Today I went to Unda Maris studio and one student wanted to play something for pedal solo. Naturally, the famous Pedal-Exercitium, BWV 598 came to mind but as he sight-read this piece I remembered that I haven't recorded a video where the pedals would be clearly visible. So towards the end of the rehearsal I set up a camera, practiced a little and recorded my feet jumping all over the place. Hope this helps!

Pedal Virtuoso Master Course:
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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 607 of Secrets of Organ Playing Podcast. This question was sent by Richard, and he writes,

I am a pianist and I’d love to get the pedals working when I sit at the organ.  I also struggle with improvisation which can be a real hindrance during church services.

V:  So two things, Ausra.  Richard wants to play with pedals more, probably more effectively, and also improvise during church services.  What do you say?

A:  Yes, I guess if you are playing the organ, then feet pedal is essential part of playing it.  Because otherwise, you could just play on the piano.  But because as we understood from your question, you are playing at church, yes, and during services it means you are accompanying congregational singing or a choir.  And that way you really need to support it by pedal playing, because it consists of 16’ sounds that are crucial in accompanying singing.  At least that’s what I think.

V:  So what’s the first step in playing the pedals.  How to not get scared.

A:  Well, just to play more with it.  Just to choose that, since this day I am always be playing with my pedal, too.  Because especially pianists, they tend to select repertoire without the pedal, which is not bad sometimes, but you will not improve your pedal technique if you won’t use it often enough.

V:  Of course, don’t think that the only way to play the pedals is to play Toccatas and Fugues right away and jump straight to the most advanced techniques with the pedals.  No, you can just gradually wade your way into pedal playing, selecting easy pieces, or maybe even hymn playing, playing soprano line in the pedal, like an exercise.

A:  Well, or just to play all of the hymns with the pedal, because some of the organists tend to omit playing the bass line in the pedals, too.  I think that’s quite a good start, if you will play all the hymns with the pedals.

V:  This is really difficult, you know, if you have very fluid pedal line, or bass line, and to put it in the pedals right away will take at least a few days.  And if an organist has four or five hymns to play that Sunday, I think it’s too much, don’t you think?

A:  Well, it might be too much, but you could cheat sometimes.  You would, say, could learn one hymn just to play in octaves, and you would double everything what you are playing with the pedal.  The same melody, you know, soprano line, to play it in octaves, adding the pedal.  Other thing what you could do while playing bass line in pedal and playing alto and soprano voice with right hand, you could omit tenor part.  Which often gives trouble for beginners especially.

V:  Yes, and try not to make this crucial mistake: when you are playing the bass line both in the left hand and in the pedals.  Don’t double it.  Because we tend to learn hand and feet coordination by playing different melodies, not the same kind of melodies, in the hand and feet.  So be aware, because I know many people still do this.

A:  Sure.  And then of course you can choose to play organ repertoire with the pedal, too.  But for example,  if you are not capable to learn the new music every week, maybe you could pick up some pieces that have easy pedal part.  Let’s say some of  Italian composers, like Zipoli, for example, Domenic.  He often uses only one sustained pedal line throughout the piece.  Or it goes from C to G and back to C.  So that’s really easy.

V:  You mean like pedal point.

A:  Yes, like pedal point.

V:  What about the courses that we offer for pedal playing.  Would that be helpful?

A:  Yes, I think our pedal course is very helpful.

V:  We have several.  For example, you can choose if you are really beginner pedal playing, you could choose 10 Day Pedal Playing Challenge.  And for 10 days, you could play those exercises, not a long time, right?  To see if it’s doable for you.  If you are more advanced, and want to perfect your pedal technique, we recommend Organ Pedal Virtuoso Master Course.  Pedal Virtuoso means you would be playing all kinds of scales and arpeggios over one and two octaves, with one or even both feet together.  So check them out, and remember that the secret to perfect pedal technique is the flexibility of an angle.  That’s what Marcel Dupre said when he wrote his organ method book.  And in his memoirs, he wrote that when he was a boy, like teenager maybe, he cut one of his wrists, and it was dangerous, because it was just a centimeter away from very important artery.  And for three months he couldn’t play with his hands.  But he said for three months he played pedal scales and arpeggios with vengeance.  And that’s how he became invincible in pedal playing.

A:  Excellent story.  So now, what could you advise about the improvisation?

V:  Well, also, we have courses for that.  All kinds of courses.  You just have to choose which direction to go.  Hymn-based improvisation, or free improvisation, or both!  For hymn improvisation, we have this  Level 1 course, where the hymn melody is in one hand, and the accompaniment, or as we call it, counterpoint, is in another hand.  It’s without the pedals for starters, just two simple voices.  And it starts note against note, really really simple.  One chorale note = one counterpoint note.  And then goes a little bit more fluid: two against one, four against one, and then finally, sort of like suspensions and free counterpoint in the free voice.  This is really helpful if you want to start creating chorale partitas later on, and chorale preludes in historical styles maybe.  What do you think, Ausra?

A:  Yes, I think it’s really helpful courses.

V:  I’m kind of applying the same technique now, but more advanced way, when I’m recording videos based on Genevan psalms.  And I’m teaching various techniques:  how to put chorale line in the soprano with ornamentation, how to put chorale line in the tenor with the trumpets registration, or in the bass, with organ principal chorus mixture sounds, create like a chorale ricercare style.  It’s possible to do this.  You just have to be patient and scale back a little bit your expectation.  And don’t be scared of the unknown.  Because every day, when you’re doing this, you discover something new, and this is really fun.  What about free improvisation if you were a beginner, Ausra?  Where would you start?

A:  Well, I would probably start by improvising prelude.

V:  Like a verset?

A:  Yes, like a verset.  Short prelude.

V:  Yeah.  If you want to base your improvisation on a tonal style, before actually doing the verset, probably harmony is the first step.  Or even theory - to know all those basic chords - three note, four note chords and their inversions.  And then you can go to four part dispositional voices and voice leading of harmony, connecting those chords, like Ausra and I would be teaching in our courses.  But then later, you can start kind of making up melodies and making up answers and questions, questions and answers, and expanding those questions and answers into meaningful dialogue between those parts into let’s say, 16 or 20 measure short verset.  This could be very helpful for playing a prelude or a postlude for church service, right?

