Playing Podcast. This question was sent by Ariane, and she writes:
 
I started hymn improvisation week 5 where I am playing 8th against the hymn tune. I am just not sure what exactly the notes should be apart from the fact that the notes on the beat should be consonant. Do they have to be steps or can you jump up and down?
 
V: So, imagine, Ausra, this is like a two voice counterpoint that she’s working on. One voice has the hymn tune, let’s say the right hand, and the left hand should play eighth notes, so two notes against one. And, she’s wondering what kind of notes to play. Right? Can you make leaps, or do they have to be stepwise motion, musically speaking?
 
A: Well, if you would create a melody in the right hand and the hymn tune would be in the left hand, then I would suggest that you wouldn’t use leaps, because leaps in the melody don’t always sound nice. But if it’s a bass, then leaps are more appropriate. So, it depends on the situation. What do you think about it?
 
V: If we look at the real piece of music, for example, “Basse de Trompette” that Couperin or de Grigny have created in the 18th century, we see that, as you say, trumpets in the left hand tend to have leaps much more often. Of course, they don’t usually, or not necessarily, move in eighth notes, but the principle is that you can create arpeggios more frequently in the left hand. In the right hand, I would say that if you need to use leaps, maybe compensate them by leaping downward, as well.
 
A: Well, that’s always the case in any given voice. Even in the bass, if you leap up, then you have to leap down.
 
V: Or even if you leap up, then resolve this to stepwise down. That’s better.
 
A: That’s right, because it sounds not as good if you leap twice in the same direction, or if after leaping in one direction, you move the voice in the same direction. It’s inappropriate.
 
V: So, by week 5 in the hymn improvisation course, Ariane can already play, I would say, four variations. Note against note: That’s two. Right hand has the hymn tune, and left hand has the hymn tune. And then, eighth notes against the hymn tune in week five, a couple of more versions. So, from one hymn tune, she could really create, probably, four minutes of piece, at least four minutes, because if she plays it slower than a hymn tune might last, more than one minute. Right?
 
A: That’s right, yes.
 
V: So, five minutes, just from improvising simple two voice counterpoint. I think it’s really an interesting technique and skill to have. Not only can she introduce the following hymn, but she could really start creating her own music.
 
A: Yes, I think that counterpoint is the basic of composition and of understanding how music is written.
 
V: I’m really glad that she is doing this and hopefully she can play it in public, maybe in  her church or for friends and family.
 
A: True.
 
V: Okay guys, so, if you want to take a look at this course, check out my “Organ Hymn Playing Master Course, Level 1.” It only deals with two voices, and we start with note against note counterpoint, of course, and progress through various subdivisions, and it gradually becomes faster and faster moving passages. Alright, thank you guys for listening. This was Vidas,
 
A: And Ausra,
 
V: 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 419, of Secrets Of Organ Playing Podcast. This question was sent by May, and she writes:
 
Hi Vidas,

Thank you for sending me the week 6 Harmony material. I have been working hard (and struggling) with the chords, the progressions and the sequences in the past 2 weeks. I find it most difficult to play with hands only using 2 right hand fingers and 2 left hand fingers. It is easier to play with left hand doing the bass only and right hand playing the triad (chords in closed positions). Playing the bass with the pedal is also much manageable than playing with 2 fingers from each hand. It takes a long time to go through the exercises first with hands only and then with pedals together. Shall I practice with hands only, with hands and pedals, or both? What do you suggest?

I am working on the sight reading master course at the same time. I struggle with the rhythms in week 3 day 2's triplets. I could never play a triplet with one hand and four 16th notes with the other hand together. If I assign 12 units to each quarter note, each note of a triplet will get 4 units and each 16th note will get 3 units. I am not sure if it will help me to get a better sense of this complicated rhythm by doing this. It will also take a long time to finish the passage.

Do you have any suggestions?

Thanks,
May
 
V: So this is sort of two fold question; one is about harmony and another is about playing complex rhythms.
 
A: Yes. And I know what she talks about, how uncomfortable is it to have two voice in one hand and two in another, but that’s the way the voice leading works because you cannot always use only a closed position. And if you need to play in an open position then you really need to play something with your left hand too. If you don’t like to play two voices with your left hand, then play bass with the pedal, tenor with your left hand and two voices with your right hand.
 
V: Mmm-hmm.
 
A: It will not make life easier. Because I think that trouble is the tenor voice.
 
V: Mmm-hmm. Yeah, I…
 
A: It always is the tenor voice.
 
V: Mmm-hmm. I could suggest here two things: one is to sight-read more hymns with or without the pedal, doing the same thing that you are talking about—two and two–left hand takes two voices and right hand takes two voices, or right hand takes voices, left hand takes one voice, and the pedals take one voice. Those versions are very beneficial. So, she practices harmony, but at the same time, sight-reading hymns would really be beneficial to her because it’s the same disposition of voice.
 
A: Well, yes, but by these two questions by May, I see actually the connection. It’s all what she talks about is connected to this coordination problem.
 
V: Mmm-hmm.
 
A: Which is very common in us, all, I think. Because if you cannot manage triplets in one hand and then sixteenths with your other hand it also means coordination, and basically independence of your hands.
 
V: One part of your brain must think in triplets and another in sixteenth notes.
 
A: That’s right. I remember when I first encountered this problem; it was in Franck’s A Major Fantasy. It has a couple [of] spots where you have triplets, and…
 
V: What kind of fantasy?
 
A: In A Major.
 
V: A. Mmm-hmm.
 
A: Yes. A Major.
 
V: And I’ve seen this rhythms in Messiaen’s music, uh…
 
A: Well I saw many times these rhythms. This was just the first time when I encountered it myself.
 
V: For example in Messiaen’s L’Ascension, the second movement.
 
A: What would you suggest? How to practice it?
 
V: First of all, hands separately. Not necessarily the entire piece but maybe a short fragment of 2-4 measures. And each hand has to know this part completely, like inside out. I’ve done this repeatedly, ten, twenty, a hundred times, with each hand. And suddenly, when put those hands together, they click and play separately, like two different people. Because they, your hands basically remember the muscle memory.
 
A: That’s a very good suggestion. And I had that trouble sometimes even playing trills. And I don’t think it was because of poor technical skills or something. I think it was also psychological problem too. Because when I know that spot, tricky spot comes, I would get tense. I would get like muscle spasms and then I would fell. But...
 
V: You mean fall.
 
A: Fall, yes.
 
V: Mmm-hmm.
 
A: And I would fall. And what helped me actually, relaxation and breathing.
 
