Secrets Of Organ Playing Podcast

This question was sent by Neil, and he writes: ​​Hello Vidas, My big problem is confidence but last night it went very well probably because I practiced everything and marked up the service booklet and went through the service in my mind. Neil

This question was sent by Jonathan and he writes: “Reaching a third with left foot when above middle C. Here's an example. In the "10 Day Pedal Playing Challenge" in exercise No 3, the left foot needs to stretch for thirds a number of times in the area above middle C. I can barely reach middle C to the E above; this is with toe on middle C and heel on E above. Any higher combinations (and the exercise wants me to use my left foot as high as F above middle C reaching to A) is impossible for me. I've made sure I've been pivoting to the right. I've tried lowering and raising the bench. I've moved the bench closer and farther away. I've been working on ankle flexibility for the two years I've been studying organ. Perhaps some of us just aren't built that way. (My left leg is shorter than the right. And my upper legs are long and lower legs are short, compared to the average person's build.) Is it okay to reverse the parts of the left foot used - to begin with the heel and end with the toe, when ascending, if

This question was sent by Leon. And, he writes: Galsworthy encouraged Streatfeild to know three times more than she needed to about whatever she chose to write. Does it take three times the knowledge of music to be able to compose?

Today we would like to talk a little bit about the recital that we witnessed last week. Our friend Paulius played short, half-an hour recital at Vilnius Cathedral.

This question was sent by Lukasz and he will be visiting us in February so we’re looking forward to it. He is going to try out our St. John’s organ with the very hard key action and he writes now: “Hi, You're touching my favorite problem again ;-). I want to share with you my biggest problem with fingerwork. 1. I cannot use someone else's fingerings - it always is uncomfortable for me. I tried and instead of thinking about music - I'm beginning to think about fingers - and this does not lead me anywhere. I know that I make by this my life more difficult in many situations. But I can not. I think this is more psychological barrier than physical, because from the youngest I was taught to seek more my own solutions and ways in music than to copy someone else's. Well, sometimes it means, that I'm breaking already open doors... ​ 2. I am often not able to use my own fingerings from the start of work with the music. At the beginning of it my fingering is often completely different than when I learn more about

This question was sent sent by John, and he writes: Dear Vidas, I'm lucky that a former pupil will be playing organ voluntaries for me (i) at Midnight Mass (Widor - Toccata) and (ii) at the Carol Service (Joie et clarite - Messiaen). He's just 17 and has won a place at Chetham's school of music in Manchester. I shall re-learn Dupre's Prelude and Fugue in B major in the New Year. I studied it during my student days, but as you know, it needs constant performance to keep it up to scratch. An enlightened wedding couple have asked me for Mullet's Carillon-Sortie later in the year. A project for 2019 will be to write some short pieces for manuals only as a homage to Vierne's 24 Pieces. I adore Vierne's music and think him a much better composer than Widor. I am at present writing a S. John Passion for a village choir to sing - simple chorus parts, but a good [tricky] evangelist solo line. I shall also learn later in 2019 Bach's "Komm Gott" fantasia, a piece I have never played and hopefully it will be r

This question was sent by Leon and he writes: “Dear Vidas and Ausra: I had a mild case of the flu from Saturday through Tuesday. Seemed like a cold for the first two days, but "the grippe" was there when I awoke Monday. Thanks to the flu shot in September all was able to be treated with symptomatic meds, and no fever. So when I got back to practice yesterday, I decided to retry the OrgelBuchlein. I was able to do No. 1 at half speed with only two mistakes. And rediscovered that I had done the 15-step method on them all from November 2017 to March of this year. I'd completely forgotten that, but the penciled in evidence is there on the music - computer-printer copies from IMSLP. So, an unexpected early Christmas present thanks to you two. Merry Christmas! Leon”

This question was sent by Lisa and she writes: “Why is it bad to double the bass line in the pedals? I don’t notice much difference in the sound. I’m a new organist, having played the piano for church for 30 years.”

This question was sent sent by Rob, and he writes: Hello Ausra and Vidas, Enjoyed the story featuring pointed high heel shoes and what Anders said in today’s post about his organ shoes. So, let me share my organ shoes (well, not literally, of course) with you, Anders and all other readers of your posts. Nobody plays the organ wearing gloves, it wouldn’t make sense. Yet, in a way, we do wear “gloves” on our feet. (I remember that Rhoda Scott played her Hammond organ pedals with bare feet). Just as much as we need to feel the manuals in our fingers/hands, we need to feel the pedals in our feet. My organ shoes are supple (i.e. not too thick or sturdy) leather shoes with thin leather soles, almost (but not quite) like moccasins. The soles are “slippery” and without patterns or anything like that. These shoes are a snug fit on my feet so my feet can’t move about in them. They are not too tight by any means. They are round shaped where my toes are and have a normal, round heel (certainly not high heels, haha).