A:  Yes, or you could improvise toccatas, too.

V:  Yes, you just have to add some kind of figuration in the hands.  And place the tune in the bass line.

A:  Yes.  Or also sustain the long notes in the pedals, too, if it’s hard for you to play pedals for now.

V:  Or actually have variety of those textures: sometimes pedal line is moving, sometimes it’s stationary, sometimes the tune migrates to the right hand, or even to the left hand if you are more advanced.

A:  But what would you say is easier for beginner improviser - is it free improvisations or is it chorale based improvisation?

V:  The way I teach chorale improvisations, it’s obviously chorale improvisations.  It’s just two voices, note against note.  Anyone can start.  If you can read one line at a time, like a hymn tune, if you can play one hymn in the right hand, you can think about those sweet intervals, thirds and sixths, in the left hand part.  And then switch.

A:  Actually, that’s what I was thinking, too, that probably to have some kind of melody, some kind of theme given to you is easier.  Because it’s your beginning, you have something to grasp on.

V:  Yeah.  And the harmony would come later.  Remember, before there was harmony, harmonic style, tonal style, there was a contrapuntal style with counterpoints.  And people first learned polyphony like this, in species counterpoint.  17th century.  And then later, in 18th century, more people started writing harmony treatises, based on figured bass.

A:  Yes.  It was very important in the baroque times.

V:  So all kinds of directions you could take, but choose one path and stick with it for awhile.  At least until you get to see some results and decide if it’s for you or not.  All right, 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.

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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 581 of Secrets of Organ Playing Podcast. This question was sent by Amir, and he is taking our Secrets of Organ Playing course called “Sight-Reading Master Course,” and he writes:

Amir: “Thanks very much Vidas. This should also be interesting as a pedal exercise technique
Amir”

And I wrote to him:
Vidas: “You are right, Amir! Almost everything that can be played by the hand, can be played by the feet too. In fact, the feet often can be regarded as the third hand in organ playing.”

V: I should give you a little bit of context about this question. Amir is studying this sight-reading course over maybe 17 or 18 weeks now, and sometimes he sends questions about it, and sometimes he struggles with things when he has to count rhythms. But this particular question, I wrote to him that he can actually transform any type of keyboard exercise into a pedal exercise, too. Do you think, Ausra that could be applied in organ playing, let’s say, in the Baroque period?

A: Yes, I’d say it’s possible.

V: Like if you take a Trio Sonata by Bach, and you play a manual part, but not with your hand, but with your feet.

A: Well, it would be really hard. It’s possible, it would be really hard.

V: Or a Two-Part Invention. You could play one part with your hand and another part with your feet, and then switch.

A: Well, you could do all kind of tricks, because there is even one chorale from the Schubert collection where you can play the same voice with either the feet or with the left hand, so it’s up to you.

V: I think sometimes it’s good to experiment with those techniques of placing any particular voice in pedals, let’s say. Because the organ is, back in the day, used to play chorale preludes or variations interchangeably.  You used to place the chorale tune in the soprano, alto, tenor, or bass, and be able to play the bass not on the pedals, but let’s say with the left hand. This is simpler, right? But sometimes they do the opposite. Let’s say they play the tenor voice with their feet!

A: Yes, you can use a 4’ stop, and it will work just fine, or you can do the same, to put a 16’ stop for your left hand, for example, and it will sound like you are playing it on the pedals.

V: Have you tried it yourself?

A: Yes, I have tried it.

V: Was it difficult for you at first?

A: Well, no, it was different! You have to get used to it.

V: For me it was a challenge, because when you are not used to doing this kind of trick at first, you mix up your left hand with your pedals, and your left hand wants to read the lowest staff!

A: True, and another problem that you might encounter if you are playing the cantus firmus with your feet, it often has the trills at the end of the phrase, so you have to trill your feet, so it’s not very comfortable, but it’s possible.

V: Like in one of the Schubert’s chorales, the last one. You have trills in the cantus firmus, which is played with the feet.

A: Yes, but you could also do another arrangement. You could play that left hand with your feet, and you could play the chorale melody with your…

V: ...left hand.

A: ...left hand. I have seen two versions of this chorale, and actually I think I have played them both.

V: Which one do you prefer?

A: Well, probably I would do that fast part with the feet. It’s easier for me. It seems, maybe, very scary because you have so many notes in the pedal part, but that way you don’t have to trill with your feet. So basically, if you do this version, it’s more like “Wachet auf.” from the Schubler collection.

V: And “Wachet auf” also can have two versions!

A: Sure. Definitely. Because they are sort of similar in texture.

V: And this is BWV 645, and in one version, you have a cantus firmus chorale melody in the tenor, played by the left hand, and the bass line with the feet. But in another version, you switch parts, you flip parts, basically, playing the bass part with your left hand, and the tenor line with your feet, with a Trumpet registration, maybe.

A: Yes, so that’s just another possibility. So try and explore it, and see if you like it.

V: Again, it’s a challenge sometimes at the beginning, because you’re not used to this kind of disposition, but it only takes a few of the chorales to be played this way where you free your mind from previous preconceptions, and then simply sight-read or practice any other way you want. Right?

A: Sure. 

V: That’s a good brain exercise.

A: It is! It is!

V: Like solving a musical Sudoku. Do you like Sudoku?

A: Yes! I used to do quite a lot of them. Not now, I don’t have so much time.

V: And what has taken up most of your time today?

A: Well, basically recording organ and grading my students’ assignments! “Distance education,” so called.

V: Do you prefer playing organ and recording to grading papers?

A: Well, playing organ is fun. Recording is not so much fun, because sometimes it gets frustrating and stressful.

V: But you know what I like about playing organ and recording is that when I record, it’s like the finished product, finished result, and you can be a little bit satisfied, be a little bit proud of what you did today. Basically, you achieved something. When you practice, you don’t know if your level is suitable for recording. But when you sit down and force yourself to play the piece without mistakes during a certain number of takes… I know it’s difficult and time consuming and sometimes stressful when you make a mistake in the penultimate measure and have to start all over again, but it’s fun when you have the results.

A: Sure. You know, it’s good exercise for your concentration, too, so it’s worth doing it—at least trying to do it.