V: Another method would be to think about sixteenths as just twice as smaller units of duplets. You know, three against two is easier to play than three against four.
 
A: Well, but for beginners, three against two is also a big challenge.
 
V: But you could...
 
A: But of course…
 
V: Mathematically…
 
A: Yes.
 
V: count it...
 
A: Yes.
 
V: Those rhythms.
 
A: You can everything count mathematically. That’s what math is for—that you could calculate anything.
 
V: So, the first and the third note of the sixteen group, would fit nicely with the triplets. But the second and the fourth need to be inserted somewhere in the middle, right? So...
 
A: But you still have to know that spot where it has to be…
 
V: Mmm-mmm.
 
A: Put in.
 
V: But if you make a focus on the first and the third group notes, then two and four maybe take care, by themselves. No?
 
A: (Laughs.) I wish it would be like this.
 
V: Okay. And one last suggestion is about strengthening her left hand a little bit more. I have two courses concerning this. The first is left hand training, which is based on six trio sonatas by Bach, where the player is required to practice any part that organist play from trio sonatas—right hand, left hand, or the pedals—but only with left hand. And in various keys. I transpose them, in multiple keys. It’s just for strengthening the left hand. That would be beneficial for May. And then the second level is two part training where you take, where I take the same trio sonatas, but people need to practice two parts at a time—left hand, for example and pedals.
 
A: Yes, I believe it might be very helpful.
 
V: Mmm-hmm. And that might help her with harmony disposition when she has to play pedals in the feet, tenor in the left hand, and two voices in the right hand. Right hand is easier so left hand and pedal need to be strengthened—this coordination.
 
A: True.
 
V: Okay. So anybody who struggles with this could really benefit from those two courses I think. Alright guys. We hope was useful to you. This was Vidas.
 
A: And Ausra.
 
V: And remember; when you practice...
 
A: Miracles happen!

Vidas: Hi guys, this is Vidas.
 
Ausra: And Ausra.
 
V: Let’s start episode 383, of Secrets  of Organ Playing Podcast. And this question was sent by Gena, who is our Total Organist student. And, she wrote in the Basecamp communication channel as a reply to the question, ‘What are you struggling with the most this week?’ And she wrote:
 
Forcing myself to practice slowly to be very accurate
 
V: And then, she received a few comments, obviously because our students are writing there too. For example Dianne wrote:
 
This is my biggest struggle too, week in and week out. It is so hard for me not to want to rush ahead. Still working on my patience!
 
V: And Jay wrote:
 
I agree too. I think I could learn some things quicker if I could be more consistent in slow practice. I’m glad I’m not the only one struggling with this.
 
V: And Jeremy wrote:
The struggle is real. Keep being persistent.
 
V: And I wrote
Even after 25+ years of playing the organ, I have to be careful with this too. Don't worry! Slow down 50 percent and you will be fine. It's easier than it sounds.
 
V: And Ausra said later? (Laughs). Okay! Ausra, could you add your comment now?
 
A: Well, it’s a very common struggle for many musicians. Think about your childhood. I can guarantee that if you took piano lessons when you were a child, your teacher told you to practice slowly.
 
V: Mmm-hmm.
 
A: But did you do that? I’m almost guaranteed that you did not follow his or her advice. Because that’s a human nature—we want to get things as fast as we could.
 
V: Because if you did, you would never need our advice, by that time.
 
A: That’s right. So it’s a common human nature, to rush things through.
 
V: Mmm-hmm. We need instant gratification. Not need, but maybe want.
 
A: For example, most of the teachers tell you that you need to play the hard spots first, and don’t play everything from the beginning to the end, and you don’t need to rush in the tempo, and be mindful, but who listens to your teacher. Maybe some but I guess that not too many.
 
V: And it takes me to the idea that everybody needs to make their own mistakes and learn from their own mistakes, not from mistakes of others, right? Of course it would be wise to learn from others mistakes but that’s human nature.
 
A: I think this psychology of human nature—we think that if we will play things fast, we will learn faster, but that’s actually quite an opposite effect. Because you need to internalize that the slower you practice, the better results will be at the end.
 
V: And talking about Gena—she needs to ask herself, ‘what is forcing her to practice faster than needed’, right? What keeps her from practicing slowly? There is some kind of maybe stress or something—anxiety.
 
A: Well, this might be one of the issue, but there might be that maybe she doesn’t have enough time and, if you don’t have enough time to practice everything slowly, just work on one piece or on one episode, at that practice session. You don’t have to play everything at once.
 
V: I can imagine if, for example Gena has planned a recital, or a few recitals in a row, and they’re approaching faster than she wanted to, and she feels those deadlines, and that is very stressful, and when she gets on the organ bench, this stress level arises and she feels the need of speeding up, maybe practicing everything. If that’s the case, I think there is an issue with planning.
 
A: True. And also I thought that all the people might be divided into four groups of different characters.
 
V: Oh, okay. Interesting.
 
A: I think everybody knows that.
 
V: Okay. What group would I belong to?
 
A: Well, I think you know.
 
V: I don’t know exactly what you mean, so there are many groups in my mind.
 
A: Well, but two groups are, lets say faster and two groups are slower.
 
V: Uh-huh. So I’m faster, right?
 
A: No, I think you are slower.
 
V: Uhhhh. Okay.
 
A: So if you belong to those faster group people…
 
V: Mmm-hmm.
 
A: It might be harder for you to play…
 
V; Oh, I see.
 
A: in slow tempo too. And you don’t have patience to...
 
V: Uh-huh.
 
A: do slow practice. But in such a case, you need to overcome yourself.
 
V: Can you change your own nature?
 
A: Well, you cannot I think change it completely but you can, well, a little bit influence, you nature...
 
V: Or I would…
 
A: As a mature adult.
 
V: I would say you could learn to live with the strengths of your nature and ignore the weaknesses, right? Develop the strengths of your own character that for example, if I’m a slow person, I have the strengths of that character and weaknesses of the same character too, so I could develop the strengths more, like maybe calmness, maybe stability, right, that would be my strength. And weaknesses would get in the way less then, I would say. And for quicker people, this might be the opposite. For example, what your strong points will be, Ausra.
 
A: That I do things quick.
 
V: Quick. Exactly. And you can develop that even further by doing them quicker, even quicker. No probably…
 
A: No. I need to do them slower.
 
V: Slower…
 
A: And to be calmer.
 
V: Ah. But what gives you pleasure, when you for example, practice the organ—faster or slower, tempi?
 
