SOPP600: I'm currently learning the Dubois Toccata in G No 3 and have previously downloaded your fingering and pedaling for the piece

Secrets of Organ Playing · SOPP600: I'm currently learning the Dubois Toccata in G No 3

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​Vidas: Hello and welcome to Secrets of Organ Playing Podcast!

Ausra: This is a show dedicated to helping you become a better organist.

V: We’re your hosts Vidas Pinkevicius...

A: ...and Ausra Motuzaite-Pinkeviciene.

V: We have over 25 years of experience of playing the organ

A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011.

V: So now let’s jump in and get started with the podcast for today.

A: We hope you’ll enjoy it!

V: Let’s start episode 600 of Secrets of Organ Playing Podcast. This question was sent by Tim, and he writes:

“Dear Vidas
Are you able to help me please. I am currently learning the Dubois Toccata in G No 3 and have previously downloaded your fingering and pedaling for the piece. I'm having trouble getting it up to the required speed and wondered if you had any tips to help with this or any other tips or practice ideas that might help.
Thank you in anticipation
Tim"

V: So, Ausra, what do you think about this speed in Dubois Toccata?

A: Well, I think you need to practice in a slower tempo, and I think the right tempo will come in time. If you cannot speed it up, maybe it’s not the time for you to do it. Maybe you still have to practice in a slower tempo.

V: That’s right. I remember, I haven’t played Dubois Toccata for a while, but I’m now practicing Boëlmann’s Toccata from the “Suite Gothique.” And although the texture is pretty straightforward and easy for fingers, I still have quite a ways to go in order to reach concert speed.

A: That’s often the case.

V: What are you playing, Ausra, right now, but I mean in a fast tempo as a final result? Tell us! Maybe you’re playing some piece by Bach.

A: Well yes, I’m playing the Eb Major Prelude and Fugue, BWV 552 by J.S. Bach.

V: Does it have any fast sections?

A: Of course! Basically the middle and the last Fugues are really fast, and of course, Prelude has also a fast tempo.

V: So how do you manage to get up to speed in this piece?

A: Somehow naturally it all comes to me.

V: You were born with this skill?

A: Actually no, but actually what happens, let’s say with the middle Fugue, is that I need to slow down, because if I would let myself go as fast as I want, I would ruin the piece entirely.

V: What do you mean?

A: I mean that often what happens with musicians is that they speed up too much, and then things will get muddy.

V: I think you’re referring to the middle Fugue as a lot of people play it at the tempo of the final Fugue. But the character of the second Fugue is different from the third Fugue. Isn’t it?

A: Well, the thing is, why I think many people like to speed up in this particular Fugue is because the opening Fugue in this Stile Antico is sort of very serious in nature. You cannot speed up very much in it. It really has this slow motion. But then, the first Fugue has pedals! In the middle Fugue there are no pedals. Bach didn’t write it. So I think that’s the effect of it, that people want to speed up.

V: The second Fugue has the character of maybe Courante? Would you agree?

A: Yes, a sort of Spiel-Fugue.

V: But not a Gigue as it is…

A: No, not a Gigue.

V: Gigue is the third Fugue.

A: Yes, Gigue is the last Fugue.

V: Okay. Obviously it’s not the same rhythm as in the Gigue Fugue. Remember BWV577 that everybody wants to play as fast as possible.

A: So now you have to connect these two pieces to Dubois Toccata.

V: All of them are fast, right?

A: Yes, they are fast, but you know, when you play a fast Baroque piece, the rhythm helps. The rhythmical structure and articulation helps a lot, because if you will lean on the strong beat, then you shouldn’t be speeding up. But of course, we are talking about how to build up a speed, so it’s a little bit different version.

V: To me, the best technique that helps to achieve concert tempo has been and still is practice in short fragments stopping at the more-or-less unit, let’s say, every quarter note, at first. 

A: But don’t you think that for some people it might not work, because you may not be able to play in the constant tempo and in the right rhythm.

V: Maybe not at first. Maybe in a few days you will get this right.

A: But I think this method of yours takes patience.

V: Everything worth while takes patience, Ausra.

A: Well, I guess you are right.

V: As usual!

A: Yes, but, anyway, I think that some, especially beginners, want to play too fast too soon.

V: So I recommend stopping at the quarter note, then at every half note, then at every measure, every two-measures, every four-measures, every line, every two-lines, every four-lines, or maybe that’s a page already, and then every two-pages, every four-pages, and I think you will be done by that time. What do you think?

A: Well, I think it’s worth trying.

V: Like spend a week with the first step, stopping at every beat. Then see what happens, if you can proceed to the next step, stopping at every half note a week after that.

A: Okay!

V: Right?

A: Yes!

V: So, guys, our advice is very practical. This is battle tested and very efficient. So, apply it in your practice and let us know how it goes!

A: Yes, true, I think this is sort of that if you will not rush things, you will get to the finish line first.

V: Than the person who wants to do it as fast as possible right away.

A: True.

V: Okay guys, this was Vidas,

A: And Ausra!

V: Please send us more of your questions; we love helping you grow. And remember, when you practice, 

A: Miracles happen.

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​
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