V: So guys, lots of different ideas to think about. Not only about playing with your feet, what can be played with your hands and vice versa, but also about practicing and recording your own organ music, and sometimes even sharing with the world! That’s another skill set that we can talk about later. Thanks guys, for listening, for sending your wonderful 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: Hi guys!  This is Vidas.
 
Ausra:  And Ausra.
 
V: Let’s start episode 568 of Secrets of Organ Playing Podcast. This question was sent by Paulius.  And he writes,
 
Hello!  Vidas, do you have the pedaling of D major scale in the Baroque style?
 
Paulius
 
Vidas:
 
L  L R   L R L  R   R
D E F#  G A B C# D
 
R R    L R L R   L  L
D C# B A G F# E D
 
V:  Do you know what he’s talking about, Ausra?
 
A:  Who doesn’t know the famous prelude by J.S. Bach?
 
V:  Do you think that he…
 
A:  With passage of D Major scale in the pedal.
 
V:  Do you think that Paulius is playing this piece himself?
 
A:  I don’t think, I think he is asking how to pedalize the scale for his colleague and friend.
 
V:  Uh huh. Could be.
 
A:  It’s sort of very interesting sounding when you are asking people for other people. 
 
V:  Yes.  I would suspect that, too.  You know, Lithuanians sometimes, they never ask us questions directly, or never truly engage with our content online.  Have you noticed that?
 
A:  Yes.
 
V:  I’m sure they can read English, or understand English, or hear our voices.  We don’t talk complicated English, they could understand most of it, right?  Plus, it’s organ-related stuff, so it’s not that difficult.  But for some reason, Lithuanians, I would say, ignore us, right?
 
A:  Well….
 
V:  Or not?
 
A:  That’s, you know, envy.
 
V:  Envy?
 
A:  That’s always, that’s the main feature of Lithuanian folks, we are just very envious.
 
V:  Mm hm.  For people who are more successful than them?
 
A:  Well, yes, I guess maybe even for people who are different.
 
V:  Mm hm.
 
A:  Who think outside of the box.  And see outside of the box.
 
V:  Sure.  And we are not talking about Paulius now.
 
A:  Yes. Definitely not.
 
V:  Paulius is our friend. So, playing D Major scale.  I suspect it’s for D Major Prelude and Fugue, BWV 532, and the principle that I usually apply here, I hold this principle for every baroque piece, every baroque, up to, let’s say, 19th century.  So, I don’t play everything with one foot, or with another foot, or with heels.  The system is that you use alternate toes whenever possible, left-right, left-right, left-right, or right-left, right-left if in descending motion.  But there are exceptions.  Sometimes you play with the same foot.  And the system was described in very easy terms by Harald Vogel in his preface, I think, to Tabulatura Nova by Samuel Scheidt.  And I read it, and it made sense.  Then later, of course, Richard Stauffer Organ Method book applied this extensively, and that’s where we had learned our early technique from.
 
A:  So basically, it’s common knowledge for people who are thinking about historical performance, or accuracy of historical performance.
 
V:  Mm hm.  So, you play with the alternate toes, right-left, right-left, most of the time.  But play with the same toe, same foot twice, let’s say, when there is change of direction, if the melody moves upward and then downward, you play with the same foot.  Or, when there are longer note values, you can play with the same foot if there are half notes, let’s say.  It’s nothing to worry about, you don’t have to play in alternate toes unless you want.  And you play with the same toe when there is an upbeat before the stronger beat.  It doesn’t have to be beat 1 of the measure;  it can be beat 3 in 4/4 meter.  Or in faster notes, like sixteenth note passages,  like in D Major scale, it could mean every, it could be, the first note could be played with the same toe.  D, E, those 2 notes of the scale, I would play them with left-left.  And then alternate toes.  It would be left-left-right-left-right-left-right-right.  Because the last note is the strongest beat.  Does this make sense, Ausra?
 
A:  Yes, and because the last 2 notes are already very high up…
 
V:  Mm hm.
 
A: On the pedalboard.
 
V:  Of course, in this piece, there is no descending scale, but I wrote to Paulius anyway, I would start the same way, but from the right toe.  Right-right-left-right-left-right-left-left.
 
A:  It makes sense. 
 
V:  So, ascending will be D E F# G A B C# D, Or left-left-right-left-right-left-right-right.  And descending will be D C# B A G F# E D, or right-right-left-right-left-right-left-left.  Would you do this the same way, or a little bit different?
 
A:  Yes, I would do it the same way.  I think it’s very adequate.
 
V:  This is not the same if you want to play D Major scale legato, in a modern style.
 
A:  Of course.  It would be completely different.  You will use heels as well.
 
V:  I would play, I would start with the heel, D, then the toe of the same foot, left foot, E, then F# would be right toe, then G would be left heel, A would be right heel, and then B would be left toe, C# would be right toe, and then heel on D.  It’s like a heel, toe, toe, heel, heel technique mostly.  You keep your heels together.  That’s very easy then.  Does it, is it something you would apply yourself, Ausra?  I see your hidden smile. 
 
A:  Well, you know, if you would have such short legs as I do, I don’t think you would be able to keep all time your knees together.  So that’s, you know, we have different physiology.  And for example, if I would have to play in romantic style, the D Major scale, the three upper notes I would play with my right foot.  I would do the heel on the B, then the toe on the C#, and then finish with the heel.
 
V:  I see.  You need longer legs.
 
A:  Yes.  Could you buy them for me? 
 
V:  Um (laughs) good question!  I’m just looking at YouTube videos that I did, and it looks like my video on how to play the C Major scale with pedals on the organ has 75,000 views.  It’s my most viewed video.  But, D Major scale, D Major pedal scale has, guess how many views?
 
A:  Less than C Major of course.
 
V:  How much less?
 
A:  A lot. 
 
V:  Only 4,737 views.
 
A:  Very few people care for D Major scale.
 
V:  Yes.  It pays to play with zero accidentals.  So, you can look it up, by the way, if you are interested in looking at my feet and seeing how I play D Major scale.  But this is in legato style.
 
A:  Yes, definitely.  So you would not apply it for playing…
 
V:  Mm hm.
 
A:  Bach’s D Major Prelude and Fugue.
 