A: Well, that’s a good question. When I was young, I think faster tempo gave me more pleasure. But now just the age—I think I’m slowing down.
 
V: When you were young and beautiful.
 
A: That’s right.
 
V: And now you’re only beautiful.
 
A: If you say so.
 
V: (Laughs). Okay
 
A: Look guys, what I have to…
 
V: Put up with.
 
A: Put up with, yes.
 
V: Am I beautiful too?
 
A: Yes.
 
V: Am I young?
 
A: Definitely.
 
V: Forever young. Excellent. So I’m really am glad that the people are supporting each other in our Total Organist Community, and have the way to interact with each other through Basecamp. And just when I think about it, I had an idea that maybe people from not Total Organist Community in general, but from our Secrets Of Organ Playing Community, right? People who don’t belong to Total Organist sometimes write letters to us and in response to the questions that other people send to us, and they want us to sent their answers to these people, so we are like mediators of this conversation, being in the middle. And sometimes it’s really inefficient. Ausra, do you think that having a way to communicate as a community of Secrets of Organ Playing would be better, like a group chat? I’m thinking about Telegram for example?
 
A: Well, sometimes yes, I think it would be beneficial to have that direct contact…
 
V: Mmm-hmm.
 
A: with people.
 
V: Because emails are quite limiting in direction, right? You can easily communicate with one person, or two, right? But as a group, it slows things down. So let us know if this initiative would be appealing to you. Would you be willing to join our, for example, communication channel on Telegram? Telegram is a desktop and phone app that works very fast and it has encrypted messaging services, and your messages are secure, and stay on your device, right? They’re not stored anywhere else. And it’s very quick. People from around the world can join in conversation. Okay, thank you guys. We hope this was useful to you. Please keep sending us your wonderful questions. We love helping you grow. And remember, when you practice...
 
A: Miracles happen!

Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 380 of Secrets of Organ Playing Podcast. This question was sent by John, and he writes:
 
Hi Vidas,

Thanks so much for the podcast and chat today, you are incredibly inspiring!  I feel so motivated after that chat.

As we discussed, I really want to go to the next level with my organ playing, but you are right this needs to be part of a balanced lifestyle, I have a full time job, I play hockey plus training, and Eliza and two young boys to care for and a new baby on the way, my family is top priority.

Could you please discuss this with Ausra, and give me your advice?  It could be a podcast discussion if you want, I don’t mind the general questions being discussed publicly.

I would like to write up a practice plan for say 60 minutes a day Monday to Friday, and maybe 90 minutes on Saturday & Sunday.

To summarise how I feel:

I think I’ve hit a wall of being able to self diagnose what I’m doing wrong.  I have done well so far to be aware of what I’m doing, and ask you the right questions to get your help, and then correct it.  But right now I don’t know what I don’t know if that makes sense. I don’t know of a ‘better’ way of doing things.

For example, sometimes my choice of fingering isn’t good, but I don’t really know what the rules are, or what other options I have.
The older retired organist has been helpful, but his communication style isn’t great, he is quite dry and uninspiring, and we have a lot of arguments over historical fingering and pedalling.  And although he is retired he only seems to be available about once per month for 1 hour.
Do I need a local teacher?  Or should I go to a teacher in Melbourne once a month?  (Cost is around $50-80 per lesson, plus 4 hours of my travel time).  Do you think my progress studying with you online is satisfactory and just keep going this way?  Personally I trust you guys so much because you have helped me with every problem. Other organ teachers might be dry and boring too.

I don’t know what I should do next, but I think it’s something like:

Rebuild foundation of finger technique (start with Hanon exercises, but what else??)
Work on improving focus / staying in the moment / get in the zone and stay in the zone from the start to the finish of the piece.
Breathing and phrasing of music.
I have the book “The Organists’ Manual” by Roger Davis, should I be working through this at my own pace or follow a teacher?
Understand why I am so slow at learning new pieces, and improve.  My sight reading is poor, I might start on another 30 day challenge of sight reading a hymn each day.
Broaden repertoire, I need some help with deciding what to play next.  I would like play pieces I enjoy if possible, and pieces I can play in public that will engage and inspire audiences).

I’m thinking Suite Gothique by Boellman, Fanfare for the Common Man by Lemmens, O Mensch BWV 622 by Bach, maybe Bach’s Little Fugue in G minor BWV 578 or the Prelude and Fugue in C Major BWV 531?

I have started on Hanon, at the moment I have been doing exercises 1-10, repeating each one four times, but this is taking me 40 minutes, which doesn’t leave much time for anything else, and sometimes I struggle to focus the whole way without going into autopilot and messing it up or not doing it properly/precisely.  And I haven’t done any scales or arpeggios yet.

Maybe I could do:

5 mins sight reading for warm up
25 mins Hanon
15 mins learning hymns for church services
15 mins learning organ solo repertoire

Extras: music theory and harmony? Improvisation? Scales/arpeggios? Pedal scales?

I like the idea of submitting videos to you as part of the organ competition, as I feel I really need some more specific help and critiquing, and I want you to feel free to tell me how I can do better and what to work on.

I really need some specific instructions not just a general idea.

Thanks again so much for your time, and for being such wonderful friends and mentors!

Take care,
God bless
John...
 
V: This is something that I really enjoy that people do. You see, Ausra, how John not only asks us for advice, but he is also thinking about his own plan, and lists some choices of possibilities, and we can say whether this works or not this way. Otherwise, if we prescribe some medicine for him and he just follows it blindly, then he will never learn to plan for himself. And if he does like he is doing today, he’s writing a plan for us, and maybe we’ll adjust this plan here and there, if we think we need to do so, then he’s already on the way to becoming independent, and I think that should be his goal.
 
A: Sure! And I think this plan that he made: 5 minutes for sight reading warm-up, 25 minutes for Hanon, and so on and so forth, actually sounds for me like a good plan. Because, what I noticed from his performances from his DVD is that right now, what he needs the most is to strengthen his finger muscles, you know, to strengthen his finger independence. And, I think that the Hanon exercises and the general playing exercises will help him a lot.
 
V: And do you think that 5 minutes of sight reading, 25 mintues of Hanon, 15 minutes of hymns, and 15 minutes of repertoire is a good plan for weekdays?
 
A: Yes, I think it’s a good plan for weekdays, and I think then, on weekends, when he can practice more, he could, you know, that last section of playing and learning solo repertoire, could expand that.
 
