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: Hi guys! This is Vidas. Ausra: And Ausra. V: Let’s start episode 647 of Secrets of Organ Playing Podcast. This question was sent by Nabil, and he writes, 1) My dream is to be a great concert Organist, and to be one of the most significant Organ performers in this century. Because I believe I have something new to bring. Also to be the first Organist in a Cathedral (good organs usually are in big churches), to push the people in the church with me looking towards heaven in their prayers by making great music… V: This was his dream. Number 2, it’s obviously the challenge, and it is 2) * Not having Organ or even Classical Music atmosphere around me. V: He lives in Israel. Also * Planning to study Organ and Church Music in Europe (it's very hard and complicated plan) * I need support in social media to get known Love you and Ausra!!! V: What do you think, Ausra, about his dream first of all? A: Well, I’m thinking that he is a very ambitious young man, and I wish him good luck with his dream. V: Do you know any very significant organ performers in this century...maybe in the past century? A: Yes, I know significant in this century and in the last century as well. V: Just name one. Your favorite. A: Well, from which century? V: 20th century. A: 20th century. Well, probably Marcel Dupre comes to my mind. V: This one, right. Do you think Marcel Dupre had this kind of goal or dream, to become one of the most significant organ performers in the 20th century? A: Well, I don’t know. If he wrote a diary maybe if this information is available. But probably not. I guess he just did what he did on a regular basis, because he was really a very hard-working man. And of course he also wanted that people around him, for example his students, would be also very hard working as well. V: Yes. So it usually is the opposite. If you have the dream of becoming famous let’s say, you will not become famous of your work, probably. You could become famous of your physique, appearance, outlook. It’s possible right, if you do something eccentric with your face or your body. But if you want to be well-known because of your work, as Nabil writes, it has to be the opposite dream. You need to be probably more concerned with building up your skills than to building up your fame. A: True, because without your skills, you won’t be able to be famous. Well and in general, if you want to be famous on social media, then I would say that probably organ is not the best way to get known, because it really takes time and effort, and support of course. And luck, too. Well, look at such person for example as Cameron Carpenter. Well, he graduated from Juilliard if I’m correct. Well, do you know what it means to be accepted to Juilliard and to graduate from it? It means that he had to put a lot of effort and to do a lot of work. And now yes, he’s famous on the social media as well. Could you do that? Well I don’t know. V: And also some people get more luckier than others. You mentioned luck, right, and that’s a big factor actually. For example, I know a person who has only two videos on his YouTube channel, but he has several million of views. Organ music, but just two pieces. And he’s not been active for many years now. Just riding this way for a decade maybe. And probably he’s not even playing organ anymore. Maybe changed direction. But it doesn’t mean that he’s not well known because of those two videos. He was young and talented and got somehow noticed. But that’s luck, that’s not hard work. A: Yes. And you know, I already gave up my dream to become famous, and to have, to even gather 1,000 subscribers on my YouTube channel, because I realized that I’m neither young, nor a man and neither slim. So basically, I don’t have any chances to get famous in an organ world. V: Famous is very relative thing you know. You are famous to me, and you’re famous to people who are listening to this podcast for sure. Even though they might not count as one million subscribers of your YouTube channel. But basically, I think it’s a relative thing. If I gave you advice about YouTube channel, I wouldn’t give you advice to be famous or to reach 1,000 subscribers. No, probably the most important thing will be also just to concentrate on uploading music. Playing, recording, and uploading. The same as for Nabil probably. On a different scale, of course. A: I think the most important thing is not to become famous, but to really enjoy what you are doing. To really like and love what you are doing. Because otherwise, all that daily routine that you, all those hours that you have to spend practicing organ might become really tiresome for you if you will not love enough what you are doing. V: Exactly. If you are doing just for the sake of some lofty goal which might be true for you now, but I don’t know about the future, you might change your mind, then you will not last long. You might last one week, two weeks, maybe a month. And then you get burned out, because the results will not be positive enough to create positive feedback loop. Like for you, right? If you had received more subscribers right away, you would keep going and going and going and uploading new music. But it doesn’t work that way. It’s much slower progress, if you keep counting subscribers. If subscriber count is your metric of success, basically. But I don’t think subscriber count is the metric of success. Success probably means a lot of different things to a lot of different people. A: Yes, and you know as about studies abroad, for example in Europe, I would suggest for Nabil to consider not only Europe but also United States - why not? Sometimes they can offer good scholarships to which you can apply. And if you’re talking about Europe, why not to try for example Germany? I think it has really good ties with Israel. V: Correct, correct. Yes. Well, he writes the last challenge as support on social media. Everybody needs attention, right, and everybody fights for this attention. A: Yes, therefore this competition is really severe. V: And some people get discouraged and give up, close their channels and delete their accounts, change their mind a week later and reopen again. That’s fine, but it’s a negative circle, basically. You won’t win this game by doing this, by playing this game. I think most important thing, as you say Ausra, is just enjoy what you’re doing. And keep sharing your music with others. And if that will work eventually, that’s okay. If it’s not, at least you will have a good plan. A: Sure. Because otherwise you might find out after 10 or 20 years of your life that you actually have wasted it and did things that you even didn’t like it. V: Yeah, for example if you suddenly analyze what’s the most popular type of organ music online right now, and start playing it over and over again, this type of music. Not the same piece, but similar pieces by different composers. And you get popular, right - you might get popular this way. But if you keep doing this for years without love, just for the sake of popularity, as you say, you might get revelation that you wasted your time without actually playing anything that you did like during that time, right? A: Yes. V: Thank you, Nabil. And we hope this was useful to other people who are facing similar challenges and have similar dreams. 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 BMC and get early access to our videos. A: Find out more at patreon.com/secretsoforganplaying and buymeacoffee.com/organduo
Comments
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 645 of Secrets of Organ Playing Podcast. This question was sent by Katrine, and she writes, Thanks for asking about this Vidas. 1. To be as fluent and reliable at organ playing as I am at the piano (professional accompanist/repetiteur by background) 2. Getting the set-up right for feet and being confident that I am practising in a way that will lead to accuracy - not sure if stool height is correct, shoes are perhaps too wide etc. Unclear on where feet should be able to reach (get pain in legs if I stretch too far and have hurt knee trying to insist with my right leg that it can reach the bottom notes!) and not sure how best to practise pedal scales (have seen varying advice on toe/heel use). Many thanks! Katrine V: Okay. So Katrine wants to be very much proficient at organ playing because she is now proficient at piano - professional accompanist and repetiteur. Let’s talk about her challenges. A: Well, as I understood her, the main challenge is basically the pedal technique and playing pedal in general. So if she is not sure how the, basically the women organist shoes need to look like, she might watch my videos on my YouTube channel. V: Yes, Ausra uses Organmaster shoes. I also use Organmaster shoes, but for men. And I will of course include the link to that site for people to click. A: Yes, and as my brother was just making a joke another day while watching my videos, said that my shoes, these organ shoes would be very good when I would be dead… V: For funeral! A: Yes, for funeral! Well, that was of course a bad joke, but really funny. V: Only your brother could joke like that. A: Yes. V: To you. A: Yes. V: Okay, so Pedal Virtuoso Master Course would really help people who are struggling with pedal technique, don’t you think? A: Yes, that’s a very helpful course. V: If she wants to play scales on the pedals, so that’s part of this program, scales and arpeggios. And we have exercises that help to develop the perfect pedal technique with heels and toes. Just need to stick with it for a number of weeks. It’s not that easy to start, and people get discouraged. A: Sure, especially that’s a problem if you are a really accomplished pianist, and suddenly you started to play the organ, and you can still do very things on the manuals, but you are a beginner with your feet, and it might be frustrating. You might want to achieve results very fast, but