V:  And by the way, if you need guidance and you need to perfect your organ playing pedal technique, I really recommend Pedal Virtuoso Master Course.  We have exercises in playing arpeggios and scales over one and two octaves, and what it gives is, provides you, helps you create, develop your ankle flexibility.  And this is the secret sauce of having perfect pedal technique in any style, of course.  It’s based on legato style, so it doesn’t work for toes only technique.  But just think, just something to keep in mind if you want to perfect your pedal technique.  It’s really worth it.  Okay, 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. 

Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 555 of Secrets of Organ Playing Podcast. This question was sent by Kirk, and he writes:
 
“I know church organists push using organ shoes but I have been using just socks on the pedalboard I find it is easier to find the notes when practicing. What do you think about those organists that either use stocking feet or bare feet while playing? I find some of them around here, they are very good organists, some of them told me they just got sick of the shoes.”
 
V: Ausra, do you know some organists who play with socks?
 
A: Yes, I know some.
 
V: And are they good organists?
 
A: Yes, they are, but actually, you need to be able to play both ways, because I just simply can’t imagine if you are performing at the recital hall, fancy recital hall, and you would go to the organ and be barefoot on the stage where people could see you. It would be a hilarious look.
 
V: That’s a thought. If you are hidden in a practice room or at home or on a church balcony, nobody can see you, and…
 
A: Then that’s okay, and it’s fine.
 
V: It’s fine, I guess, in situations when you can get away without heels. Right?
 
A: Well, yes, but some people can play with heels also without using the shoes, but it’s harder for your ankle, I guess.
 
V: Last Wednesday, when we had the Unda Maris organ studio rehearsal, I wonder who played without shoes… Some of the students, anyway, and it was the first time that she discovered that it’s not really comfortable, because she needs to bend her ankle too much when using heels. When using toes only, it’s kind of okay. And it could be a quite sensitive and pleasant experience, but if you play a piece which is composed later than 18th century, you definitely need heels, and in this case, playing with organ shoes, proper organ shoes, makes sense.
 
A: Yes, because it hardly makes sense, for example, to play, let’s say, Symphony by Louis Vierne or Suite by Duruflé without organ shoes! It would be very uncomfortable.
 
V: What about Dupré’s Chorales, sort of shorter pieces, maybe educational exercises like that?
 
A: Well, but still, you need heels, so…
 
V: Yeah, Dupré definitely describes heels in his edition of 79 Chorales.
 
A: But sometimes it’s really handy to be able to play without shoes. When you’re traveling, for example, and trying different new organs, and you simply don’t have your organ shoes with you.
 
V: I wish we had a sort of replacement for real organ shoes when we travel. You could put on only a leather heel on your socks like slippers, sort of, but tight slippers, and then attach a heel to it, maybe some kind of hook or something which could slide in or something, and it would really not take a lot of space.
 
A: Great idea! You work on it, and we will copyright it and we will be come rich, because all the organists will buy your new invention!
 
V: No, I think since we’re talking about this in public, I think somebody will already do this faster.
 
A: Well, and I know what Kirk means that he feels the pedal keyboard better when he plays in socks. That’s true in some sense, but what I found for my self is that actually my feet have more weight when I’m playing with organ shoes, and that the pressing moment of the pedal board is more exact and more accurate when I’m with my organ shoes.
 
V: Oh, that’s another thought I haven’t considered before. Exactly! Your shoe’s weight gives some weight to the feet, and you don’t need to use so much muscle.
 
A: That’s right, and that’s very important for me.
 
V: Right. Maybe for some people it kind of doesn’t matter. Right? But for some it does.
 
A: And especially I feel it when I’m playing on a mechanical, on a tracker organ, and when I have to reach really low pedal notes, and really high pedal notes on the edges. Then I’m more comfortable when playing with organ shoes.
 
V: Okay, so I hope this was useful to Kirk and anybody. Keep in mind that dancers’ shoes also work for organists, not only specially designed organist shoes, but dancers’ shoes, which are very similar to organists shoes as well. So, you can look around if you don’t have organist shoe store in your area, you can often find dancers’ shoes, because ballet and dancing is more common in the world than organ playing.
 
A: Yes, and maybe that’s a good thing.
 
V: I know in Lithuania, in Vilnius, for example, there is no shop for organists’ shoes and organ supplies, but there is a shop for dancers’ supplies. Okay, 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!

Vidas: Hi, guys, this is Vidas.

Ausra: And Ausra
 
V: Let’s start episode 539, of Secrets of Organ Playing Podcast. This question was sent by Kirk. And he writes:
 
Vidas:
I have been practicing 2 hours a day on my full console organ. A couple of questions for my organ only has 25 pedals, so what does one do when running in organ music that is above the range of that pedalboard which runs down to 2 octaves below middle C up to Middle C on the piano. Also, I have been working out of my hymnal breaking up my practicing on the hymns down from soprano, alto and tenor and the bass part separately. With the Marcel Dupré book, I am working on one piece at a time, and working consistently on one section at a time in piece until I get my coordination and phrasing right before I go to the next phrase to work on.
Kirk
 
V: Mmm-hmm! So, Ausra, do you understand what kind of pedalboard does Kirk have? He has from Bass C to the Middle C, like most of the early organs?
 
A: Yes, yeah.
 
V: Two octaves. Two octaves plus one note. Well, sometimes we would have 27 notes like up to D, right? Which would facilitate a little bit. But for example, in a church where we both worked, which is called Holy Cross church, it does have only…
 
A: Holy Cross.
 
V: Holy Cross. it does have only pedalboard going to treble C.
 
A: Well, it was sufficient for church music. Because, anyway you wouldn’t play virtuoso pieces on that particular instrument since we had only one keyboard there. So it was good for him and for some liturgical pieces. So I guess, well having such an organ, you have to select your repertoire accordingly.
 
V: More early music?
 
A: Yes, more early music. That’s right.
 
V: I doubt that Marel Dupré’s 79 Chorales go above C too often.
 
A: Well because it’s also sort of liturgical music.
 
V: Plus it’s a beginners book.
 
A: That’s right so it’s not for like, very advanced organ music.
 
V: Yeah. He might get into higher notes from time to time but not very often.
 