V: Or learning extras, like learning music theory, harmony, improvisation…
 
A: Yes. But I think that building up the technique is crucial right now, because even when you are 80 years old, you can still be able to work on music theory and harmony, but building up the finger technique is crucial, because the sooner you do it, the easier it gets. So, I would not suggest for him to go to Melbourne right now, to take lessons with somebody, because if it would take him an hour to go back and forth, then I would say, “Of course, do that.” It would be very beneficial. But now, it would take just too much time!
 
V: An entire day!
 
A: I think it’s much better  to spend that time at home, practicing.
 
V: Yes! Imagine what he could achieve once a month if he practiced for the time that he has to commute to Melbourne—several hours. Obviously, it doesn’t make sense. Four hours of his travel time is not worth it, I think.
 
A: I know, it’s much preferable to spend that time practicing.
 
V: And, plus, it’s a $50-$80 investment per lesson. I’m not saying the investment isn’t wise, you get what you put, right? If you put some money up front, you get much more, because you value your hard earned money, and then you try to take the teachers advice much more seriously. That’s why people who subscribe to our Total Organist course tend to progress much faster, because they have invested their own money!
 
A: That’s right.
 
V: Whereas others rely on free advice, and that doesn’t necessarily give them the strength of will to persevere every day, because they always can feel, “Oh, I can make it up tomorrow,” because it’s free. But when you are paying, you strive to do the best you can every day, because it’s your money! You need the results! You’re paying for results, basically. Not for our time or anything. But you need results. So the same is with John. I think he could improve so much while learning those pieces that he lists. All of those are wonderful! He needs to play a diverse repertoire, basically. He needs to learn legato playing, which is Romantic music and Modern music, and also Baroque articulation, which is Bach and other composers of that day, and maybe earlier, too. So, what he lists, “Suite Gothique” by Boëllmann is wonderful! “Fanfare” by Lemmens, and then Chorales and Fugues and Preludes by Bach, wonderful! They are not too easy, but not too difficult at his level.
 
A: That’s right! I think they are quite well fitted for him at this stage of his learning.
 
V: Do you think, Ausra, that he might supplement his menu with some modern music, as well? Not only Romantic, but Modern? Or not necessarily, at this time.
 
A: Well, each of us has his own…
 
V: Preference?
 
A: …connection with the Modern music, so… Somebody loves it, somebody hates it, so I don’t know what John feels about contemporary music, so, I cannot really tell.
 
V: And probably, he’s not into it as much, because he never really played it, right?  Never displayed interest, I think. More of a Romantic and especially English Romantic.
 
A: True.
 
V: It doesn’t hurt to have variety, but with the limited time that he has, maybe he can do it later.
 
A: Sure!
 
V: It doesn’t matter actually. Whatever he decides is fine. And in general, whatever plan you have, don’t look for us for salvation. We’re not gods, and we don’t know everything, but if you think that you need 5 minutes of sight reading, or 10 minutes of sight reading, or 1 hour of sight reading, if it’s your passion, go for it and stick with it for a month, or 2, or 3, or a year, and you will see results this way, too!
 
A: True, because it’s the same when people realize that, “Oh, I need to exercise. From this day on, I will continue doing my physical activities.” And then, they will make this unrealistic plan, and let’s say that they will be running every day for let’s say and hour, and then they will do whatever. And they cannot keep to that plan because it’s unrealistic. So whatever you choose to do, it needs to fit your general lifestyle and your life plan—your schedule. Because the most important thing is that whatever you do, you do it on a daily basis.
 
V: Exactly. Exactly, Ausra! This is very well put. And, just look how many things I have dropped—many physical routines didn’t stick with me. But, I’m doing those pullups now, since last summer, every day. And at first, I couldn’t do even 1, but now I can do 11! It only takes me...what...1 minute to do?
 
A: More than that.
 
V: More, a little bit, yes? But I do it every day, maybe in the morning before breakfast so that my stomach isn’t full. Maybe I could do more, other exercises, stretching, of course I could do more. But if I feel like I’m overextending myself with too much training, I might just quit! And now, with this short pull-up routine, I know I can do it, even on a rainy day.
 
A: Well, of course, practicing organ will take more time than doing 10 pull-ups, but still…
 
V: Yes, at least 15 minutes a day. That’s our rule. And even the busiest person in the world, I think, can sacrifice something that they would find 15 minutes a day. Because, if you don’t have enough time in your day, what’s the rule? You should have enough money, because you are working, working, working. But if you don’t have enough money, and you don’t have enough time, that means that somebody is abusing your time and energy. You have to think about your priorities. Ok, thank you guys, this was Vidas!
 
A: And Ausra!
 
V: Please keep sending 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 347, of Secrets of Organ Playing Podcast. This question was sent by David. And he writes:

Thank you for telling me about this "mini-life" concept. It helps me to know that there are other people who do this, and that it's not some crazy idea that only I do.

I am trying to work on "On This Day, Earth Shall Ring" arranged by Gustav Holst (Personent Hodie). I wonder, since this is originally written before the Baroque era but arranged by Holst in the 1800s (modernist? Romantic period?), if you might have suggestions on registration, articulation, etc. I'm looking at doing this for congregational singing, choir accompaniment, or processional, depending upon what happens this season (if the pastor picks it to sing, it will be played as a congregational hymn. If the choir sings it, I will accompany them, and if neither occurs, I will pick it as a prelude or processional).

At this time, I'm trying to play the right hand quite detached, the left hand is mostly mirroring the pedals an octave higher and I am playing it only with toes. But I'm not satisfied completely with the results.

Is it better to register the pedals as 8' and 16?  Should reeds be used in the pedals? Should I double the pedals? Should I use mixtures instead of reeds? Maybe couple the Great to pedal and add a 16' stop? Maybe play with 32' on the electronic instrument and 16' on the pipe organ (because it doesn't have 32')?

What is the best thing to do with registration for the high descending notes starting at the end of the 3rd line? I almost thought about playing octaves in the pedals (2 pedals an octave apart), playing the lower two notes on the Great, and playing those descending notes on chimes on the solo manual on the pipe organ, but on the electronic 3 manual organ, I'm not sure what to do with those notes. I don't like them played on the same manual as the lower two because of clarity.

(Here is a link to the score from which I am playing:
https://hymnary.org/media/fetch/137356
And if that link doesn't work, here is a link to another score 1/2 step higher.
http://www1.cpdl.org/wiki/images/7/71/Ws-hols-per.pdf
Thanks for your advice on this,
David)
 
V: And, David includes a link to this hymn, which we are looking at right now. And this is arrangement by Gustav Holst. Let me analyze it… And it starts with descending scales starting from E in octaves, in the left hand part. Do you know, Ausra? I don’t know this hymn.
 