it’s a slow process in reality. It takes patience and it takes time. V: Right. The thing about setting the feet and sitting in the right way is that when you sit, your feet have to touch the pedalboard - not entire pedalboard, but just the edge of the sharps. The toes have to touch the sharps. But not depress the keys - that would be too low, the bench height too low. But just gently touch the surface of the white keys where they connect with the sharps, don’t you think, Ausra? A: Yes, that’s very good advice. And then never think about reaching, let’s say with the right foot at the left side of the pedal board. You cannot do that. Because there are certain limits, how far your feet should go. V: I agree. I usually limit my right foot in the left hand side of the pedalboard starting from bottom G. The G is still possible to play, comfortable to play with the right foot, but below G is not. The same is if you want to go up in the pedalboard and play the top right notes. I would play probably A or B flat, maybe A with the left foot; and then starting from B, I would play only with the right foot - correct? A: Yes, that’s what I do, too. Because I really have quite short legs, and wouldn’t, couldn’t reach so far. So what I do, I really love to play baroque music, because when you are using alternate toes, that solves many of the problems, plus when I am playing hymns, I also mainly use just toes in the pedals. But if I am playing modern or romantic music and of course I cannot avoid using heels, then I actually use a lot of sliding with my feet and a lot of substitutions. V: Another thing that might help is to understand how to shift position. Then you wouldn’t hurt your knees when you have to play with the right foot in the lower left region of the pedalboard. Not extreme lower, but maybe in the bottom octave somewhere. Then you need to shift your lower half, your legs, basically. Your knees have to be facing the note that you will be playing. If you’re playing, let’s say bottom G with the right foot, or with the left foot also, you have to shift both of your knees into that direction, and both of the knees have to face the note G. The same is if you move up towards, also you move your both knees to the right. That helps? A: Yes, that helps of course. And another thing that you need to know, that unless you have some sort of preexisting health condition and it hurts when you’re playing, then maybe you need to consult your physician what you need to do, but if you haven’t had any preexisting conditions and it’s starting to hurt your knees, for example, for playing the organ, it means that you are really doing something not in that direction as it should be, because naturally it shouldn’t be hurting your feet while playing the organ. V: Yes. Be careful, and if it starts to hurt, make a rest, walk around the room for awhile, and see what you can improve in terms of shifting the direction, maybe adjusting the bench height or distance from the keyboards also. It doesn’t have, it shouldn’t be too far away from the pedalboard - from the keyboards, actually. A: Yes, especially if you are not really high for example, as I am. V: So, both your feet should be touching the edge of the sharps and resting gently on the pedalboard. That’s the correct distance and height of the bench. Okay. We hope this was useful to Katrine. Please check out our Pedal Virtuoso Master Course. That way you can grow much faster. And 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 BMC and get early access to our videos. A: Find out more at patreon.com/secretsoforganplaying and 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! V: Hi guys! This is Vidas. A: And Ausra. Vidas: Let’s start episode 642 of Secrets of Organ Playing Podcast. This question was sent by Rosemary, and she writes,: “Happy New Year greetings to you all. This day dawned breathtakingly beautiful and we will all be glad of the shade in the garden as the heat rises. A new year ahead in which our prayers and hopes are with those frontline workers caring for victims of Covid 19, and discoveries for containment. May you all and your families stay safe. Your comments, goals and plans are incredibly inspirational for me, with renewed energy I have heaped my attention on BWV 529, and various choral preludes, BWV 604 a favourite. Studying your improvisation and trying out some variations. Thanks to you all and the very best of good wishes for a happy and productive year ahead sharing your wonderful talents. Rosemary” Vidas: Obviously, this question was written just at the start of the new year, probably. Right, Ausra? Ausra: Yes, and it’s more not like a question but as a New Years wish, which is very nice and kind. Thank you Rosemary! Vidas: Maybe we could discuss a little bit what she’s talking about right now—Bach’s works 529 and 604. BWV 529 is one of the trio sonatas. I believe this is C Major Sonata. Ausra: Yes, this one was the first trio Sonata that I learned by J. S. Bach. Vidas: And 604 is a chorale from the “Orgel Buchlein,” “Gelobet seist du Jesu Christ.” Okay, so let’s start with the easier one, maybe—with the chorale prelude, “Gelobet seist du Jesu Christ, BWV 604. We have, of course, the score with fingering and pedaling available. Do you think it’s helpful? Ausra: I think it’s very helpful. Vidas: It’s written for two manuals and pedals, obviously. The right hand has the solo melody in soprano ornamented, and the lower three voices move in dialogs and duets with each other creating very nice harmonic and melodic, and polyphonic, and also rhythmic fabric. Ausra: Yes, and although the “Orgel Buchlein” collection is not a really hard one, I think in this chorale, you have some things to do and to learn, because when I’m looking at the pedal part, it’s really quite a vivid part. Don’t you think so? Vidas: It reminds me of some chorale preludes by Buxtehude. Right? Ausra: Yes, yes! It resembles that. Vidas: Except with Buxtehude, we usually have… What’s it called… Vorimitation technique. So before the cantus firmus in the soprano enters the chorale tune, we have three lower voices also presenting the same phrase in fugal imitation, but on a different registration and accompaniment. But with Bach here, he starts right away with the chorale phrase in the soprano. Ausra: Yes. It’s like, “Schmücke dich,” for example, firmus, or “O Mensch, bewein…” Vidas: No, not exactly. Right? Because in, “O Mensch, bewein…” yes, the melody starts right away, but in “Schmücke dich,” we have, I think, an introduction, first, and then a chorale tune… Ausra: But anyway, it’s an ornamented chorale tune in the soprano voice. That’s what I meant ... Vidas: Yeah… Ausra: ...comparing these two. Vidas: Good point. Obviously, if you add the introduction or those interludes, polyphonic interludes, then the chorale becomes quite long. Ausra: Well, that’s true, because “Schmücke dich” is from a different collection which is more sophisticated, and all those chorales are much longer. Vidas: Right, and probably their purpose is different, too. And with each of the chorale preludes from the “Orgel Buchlein” collection, they could easily be played as a hymn introduction, at least in those days. Ausra: Yes, sure. I’m not sure how well the congregation would respond nowadays to such an introduction. I think it depends on probably the congregation and priest. Vidas: They would, probably today, sound more like a prelude before the service. Right? Or a communion piece instead of the hymn singing. Ausra: Why get in trouble as Bach did in Arnstadt when he started to, upon returning from Lübeck hearing Buxtehude’s playing, he started to make all these elaborate interludes between hymn stanzas, and people were not very happy about it. Vidas: Even before, between hymn phrases. Right? Imagine there are four phrases in a short hymn, so he would add interludes before the second, third, and fourth phrase. That would be very confusing, even though it would sound beautiful if done properly, but it would be confusing for people, when to start the next phrase. Right? Because they would sing with these big chords in the accompaniment, and then suddenly have to stop and wait for young Bach to play his flourish and then sing again. Ausra: I wish I would have a time machine and could travel to that time and to listen at least once about what he did. Vidas: We could obviously imagine, some of his chorale preludes have these flourishes. The one I’m thinking of is probably “In Dulci Jubilo,”, BWV 729. I will have to double-check. BWV 729 or even 751 there is one, too. But 729 is with big flourishes, I think. Great. So getting back to “Gelobet seist du Jesu Christ,” I think it’s important for people to start learning it right away, step by step, maybe phrase by phrase and also voice by voice. What do you think about that, Ausra? Ausra: Yes, if you have time I would definitely do that. Vidas: And if you don’t have time? Ausra: Then don’t play Bach. Vidas: Yeah, because you have to make time to play Bach properly. And obviously, in the original edition handwriting, the left hand part plays from the alto clef. This is fun to read. Ausra: Yes, and some editions still preserve it. Some of the oldest ones. Vidas: Yes, 19th century Bach Gesellschaft edition. I think we have the fingering and pedaling written on that edition, so people who like alto clefs can take advantage of that, too. I don’t know which edition Rosemary is practicing from, but nevertheless, it’s really fun. And then, once you do solo parts, you can practice two parts together—soprano-alto, soprano-tenor, soprano-bass. Right? What else? Alto-tenor, alto-bass, tenor-bass, and then three part texture. Soprano-alto-tenor, soprano-alto-bass, soprano-tenor-base, and alto-soprano-bass before playing all four parts together. Ausra: I feel dizzy already only by listening to you. Vidas: So how would you recommend learning it? Ausra: Well, the same way you do. Vidas: So… Ausra: But I couldn’t name all these variations right away. I get confused. Vidas: I know. Alright. And then, obviously she would want to play a very difficult piece! BWV 529, C Major… Ausra: ...Trio Sonata… Vidas: ...exactly. I wonder why she chose those pieces from different, actually, technical levels? Ausra: Well, we don’t know if she is working on the entire trio sonata, or only on one movement, and which one out of those three. Because they are different in their difficulty level. For example, I don’t think the first movement is very hard. It’s quite comfortable when you manage the text, but it’s quite long. Then the second movement is easier because, of course, it’s a slow movement. But still, there are a lot of things to do, and it’s not easy to play it beautifully. But I guess the trickiest one is the third movement, although it’s really short comparing to the first one. But it has some tricky spots. Vidas: Correct. But the technique to learn it would be the same as the Orgelbuchlein Chorales, except here are three voices, and only 7 voice combinations. Right-hand, left-hand and Pedals. Right-hand and left-hand together, right-hand and pedals, left-hand and pedals, and all voices together. You could argue that it’s best to practice in shorter segments, or the entire piece voice by voice. I don’t know. What do you think? Shorter segments or longer? Ausra: I would always learn in longer segments, but that’s my way of learning. And I would always skip these three beginning things that you said, just to play a single line. I never play a single line. Vidas: Because you already can play them well. Right? Ausra: But even when I started to learn my first trio sonata, I would work on right-hand and pedals, and then left-hand and pedals… especially left-hand and pedals. That gave me much trouble. Vidas: Would you learn pedals alone? Ausra: Well, actually I didn’t, but it’s worth doing, probably. Vidas: So yeah, for each their own, probably. By the time you were starting playing the organ, remember you were playing piano for 12 years. Right? Ausra: Yes. Vidas: So obviously on a professional level, so… each line didn’t make much trouble for you—didn’t present any difficulty, or too much, therefore you could concentrate on two lines right away. Ausra: But I guess if you are learning “Trio Sonata,” you should be at least in the intermediate level, because it’s not a piece for beginners. Vidas: Obviously. Not even a basic level piece. It’s obviously an intermediate level piece, or even an advanced level piece if you play the fast movements. And first of all, start with the Largo—with the slow movement—middle movement. Ausra: Yes. I remember those repeated notes in the middle movement were not as easy for me to play well. Vidas: Yes, this movement consists of two episodes alternating with each other, and the first one is okay, but then the second one is very difficult. The second half features the same thing in different keys. Ausra: And in general, sometimes I think that it’s easier to play the fast movements comparing to the slow ones, because the fast movements, if you have a good technique, everything is pretty straight forward and simple. But the slow tempo, you have to take more time and you have to know what to do with that kind of music, because it’s difficult to pick up the right tempo, because if you play it too slow it will be boring, if you take a tempo that is too fast, it might sound unmusical. So, you really have a lot to think about while playing slow movements. Vidas: My final advice would be keep counting. Keep subdividing the beats, but keep counting out loud. This will help you feel the pulse, the correct pulse, and stay in the pulse throughout the piece. When without pulse, there is no liveliness in the music. Ausra: Yes, good advice! Vidas: Okay guys, we hope this was useful to you. Please send us more of your questions; we love helping you grow. And remember, when you practice, 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
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 640 of Secrets of Organ Playing Podcast. This question was sent by Pieter, and he writes,: “Dear Vidas, Thank you for sending me the extra exercise supplementary to the sight reading course. I appreciate that very much. Firstly let me apologise for my late response after finishing the course. It has been rather busy with various things. You may recall that when I first approached you asking your advice my goal to improve my sightreading skills was very much focussed on obtaining the CRCO (Colleague of the Royal College of Organists) diploma. I had already achieved credits for the paperwork and repertoire but not the musicianship tests. I am pleased to tell you that I achieved the last part of the qualification in the summer session and I therefore now have my CRCO qualification! I was really delighted to achieve this as it was a real challenge for me but after a lot of work, my efforts paid off! There can be no doubt that the sightreading course helped me particularly with issues of rhythm which I always found a weak point so I am grateful for that indeed. Although transposition was something I found slightly less challenging, this is also a sort of sightreading so I am sure the course helped me there too! I think I am done with organ diplomas so I will concentrate on learning repertoire now and just enjoying playing the instrument that I love but I have to say that my all round musicianship skills have improved through the experience of preparing for a challenging qualification and that has to help my playing in the general sense. You would like to have some feedback about the course and I am very happy to give that. Firstly I would say that the course is excellent and I can well imagine that a lot of effort went into preparing it. I like the graded approach, each week new challenges being added. I thought that was better than anything else I had seen elsewhere. There was a slight problem with downloading the latter material and this was a little frustrating as it had been so easy up until that point. I am not sure what the problem was or indeed if it had something to do with my computer but anyway I found a way around it in the end. I think that many people wishing to do the sightreading course (and this probably applies to the other musicianship courses you offer) will be aiming to gain an organ qualification. There is a captive audience out there as for the RCO exams and also probably for the AGO exams as well, there is limited graded material available. Most people studying for RCO diplomas are constantly searching for materials to help them achieve success and that isn't always easy. It is worth noting that if one looks at past papers of test material used, it is almost always a section of music from the German romantic repertoire e.g. Merkel etc. At CRCO level they are also looking for competency in the use of the swell pedal and manual changes. Stop changes are not required at this level but certainly would be at ARCO level. Although the baroque repertoire has much to offer it might be a good idea to further the development of exercises to include later romantic organ music where organ management issues are so important and definitely crucial to success in this test. I think that if this were to be available many candidates would be interested in signing up for your course! I would certainly recommend it under those circumstances! I realise that not everyone wants to improve musicianship skills to pass an exam but the fact of the matter is that these things are part of many organists trajectory and I think there is a real opportunity here for you should you have the inclination to do it. These diplomas are such a gold standard for many and they are very challenging and not easy to acquire as you no doubt know. I think there is a potential for you to develop this area if you so wished. I hope these comments are helpful and once again, many thanks for your help. I wish you and Ausra and successful and hopefully a more uplifting 2021. Best wishes, Pieter” Vidas: So Ausra, as you understand, Pieter took my “Organ Sight-Reading Master Course” and gave feedback, because he passed the “Colleague of Royal College of Organists” Diploma, which is very exciting. Ausra: Yes! Congratulations Pieter! We are very glad you made this achievement! Vidas: And of course, this course is a long course. It has 40 weeks of training plus 7 weeks of bonus material. Not everyone who starts this course ever finishes it. Ausra: Yes, I implied that. Vidas: And Pieter is one of them who did finish, so it’s really exciting. Ausra: And it’s a really nice feedback. Thank you Pieter. Vidas: I’m not sure what the problem with the download was, but I noticed that at some point my courses suffered downloading issues. Maybe that was the browser issue. But it sort of was a short problem—maybe after a few days it disappeared by itself—so it wasn’t probably Pieter’s fault or my fault, it wasn’t even his computer’s fault. It might have been his browser’s fault, like Google Chrome. Something happened with Chrome at that point, and you can’t load things. That was at least my case when I looked. But I’m glad that it was solved in the end. Ausra: Yes, all those technical issues can give people a hard time. Vidas: And a real headache. Obviously, one suggestion sticks out in this feedback, which is to supplement this course with materials suitable for Romantic music—legato technique. What do you think about it? Ausra: Yes, I think that’s a good idea. Of course you include some things in this material as well. Vidas: At the end of the course, starting from week 41, I think. We have 7 weeks of bonus materials where I provide sight-reading exercises taken from 30 short Reger’s Chorale Preludes all opus 135a. And these pieces are at first mastered or presented in single line, like right-hand, left-hand, pedals, and then two part texture, and then finally we