A: But then he can play them an octave lower.
 
V: An octave lower. And the way we do this is not dropping just one note, for example. If there is a note, treble C in your score, right, and then right next to it is D. You have to think strategically. Dropping D one octave below sometimes would sound unconvincing.
 
A: True. Maybe then you have to play lower, both notes, C and D.
 
V: Or maybe entire phrase.
 
A: Yes.
 
V: Or see how can you rearrange the parts and the intervals. For example; if there is an interval when you drop downwards, if there is an interval of fourth and fifth, it’s okay, right? Second, third is also okay. But about a sixth? Sixth is also okay downwards.
 
A: Yes, sixth is okay I think. Seventh is not okay.
 
V: I think seventh is okay if you go downward but seventh upward is not okay, right?
 
A: Anyway I think if we are talking about functional harmony you need to avoid the interval of the major seventh.
 
V: Major seventh. Not a good...
 
A: Major seventh yes. It’s really bad and you need to avoid augmented intervals.
 
V: Uh-huh. Augmented meaning like Bb to C#.
 
A: Yes.
 
V: Augmented second.
 
A: Going up. I mean, yes, doing augmented interval. If you would go below from that, you would have like diminished seventh, which would be worse.
 
V: From Bb to C#.
 
A: That’s right.
 
V: Diminished seventh. Or augmented fourth is not good. Make it diminished fifth. A diminished fourth is better than augmented fifth.
 
A: In general, that’s a rule you know.
 
V: Mmm-hmm.
 
A: In functional harmony that you avoid the leaps of augmented intervals.
 
V: The second part of this question, he writes about those chorals from Marcel Dupré’s book. He writes that he’s working on one piece at a time and working consistently on one section at a time in the piece until he gets his coordination and phrasing right before he goes to the next phrase to work on. Can we suggest to memorize, like Marcel Dupré says?
 
A: If he has time then yes. Why not?
 
V: I think he has to find time because he uses Marcel Dupré’s book. And Marcel Dupré specifically states that after you can play the piece very slowly, both hands and the pedals, then you practice each phrase separately, and do it from memory—basically memorize it. But his method of memorization is very curious—you take a phrase of four measures long, and then you practice repeatedly the first measure, always starting and ending on the downbeat of the next measure, right? And you do like maybe five times while looking at the score and the five time without looking at the score. And then you do the same for the second measure, and then for the third measure, and then for the fourth measure—separately. Sounds boring!
 
A: Yes, it does.
 
V: But that’s what master recommends.
 
A: Well, yeah.
 
V: And then guess what comes next? Next comes two measure fragments. Measures one and two, two and three, three and four. And then you memorize one, two, three, and two, three, four together. And only then you memorize one, two, three, four together.
 
A: I’m glad I wasn’t Marcel Dupré’s student. I would might have just died because his method is so boring.
 
V: So let’s see if Kirk can survive that.
 
A: I guess Marcel Dupré was famous for his discipline and for strictness to his students.
 
V: Yes. And some people don’t like that. And that’s okay with me, because I’m not Marcel Dupré, and he’s dead.
 
A: I know. Remember once we did those tests for fun, to tell us which of French…
 
V: Uh-huh.
 
A: organists we are.
 
V: On Facebook.
 
A: Yes. It was just really funny.
 
V: I was Marcel Dupré?
 
A: No. I was Marcel Dupré. And you were Cochereau.
 
V: Pierre Cochereau.
 
A: Pierre Cochereau, yes.
 
V: I wonder why.
 
A: Yes.
 
V: There was one answer about Charles Tournimere. Who was Charles Tournimere? Our friend Polish maybe.
 
A: No. He was also Marcel Dupré.
 
V: He was also Marcel Dupré. Mmm. Interesting. Yeah. I guess you can only admire old masters or modern masters, up to certain point. Never try to become a master like Marcel Dupré. Be yourself, better. If you see your own character trait which is different from Marcel Dupré’s, develop it further. It will become your unique point of personality. And nobody can imitate you this way, which is more, I think, valuable than imitating masters in today's world. Because there was already Marcel Dupré, there was Pierre Cochererau already. But there is only one Ausra and one Vidas. And we’re still alive and still kicking.
 
A: That’s right.
 
V: And there is still one Kirk, and he needs to become also the best version of himself. 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!

Vidas: Hi guys, this is Vidas!
 
Ausra: And Ausra!
 
V: Let’s start episode 502 of Secrets of Organ Playing Podcast. This question was sent by Terry, and I asked him about his “8 Little Prelude and Fugues” practice. So, he writes:
 
“Hi Vidas! 
Thanks for asking. The pedals are not second nature to me yet, unlike, say, doing scales on a piano. I made great progress with your pedal challenge courses but I need to get in some sort of regular pedal practice like doing my daily Hanson exercises, which I have not sorted out yet. I am also unsure of registration and tempo. Finally, remembering to practice articulate legato in both hands and pedals requires focus. Your fingering and pedaling suggestions, however, are a great time saver, although I do make some changes that seem to work better for me. In any event, practicing these works is a great joy with only a year under my belt. One other thing: it is hard for me to figure out a gradual progression of compositions to practice within your guidance of beginning, intermediate, and advanced groupings. I also stated with the “Orgelbuchlein” compositions, so I started with BWV 599 and will go from there. A small confession: I started with the Widor Toccata as my first piece, quite foolishly, although it was a thrill and I stayed with it through memorization. Maybe I will actually be ready for it with appropriate technique in a few years, but at age 71 I can’t wait too long. Playing these works of the masters is tantamount to coming in direct contact with the Divine, before I pass through earthly bonds and come, hopefully, face to face.
 
All the best,
Terry”
 
A: What a nice letter!
 
V: It is! Even though Terry is 71 years old, he still strives to improve, which is really nice.
 
A: True!
 
V: More people should challenge themselves at this age.
 
A: That’s right.
 
V: I think when he writes that he can’t wait too long because he is 71, and he started playing from Widor’s Toccata as his dream right away, I think people should understand that dreams can change! They can adapt.
 
A: That’s right, and being 71, you could think that you are only 71, because you never know how much longer you will live! Maybe you still have quite many years ahead of you. Nobody knows, actually.
 