A: Neither do I. But I think as David has so many questions about this, and he’s not quite sure who will perform it—if congregation will sing it, or choir will sing it, or he will play it as a processional only, processional.
 
V: Mmm-hmm.
 
A: I think the final performance on it and registration of this hymn will depend on which of these versions will be done. Because if he will play it alone, he can use entire organ....
 
V: Mmm-hmm.
 
A: And do whatever he wants. If he will sing it with congregation, accompany it with congregation, he can also probably use many of stops and reeds and other loud stops—if the congregation is bigger. But if only choir will sing it, then he of course will have to not play so loud. What do you think about it?
 
V: I agree, and I also think that this arrangement that he sent the link to us, is for piano, not for the organ.
 
A: True.
 
V: And if you play double octaves with the pedals, it’s just too powerful.
 
A: I wouldn’t do it. Then I would play the lower part, the lowest voice with the pedal, but maybe I even wouldn’t do the octaves on the organ. Because already, since we have, let’s say, in the pedals, 16 and 8’ stops, it’s already doubled. It already sounds in octaves.
 
V: Maybe sometimes it’s 4, 4’.
 
A: Yes, and even four, 4’. So I wouldn’t do that.
 
V: And if it’s a loud registration, maybe you would have, maybe I would say, mixtures too, so it doubles in fifths too. What about playing the lower part as you say with the pedals, but I just think sometimes the range is below key.
 
A: Definitely you have to arrange it. Of course.
 
V: Mmm-hmm. And then the right hand is free to play the chords but maybe divide them between the hands.
 
A: True. And for me, all this kind of arrangement, it looks a little bit dull.
 
V: You need I think, space it out, I think, maybe open position chords. Especially when the melody goes upwards.
 
A: That’s right. Because again, look at the accompaniment, that top voice of accompaniment. It doubles the melody that congregation or choir will sing.
 
V: Mmm-hmm. Is this a good thing?
 
A: Well, yes and no. It might be nice for one verse but then it will get boring.
 
V: For congregation, yes, I think, good.
 
A: Yes. It will be easier for them to follow. But if you are only doing it with choir, then choir knows already the melody very well, so, you could do something else maybe.
 
V: Maybe invert the right parts and play in a different melody…
 
A: Sure.
 
V: Position.
 
A: I think that might work. Definitely.
 
V: Tenor in the soprano.
 
A: Yes.
 
V: We see the right hand chord at the beginning is G, B, E, but you could start, for example, as B, E, G, or even E, G, B, like that.
 
A: Sure.
 
V: But splitted between the hands, I think. That’s more work of course.
 
A: That’s right.
 
V: And one word about, Ausra, the pedaling and articulation? Do you think it’s a Baroque type of piece or not?
 
A: Well, anyway if I would play it, I would articulate it.
 
V: Would you use heels?
 
A; Well, if I would decide to play those double octaves, then yes, I would probably use the heels too.
 
V: Uh-huh.
 
A: But if I would play only one melody, then maybe not.
 
V: I’m just thinking about the style of the accompaniment—it’s modal. It begins and ends in E, but it has two sharps. What is it, what is this mode? E, with two sharps?
 
A: You don’t know, that you are asking me. I know.
 
V: Can you tell us?
 
A: Yes I can.
 
V: Don’t hesitate.
 
A: If you pay me.
 
V: In which currency?
 
A: In Euros.
 
V: I only have a Steam.
 
A: Okay. I’m just making fun out of you and out of myself. If it’s E and it has two sharps, it means it’s a Dorian mode.
 
V: Dorian! Okay.
 
A: It’s type of minor mode, which has comparing to the minor mode, natural minor mode, it has the sixth scale degree raised. So like in E minor, scales you wouldn’t have C# but here, you have it.
 
V: Uh-huh. Doesn’t it remind you of a little bit of 20th Century writing?
 
A: True. A lot.
 
V: Mmm-hmm.
 
A: Because there was a time when it was very popular to sort of imitate early music like middle age music, Gregorian Chant.
 
V: So should we play then this type of style in the early way, or the later way? Modern way? Legato or regulated way? I’m not sure sometimes.
 
A: Well, it depends. It depends on the piece and it depends on the place. Well, if you want to imitate Gregorian Chant then you probably wouldn't articulate as in the Baroque type. But again, if you want to play this kind of thing with a large registration as David wrote, then if you wouldn’t articulate at all, it might get really messy.
 
V: Mmm-hmm. You’re right! You always listen to what’s sounding—what the congregation is hearing, not what you are hearing, but down in the pews.
 
A: But, anyway, I guess in this kind of a piece, you will be sort of forced to do some articulation, even if you will intend to play most of it legato, because it has so many repeated notes. And since the top voice of the accompaniment doubles the melody, hymn melodies, so, you will have to articulate too because it has repeated notes.
 
V: Mmm-hmm. Okay. I hope this has been helpful to David who is also on the team of podcast conversation transcriptions. He helps us to provide you written text of the MP3 files. This is really helpful. And this is the only way we can produce so much material suitable for both listening and reading and in-depth conversations, right, because that’s a lot of words what we talking today, right, Ausra?
 
A: True.
 
V: A lot of transcribing. So we’re really grateful to David and others on the team. Okay! 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 320 of Secrets of Organ Playing Podcast. This question was sent by Hanna, and she writes:
 
Hi Vidas,
This is what I studied and practiced last month, just recently adding the 2 Minuets and this new one.  I don't speak German so can't pronounce it.
10-Day Pedal Exercise    
Ich Ruf zu Dir    
Praise to the Lord    
Doxology    
If you Could Hie to Kolob- piano/organ duet I am working on to play in sacrament meeting at Church.    
Our Prayer to Thee - Hymn out of the hymnal for the Church of Jesus Christ of Latter-day Saints
Minuet in G Major    
#132 God is in His Holy Temple    
Organ Technique- listen (I have listed to one 30-min presentation).   I am only 5'1" and can't block the church organ up. So it is difficult to skim the pedals like I want to.  But I'm trying for better range of motion in my ankles so my heel can reach as I stretch the achilles tendon more.   It is a thrill to sense even minor improvement, so your teaching must be working. Thank you. -Hanna
 
V: 5’1”. It’s sometimes tricky for people of that height to sit on the organ bench and reach the pedals in the way they want, freely and without limitation. Right, Ausra?
 
A: Well, I don’t know what 5’1” is, because it’s in another system, because we use meters and centimeters, so…. it’s hard for me to understand. I have to convert it.
 
V: Okay, let’s look up 5’1”….to centimeters… oh… 154 cm.
 