have three part texture. So it’s kind of a shorter section in the entire course, but it’s still present. Obviously, we might need another course, because it’s already a long course. Right? To require people to do 20 or 30 or 40 weeks plus in addition to this course, it would be too much. Probably we would need another level just for legato playing for Romantic music. Don’t you think? Ausra: Yes, that’s what I thought, too. It would be nice to have a… Vidas: Separate course… Ausra: ...Separate course. Vidas: And obviously, in this course would be issues like registration changes, swell pedal, crescendo pedal… right? Ideally, that would be a video course, where I could demonstrate how it’s done each exercise, and people would get a video in addition to the PDF score. Yeah, that would be really helpful, because people really take those exams seriously and try to improve. Tests, written tests, the written portion of tests are much easier. Theoretical, right? Ausra: Yes. Vidas: And practical exercises are always a bummer. Ausra: Yes, and it’s interesting that even people with university degrees and advanced degrees like having Masters or even Doctorate degrees sometimes take these exams, too. And I know some people who did that. Vidas: Which means that the general musicianship for Master level graduates are not always equal to their theoretical achievements. Ausra: Would you like, for example, to take FAGO? Vidas: FAGO? In order for me to take any course, I would need to see what is the benefit for me. What is the return on my investment? Because obviously, those tests or exams cost money. Right? And sometimes not even a small amount of money, sometimes a considerable amount of money. Usually, the higher the test, the more difficult the test, the more money you have to pay. Ausra: I’m just kidding, of course, because you have a DMA already, which is equivalent of FAGO. Vidas: Yes, you know there is one test which is not equivalent to AGO, which is Trinity College, this exam in London. Trinity College London, so TCL. Remember, James Flores took LTCL, and now they have the highest level FTCL, which is Fellow of this college. Basically, it’s a recitalist diploma probably, but at the highest level. It’s probably very expensive to take, right? Ausra: Yes, I guess so. Vidas: So I’m not sure if it’s worth it. I’m still playing recitals. Last year I played 20 recitals, so nobody is stopping to play recitals. Right? Even if I haven’t passed this test yet, or ever will take this test. So, people sometimes create artificial boundaries for themselves and think that this external validation with change some things. It’s good if you present this diploma or a test from AGO or RCO to your employer and ask for a raise. Ausra: Ha Ha… do you think in my case it would help? In my job? Vidas: What is your job? Ausra: Teaching music theory. Vidas: Teaching music theory… you know, it’s not a private institution, therefore those additional diplomas don’t matter. It’s a public institution, and public rules state that your salary is as high as it can be, and it will be raised whenever everyone is raising. It’s a public institution. But if it were a private institution, yes! You could go to your employer and say, “here, I got this diploma, please give me a raise.” Ausra: Maybe in my next life or in my dreams. Vidas: So like in the church, if you work at church and you have an organist position or a music director position, yes. You could approach your clergy and say, “give me a raise.” Ausra: But then they might just kick you out of the church and hire somebody cheaper. Don’t you think so? At least in Lithuania. Vidas: Yes, and that would prove that you don’t belong there. You belong to a better place. So, yeah, it’s tricky to get the raise in places where people don’t appreciate what you do. Don’t appreciate enough what you do. Right? When you are replaceable. So the solution is always to be irreplaceable. Right? Ausra: Sure, but I think everybody is replaceable. Vidas: In those institutions, yes. Yes. Kind of a difficult topic, obviously, because we can’t change the system. But again, we are very happy for Pieter, who has taken our course and given this excellent feedback. Thank you so much Pieter, Ausra: Thank you very much! Vidas: 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
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 638 of Secrets of Organ Playing Podcast. This question was sent by Graham, and he comments on my recording of the practice session of his Idyll. So he writes,: “Wonderful, Vidas! It was written in the summer of 2020 during the first lockdown of the Covid pandemic. I saw a competition advertised for a meditative piece for organ and this composition appeared nearly instantly! I do love Erik Satie's 'Gymnopedies' (I have heard you play No 2 on the organ!) and there is a strong French impressionist influence in this piece. It came together remarkably quickly from an initial improvisation to the finished composition as I was very near the deadline for submitting for the competition. As you know, I am not 'original' in my writing as I recognize everything I create is derivative - a fusion of everything I have ever heard or played. I love the music of Cole Porter and George Gershwin and Irving Berlin . . . so there is a trace of those songsters deep inside the piece as well. It sounds gorgeous on the Salisbury Willis - a sound I never expected to hear. THANK YOU!” Vidas: So Ausra, do you remember me playing this piece? Ausra: Yes, I remember it. Sweet little slow meditative piece. Vidas: Idyll. It’s like a pastoral scene from an antiquity time with lots of nature and maybe some animals. Ausra: I think it really fits the Salisbury organ very well. Vidas: Yeah, I enjoyed playing it. So what Graham writes in response to the style, did you hear Erik Satie’s influence here? Ausra: Yes, a little bit, yes! Vidas: The triple meter is kind of similar to Satie’s Gymnopedies (here is the score of organ arrangement of Gymnopedie No. 1). I don’t know how to pronounce it either. So yeah. I wonder if it’s difficult to create or improvise a piece like this, Ausra! Ausra: I think it depends on everybody’s skills! Vidas: So as a harmony teacher, what do you hear when you listen to this piece? Ausra: Well, as far as I have heard Erik Satie’s Gymnopedies, and I used to play them on piano, at least a few of them, they are strongly influenced by Jewish music, or at least that’s what I thought when I was working on them and when I heard them played. You played them on the organ. And of course in this Grahams piece, Idyll, I don’t hear that Jewish influence. At least not that remarkable. What do you think about that? Vidas: By Jewish you mean special modes, right? Special intervals in the scale… augmented intervals. Right? Ausra: Yes, and of course the minor keys. Vidas: No, probably most similar this with Satie’s work stem from the triple meter in my mind. But other than that, it’s like a major key, idyllic character, slow moving tempo, and in general a very gentle rocking sort of feeling. It’s like a little bit… remember we played this piece by Ad Wammes about the boat. Ausra: Yes, I remember it very well. Vidas: Something about the lake, summertime, breeze… Ausra: Yes there was sort of a like a suite out of like four movements. Vidas: And one of them was probably in triple meter, too. So I imagine lying on the bottom of a small boat in the middle of the lake on a hot summer day, and this boat gently rocks back and forth. I can hear water splashing on it, on the sides of the boat, and maybe some sounds from nature, you know, gentle breeze blowing, also. Sort of idyllic vacation feeling. Do you like this feeling? Ausra: Yes, especially now when it’s really cold outside. I would wish it would be summer and I could be on the lake! Vidas: Do you usually spend your vacations like that on the bottom of the boat? Ausra: Well, actually no, I don’t own the boat, so… Vidas: Yeah, it’s new to me, but I can just imagine how it would look. Looking, obviously, up to the sky, right, when you lie on the bottom of the boat. It’s a good feeling. Could this piece work as a liturgical music, too? Ausra: Of course. You could play it for communion. It wouldn’t hurt, definitely. Vidas: Even though it’s not based on any preexisting chorale melody or hymn tune. But the gentle character fits the liturgy well; especially for communion, maybe offertory, maybe at the beginning, too, for gathering, as a prelude. Right? Ausra: Maybe it’s too soft for a prelude. Vidas: Why too soft? Ausra: You would want something louder in order to quiet people who are walking downstairs. Vidas: Oh, you mean like Brenda? Ausra: Yes. Vidas: Tell us about it! Ausra: I think I already told about it a few times, about that comic strip that I saw when we were back as students at UNL, and there was an old lady in that drawing who actually had a hunting rifle, and she was sort of silencing the crowd for her prelude with a gun! Vidas: Right. That’s probably very symptomatic of the situation before the service in any church. Right? People gather and they talk, they haven’t seen each other for a week, probably, or longer, so any music that is played before the service is not on their radar just yet. Just like, obviously, the postlude after the service. Ausra: Yes, you finish the postlude and there is nobody left in the church. Everybody is having coffee. Vidas: And if you are playing a fugue as a postlude, then voices are enter one by one, and people leave one by one, which is not true. Right? Ausra: I think it’s nice that at least some people stay to listen the postlude and they applaud after that. Vidas: I was just going to say that people do not actually leave one by one, but they tend to leave in droves. Excellent. Shall we wish Graham to keep creating? Ausra: Sure! I think it’s a real gift if you can compose music, so just keep doing that. Vidas: And to make your pieces available, because it’s really hard to get! You have to write an email to the composer and the composer has to write you back with the score. It’s obviously complicated to both the would-be-performer and to the composer. It should be frictionless. I suggested that he could upload it to Sheet Music Plus and he could sell those scores, but Graham wanted for people to have them for free, so why not upload them to IMSLP like Petrucci Music Library? Ausra: Yes, I think that’s a great idea. Vidas: And it would be free, available instantly for anyone. Ausra: That way maybe more organists would get access to it and would perform it more often. Vidas: Yes, for this, we really hope this will happen in 2021. And please send us more of your questions if you have about the composition process, about performance issues that you encounter in the works you play for perhaps, we would like to help you out. 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
