 Let's start episode 731 of Secrets of Organ Playing Podcast. This question was sent by Dan and he writes: Interesting podcast episode here, on pedal technique, Vidas. You talk about putting hands on the bench during pedal solos. I’ll often do this, as I’m not playing anything in the manuals. Would you say this is a good thing to do, technically speaking? Or would you advise organists that you’re working with, to keep their hands on the manuals, so they can be ready for when manual parts come back in? Speaking of playing baroque music with toes only, with the Toccata, from BWV 564, and the pedal solo that it has in it, how would you play the part that has triplets in it, as smooth as possible? This is a bit in that pedal solo in that toccata that I've always not gotten as smooth as I’d like it to be, and as smooth as I’ve heard organists generally play it. Enjoy the conversation!  Recently Sietze de Vries posted a video for his patrons answering a question about organ shoes. In his lesson he didn't teach any improvisation technique like he usually does on Patreon. So Vidas asked him what should we improvise this week. And Sietze replied - improvise pedal solo with socks! That's where the idea of our video comes from. We don't improvise here, nor we play with socks, but this is our answer to the question about organ shoes. Also our friends James Flores and Rien Schalkwijk asked if I liked new organ shoes that Vidas used for his Abide With Me video. This is my answer to you guys. Hope you will enjoy it! Thank you for your support! My Hauptwerk setup: https://www.organduo.lt/tools.html Buy me some coffee: https://www.buymeacoffee.com/organduo  I played the famous Pedal-Exercitium early in my student days but thought it would be nice to revive it and try it out on the sample set of Sweelinq Bach organ in Dordrecht. Hope you will enjoy it! If you want to perfect your pedal technique, I highly recommend our Pedal Virtuoso Master Course. Thank you for your support! My Hauptwerk setup: https://www.organduo.lt/tools.html Buy me some coffee: https://www.buymeacoffee.com/organduo
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! Vidas: Hi guys! This is Vidas. Ausra: And Ausra. Vidas: Let’s start episode 658 of Secrets of Organ Playing Podcast. This question was sent by Manfred, and he writes: “Hello Vidas, I was not a novice on the pedal, since I played the church organ for a couple of years. When I started to look into nicer and more demanding pieces for organ, I felt I need a better technique at least for playing scales. Fortunately I found your Course in the internet, signed up and practiced the lessons every day over 12 weeks. It is amazing: My feet find the right keys without looking. Now I can play with both feet to both edges of the pedals, even with my heels. How did I play before? I tried to play an new piece. It is amazing how easy my feet play the notes almost automatically. Thank you very much! Manfred.” Vidas: So, this is a sort of a testimonial about one of my courses that Manfred is taking! Ausra: Yes, it’s a nice advertisement for you! Vidas: Let me check which course. Yeah, this is “Pedal Virtuoso Master Course.” Ausra: That’s what I thought from his description of it. Vidas: It is a rather demanding course, and not everyone is able to finish what they start. Ausra: But if they will finish it then they will have a really nice result! Vidas: Right. So before that, he played church organ, and played a little bit of organ music, but didn’t have a pedal technique, probably, for playing accurately. So he looked on the internet and he found my “Pedal Virtuoso Master Course,” and I’m very grateful that he wrote this testimonial. Maybe it will enable other people to start practicing from this course, or other people who haven’t finished. Maybe they will pick up and keep going. Ausra: Let’s hope for it! Vidas: What other advice would you have for Manfred, Ausra? Ausra: Well, I’m really glad that he improved his pedal technique, so now he can play more demanding organ pieces, which is very nice. He might enrich his church services, or even play a recital for his congregation. Vidas: What I recommend if Manfred is really serious about taking my advice, and it appears that he is, is to record his playing and to put it online. Share it with his congregation. Perhaps nowadays a lot of services are being done online, and he could put it on YouTube. You know? What do you think about it? Ausra: Well, I know that you basically record and publish everything that you are doing. I’m not that kind of person, but well, it’s up for everybody to decide, you know, how they want to do it, or if they want to do it. Vidas: Yes, but if they want my advice and they trust me, then they would improve even more, because the reason I’m suggesting this is our weekly contest. He could participate… Ausra: Well yes, but I would suggest for somebody to record themselves in order to listen back to them and to improve, because the improvement will be greater and faster if they will do that. But you know, I think only