V: Yes. So better, probably, not to postpone your dream, but to live it today. Right?
 
A: Well, I didn’t mean that, but I meant that being 71, you might still have a lot of time ahead of you. That’s what I meant.
 
V: And be able to master Widor’s Toccata later.
 
A: True. Actually, and this episode about Widor’s Toccata reminded me about that new girl that we have in our studio this year,
 
V: Right…
 
A: In our Unda Maris studio, who is desperate to play “D Minor Toccata” by J. S. Bach, and this is the only one organ piece that she recognizes. But she has never had any formal musical training whatsoever, and basically what she does is she plays for a church here in Vilnius, but basically she plays everything by ear. So what she hears, she plays that, somehow.
 
V: I told her to discover more organ compositions beyond “D Minor Toccata.”
 
A: And I was convincing her that it would be beneficial to play “8 Little Preludes and Fugues,” but it doesn’t seem that my ideas and thoughts touch her.
 
V: I was not so progressive with her. I just recommended “6 Short Trios” by Lemmens. And, she played the right hand part of the first trio together with 4 other ladies quite nicely, so I thought they could master the first trio within several weeks, I think. But she still wants to play “D Minor Toccata” now. Who knows? Maybe she can play in her own time, but now I hope she will study Lemmens, as well.
 
A: I think when you pick up a piece that is much too difficult for you, you might ruin the piece forever. So, it’s better to go step by step. At least that’s my opinion.
 
V:  Right. So from those “8 Little Preludes and Fugues” that Terry is working on, the easiest one is probably not the first one! Not C Major.
 
A: No.
 
V: And obviously, the gradation should also take into account the fugues. The fugues are much more difficult than the preludes because of the polyphonic writing.
 
A: Could you learn the preludes first and then do the fugues after that?
 
V: That’s how my Bach’s Mastery course: “Bach Organ Mastery Level 1” course is constructed. First we learn “8 Little Preludes,” and then we learn 8” Little Fugues.” But we’re not starting with the “C Major Prelude,” we are starting, I think, from either F Major or G Minor, I don’t remember now, but those two are the easiest ones.
 
A: Well, but I started with G Minor, and the pedal part wasn’t so easy for me at the beginning.
 
V: That’s why always….
 
A: Although, the tempo was slow, so…
 
V: Yeah, it has more voices than three, that’s why I recommend easier pieces like trios—short trios like exercises of 8 measures long—like Lemmens, maybe.
 
A: But when you are talking registration of these preludes and fugues, if you have no idea how else to register them, you can just play them using Organo Pleno, I think.
 
V: And Organo Pleno is full Principal Chorus with mixtures.
 
A: That’s right. And if you find it too much, you could just play with principal 8’, 4’, and 2’, and maybe some with just principal 8’ and 4’.
 
V: Yeah, basically use principals, depending on the character. If it’s a solemn character and bright tempo, then maybe use mixtures. If it’s a slow movement and a meditative character, maybe one principal would be enough.
 
A: That’s right.
V: And register the pedals accordingly. You don’t need always to play with Posaune. Posaune fits well with mixtures with the hands, but if you only play it with one principal in the hands, maybe you only need 16’ and 8’ in the pedals.
 
A: True.
 
V: Excellent. Then Terry asks about “Orgelbüchlein” gradation. Obviously, 599 is the first one, Nun Kommt der Heiden Heiland,” but the easiest one is… 

A: Probably “Ich Ruf’ Zu Dir.”
 
V: Probably, yeah, with a trio texture. And there are a few more like that, not with trio texture, with four voices, but which are less difficult to play than “Nun Komm”. They are at the beginning of the collection, too, but not right at the beginning.
 
A: Plus I think that “Orgelbüchlein” was maybe written according to the liturgical year, but not according to the difficulty of pieces.
 
V: No, no. That was intended as a collection of all the ways you could play the chorale for the liturgical year, and Bach didn’t even finish it.
 
A: True.
 
V: So postpone, Terry, the “Widor Toccata,” until you are ready for this, and have fun with the Bach pieces—easier Bach pieces first. And, if you are interested in the gradation of those “8 Little Preludes,” take a look at my “Bach Organ Mastery Level 1” course, and you will start from the easiest prelude, go through the more difficult ones, and then graduate from the easiest fugue through the most difficult fugue. And of course, this program is available without additional cost, like anything else we create, for Total Organist students. Thanks, 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!

Vidas: Hi guys!  This is Vidas.
 
Ausra:  And Ausra.
 
V: Let’s start episode 514 of Secrets of Organ Playing Podcast.  This question was sent by Lawrence.  And he writes: 
 
Hello Vidas, In your last note to me, you asked me what challenges me. I find pedal playing a challenge because it is relatively new to me. I have only had this organ for a year and a half. All through my playing life I have found sight reading to be difficult. I also  need to practice in a more structured way. I think your practice video should be a big help.
Thank you, Lawrence.
 
V:  Let’s start from the ending, ok?
 
A:  Okay.
 
V:  He mentions my practice video.  Lawrence just recently subscribed to my, to our newsletter, and when person is new on our list, they first get this free 10-day organ playing mini course.  And on day one, they get this video how to play, how to master any organ composition.  Where I teach to play Bach’s chorale prelude from Orgelbüchlein, Ich ruf zu dir, Herr Jesu Christ.  And probably, he refers to this video.
 
A:  Yes, I guess so.
 
V:  It’s interesting.  I created this video at the beginning of our online activity, back in 2011, at the end of 2011, so what, eight years, almost?  And it’s still relevant, it’s still helpful.
 
A:  And it will be relevant, I believe. Because it’s a beautiful piece.  Most of us who play organ love Bach, so.
 
V:  Exactly.  For Lawrence, sight reading is difficult.  This is natural, because sight reading involves playing music that is unfamiliar to you.  And if you haven’t done this before too much, then it will remain difficult.
 
A:  Well, it will come with practice.  The more repertoire you will learn, the easier sight reading will get for you.  And also, the other thing that helps to become a better sight reader is knowing music theory.  Because, now when I teach keyboard harmony and general functional harmony and music theory and solfege for 14 years, I have no trouble reading any kind of music at all.  Reading in any key.  I can you know, sight read easily from 7 flats and 7 sharps, and it doesn’t bother me at all.
 