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 643 of Secrets of Organ Playing Podcast. This question was sent by Whitney, and she writes, My challenge is with getting enough courage to play hymns with pedals. I can do it fine when practicing, but I get way too nervous when I’m playing at Mass. V: Hm. That’s a good question, right Ausra? A: Yes, I think all beginners go through this stage when you are scared to add pedals. V: It can be compared with any type of new skill that you are trying to build up, and when you want to play it for yourself, it’s one thing, but when you present for others, it’s completely different. Let’s imagine you want to improvise for yourself, right? Yes, it’s confusing sometimes, but you can feel much safer than playing for others, correct Ausra? A: Sure. Well, you know what I could suggest for Whitney to do - when she practices for herself, let her imagine that she is playing in public. You can do that sometimes. You can trick your mind sometimes. And you might get as nervous during practice as you get in a real performance. And that might help to control that stress level that you get. V: And one way to do that is obviously to record yourself, even with video. Put a cell phone, if you don’t have a tripod, just position maybe further away from you so that your hands and feet would be visible, and play that hymn, right? Several stanzas. And you will soon discover how different you feel when you know that you are being recorded, correct? A: Sure. And also, never skip practicing with the pedal and playing in public with the pedal while accompanying hymns, because I think the pedal is crucial for hymn singing. V: Plus, if you skip playing with pedals, let’s say you’ve been practicing a hymn or a few hymns for a week, and then Sunday comes and you have to present it with the pedals, but you suddenly get stressed out and play only manual parts, then what happens is that you suddenly sacrifice your progress, right? This one day. A: Yes, that’s very true. Because I think that things will get easier the more experience of public performing you will get. V: Another thing that seems strange from Whitney’s question is that I’m not sure she’s practicing hymns correctly. Because she writes “I can do it fine when practicing,” but then she’s getting way too nervous when playing at mass. So I assume she would play the manual part, correct, when playing in the hands, she would need to do soprano/alto in the right hand and tenor and bass in the left hand part, correct Ausra? A: Sure. V: When playing with pedals, the correct way of playing hymns is to omit the bass in the hand and play it instead with the pedals. Don’t double hand and feet. A: But very many beginners actually do that. V: So my question is, if you can do it the right way for yourself, how can you suddenly, suddenly play all four parts in a different arrangement - two parts in the left hand instead of just one part in the left hand, right away in public? A: I think it’s not such a difficult thing, because most of organists come from the background of being more or less pianists. So I think it’s easier to manage two voices suddenly with the left hand than one with the pedal. V: Another explanation is that she is doubling the bass line in the left hand part, and then she just drops the bass in the pedals and plays the hands. A: Yes, that’s also possible. V: That’s more than likely to me. Because I’ve seen it over and over again. And this is incorrect. This will slow down your progress. It actually is counterproductive. A: It is, yes. But you know, some people might add that we have all these various organ stops in the instrument. I mean, 16, 8, 4, 2 and so on and so forth - and that we have that one single note doubled or tripled, or four-tuplet many, many times. V: Quadruplet. A: Quadruplet, yes - four tuplet! (laughs) My English is not so good, but you know what I mean. And people might ask you, then what is the problem if I’m doubling bass in the pedals with my left hand? Because organ already doubles everything everywhere. What could you say for people? V: Obviously, you don’t have to take my word as 100% truth. It’s okay to play with hands only, without the pedals. It’s okay to play two parts, soprano and bass. It’s okay to play the trio texture without one of the inner parts. It’s okay. And as long as you have variety and still play some four part texture as well, yes Ausra? A: Yes. V: You can play five parts if you want, or six, with double pedals. (laughs) You see? There is no one right way to do it. And you can solo out the melody, the chorale line on a different manual, taking the alto and tenor in the left hand part. Or you could even play soprano part in the left hand, but left hand but one octave lower - that would be in the tenor - and switch tenor and soprano in the right hand part. That would be interesting, this position. Various creative ways to play hymns, but more advanced, obviously. So, least advanced way to play hymns convincingly and still build up your pedal technique and independence of hands and feet is by playing four parts, soprano/alto in the right hand, tenor in the left hand, and bass in the pedals. So, final thoughts, Ausra? A: Yes, I agree with you as always. V: Not always you agree with me. A: Okay, okay. But I agree this time. V: Yeah. Do you agree that people should record themselves? A: Yes, it’s very helpful. You know, what would be a correct way to say it? If you want to live in peace right now, then maybe don’t record yourself. Because the recording will trouble you a lot. But if you want to be at peace in the future, then better record yourself today, and your recording will teach you a lot. It will teach you more than a good teacher can do. Because when you listen to yourself from the side, you will suddenly realize what you lack, and what you should do in a different way, and what you are doing right. It will teach you a lot. V: Exactly. It’s like preparing for a competition ahead of time. Preparing for a stressful situation. Do it yourself right now, something more difficult, so that later you will be well prepared and feel easier, okay? 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. 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
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 636 of Secrets of Organ Playing Podcast. This question was sent by Steven, and he writes: “Hi Vidas. Organ playing is going okay, thank you for asking. These days I am making more time for practice, which is key. I still feel like I am a slow learner, but I know how to pull apart a new piece and start making it work. Pedal work continues to improve, with the biggest aspect I'm noticing is my accuracy. The right foot position (like keeping toes touching the "black" pedals) seems to be super helpful. I have a teacher, and we have lessons every other week for one hour. I typically work up a couple hymns out of the ELW, sometimes an introduction or related piece with those hymns. Then I have several other pieces in various states of progress.” Vidas: So Steven is talking his practice during the pandemic, and I’m very glad that it’s improving. Ausra: Yes, and in general, I thought one day that many musicians will become really virtuoso during this time. Vidas: Why is that? Ausra: Because they stay home and practice all day long! Vidas: Like we do! Ausra: Yes. But of course, I don’t practice every day and all day long. Vidas: Well, right. Ausra: Because I have to teach online. Vidas: When the pandemic hit, obviously a lot of people stayed at home. It doesn’t mean they have more time to practice. Right Ausra? It doesn’t necessarily mean… Ausra: And it does not necessarily mean that they have access to an instrument at home. Vidas: Right. People who relied on church organs now have to figure out a way to play at home. Or people who worked in a physical location before and now have to online during that time, usually that online work takes at least twice as much of time than if you compare it to the physical location work. Is this the case with you, Ausra? Ausra: Well, I save time from the trip to my school and back, and this time I can practice, actually, at home. Vidas: Oh yeah, depending on where you live from your work, commuting could be very time consuming, up to several hours per day. So during that time, if you stay at home and could squeeze in some practice time, that’s even better. Ausra: Yes, and for me, for example, it takes about an hour and a half to go both ways back and forth to school, so, I think it’s a nice practice session. Vidas: But even though you have to work more at school, you kind of are practicing more than before at home. Don’t you think? Ausra: Yes, true. Vidas: How can you manage that when you have so much work to do for online teaching? Ausra: Well, because I have two instruments at home, actually three instruments at home, and I don’t have to go anywhere. I still can find much more time. Vidas: Mmhmm, except, of course, looking at the screen