things that you have done really well you need to publish, and put it online. Vidas: Yes, but this weekly goal to share one piece, it’s a kind of good deadline for people. Not too much, not too little, just about right. Ausra: You know, it depends what kind of person you are and what kind of lifestyle you lead, because for somebody, it might be too stressful to record one piece per week at a high level. Don’t you think so? Vidas: Maybe that piece is too difficult then! Ausra: Well, but maybe you want to learn the longer piece which is more demanding, and you need to spend maybe a few months working on it. Vidas: Sure. Sure. Ausra: Because otherwise you might become an organist who plays always the pieces that are one or two pages long, and not improve much further. Vidas: With time, I think recording goes easier and people get used to the current workload and get easier over the longer pieces. I’m noticing it myself. Last week I recorded three movements from Trio Sonata, the entire Trio Sonata! Ausra: Well, not everybody has so much time to practice. Vidas: As are you? Ausra: Yes. And not everybody has a DMA degree, so don’t praise yourself too much. Vidas: Maybe I should praise myself a little more because… or not. Ausra: Because what? Vidas: Because I recorded Trio Sonata! You see? Ausra: Well, yes, I know, and everybody knows how wonderful you are. Nobody doubts it. Vidas: Okay, guys, I think you get the point. Ausra is different from me, so if Manfred would like to get a second opinion from Ausra, and of course it’s his choice to apply her advice. My advice is different, and well, exactly Ausra. I agree with you. Not everybody has the same goals. Not everybody has the goal to quadruple their results. That simple. And if they are happy with their current level, or improving just a little bit, then they can do what they’ve been doing! Ausra: Well, I’m just saying that people have other things in life as well, and for example, you live with the organ. For you this is the most important thing. You can spend 20 hours a day just doing what you really love and what you really like. You don’t have, you know, like daily duties like teaching full time or doing whatever full time. So you can learn a new Trio Sonata every day! That’s okay! But maybe a person has only a half an hour or an hour a day to practice at the most. Vidas: Wait, I’m not suggesting that Manfred or anybody else to record every day a Trio Sonata. I cannot do it myself, you know? Ausra: But that’s what you were talking about and praising yourself. Vidas: I was praising myself that I’m improving. You know? It goes faster—hard pieces. I think when Trio Sonata three movements is like 13 to 15 pages long, and I was able to do it in one week. Ausra: And I am only telling you that if you are learning or posting for the performance for the competition every week a new piece, that these pieces might be really short and sort of insignificant at first. Vidas: At first. Yes. So well yes, and everybody has their own situation and has to decide for themself what’s the next step. Right? We only can share with them what we are doing. Right? I’m sharing my story, you are sharing your story. That’s it. People can take or leave it. Ausra: Sure. Vidas: Right? Because otherwise they cannot really be forced into doing anything we say. Right? They will still choose to do or not to do. Right? Ausra: Sure. Vidas: Simple. Ausra: Yes, and you know, everybody has to find her or his own way of doing things. Vidas: True. Okay guys, thank you so much for sending these beautiful questions and testimonials. Please send us more of them; we love helping you grow. And remember, when you practice, Ausra: Miracles happen! V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also join our community on BMC and get early access to our videos. A: Find out more at buymeacoffee.com/organduo
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! Vidas: Hi guys! This is Vidas. Ausra: And Ausra. Vidas: Let’s start episode 656 of Secrets of Organ Playing Podcast. This question was sent by Louis, and he writes: “Hello friends: I have read all about your Pedal Virtuoso Master Course. I would like to answer one important question for me. I have seen that there are many scales and arpeggios. I think that this is very good but I need to practice how to find any pedal without looking at the pedalboard. Have you got any special technique for this? Teachers in Spain use to say the same as some of your teachers: there isn't any technique, you only have to repeat many times while looking at the pedalboard and your brain will memorize the movements. I think that is the problem. I want to find any pedal, any interval... without looking at the pedalboard and with a technique. Please, tell me if you explain this in your course. Thank you very much. I hope to find what I need in your courses. Regards, Luis” Vidas: So, Ausra, what do you think? Can Louis learn to memorize the places on the pedalboard without looking? Ausra: Yes, but for doing that, I don’t think he needs to look at the