V:  Mm hm.  That’s good.
 
A:  Because that’s experience.  Because I remember my theory professor at EMU University, Anthony Iannaccone who would tell us,  If you are watching at every interval and you are still thinking what that interval is, it means you don’t know it well enough.  Because it just needs to go automatically without much thinking.
 
V:  Exactly.  How much, how many hours do you teach in a week on average, Ausra?
 
A:  Well, on average, it’s, well, at least 23.
 
V:  23.
 
A:  At least.
 
V:  So in one month, would be what, 90 hours perhaps?
 
A: Yeah.
 
V:  Approximately.  100 maybe?
 
A: Maybe.
 
V:  Maybe.  Let’s make it an even number and say it’s 100 hours per month.  How many months are in your school year?
 
A: Nine. Because then on the 10th month, we have exams.
 
V:  Ah, so, okay.  You are teaching for nine months.  So then, this means that you’re teaching for about 900 hours per year.
 
A:  Yeah, and why do you need to calculate anything?  What will it do?
 
V:  How many hours for 14 years?
 
A:  Well, I’m not so good with numbers, if you like to count, then you do it.
 
V:  Ok.  Ten years would be 9,000 hours.  But plus four years, 13,600 I believe.
 
A: Yeah.
 
V:  Do you know, Ausra, how many hours does it take to reach mastery?
 
A:  No.
 
V:  Well, it depends.  You can do the same thing over and over again your entire life and still don’t become a master at anything.  But what I mean is deliberate practice. Meaning that when you teach somebody, you are striving to do your best, right, and to improve yourself, I would suspect.
 
A:  Yeah.  True.
 
V:  Yes?  So it takes about 10,000 hours to reach this level of mastery in any kind of difficult skill.  Organ playing, harmony, teaching, the same thing.  Were you a good teacher at the beginning, or now?  The same kind of teacher, or did you progress?
 
A:  No, definitely not.  Because it was very hard for me to teach at the beginning, it would take so much of my energy.
 
V:  So definitely you advanced.  That was my front point.  So you see, if people practiced for let’s say 10 years or 14 years with the same occupation, like you teach, they would become relatively in a high state of improvement, I would say, in organ playing, or harmony, or whatever you want.
 
A:  But maybe you wouldn’t need to set up a goal that takes 10 years for you to reach.  Because you need I think the short term goals more.
 
V:  Yes.  But this is world class level.  You could teach in any high school, high, not high but college or university in the world now, correct? 
 
A:  Yes, I could teach these subjects easily.
 
V:  Mm hm.  This is world class.  So, for people who want to reach world class in their skill set, I think there is no shortcut.  But for people who would just simply enjoy improving themselves day after day, and in their organ playing skills, reach a higher level little by little, I think they can take things less seriously.  Right?
 
A:  True, true.
 
V:  Okay, guys. 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 482, of Secrets of Organ Playing Podcast. This question was sent by Susan. she writes:

Hello Dr. V.
I have subscribed to the Pedal Virtuoso Master Course. I am 76 years old, started playing organ after retiring from a non-musical career at age 70. I have taken organ lessons for 5 winter seasons in Florida (I am a snow-bird). I have fibromyalgia and found after week 1 of pedal exercises that my legs were very sore and tired; can deal with the soreness, but fatigue make them want to give out. Week 2 I could only practice every other day. Week 3 I did not start, because I had to continue to practice and be able to play for weekly church service, plus this past week was practicing for a funeral service. So now I am a week behind. Do you think I should continue this course?  Also, regarding the lessons—are the arpeggios supposed to be all legato? I wear size 10 1/2 shoe but still find it difficult to reach g to c. Thank you for your consideration of my problems.
 
Susan
 
V: Let me first congratulate Susan for choosing to practice this strenuous course, right?
 
A: Yes. It’s really a challenging course.
 
V: Not too many start, and even less people finish what they start. But those who do finish, reap great benefits. So she is basically feeling strenuous in her, stress in her legs and they’re very sore from practicing pedal arpeggios and scales. Is this normal, Ausra, or is she doing something that could be avoided?
 
A: Well since she has a health condition, specific health condition, yes, I think she maybe need[s] to consult a physician before proceeding with this course. I don’t know if it’s okay for her to practice.
 
V: Mmm-hmm.
 
A: Because really those arpeggios to play legato are really hard. Although she has a big foot but, long foot, but it still probably might be not [a] wise thing to do.
 
V: Do you think she needs to play everything legato?
 
A: Well, it’s hard for me to say about an exercise but if for example it would be a piece let’s say written by some great French master…
 
V: Mmm-hmm.
 
A: Dupre or Vierne, then yes, you would have to play it legato, of course. But what I do…
 
V: Mmm-hmm.
 
A: myself in places like this, if I have let’s say to play legato, G to C, with right foot, yes? I quickly, right before finishing that G note, I would place my left foot on that…
 
V: Substitute.
 
A: Substitute, yes.
 
V: Mmm-hmm.
 
A: And that’s how I would do it.
 
V: For some people maybe, it maybe wise to adjust a little bit some pedaling...
 
A: True.
 
V: To their condition. And, but I don’t think she has to put so much stress on playing it so perfectly, you know. These are just exercises, not French masterpieces. And the point of this course is just to improve your pedal technique, right? And probably improve your ankle flexibility as well. So whatever you do, don’t overextend yourself. Don’t feel that you have to play everything one-hundred percent perfect. This is one point. And another point—take frequent breaks and rest. Maybe walk and do some other things which involve a different set of muscles. This is how I practice; if I rest before I’m tired, I’m never tired. I’m never tired. And I can practice for much longer this way, without any danger of damaging my body.
 
A: Well, I used to love to practice for [a] few hours in a row when I was working on my Doctorate, for example, and was preparing for Doctoral recitals. Let’s say I would practice organ for four hours straight without ever going down from the organ bench…
 
V: Mmm-hmm.
 
A: and resting. And it was okay for me. It worked at that time.
 
V: For a while.
 
A: For a while. But now at the age of almost forty-three, I can’t not do it anymore.
 
V: Cannot?
 