is very exhausting when you have to work online. Ausra: Yes, and you know, the worst thing about this pandemic is that actually when it started, I stopped reading books. I just simply gave up, because looking at the screens takes too much time and too much energy from my eyes, so I stopped reading other books non-related to my work. Vidas: Me too. But we watch Netflix instead. Ausra: Well yes, that’s not a very good habit, perhaps, but you have to do something just not to go crazy. Vidas: Right. So Steven is practicing from Evangelical Lutheran Worship hymnals, and we used to have those in America. Right? The green ones—ELW. Remember those? We have one at home. Ausra: Yes, we have one at home. The old one. Vidas: They have, I think, upgraded, updated since we left The States. Remember, we were going back to Lithuania, and they were getting new hymnals. Ausra: Yes, I remember that. That’s why we could bring the old one with us. Vidas: Right. But I guess the core anthems and chorales and hymns are still the same. The core. Ausra: At least most of them, I guess. Vidas: Right. So, what I would suggest to Steven besides working on hymns, is probably focus more on pieces, also. He spends a lot of time practicing on hymns, but only the last sentence in his answer is about pieces, and we don’t even know what kind of music he plays besides hymns. So basically it’s probably not a big focus for him. Ausra: Well, if he is a church musician it’s natural that you focus more on the hymn playing, although being an active in the Lutheran church, you will surely have to play some solo music as well, for each service. Vidas: At least two pieces per Sunday—a prelude and postlude. Ausra: Yes, and probably maybe even more, especially if you don’t have a choir. Vidas: Right. Now during the quarantine it could be even more, because the organist has to fill in a lot of music himself. Ausra: True. Vidas: So yeah, that’s a good way of looking at things—through organ repertoire. Choose something doable, not necessarily Toccatas and Fugues and standard organ concert repertoire, but maybe shorter pieces—two or three pages. Ausra: Yes, that’s, I think, a good suggestion. Vidas: Alright, so hopefully this will help Steven. 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
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 634 of Secrets of Organ Playing Podcast. This question was sent by Andrew, and he writes: “I just wanted to say thank you for your "Mastering" series on YouTube. I am a percussionist turned organist, and every time I'm struggling to learn a new piece, it really helps to watch your videos. Even though I'm not learning the same music as you, the same principles of practicing apply, and I learn so much better when I remind myself to take things in small parts in repetition. You are doing a wonderful job of producing great content to help people like me. Right now, I'm working on "In dulci jubilo" by JM Bach, "Nun danket" by Karg-Elert, and "I Love Thee, My Lord" by Shearing, as well as some other long term Franck pieces that will be taking me a while to finish learning. The most challenging thing for me in playing organ is developing my kinesthetic sense between hands and feet, so I don't have to look away from the music and lose my place. I'm not a keyboard player by training, so I'm trying to take things slowly and learn from my mistakes as they happen, instead of just getting frustrated. Once the pandemic hit hard, I decided it was time to get an organ for my house so I could practice whenever it would be convenient for me. I also have a 2 year old son, so it's hard to get away from home for a long time to practice at church. I bought a nice custom package from Content Organs that I enjoy, but I also really like your creative setup and what you were able to put together from online stores. Looking forward to seeing more videos from you soon! Thanks! Andrew Fuhrman Austin, Texas, USA PS I will support you on Patreon!” Vidas: So, Andrew is one of our recent Patreon supporters, which is very, very nice. Thank you very much for your generosity, Andrew! My CD, “Veni Creator Spiritus” is being sent to him as one of the benefits for this subscription level. So, what do you think, Ausra? Ausra: Yes, that’s a very nice letter. Actually, I never thought about people switching from percussion, as Andrew did, to the organ, but it’s really, really nice! I think percussionists have such a different experience, I think, compared to other musicians, but I think he could benefit from it very well, at least, you know, he won’t have to learn how to count music, you know, and to read the rhythms right. Vidas: Right! Percussionists have very great… probably… diversification between hands and feet. Coordination between them is probably one of the best things they can do. Right? Because they play different rhythms in different hands and even feet! Ausra: True! I think this might help a lot while switching the instruments. Vidas: So, obviously it’s very nice to have him as a Patreon supporter. People like Andrew, and there are, I think, nine total Patreon supporters as of now, they really enable us to create more interesting organ videos for free for everybody to see on YouTube, and later to share with our Secrets of Organ Playing community! Ausra: Yes, and it’s very nice that someone appreciates your videos, while I know that I spend half my day alone not without a reason, that you are doing a meaningful job! Vidas: Yes, you’re probably referring to my long, long training video sessions. Yesterday, I think, I decided to create a video training on “Canonic Variations by Bach, on ‘Vom Himmel hoch da komm’ ich her’.” It has five variations, but in one hour or even more than an hour, I was only able to create half of the training program for this, and left the other half for another day. And you were waiting, sitting silently. Right? What were you doing at that time? Ausra: Well, I was working on something as well, because I am busy, too! I am busy, too, as you well know. Vidas: When you work, I just sleep! I just feel so relaxed when you play those ear training exercises, and I get on my couch and doze off. Ausra: I hope my students won’t fall asleep while I’m playing for them. Vidas: It’s possible if you are teaching them online. You never know what they are doing. Ausra: Oh yes, believe me, I know now, because now we have to have their cameras turned on all the time. Otherwise I can just mark that they were absent during the lesson. Vidas: Mhm, that’s right. Ausra: But of course, I can see they turn their mics off, and I see that they are talking, for example, on the phone. Vidas: Oh! You see that!? Ausra: Yes! I see that and other things, believe me, you wouldn’t want to know! Vidas: That’s not nice. They disrespect your work. Ausra: Or, they turn on the camera but they slide slightly on the side that I still could not see their faces. Vidas: Really? Ausra: Yes. Vidas: They’re so clever! Ausra: Yes. Vidas: Not even clever, but I would say cunning! Ausra: Yeah… Vidas: You know, sort of, they want to do their own thing while you’re teaching them! Ausra: That’s right. Or I can see that they are watching something completely different, because I see the expression on their faces, and they’re watching, for example, something funny. Vidas: It’s so stupid! Ausra: I know, it is, but what can I do? Vidas: You can… nothing, actually! You can only shame them in public in our podcasts! Ausra: That’s true, but they probably won’t listen to them. Vidas: Give them the link to this conversation when it’s live! Ausra: Oh yes! Maybe I will! Vidas: Yeah. If you won’t, I will! But I have no access to your class! Ausra: True! Vidas: So, Andrew has now a two manual organ setup, and it’s really nice. I think he has Hauptwerk installed, as you understand. Or not? Ausra: Yes, probably. Vidas: Hauptwerk really helps create beautiful sounds from home. What else? We can say, of course, he’s practicing those pieces… this was written a little bit earlier, so “Nun Danket” was suitable for Thanksgiving, but “In Dulci Jubilo,” by Johann Michael Bach is suitable for Christmas, upcoming! Ausra: Yes, it’s a very beautiful piece for Christmas! A very beautiful chorale tune. Vidas: I wish I could play it tomorrow. I’m playing at the church tomorrow, but it’s not that occasion. Ausra: If you will not forget to go and to play as you did a couple Sundays ago. Vidas: Right… good that not a couple Sundays in a row. Ausra: I already thought they would never ask you to play in church again after that mistake! Vidas: Yeah. Every day is the same, the schedule is the same. I’m staying at home and doing the same thing over and over, so it doesn’t make sense if it’s Sunday or Monday or Tuesday or Saturday. I don’t know what day it is today. Ausra: Well, I think after this pandemic is over, we all need to see shrinks! Vidas: Can I be your shrink? Ausra: I highly doubt it. Vidas: But I’ll be nice! I’d advise you to take some vitamins, stretch, walk! Ausra: I think the only advice you would give me is to record and to put something on YouTube every day! Vidas: mmm….. yeah, that would be part of my treatment to you! YouTube treatment, program! Ausra: I know you too well, and you know me too well! Vidas: Oh guys, you see, we are so different! Ausra likes to create but not share, and I like to share everything! Oversharing sometimes. Ausra: But people like your videos, so I think you are on the right track. Vidas: I think they would like your videos, too, if you posted more often. Ausra: Hmm… after spending half of my day every day teaching online, I don’t think you would want to do any extra videos. Vidas: It’s hard to imagine, of course, because I’m not teaching half of the day online. If I were you, probably I would… of course I would not create long videos like I’m doing right now, and I would even not create organ videos, probably, but I would probably do harmonic analysis videos—something that comes very easily to me. You know, sit down, 10 minutes or 5 minutes and I’m gone, but creates value for people. You know? Less pain, but greater value. Ausra: Well, you know, if I would receive so many nice comments as you do, maybe I would work on that more. But, since I don’t, why bother? I would rather watch Netflix. Vidas: <laughs> Do you receive nice comments from Netflix? Ausra: Well, at least I receive the satisfaction! Vidas: Guys, if you’re listening to this, please, please, please go to Ausra’s YouTube channel and say nice comments to her. Or else, I will create fake YouTube accounts and start spamming your channel with nice comments. Ausra: Please don’t do that; I will find out about it eventually and you will be in big trouble. Vidas: How would you know? Ausra: Intuition! Vidas: Oh yeah! Ausra has good intuition! Ausra: Because right now, I guess only my students who are forced to watch my YouTube channel are watching it because they have to take that ear training course every week, to write one oral dictation and to do other exercises, and they don’t leave nice comments to me. Vidas: Ever… Ausra: Yes. But, you know, I’m thankful that they don’t leave nasty comments as well, which is, I think, some kind of progress already. Vidas: True. True. Alright 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