pedalboard; I think that might be a problem if he plays pedals always looking at the pedalboard. I think that might be a problem why he cannot play without looking at it. Vidas: Oh, you mean the problem might be apparent in the question—the way he asks, right? Ausra: No, I mean that while he learns pedal technique, yes, he says that he’s looking at the pedal board and repeats things many times. I never suggested to anybody to do anything like that. Vidas: Teachers in Spain, he says, but he says some of our teachers used to say… I don’t know what he means. My teachers don’t recommend looking at the pedalboard. Ausra: Mine too… Vidas: Where he got this idea… Ausra: Mine recommended like pedal preparations, but not looking at the pedalboard. Vidas: So, obviously, if you’re just starting and you’re thinking theoretically about this, let’s say you are thinking about this Pedal Virtuoso Master Course without doing your practice, then it’s one thing. It seems theoretical, and you sort of try to solve those problems in your head without practice. But when you sit down, usually people start to feel progress after a couple of weeks, and if they stick to this course until the end, then obviously, more improvement will come, and finding the keys in the pedalboard will not be a problem. Do you agree? Ausra: Yes, that’s what I am thinking! I think that this problem comes because of not practicing enough—not spending enough time with the pedalboard. Vidas: Right. Ausra: But I think that watching at, the pedalboard, really will not help. It may only harm your progress and slow your progress. Vidas: Yes. Ausra: Maybe sometimes in like a few spots over the difficult piece you might want to watch at the pedals, but not like be constantly looking at them. Vidas: And it will come with experience, I think, too. The more he practices, as you say, the easier it will become to adjust. Ausra: Yes, because we don’t practice on one instrument. We don’t play one organ all the time. Usually we have to play on at least a few organs or even more. If you are a concert organist, then you have to adjust to a new pedalboard quite often, so not all the measurements are exactly the same at each instrument, so you need to adjust every time. But it comes with time and practice, and with more experience. Vidas: Yes. I don’t think Louis has taken the jump and started studying from this Pedal Virtuoso Master Course yet. I think he asked the question,… and that’s not his first question, actually, he asked a few more, but hasn’t subscribed to this course yet. Ausra: I have never heard about any kind of pedal course that would teach you the one thing which is to press the right key without looking. Have you heard about anything like this? Vidas: We can create something, but that wouldn’t be fair! Ausra: I know, because it’s just so fun! Vidas: The course could be titled something like, “Memorize all the Pedals.” Why, right? Why would they need to memorize? Ausra: And you know, actually, there is only one situation when I have to look at the pedalboard, actually, while playing organ duets, and if I have to play it with the pedal part. Why is that? Because usually if I play solo I sit in the center of the organ bench, but if I playing duets, I have to share the bench with you, so I’m sort of sitting up-right or up-left, and it’s really different. Vidas: Exactly. You’re not centered. Ausra: That’s right. So sometimes I get in trouble after shifting to a different position and then I have to look at the pedal board. Vidas: The same is for me, except I don’t use the entire pedalboard; I just use half of it when playing duets. Right? The other half is for you! Ausra: Sure! Vidas: Or, if you’re not playing pedals, I’m playing just the lower part and that’s quite enough. You know? Because it’s almost impossible to reach extreme right notes when you’re sitting in the extreme left. Ausra: Yes, that’s true. Vidas: My feet would kick you many times. So advice for Louis, I don’t’ know. Why did he wait? Why does he wait if he wants to achieve pedal virtuosity. Without practicing, there will be no pedal virtuosity, and certainly no improvement in terms of finding pedals without looking at the pedalboard. Ausra: Yes, because there are no magic trick, and no magic word, no magic exercise that would entirely solve all your problems. Vidas: If he’s not sure if this course is for you or not, remember always, you have a 30 day window where you can cancel and get a full refund. Yes, for four weeks you can practice anything from our courses and try it out, and then if you don’t like it, you can ask for a refund. Very few people do, actually. Ausra: Because people are polite, and if they already used your material, they just don’t want to be jerks, I think, Vidas: So you think they don’t like our courses? They just are afraid to ask? That’s what you mean? Ausra: No! Vidas: What do you mean then? Ausra: Okay, don’t provoke me! Vidas: Why not? Okay. What do we have here? Ausra: We have Yoshke, my brother’s dog, and she’s helping us to record podcasts today. 