This question was sent sent by Jeremy, and he writes: "Finding time to do the work I want to do. As we approach the end of the semester, my own interests begin to move into the background and I become swamped with work for other people."

This question was sent by Jeremy. And he writes: Speeding up fingerwork. For some reason, my fingers feel sluggish. I have practiced with high fingers (a technique I use in piano) and shortening and lengthening the note values (like swinging or reverse swinging rhythms), but still seem to get stuck at one tempo. Also, have tried Vidas suggestions of stopping on every beat, then every other beat, etc.

This question was sent by Paul and he writes: “Thank you Vidas. That pedal harpsichord is 3 meters long and takes up a lot of my living room. How would you rate the "Fanfare" by Jacques-Nicolas Lemmens for difficulty? Thank you again for such quick responses. You provide much valuable information. Thank you, Paul”

This question was sent sent by Marion, and Marion writes that the goal is mainly learning to play hymns, and the time for practice is the hardest thing.

This question was sent sent by Lev, and he writes: Hi Vidas, Thank you for the hints. Maybe it is a good idea to make a particular podcast or a course about "optimal hymn pedaling for beginners" if one doesn't already exist. Best regards, Lev

This question was sent by Tamara and she writes: “Dear Vidas and Ausra: Thank you so much for your instructional emails, conversations about certain issues related to repertoire and organ playing, and support. They have been so extremely helpful in my own work. I've been following/completing each email as best I am able to get the time. I work a part-time organist position, but also 4 additional positions (as pianist/conductor/teacher) in the music industry here in the U.S.! I missed the Black Friday/Cyber Monday discount on Total Organist, which I hope you will offer again around Christmastime! At that point I will take advantage of it. I will be very busy anyway until third week of December, so I will have time to concentrate on organ over the holiday break. I will for now purchase your edition of the Hallelujah Chorus from Messiah, as well as the Karg-Elert Nun danket alle Gott--the latter which I played for our Thanksgiving Service two weeks ago. I will appreciate your take on the fingerings

This question was sent by Jay and Pauline. They are responding to my blog post from yesterday about playing with pointed high-heel shoes. I talked about when one lady, beginner organist, came and tried to play with high heels and pointed toes. And at the end of it I asked what our listeners think, should she keep trying to adjust to the difficult of playing with these high heels and pointed toes, or should she just get a pair of real organ shoes. So Jay responded with following message: I think it’s better if she (or anyone) can get closer to a ‘real’ pair of organ shoes. I’ve found that it’s more difficult to learn and remember good pedal technique, when you’re changing shoes constantly on which you play pedals. It’s better to have some consistency. Some people may not have the funds to purchase great organ shoes, like from the Organmaster site for example, especially students. I don’t have a ‘genuine’ pair of Organmaster shoes either. I’ve thought about purchasing a pair of those, but just haven’t ye

This question was sent by Jonathan. He writes: Memorizing a 3-voice piece. I’m not sure how best to do this. I’ve been memorizing a phrase at a time, then gradually stringing them together. Any suggestions?

This question was sent by Anders and he writes: “Hi Vidas and Ausra I have written to you before and I was quite happy that you published my thoughts. What I’d like to tell you is that I’m really happy to have entered the world of organ playing. It is indeed a world in its own. So sad sometimes when I realize that my work mates or friends really don’t understand what they miss. They just don’t know what I’m talking about, poor souls. I have been given the keys for 2 of the churches in my parish and I’m quite grateful for that. One organ has pneumatic action and the other is mechanical. It is very interesting to change between them, they are very individual and have their own personalities. I’m not at all good at playing, only simple pieces, but that doesn’t stop me from enjoying what I’m doing or trying to make progress. 1.) I’m very happy that I can sit alone in a church and play. It is a very special and somewhat mystical experience to see the afternoon sun shine through the beautiful coloured windows

This question was sent sent by Pauline. She writes: Hi, I have a question to ask here. I am a self learned electronic organist in church. I play hymns every Sunday together with another pianist. In order to create a more inspirational music for God & the congregation, who should be playing melody and who should be the accompanist? Thanks!

This question was sent by Leon. And he writes: Dear Vidas: Two recent developments have made me feel ready for my first Bach Prelude and/or Fugue. Last week I learned about the great but shunned French organist Charles Quef. I tried his little fugue and was able to do it slightly less than half speed with fewer than three mistakes per system. After that, I wrote to my contrebombarde friend who played a Quef/Fauré piece, which Bach pieces he'd suggest. He was very busy with Armistice 100th anniversary uploads, so I asked him to wait to answer. Got it today. And this week, I returned to trying the Dupré 79 Chorales, which I had not done since April. I was able to sight-read from where I'd been stuck for many months at #69, to #55 to find one that would require more than a little work. So, based on that, which of David E. Lamb's suggestions would you support, or offer others? Fugue in G Major, BWV 576 (might not be Bach) Fantasia and Fugue in C Minor, BWV 537 Prelude and Fugue in G minor, BWV 535 Prelude and F