A: Yes, I cannot do it anymore. So now I have to practice less and take longer breaks. So, you always need to consider your health condition. Probably not so much your age because sometimes being seventy-six you can be much healthier than being forty-three—just like I am. So, every person is really different. But I would say probably, half an hour shouldn’t be too long practice for probably anybody. Or maybe twenty minutes.
 
V: Twenty minutes, fifteen minutes, if you need to take a break and then come back, yes? Yeah. Taking breaks is not a sin, right? Don’t feel bad if you need to rest. Okay 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!

Vidas: Hi guys!  This is Vidas.
 
Ausra:  And Ausra.
 
V: Let’s start episode 477 of Secrets of Organ Playing Podcast.  This question was sent by Suzy.  And she writes:
 
Dear Vidas,

​One of my dreams for organ playing is reaching higher and lower for pedals with confidence that I hit the right pedal.  What is holding me back is:
 
1. Performance Anxiety which fluctuates. I have rituals for getting into a good mindset. I have a breath deeply, and center the mind so it is not fighting itself eg right and left centring. I
imagine a dial in the middle of my forward that I have to press the word ‘Center’ switch. I must not be too analytical but go with the flow, and have muscle memory.
 
2. Sometimes the way I practice.  I need to not just play through; I need to focus exclusively on the bars that need attention. Timing this even for ten minutes a time rather than playing through without corrective practice. I have to consciously prevent myself just playing through which is not practice.
 
3. Having confidence in my ability. Also setting targets. Realistic ones. Don’t keep starting new pieces without finishing perfecting them. Eg learn two new pieces per month. So I need to set targets.   Also playing hymns at the right tempo.
 
Thanks,   Suzy
 
V: So Suzy needs to perfect her pedal playing probably, in higher and lower levels, as she writes, but has performance anxiety and sometimes practices inefficiently, and probably lacks confidence in her skills.
 
A:  Well, I guess these problems are concerning many organists.  I think it is quite common concerns, and quite common problems.  Well, when you’re not managing pedal right, I think you just have to spend more time playing it, while it becomes as natural that you will stop thinking about it.
 
V: When you played the organ for the first time, did pedal board seem natural to you?
 
A: No, it seemed very unnatural at the beginning.  But now I don’t think when I play about it.  It’s like my third hand.
 
V: That’s interesting observation.  In many cases, organ compositions are created in a way that pedal line serves like a third hand, yes.  That’s why we have three staves most of the time.
 
A:  Sure.  Now what about rituals?  Do you suggest for people to have rituals before performance, or not?
 
V: Um, rituals to me, associate with people who want control, right?  I have to clarify this.  If you follow some rituals, you feel calmer, and your mind works clearer, and you feel more present and better prepared to cope with the problems that are arising in the moment.  But what if you miss your ritual for some reason, or are unable to do it before performance?  What if you just have to just jump in and play, if somebody asks you, right?
 
A: Yes, that’s what I thought about it, too.  But it’s sort of, maybe on one side it’s good to have some rituals, but on the other hand, you never know if you will be able to keep to them, and if you won’t, it might just scare you away so much that you won’t be able to play at all.
 
V: Mm hm.
 
A: You might panic.
 
V: I met an organist once who swore she would never play in public again after a public performance.
 
A: And I know people have all these, strange things.  I heard that one, I think, Latvian organist, never eats like green cucumbers, fresh cucumbers before, on the day of recital, because his stomach does not digest it well, and all these funny things.
 
V: What about Estonians?
 
A: I don’t know about Estonians.
 
V: If Latvians don’t eat cucumbers, maybe Estonians… don’t eat tomatoes. 
 
A: Well....
 
V: And Lithuanians don’t eat potatoes.
 
A: Ha ha.  If Lithuanians won’t eat potatoes on the day of recital, they might die.
 
V: (Laughs)
 
A: It’s our second bread.  Well, I’m just joking.  But in any way, I had some rituals myself, when I was still in high school.  I wouldn’t eat the day before my performance, and do other crazy things.  But then I would get really sick after performing because I would have, like, migraine, and all that other stuff.  And when we went to study to the United States, I saw that I cannot have any rituals whatsoever.  Because if you will have to let’s say to perform after, you know, at 8 pm, and you have classes going all day long and other things you have to do at the university, like teaching assistantship, and all that other stuff, so, what, when, just keep hungry all day long, and then you just faint near the organ bench at 8 pm?  And sort of, this busy schedule changed all my habits and I stopped having rituals.  I guess the most important thing is that, a minute before you, when you sit on the organ bench, how well you might concentrate and focus during that one minute.
 
V: Ausra, don’t you think it’s sort of similar to the way people practice martial arts, and they do all kinds of rituals in the dojo as they call it, in the classroom setting.  They bow, they breathe, they wear certain clothes, and belts of various colors.  But what happens when you go outside of the dojo, and somebody attacks you in the dark alley, right?  You cannot say to the attacker, “Oh, wait a second - I will do my 2 minute breathing meditation now, then I will change the uniform, and then maybe do a warm-up.”  And so, you will get beaten in the moment.  Or maybe you will surprise your attacker this way and he will say, “Oh, it’s not worth dealing with this crazy person,” and maybe he will walk away.  It’s a good tactic maybe.  To start singing, for example, when you are being attacked.  Nobody expects you to sing, right?  And this might end the fight, actually.
 
A: I think all these talks are just speculation.  Because you never know how you will react in real life.  It’s easy for you to talk about it while you’re sitting in your chair at home, comfortably, and nobody threatens you. 
 
V: I’m not about that.  I’m talking about if somebody behaved unexpectedly, had the guts to do this in a real situation.  So, the same is with organ performance, I think.  When the time comes for you to play, it’s a real challenge.  It throws you off balance sometimes, and you have to react without preparation right away.
 
A: Sure.  Because you never know what will happen during your performance.  And how well you feel on that day, and all other things.  That’s what is the difference between amateur and professional.  A professional has to play in any circumstances, in any situation.
 
V: Mm hm.
 
A: So.
 
V: All right, guys.   We hope this was useful to you.  Keep exploring your boundaries, what you can do during public performance, and see how your body and mind reacts.  You might be surprised.  And send us more of your questions.  We love helping you grow. And remember, when you practice…
 
A: Miracles happen.