Vidas: And usually she was very quiet, but now she’s started to lick and sniff all around us. Maybe she wants to play.
Ausra: Maybe she wants to add something about “Pedal Virtuoso Master Course.” Vidas: She likes to work on the keyboard! On the computer keyboard. I’m afraid that she will press some kind of wrong button and my audio recording will stop. Ausra: Could be! Vidas: Okay guys, so we hope this was useful to you. Please send us more of your questions; we love helping you grow. And remember, when you practice, Ausra: Miracles happen! V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Buy Me a Coffee platform and get early access: A: Find out more at https://buymeacoffee.com/organduo
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! Vidas: Hi guys! This is Vidas. Ausra: And Ausra. Vidas: Let’s start episode 646 of Secrets of Organ Playing Podcast. This question was sent by Manfred, and he writes: Hi Vidas, I was playing the organ in the church for services only. The requirements are low. Therefore I could train the Pedal in ‘wild’ and fairly uncontrolled way. Because of Corona the congregation must not sing. The organist is asked to prepare a few pieces as a solo. So I started to look for organ pieces that are a little more demanding. Then I was facing severe difficulties with easy or low-medium pieces for organ. Thanks to Youtube I watched the pedaling of good organ players. My style is way off! This led me to you. You have a method, you want to teach it in an internet-based style – so, I gave it a try. Man! The first week told me I was not using certain muscles in the ankle area, I had muscle sore. Now, I see a much higher flexibility in my ankles. I was playing with a sort of tennis shoes. No way! Yesterday I started with organ shoes (dancing shoes actually). Now I can feel the pedal keys and can slide on them. Wonderful! After this first week I do not detect better accuracy. But my feet want to adopt the new pedaling style when playing my organ pieces. This is sometimes confusing, but I am sure in 2-3 weeks the new techniques will make my feet more ‘relaxed’ as they become friends of the pedal. I am eagerly looking forward to the next few weeks! Best regards, Manfred Vidas: So Manfred obviously is taking our “Organ Pedal Virtuoso Master Course.” Ausra: Yes, that’s a very useful course, I think, for everybody. Vidas: And the first weeks are not very easy for him, as for most people who try. But the good thing is that he didn’t give up. Ausra: Yes, and it’s a very good thing that he started to play to their more appropriate shoes, actually, because it’s really necessary if you want to play pedal with great accuracy and will not hurt your legs. Vidas: Exactly. So at first, he would accompany the church congregation singing before the pandemic, probably. But of course now the requirements have changed and he has to play the organ solo more. Ausra: True. I think that’s the case with many organists. Vidas: It’s also a good opportunity for people to explore new skills and build up technique, build up repertoire, learn new pieces, basically. Ausra: Yes, because most of the people have more time during pandemics. Vidas: Except that sometimes the pandemic demands more online work, like for you. Right Ausra? Ausra: Yes, but I don’t need to drive every day back and forth to school. Vidas: I see. So Manfred really can take advantage of the situation. What else can we obviously recommend besides just sticking to the course and learning new pieces? Ausra: To play more repertoire, probably. Vidas: Yeah. This course, “Pedal Virtuoso Master Course” shouldn’t take more time than just a warm up. 15 or 20 minutes… well… maybe at the most, half and hour, probably. And then, when you are warmed up, you could play probably hymns and repertoire—mix them according to your needs. Ausra: Yes, I think that way it will be more comfortable for you and your practice won’t be so tiresome. Vidas: Maybe Manfred also needs to think about hymn playing in a more structured way and treat each hymn as a very short organ piece, and play pedals in a controlled way, like you would in a regular organ piece. Maybe write in some pedaling. Figure out where to put the right-toe, left-toe, right-heel, left-heel, things like that, and probably learn, depending on his sight-reading abilities, learn either separate voices or separate lines, and then combination of voices instead of jumping into four-part texture right away. What do you think, Ausra? Ausra: Yes, I think that’s a very good advice. Vidas: I see just too many people playing hymns in an accidental manner, just from the beginning until the end, hoping they can do it eventually. And eventually, they will be able to do