A: Well, I’m only 7 cm higher, so…
 
V: But 7, so it’s a noticeable distance, I guess. Right? It depends on the length of the legs, too, not only of the entire body...
 
A: True.
 
V: ...when you sit on the organ bench.
 
A: I guess I have quite long legs compared to my height.
 
V: Is it true that the longer you play the organ, the longer your legs become?
 
A: I don’t think so, but that’s, I guess, the more experience you get, the easier it gets to play.
 
V: It would be nice, right, to adjust the length of your legs. If the bench is not movable, maybe your legs could be expandable, like a telescope.
 
A: Yes. Or you get the pedal extensions that Wayne Leupold suggests for kids!
 
V: But then, you only use a couple of pedals at a time. One for the left foot, one for the right foot. And, for some people it’s enough, probably, tonic and dominant—dominant and tonic.
 
A: Well, but some people feel that they are too short, some feel that they are too high. So, you never know what works better. Everybody has to adjust.
 
V: You know, I think the beauty of playing the organ is that you never know what kind of instruments you will find in a certain situation: what kind of bench, what kind of keyboards, too. And, this adjustment process is part of the fun.
 
A: Yes, it adds adrenaline to your life.
 
V: If you like adrenaline, that is.
 
A: True.
 
V: Do you like adrenaline, Ausra?
 
A: Sometimes, yes.
 
V: Like right now. Would you be willing to jump off the bridge with a parachute?
 
A: Oh, no thank you. I would never want to do it.
 
V: I see. Neither would I, actually. It’s easy to sit here in our living room and talk about these things, but when the time comes to jump off the bridge or jump out of the airplane with a parachute is really above my pay grade, I think.
 
A: Me, too.
 
V: Nice. What else could you suggest to Hanna? She’s working on two minuets, right?
 
A: Yes, and “Ich Ruf’ zu Dir,” I guess it’s from the Orgelbuchlein, yes?
 
V: Right.
 
A: It’s a good chorale to start.
 
V: Yes, minuets will prepare, probably, for the hand passages, and then when the pedal part comes in, in “Ich Ruf zu Dir,” it’s not that difficult.
 
A: Yes, that’s right, because the tempo is slower.
 
V: Right now, actually, in Unda Maris studio, we have two people playing those two minuets, one in G major and one in G minor. So, a lady is around the beginner level, so she is struggling, but she is making progress, I think, on a weekly basis, but not a very noticeable progress. But an older gentleman, he is in his late 50s, I think, approaching 60s, I think, he is a medical doctor. He mastered his minuet in a few weeks, and now he’s working on BWV 731, “Liebster Jesu, Wir sind Hier.” This was last Monday. I heard him play the right hand, it was rather ornamented, you know that line, and it seemed to me he could manage it. But the left hand was tricky, because two voices need to be played in one hand, and he was not used to that, so I said to him—his name was “Deividas,” I said “Deividas, I will send you another piece in preparation for, “Liebster Jesu Wir sind Hier,” that will be “Ich Ruf zu Dir” from Orgelbuchlein. And, once I sent him that piece, he was really happy, because he listened to the video, probably, or played it through. It’s easier to start with three-voice texture than with four-voice part.
 
A: Sure.
 
V: So, I guess Hanna chose the pieces from her level, I think. Right?
 
A: Yes, I think it’s good not to jump right away to hard pieces.
 
V: Even if she practices, let’s say, Doxology, or a few other hymns, then you see those four part hymns, they’re not very melodically developed—they’re more chordal texture, and with much practice, I think, people can learn it.
 
A: Yes, I love that Doxology hymn. don’t you?
 
V: Yes, it only has four lines! Nice and short. Excellent. And then, she needs to adjust to the pedals and sitting on the organ bench. Flexibility of an ankle, of course, plays a good part in here, and maybe organ shoes… would you suggest to Hanna to acquire shoes with higher heels?
 
A: Sure! It’s always a good idea.
 
V: Why?
 
A: It works like a extension of your foot.
 
V: Like a pedal extension.
 
A: Yes.
 
V: But, you don’t extend the pedals, but you extend your leg, exactly.
 
A: But, you know, last week, my student from the organ school, after me showing her how the organ shoes look, and asking her to find something similar, she came with the heel which was… I don’t know how many inches, but…
 
V: 5 inches?
 
A: Well, I would say at least 5 inches… it was extremely high heel, and so thin, and you know, it just made me mad. I just told her, “I think this time you need to take your shoes off and just play with your socks. What else could I tell her?
 
V: Or, you could let her try for herself, and receive the result, and she would say “Oh, I need to take my shoes off today.”
 
A: I’m afraid she would have broken that heel, and that she would have to walk home barefoot.
 
V: Oh, it was street shoes?
 
A: Yes!
 
V: Oh, that’s not nice. So, anyway, if Hanna or anybody else needs to extend their legs, maybe they could go to the...what’s the person who fixes shoes….
 
A: Don’t know, “shoemaker.”
 
V: Shoemaker! Ok, Schumacher. Ok, Shoemaker, and maybe give him your playing shoes, right? But asking him to extend the heel...add another layer to the heel, or two more if you need a really long one. But this will be specifically designed for your feet, and I think it would be better.
 
A: True.
 
V: Nice. Better than to add pedal extensions on two keys, I guess. Maybe, we should recommend this version to Wayne Leupold, too, so his kids would make their heels longer and could play all the keys on the pedals.
 
A: I don’t think it would work.
 
V: Alright, guys, please keep sending us more of the 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 317 of Secrets of Organ Playing Podcast. This question was sent by Barbara, and she writes:
 
My challenge continues to be aware of posture + unrelaxed hands, arms, and shoulders to prevent numbness in my hands (especially my right hand). This came to a crisis 2.5 yrs ago. I've been to doctors, occupational therapist, and Alexander Technique teacher and am determined to control it without surgery. Mild arthritis is also an issue (age 67). I hold chords too tightly, press the keys harder than I need to, and frequently find my shoulders hunched. Releasing all of this helps.

I'm thinking of focusing on 17th-18th c. French organ music this fall (interesting, need to learn ornaments + performance practice better, and not so many chords). Will give my feet exercises and tricky Bach pedal passages (and learn the hands later).
 
V: So, let’s talk, Ausra, first, about how to relax the body when you’re playing organ.
 
A: I think one of the key things is to breathe, because if you will not breathe, then your body will get tension.
 
V: What do you mean, “Breathe,” we all breathe all the time, right?
 