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 641 of Secrets of Organ Playing Podcast. This question was sent by John, and he writes, Dear Ausra, thanks so much for this superb recital! Sorry I couldn't join it live, I've been very busy traveling and catching up with family, Covid restrictions are returning in Australia so I am cherishing every moment with family. Well done on the Bach, it sounded great, your articulation was so clear! How do you decide on a tempo for these Prelude & Fugues, do we have any historical indications or is it more based on how it sounds in the acoustic you play in? And please thank Vidas from me for his lovely contributions also! I am so lucky to know you both as friends and my teacher, you are so inspirational! Happy New Year to you and your family! Please stay safe and well! Take care, John V: Ausra, please give me John’s thanks! A: I give you John’s thanks. V: Thank you. And now over to you - entire question is dedicated to you. A: Yes. It’s such a rare case, yes? V: I’m free now, I can relax and sleep a little. A: Well, let me just enlighten you a little bit on John’s question. Actually, this was his response to our last Christmas recital, where we both actually performed solo pieces, and also we both performed a duet - entire quartet by Josef Haydn. So if you haven’t listened, you can find it on my channel - on my YouTube channel. And since not I wasn’t alone who played Bach, I did the G Major Prelude and Fugue, BWV 541, and Vidas did the C Major Toccata, but it’s not original C Major Toccata, it’s actually original E Major Toccata, BWV 566, only transposed by Bach himself to the C Major key. And so Vidas did the C Major Toccata, which is actually E Major Toccata. (laughs) So the tempo issue is a question for us both. So how do you take tempo when you are working on Bach’s fugues and preludes? V: It’s not fair. You are deflecting John’s question. He asked you first. A: Well, okay. Then I may start about what I think in general about taking tempo. I think every person has different tempo for every piece that he or she plays, and I don’t think there is one correct answer to how to pick out the right tempo, because I don’t think there’s even such a thing as the right tempo or wrong tempo. I think for each person a different tempo is the right one. Because I like to take such, to pick up such a tempo that I would still be in control of the piece. Because very often when people want just to play faster, we lose the control of what is going on, and this is especially true with virtuosic pieces by J.S. Bach. And I have heard a recording of Koopman’s… V: Ton Koopman. A: Ton Koopman, yes, of the same same piece, G Major Prelude and Fugue and it was way, way much faster comparing to my recording. And it was fine. He plays everything really, really fast, too fast for my taste, for example. But who I am to criticize Ton Koopman, who is one of the top 10 performers of Baroque music in the world? And, well, how I choose tempo, I choose according to acoustics, according to the instrument that I’m playing on, because for example, on our Hauptwerk setup, we have truly soft keyboards. It’s really really very, very soft. And simply I very often cannot pick up the fast tempo, or as fast as I would like to, it to be, because the keyboard gives me no resistance, and if I would play it even on the faster tempo, it simply would just collapse, and because I still want to have an articulation. So I have to sort of sacrifice a little bit on the tempo. V: You’re right. Our Hauptwerk setup is quite customized, right? And I bought those keyboards, Nektar keyboards - they’re extremely light touch. The real benefit is of course affordability of the price. They cost very little in comparison to, let’s say, tracker action keyboards. So, but of course it was the mechanical touch. But obviously it’s like with car - you won’t, you wouldn’t often buy a first car for yourself like a luxury car or the best car you could buy. You try it out on the cheaper side, more economic side. And then if you still continue to drive and you like luxury, then you might invest in something more comfortable. The same is with Hauptwerk. I believe we will invest into real mechanical touch, tracker action keyboards, on a later date. A: Yes, and of course when choosing the tempo, you also need to listen to the acoustics, it’s so important. For example, Vidas’ mom just sent us our older recording from 2017. I will publish it on our YouTube channels pretty soon. It was arrangement that Vidas made out of J.S. Bach’s cantata, Ein Feste Burg. And I already have forgotten that we had performed it there. And she was present, and basically she recorded it from downstairs. And I was just simply surprised that I forgot how big the acoustics are at St. John’s, because I used to play upstairs, and listen to Vidas’ playing upstairs, and I am always upstairs. And now I could listen to our duet from downstairs, where Vidas’ mom recorded us, and acoustic was just so much larger than what we hear while being upstairs at the balcony. V: Very true. We could hear to our playing, like through listeners’ ears. A: Yes, and I always articulate a lot actually, and while listening it from downstairs, I could barely hear it. Of course it wasn’t like all the legato, but I think I could have articulated even much more. V: But you know, the point about articulation, it’s a different topic of course, but the point is not to articulate, but the point is to play clearly - clearly for listeners, not for yourself. So, when you listen to this recording from downstairs, was it really unclear? A: No, it was fine. It was still fine. V: I think we managed to listen to the echo as well to what we’re hearing upstairs. A: Yes, but as you said that articulation is not related with picking out the tempo, I think you are not right. V: I didn’t say that. A: You said that we are talking about different topic, and I think that articulation and tempo, picking out a tempo is very much connected. V: Oh okay. But it’s a wider topic on articulation - not only for this podcast episode. That’s what I meant. So obviously, it’s good to consider your acoustics and your instrument, what kind of instrument you have when you choose the tempo. And of course, you could choose a different tempo tomorrow, if you’re comfortable with that. Don’t you think, Ausra? A: Sure. I think in the future when I will perform it, for example at St. John’s, I will play it faster. V: Yeah. It’s a different instrument, mechanical touch - you are much more in control, and you can do many more things. A: Yes, but you know, the tempo is often the topic that arouses lots of discussions, and I think after hearing discussion by professionals, I am left with more questions than answers. Because you would need to hear how people discuss, for example, how to play the Fugue in E flat Major by J.S. Bach, and how to pick out the right tempo, and if you have to keep the same tempo through all the three fugues, or change it while going from one fugue to another one. And people start to discuss it, and we have different opinions. And basically, we start to argue, and there is I think no one right answer. Because we actually don’t have very strongly proved historical evidence about what the right tempo should be in a given piece. V: It’s because in Bach’s days, those metronomes didn’t exist, modern metronomes at least. So what we have now, even editions with metronome markings, those were written in later. And they were subjective things, based on editors’ opinions. And today of course, with online music streaming, you can get 100 or 1,000 different recordings on the same piece. And you can compare and choose, and discover your favorites or least favorites this way. And this puts performer in a very unfortunate position, because you’re being judged against 100 other recordings. Remember you were playing Litanies by Alain, and how you were actually, how you were not, I wouldn’t say scared, but basically distracted with the recording of Marie-Claire Alain, right? She plays it very fast, and comments around her recording are extremely positive. And when you post something on the same theme, like Litanies, people who know this piece always compare your recording to Marie-Claire Alain’s recording. And you can compare yourself to Marie-Claire Alain, right? And you say, “Oh no, I played it in five minutes instead of four minutes” you see? A: Yes, but you know, about this recording and this about others, I listened to Olivier Latry’s recording at Notre Dame de Paris, and I read people’s comments. Of course many