it in a maybe average-organ-playing way, but if you want to excel in it and play with good rhythm and good pulse, your playing and practicing should be according to plan. What about, Ausra, pedal playing? Do you think it’s good to warm up with those pedal scales and arpeggios, or is it a little bit too stressful on your ankles? Ausra: Well, I would say if it’s early morning, then it might be too stressful. But if it’s the middle of the day or evening, then I think it should be okay. Vidas: When I started to play organ at home, I sometimes notice like muscle spasms when my muscles are cold, so that might happen when you would started your practice with pedal playing alone. Right? Very rigorous scales and arpeggios according to this pedal virtuoso master course, but maybe if you warm up a little bit more with easier music, alternate toes first—not toe-heel-toe-heel, but just alternate toes, exercises like that, or access from hymns, maybe play from just the hymn bass line. Right? Ausra: Yes, I think maybe that’s a good suggestion—really useful. Vidas: Okay, so… but the most important thing is obviously to stick to this program and to finish it. And then you will notice real improvements. He says that he doesn’t notice improvements about the accuracy yet. It comes after a month or so, I think. Ausra: Yes, and another thought or idea that came to my mind while reading this remark about accuracy: Maybe he’s practicing just a little bit too fast. That might affect accuracy greatly, so maybe he needs to slow down just a little bit. Vidas: My usual recommendation about the tempo when you practice is, choose the speed in which you can avoid making mistakes. That simple. For some people it’s moderate tempo who are very good in sight-reading. But for most people, it is a very slow tempo, and when they say they practice slow, usually they’re not practicing slow enough! Ausra: Yes, I agree. Vidas: Probably not the metronome should be your guide here, but the accuracy itself. If you can play at this tempo without mistakes, then the tempo is right at this time of your development. If it’s not, then slow down. Ausra: Good advice, Vidas! Vidas: Thank you! Thank you guys, this was Vidas, Ausra: And Ausra! Vidas: Please send us more of your questions; we love helping you grow. And remember, when you practice, Ausra: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and BMC and get early access to our videos. A: Find out more at patreon.com/secretsoforganplaying and buymeacoffee.com/organduo Earlier today Ausra was playing our new Hauptwerk setup from PMK and noticed that pedal Bb in the middle of the pedalboard was not holding firmly in place. So in this video I took out my screwdrivers and got to work. At the end I tested the pedalboard with the opening pedal passage from Bach's Toccata in F Major, BWV 540/1 using Alessandria sample set by Piotr Grabowski. Hope you will enjoy it!
Thank you for your support! You get early access and I get to keep going. Finally I have assembled the pedalboard. My next step would be to figure out power it up and how to connect the Swell and Crescendo pedals as well as toe studs.
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. V: Let’s start episode 633 of Secrets of Organ Playing Podcast. This question was sent by André, and he writes, Hello dear Vidas, I received the statement from Patreon about your support. I am extremely honored and grateful for your help, which means a lot to me. First, because I’ve been following your channel for many years, long before you started using Hauptwerk. In fact, many years ago you recorded a video about possible works to study with only a manual, which was a starting point for me in the organ. And finally, I printed the paper pedal board that you made available on your website! Anyway, receiving your support means a lot because you have always been a person who inspired me! Here in Brazil things are scarce in relation to the practice of the organ, but I was never discouraged, I was always positive. And now with Hauptwerk, and with my future equipment, I will be able to study this instrument that I love so much more! Thank you very much, affectionately, André Barbosa V: André later wrote that he is looking forward to receiving his two keyboards and MIDI pedalboard later, in a few months. So this will really enable him to start playing real organ repertoire. A: Yes, this is such inspiring story for people showing that you just don’t have to give up. If you don’t have something available for you for a moment, that you still can do something and practice something. Maybe just do manual work first of all, and to have like a paper pedalboard, and with time, your dreams will come true. The most