A: Well, yes, but…
 
V: You know, they say you cannot survive more than three minutes without air, three days without water, three weeks without food. Three, three, three. So I think everybody breathes.
 
A: And I think I would survive three minutes without any air, but…
 
V: Maybe you would get unconscious, but you will still be alive…
 
A: Okay
 
V: Until that time, I guess. But, what do you mean to learn how to breathe and….
 
A: That you’re breathing needs to be meaningful.
 
V: Conscious?
 
A: Conscious, yes.
 
V: So, when you’re playing something on the organ, you also have to think about breathing?
 
A: That’s right.
 
V: How to do this at once. Think about music and about breathing.
 
A: Well, if you would think about musical structure, how the piece is put together, you would also notice that it’s not through-composed.
 
V: There are some pieces which are through-composed.
 
A: Well, yes, but what I’m meaning is that each piece has its own phrasing. And that even naturally music, after the phrase, takes a break. So if the music breathes, you need to breathe, too!
 
V: Oh, the easiest way to imagine this, would proabably would be if you are playing a wind instrument.
 
A: Yes, that’s right.
 
V: And you have to breathe at the end of the phrase.
 
A: And in some sense, organ is also a wind instrument.
 
V: Why?
 
A: Because it has pipes!
 
V: I see! So everything that has pipes is a wind instrument. Or not?
 
A: Yes!
 
V: Nice. So then, what goes on in our minds when we play, we try to breathe, does it help to relax when we breathe?
 
A: That’s right, and also your posture is very important, when you sit on the organ bench. You need to keep your back straight.
 
V: And, people always forget this. Right?
 
A: Yes, especially you!
 
V: Because they…. Especially me?
 
A: Yes.
 
V: Right. You guys shouldn’t see me right now. I’m almost in half line position recording this conversation, reclining on our chair.
 
A: Armchair.
 
V: Yes, Armchair. So, yes, sitting up straight… what else would help? Making small economical efficient movements. Not hitting too much.
 
A: Yes, but sometimes the soft motion with your arms might help you to relax, too. And sometimes, when people try to do very economic motions, let’s just say they get tension, too.
 
V: Oh right.
 
A: At least that’s what I feel.
 
V: So it’s a practice. It takes time to learn this.
 
A: And another important thing is you need to take frequent breaks if you have problems as Barbara has.
 
V: Yesterday, I practiced the church organ….or was it the day before… maybe the day before...with my phone, I have this app which has a timer from the Pomodoro technique. It beeps every 25 minutes and reminds me to take a break. And then, it beeps again after 5 minutes to remind me that it’s time to work. So after four of those sessions, it beeps again, and I can have a longer break, like 20 minutes. And then, it starts all over again, if I need to continue the practice of some sort. So, would you like to try it, Ausra, artificial reminders by phone?
 
A: Well, actually, my body, I think, is the best reminder for me.
 
V: You never forget how you feel when you are just so deeply focus on the music?
 
A: Well, I used to forget, but not anymore. With age, your body becomes more and more fragile.
 
V: Like a glass. You have to take care of the body more.
 
A: Or it will break. Another thing that might help, do some exercises. Do some yoga,
 
V: Stretching.
 
A: or some Pilates.
 
V: Even, probably, swimming is good.
 
A: Well, yes, but you have to know how to do it. Of course, in all these activities that I mentioned before, you have to know how to do it, because otherwise you might hurt yourself even more.
 
V: Taking a walk is very natural and a lot of people can take advantage of that without any training.
 
A: I think this is about the only activity that you will not hurt yourself, probably.
 
V: Unless you have knee problems.
 
A: True.
 
V: So that’s about relaxing your body. What about French organ performance for Barbara? Do you have some tips and pointers to start with?
 
A: Well, I guess you have to know a little bit about French ornamentation, of course, when you play music like this, 17th and 18th century French music, because it’s all based on the ornaments. I would say it’s half written notes, and then half the ornaments, if not even more than half.
 
V: In other words, if you omit all the ornaments and play just the written music, it’s so boring!
 
A: Yes, it is. And, I heard that with French people, they never play the same piece in the same manner. They always change something—add more ornaments or play them differently. It’s hard for us that are raised more like German school to understand.
 
V: Eins, zwei, drei!
 
A: Yes, that’s right.
 
V: And then, probably, if people try historical instruments, then they discover this freedom and beauty of color in French organs. They’re not so good with polyphony, of course, but the harmonies are amazing, and colors, too.
 
A: So the second thing, the most important thing after learning ornamentation, would be to learn about registration—how to register a piece. Because, again, if you will not register them right, they will lose their sense.
 
V: Good thing that French composers tend to notate the registration quite specifically. But then, you need to adapt it to modern instruments if you’re playing one.
 
A: Yes, and I used to think that French classical music is sort of a little bit boring, yes? But then I attended a master class, which was held by Olivier Latry at the Saint Cecilia Cathedral in Omaha, USA, and I really enjoyed how he talked about it, how he demonstrated it. And he compared the French classical music to theater. And it really makes sense how, for example, if you have a dialog between two hands on two different manuals with different registrations, and how one voice argues against another one, and it’s really like a theater. You can make an entire story out of it. It’s very interesting?
 
V: What’s your favorite French classical composer right now?
 
A: De Grigny. Nicolas de Grigny!
 
V: Right. He is much more advanced than some of his contemporaries in terms of polyphony.
 
A: What about yourself?
 
V: Well, I would tend to agree with you on those matters. It’s easier to agree than to argue.
 
A: Do you think I couldn’t take an argument well?
 
V: No, not because you couldn’t, but I think de Grigny is a great composer, so there is nothing to argue about.
 
A: Yes, and of course I also love The Noëls by Daquin.
 
V: Will you be playing them for Christmas?
 
A: Maybe I’ll do some. That’s always fun. And again, it’s so nice, you don’t have to use pedals, you just use your two hands.
 
V: But don’t be deceived too fast, because in the middle of the cycle of variations, they’re extremely virtuosic.
 
A: I know! Especially in Daquin’s variations.
 
V: They start slow, but they finish, oh….. like fire!
 
A: That’s true.
 
V: Ok guys, let’s go and practice now, because we think that just talking about those issues won’t help you advance in organ playing. You need to apply those tips in your practice. Because when you practice,
 
A: Miracles happen.

Vidas: Hi guys, this is Vidas.

Ausra: And Ausra.
 
V: Let’s start episode 276 of Secrets of Organ Playing Podcast. And before we started recording this conversation, we listened to five videos that Carsten sent to us. These were his improvisations put on his  YouTube channel. 
 