of them were very positive, but I read such nonsense as basically that, “Well, look! He’s playing from the score, he hasn’t memorized it! Look, he’s using the assistant to do all that kind of stuff to help him.” And also very very constant complaints about comparing him to Marie-Claire Alain, and I just love his recording so much. I think it’s really musical. It’s very well done. It’s - actually if I would have to choose between Marie-Claire Alain and Olivier Latry’s performance of this piece, I would probably choose Olivier Latry’s performance, because musically, it was more convincing to me. Because, it’s just my opinion. You know, you can have other opinions. And after reading all these comments I just felt so good that people criticize Olivier Latry, but I just adore his performance. So, well, let them just criticize mine and do whatever. I really don’t care. Everybody has its own opinion, and it’s okay. But usually the most of your critics cannot play themselves. That’s almost a rule, with rare exceptions. V: Yes. So, you’re so right. People who criticize rarely, rarely take the time and effort, make the effort of learning difficult music. And even if they do, they almost never share it with other people to criticize. So they feel safe behind the screen. Even behind anonymous user name, let’s say, of YouTube user - we don’t even know of other person’s real name. So that’s the reality of social media today, that you can get criticized by armchair critics - experts, so-called - who listen to hundreds of, thousands of recordings, you know, and they think they have the right to criticize everyone. They do, actually, because you give them the right. Because you share your work, and you’re not disabling comments like some people. You’re not afraid. But it doesn’t mean that it’s morally correct to criticize even if you have technical possibility to criticize, you see? A: Well, so you know, from my critics, I just say - either I write it down or I just say in my mind - “Well, do it better!” V: Yeah, obviously the best response is either to ignore or just to ask for their own rendition of the same piece. A: Yes, and when I ask about their rendition, usually they just simply disappear. V: Or they start to come up with some excuse: they don’t have keyboard, they don’t have something, you know. But they have the time to criticize. So obviously, let’s thank John for his great feedback. A: Yes, it’s so nice to read and to know that people appreciate what you are doing. It really gives us support, and inspiration to go on and keep going and creating. V: And if anybody else listening would like to support us even further, you can buy us some coffee. You can go to the “Buy me a coffee” page that I have set up. It’s buymeacoffee.com/organduo. And you can buy us some coffee. In return you will get, obviously, early access to these videos. And we will get to keep going. A: Yes. And if we are returning back to John’s question about picking up a tempo, I think you need to look at the particular instrument, particular acoustics, maybe record yourself from upstairs or from downstairs, and then listen to yourself, how it sounds. But the most important thing is that you need to be comfortable while playing the certain piece, and to be able to control of what you are doing. Basically, your head needs to lead you, not your fingers. V: Well said. So please guys, 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 BMC and get early access to our videos. A: Find out more at patreon.com/secretsoforganplaying and 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! V: Hi guys! This is Vidas. A: And Ausra. Vidas: Let’s start episode 632 of Secrets of Organ Playing Podcast. This question was sent by Diana, and she wants to know: “Is there a reason for avoiding parallel 5ths?” Vidas: Probably, she means parallel 5ths in tonal music, right Ausra? Ausra: Yes, I guess that’s what she means. Vidas: What do you say to your students, Ausra, when they ask this question? Ausra: Well, I have no words, actually. I have heard this question so many times before, you know, I am simply too tired to argue and to convince people. But you know, if you will not hear the difference when let’s say the hymn is harmonized with parallel 5ths and when it’s not, then I don’t think that I could say anything more. Maybe you could try! Vidas: Yes, good idea for Diana and others who are wondering. Maybe play any type of music, maybe a hymn—your well known hymn, for example, that you’re singing in a church today. Maybe harmonize it in major triads, root position chords like C-E-G if it’s C Major, or D-F#-A if it’s D Major, or G-B-D if it’s G Major. Just major chords, and you will get all parallel 5ths this way, with parallel bass and soprano—between bass and soprano, and then see if you enjoy this kind of sound. Ausra: And if you will, it means that you still need to have a lot of musical training! Vidas: And I don’t think people won’t hear the difference. I think the difference will be noticeable if you play the same hymn from the hymnal harmonization and with this kind of parallel 5ths harmonization. This will be very obvious! As a special exercise, I think this type of writing could be done even in your improvisation, right? But it’s a special style. It’s not for everyday use. Ausra: If you would analyze pieces by early Bach, young Bach, teenager Bach, then you could encounter parallel 5ths occasionally, not very often, but occasionally, yes. But in mature Bach, you would never find parallel 5ths, so I guess that might be true with other composers as well. Vidas: In Bach’s writing, you would even find spots where in order to avoid parallel 5ths, he makes a very intricate voice leading which is not comfortable for the hand. Ausra: That’s right! It astonishes me every time when I’m working on a new piece by Bach and I’m just shouting to Vidas, “Oh you know Bach was a voice leading freak!” Of course, I’m just kidding, but he really took the voice leading very seriously. This is obvious in his major works for organ, like “Prelude and Fugues.” Vidas: And going back to the question about major chords, at one point I was writing pieces for organ just from major and minor root position chords exclusively. They would sound pretty colorful, but I wouldn’t use parallel 5ths very often; I would use strange interval relationships. I would still use probably contrary motion between soprano and bass in order to avoid those parallel intervals but keep the same chord. So for example, if the soprano goes from C to D and the bass goes from C to D we would get two C Major and D Major parallel chords, so instead of this, I would move the bass somewhat downward in a different direction than the soprano and have from C to Bb, and the C Major and D Major I would get C Major and Bb Major chord. Makes sense? Ausra: Yes, sure! Vidas: So this is better. Ausra: And you know, we are talking about avoiding parallel 5ths in the music of the common period, and of course if we would talk about music from the Middle Ages, early organum course the parallel 5ths were perfectly normal. Vidas: Early polyphony originated from Gregorian Chant in a way that it was like commentary on the chant, and at first it was like a parallel motion in parallel 5ths, and octaves, 4ths, with the chant, and therefore it was not independent, but very gradually the motion because more independent between voices, and composers understood the value of contrary motion and independence of voices. Ausra: I think as soon as the major and minor triads and sixths appeared in the music, composers stopped making parallel 5ths. Vidas: What’s interesting… what came first, instrument tuning with major thirds, or musical compositions with major thirds? Ausra: I think they came together. I think they supplemented each other. Vidas: Mhmm! Because at first keyboard instruments were tuned in perfect 5ths, like the Pythagorean tuning system, and in that time parallel 5ths were predominant, and sounds of 5ths were also predominant. We also have the earliest surviving keyboard manuscripts from the 14th century. It’s called the Robertsbridge Codex,” (Estapie Retrove is one of more famous pieces from this collection) or a little bit later in the century, “Codex Faenza.” There, you will find lots of intervals with parallel 5ths. Ausra: Yes, and it was normal to finish a piece with the interval of perfect 5th. Vidas: Open 5th. Ausra: Open 5th or an octave. Vidas: Yeah, but later tuning changed, and the style changed at the same time. We would hear more and more sounds of major 3rds. At first not in a root position, but maybe in the first inversion. Fauxbourdon, it was called. Ausra: That technique of parallel 6th chords was very common, actually, at one point. Vidas: Mhm! It was transferred to the continent from England, actually. John Dunstaple was using that at the end of the Gothic period—beginning of the Renaissance, basically, and then it moved to France and Burgundy. Ausra: Yes, because the major and minor systems were sort of completed during the Renaissance period, and during that period parallel 5ths started to disappear very fast. Vidas: Except in final cadences. Right? Ausra: Yes. Vidas: Because it was still a perfect interval to finish the piece or a section. So, I hope this answers Diana’s question somewhat. But as Ausra says, people need to get more basic training first in order to understand these concepts. Ausra: Sure because the scientist musicologists from ancient times wrote treatises about all these things that we are talking about, and even just about simple intervals you might find many many volumes of treatises written, and so in order to understand that, you need to dig deeper. Vidas: Alright 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 get free CD’s. A: Find out more at patreon.com/secretsoforganplaying |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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