important thing is to do something constantly, to be very consistent and work on it on a regular basis. V: Sometimes I get to see people’s questions on various social media sites, and they ask, “What can I do? I don’t have an access to the organ anymore. My church is closed, so I don’t have a place to play and practice. My basically organ playing career is over.” And just recently I discovered this question on the forum, and suggested, “Maybe you need to start thinking about getting Hauptwerk organ of your own at home. Very affordable.” And the person wrote that she’s broke. And then I said, “Maybe you need to think about some revenue stream first,” instead of getting access to the organ, and only then about instrument. But as it turns out, organ and revenue is not mutually exclusive. You can get one and the other at the same time. I’m talking about a platform called Emanate now. Emanate is a platform which rewards musicians fairly instantly and directly. So if you upload your recordings, and with Hauptwerk you would get really high quality recordings right away, you share those links, your recordings with your friends, family, and work fans, and you will start getting real revenue. A: I think you know, if you really want to play organ, if it’s really important for you, you will find a way to do it if it’s really important for you. And if you don’t, maybe it wasn’t that important. V: Yeah. I think people are sometimes just looking for excuses instead of solutions. A: Yes, and sometimes people just like to complain. Some people complain about things all the time, like my mom, for example. V: But she cooks well! A: (laughs) Yes, I can see that, looking at you and at myself of course. She could cook much less. V: We look healthy, you mean. A: I don’t think we would look healthy for cardiologist. V: Yes, but she listens to our organ playing. That’s a good sign. A: Yes. We are educating her a little bit. V: And she uses tablet, internet. A: Very advanced. V: Yes. Can swipe with her finger from left to right. A: Okay, don’t make fun of my mother. Don’t want me to start talking about your mother. V: What did my mother do? My mom is teaching also online, like you. A: So she’s much more advanced, comparing to my mother. But she doesn’t cook for us, so…. V: Yeah, too bad. A: I prefer my mother. V: What if both of our moms could cook for us. (laughs) A: Hardly to imagine that - your mother cooking all the time for us. V: And listening to organ music in the background. So, wonderful question. Yeah - André really made my day with this answer on Patreon. Sometimes, sometime ago, when I decided to support more organists on Patreon, I was looking for other small channels. And apparently there are not many. There are a few big names which have at least hundred subscribers, which really don’t need much support from outside right now, because they are already flying well. And there are a few of us who are doing small work, like André Barbosa, Paul Fey, James Flores, our channel, and that’s about it. You know, there are a few amateur organists who don’t play organ repertoire, but just play pop music on the organ. So I was not compelled to support them, because they’re not really organists. A: Maybe they have more even followers than we do, don’t you think so? V: No, no. A: Oh, good. I’m so much relieved. V: Yeah. At first I thought maybe, but I didn’t feel any emotional connection with their music, so… so I guess Barbosa is one of them who is connected with us. A: Yes, I really like his playing and I’m following his YouTube channel. V: And he only has one keyboard right now! One MIDI keyboard. Anybody can have a keyboard at home, you know, like it costs, let’s say for argument’s sake the cheapest one is less than $100. You can find $50 keyboard right now. Or a used one you can get for $20 or $30 - very cheap. If you install Hauptwerk, or if you don’t have resources for Hauptwerk, you can install Grand Orgue - it’s free. And you can start making music from your home with virtual pipe organ software, with beautifully sampled pipe organ sounds - virtual pipe organ sounds. And you’re no longer stuck - you’re starting, you have a starting point. Then later, little by little, you can earn more money, and later you can buy a pedalboard. A: Yes, and the rest is up to you, right? V: Yes, the rest is history. Excellent. So guys, don’t give up, even if you’re in a country where organ culture is not popular. You just have to keep positive mentality and look for solutions to your challenges, and not for excuses. 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. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying
Vidas: Hello and welcome to Secrets of Organ Playing Podcast!
Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Hi guys! This is Vidas. A: And Ausra. Vidas: Let’s start episode 622 of Secrets of Organ Playing Podcast. This question was sent by Brigitte, and she writes: “Thanks Vidas for the complete pedaling and instructions. It has created a great opportunity for me to focus on the pedal technique for early music beyond toes only.” Vidas: Ausra, do you have an idea what Brigitte is talking about? Ausra: Well yes, I guess she’s talking about your “Pedal Virtuoso Course.” The focus is on early technique, but then you have supplement material which includes the Romantic and Modern technique as well. Vidas: Well, could be. Interesting. Let me check. She’s in our Total Organist community. Yeah, I guess she needs to practice her “Pedal Virtuoso Master Course.” Yeah, and of course all pedaling really helps to have… do you think early music could be played with heels also? Ausra: Well, I think I have talked about this issue many times before, but, I don’t think you need heels in order to play Baroque music. That’s my own opinion. Vidas: When I play Baroque music, I also almost never use heels. Somehow, toes are quite enough, unless you play one particular piece by Arnoldt Schlick, “Ascendo ad Patrem meum” which has two voices in each foot! Ausra: Well, but I think this kind of piece is more like an experiment, not like a conventional thing. Vidal: Yeah, especially since it’s from the 1500s, so it’s a really early piece, and the pedalboard was very narrow, and keys were short, so it would be very difficult to play with heels. Ausra: But let’s say if you are playing like double pedal, for example like some of the J. S. Bach’s chorale works requires, for example “Aus Tiefer Not.” Do you remember that chorale from the collection for the third part of Clavier-Übung. Would you use any heels? Vidas: No. If this is a piece composed before the 19th century, even double pedal can be played with toes only in each food, I think. You don’t have to play completely legato, obviously, and that’s why you have toes-only technique. Right? Ausra: Excellent. That’s what I am doing, too. Vidas: Actually, Brigitte is not in “Pedal Virtuoso Master Course,” but in “Organ Sight-reading Master Course,” and she is studying Contrapuncti from “The Art of Fugue.” So it’s a different course, but similar technique for early music. Right? Ausra: Yes. They have some similarities, of course. Vidas: Right. It was her answer to my question in week 12 of Sight-reading Master Course. So, this week, she had to play only pedal solo lines, and I prepared pedaling for each of the exercises, too. So it was suitable for her, too. Let me check what kind of music she plays there. Yes, of course! Contrapunctus #1, only the bass part. Only the bass. And later on Contrapunctus #2, #3, only the bass up to Contrapunctus #6 or #7 even. Yeah, only the bass in week 12. And she has complete pedaling figured out for her, which is really really helpful. So those are advanced exercises but sound very beautiful if you play at the concert tempo on the pedal. Right Ausra? Ausra: Yes! Sort of like “Pedal Exercitium” by J. S. Bach, too! Vidas: I recently recorded this video which has become quite popular in my channel. I don’t know why, actually! More popular than serious organ music, sometimes. Do you have an answer, Ausra? Ausra: I guess some people are still mystified playing pedals, and love to watch how other people play pedals. Vidas: I positioned the camera next to the pedalboard so that my feet would be clearly visible, and therefore, obviously, my pedal technique was right in front of their faces. Ausra: I don’t like this video of yours, and I don’t watch it because it annoys me! Do you know why? Vidas: Because I’m playing not with organist shoes? Ausra: That’s right, and you are playing with your almost new shoes that will be thrown away very soon because of you're using it inappropriately. Vidas: Yeah, I didn’t plan to record this…. anything to record with my feet that day. It was on a Tuesday last week, when I went to Unda Maris studio rehearsal, but you see, I discovered that one student wants to play something with pedals, so I assigned him this “Pedal Exercitium,” and when he started playing, I saw that he doesn’t know how to play it, and I remember that I never recorded a video. So at the end of rehearsal, I practiced a little bit and recorded a complete video. It wasn’t easy, actually! It was very difficult to play the entire exercise from the start until finish in a concert tempo without any hesitations and mistakes. Yeah. Ausra: Yes, but it’s a nice piece, actually. If you listen closely and you’ve played with passion, you can hear even two voices, because it’s actually written like two individual voices, although it’s just the one line. Have you noticed that? Vidas: Yes, yes. Left foot is one voice, right foot is another voice. And this piece comes as a bonus material for my pedal virtuoso master course—one of the bonus pieces. I haven’t done a video of another piece, which is an Etude #1 by Alkan. Have you heard of Alkan before? It’s a French 19th century composer. Ausra: Actually no, I haven’t. Vidas: He wrote a series of twelve etudes for solo pedals, and I pedaled the first one. Maybe I should create a video of playing that, too. Ausra: Maybe I should learn it, too! Vidas: It’s considerable more difficult than the Pedal Exercitium, but worth playing, actually, too. So, hopefully, guys, you found our conversation useful. Please send us more of your questions; we love helping you grow. And remember, when you practice, Ausra: Miracles happen. V: This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying |
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Authors
Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. 
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