V: So basically, Carsten wrote that: “If I may be so keen to ask for an amount of your valuable time, I would be very interested in your professional listeners perspective, feedback, and honest criticism on these five specific pieces which I consider to be some sort of personal milestones in my improvisation”:

V: So we listened to these pieces, right?
 
A: Yes.
 
V: And Carsten finishes, “Vidas and Ausra; thank you so much for patient reading. I guess I could go on for hours of writing but I think I should leave the rest for further emails. Have a great time and God Bless.
Carsten”.
 
 V: So this podcast episode is basically a continuation of the previous one.
 
A: That’s right.
 
V: Which we discussed in detail, Carsten’s challenges, especially that he’s feeling stuck and not able to play on the organ every day. So today, we listened to these improvisations, and Ausra, what’s your first impression?
 
A: Actually, I’m very much impressed. I would say I really enjoyed listening to them.
 
V: Do you think it’s a concert level performance?
 
A: Yes, it could be in a concert.
 
V: Yes. People like this should not hide their art. And I guess Carsten is not hiding. He’s publicly recording and sharing his work on Youtube. That’s very nice. A lot of organists are afraid of criticism, especially when they improvise. And most often then not, the people can play from repertoire much better than improvise because they have been playing from the sheet of music much longer. They’re afraid of criticism because they’re feeling like beginners in improvisation.
 
A: That’s right. But in improvisation there are no mistakes. Because all the music comes down spontaneously, or at least it should be played spontaneously.
 
V: But you see mistakes might be apparent if you try to imitate some sort of style, right? If, let’s say Carsten is improvising in the baroque style. For example, ‘loben denn herren’, I think it was, one of the versions here. And he for example started then, copying French style in the middle of that piece. That would be too apparent, right, to change, too sudden. Or you could do that but then you will have to change much more frequently to other styles as well, to do it eclectically.
 
A: Well, but if you are improvising in a free style then everything is possible.
 
V: Right. Do you think that, for example, some of his improvisations might be done even more interestingly?
 
A: Yes. I think it might. I think, let’s talk a little bit about toccata, because,,,
 
V: Mmm-hmm.
 
A: This is the piece that grabbed my attention mostly.
 
V: Toccata on ‘A Might Fortress’.
 
A: Yes. This is a wonderful tune to improvise on. One of my favorite[s]. I would suggest, especially for a concert maybe, to do shorter introduction. Because it’s toccata and you need to grab attention immediately.
 
V: Mmm-hmm.
 
A: Right at the beginning.
 
V: Start maybe louder?
 
A: Yes. Because it would be like a meditation maybe. Then yes that a voice played in unison and then again another voice played in unison would be good, I think. That’s a good idea for some kind, for some improvisation. But maybe not toccata. What do you think about it?
 
V: I would probably put chorale tune in the pedals quite soon after introduction so that people should really understand the tune well enough and would be interested in hearing what’s next. And this interest level is rising gradually, right? He starts quite softly, not with mixtures, not with principle chorus, but softer and gradually builds up to principle chorus and probably reeds as well. But I think too gradually. We have to wait too long, for too long.
 
A: Yes. I think so.
 
V: Mmm-hmm. Did you notice any other aspects that could be improved, Ausra?
 
A: In general, I think, in my opinion, improvisations could be a little bit shorter-all of them. And to concentrate your ideas more. Because if you will make them too long, they might become a little boring. It’s the same with playing a concert with composers repertoire. If you will choose too many pieces, people will start leaving your recital.
 
V: Mmm-hmm. You know how I look at improvisations in terms of length? I look at improvisation in terms of movie episodes, like scene[s] in a move. Have you ever counted the time, how long each scene in a move should be, for example?
 
A: No, I haven’t counted but I don’t think they are very long.
 
V: In a book each scene might be somewhere around 1500 words. Like optimum length could be shorter, could be longer. But when you watch it on T.V. or in a movie, then of course shorter, and not longer than one minute, usually. And because music is also an art in time, just like move film is, I guess I’m not suggesting that Carsten should only improvise for one minute.
 
A: No, no. Definitely not.
 
V: But, it would be interesting to change episodes, scenes, themes, character, tempi, rhythm, harmonies, registration, everything, within that minute. So I guess when you’re improvising, your sense of time is kind of tricky to feel, right? You feel ‘oh, it’s interesting and I have to play it longer’. But downstairs people perceive time differently than the performer upstairs. So what I do is, I change something while it’s still at the height of interest, not afterwards. Not when the idea comes to my mind, such as ‘what should I play next’? That’s too late.
 
A: I guess you’re not admirer of minimalistic style?
 
V: I could admire that style. If it’s that particular style, I have to know that little by little you change something. That’s okay. But that’s entire different story. What Carsten did and what normally people do also, this is normal development, right? And I think more effective way to develop things is to change up themes and make more contrast, more frequently. What do you think?
 
A: Yes. I think it would be a good thing to explore more.
 
V: For example, Carsten improvised a few pieces, not in the baroque style, right? And that could be looked upon like a modern style, like French style, one of the best probably styles to try to imitate before you encounter your own style. So if you look at pieces of modern composers, rarely music is in a similar motion longer than two pages. More often than not, you change something within that page, right? And especially if it’s slower tempo you change even more frequently than one page. If it’s fast tempo, so then a couple of pages is okay. And in a fast tempo [a] couple of pages consist of about one minute, right?
 
A: Do you think it’s somehow related to all this modern kind of knowledges?
 
V: Such as?
 
A: Cell phones, smart phones,,,
 
V: That we can’t,,,
 
A: Concentrate and listen for something for longer time? And always need new ideas and new titles coming up. New sensation.
 
V: That’s has to be it, right? Because if you look at baroque pieces, right, baroque fugues, baroque preludes, chorale preludes, fantasias, they are longer in one style, one character, basically, one episode. They change less frequently. Although if it’s a fantasia, then maybe a couple of minutes of one color could be done without changing, in older style. But if it’s modern style, then change more frequently. Because we modern humans have shorter and shorter attention spans, just like squirrels, or chipmunk.
 
A: That’s a nice comparison. Although I don’t know if everybody will like it.
 
V: Yes. Chipmunks won’t like it. Although it would be an honor for the chipmunk to be similar to a human, don’t you think?
 
A: I think so, yes. So anyway, congratulations on wonderful improvisations. Just keep going and keep exploring.
 
V: Yes. Keep sharing your art with the world, and schedule some public performances as well. Don’t hide it behind the screen of computer. That’s too safe. You have to take more risk at this level. Thank you 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!

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