Secrets Of Organ Playing Podcast

Francois is writing: “Dear Vidas, I would like to ask about an exotic Pedal form, in German Stummelpedal, impossible to find an adequate translation... Well this pedal form, coming from Halberstadt over Böhms e-organs, to mention a better form than the ones on spinet organs, has some advantages. One is that it is not so monstrous like a conventional pedal, in an house organ. I think of building one (long pedals, axis far behind. So my question, did you had to do with historical pedal of this form? Or students who could bring far their technique (at least till some romantic works) practicing on this kind of pedals? https://www.ebay.de/itm/Boehm-25-Tasten-Midi-Orgel-Basspedal-Stummelpedal-Jazz-Hammond-Clavia-Nord-PK-27-/122842973043?nma=true&si=%252FOVcECBhMJw0n%252FPnaT6fggIwn4E%253D&orig_cvip=true&nordt=true&rt=nc&_trksid=p2047675.l2557 Thanks in advance, Nicer and nicer you daily email, Thank You. Francois”

This question was sent by David. And he writes: Thank you for telling me about this "mini-life" concept. It helps me to know that there are other people who do this, and that it's not some crazy idea that only I do. I am trying to work on "On This Day, Earth Shall Ring" arranged by Gustav Holst (Personent Hodie). I wonder, since this is originally written before the Baroque era but arranged by Holst in the 1800s (modernist? Romantic period?), if you might have suggestions on registration, articulation, etc. I'm looking at doing this for congregational singing, choir accompaniment, or processional, depending upon what happens this season (if the pastor picks it to sing, it will be played as a congregational hymn. If the choir sings it, I will accompany them, and if neither occurs, I will pick it as a prelude or processional). At this time, I'm trying to play the right hand quite detached, the left hand is mostly mirroring the pedals an octave higher and I am playing it only with toes. But I'm not satisfied

Today, we’re going to discuss the top 10 list of my YouTube videos, because in the previous podcast, we looked at some of the videos, and it was interesting to see how many views some of them have.

This question was sent by Danielle and she writes: “Dear Vidas, I purchased the Dauqin Noel score through PayPal but have not received a link to a pdf. Can you please help? I would love to learn part of it for Christmas! Thank you very much! -Danielle”

This question was sent by Glenn. And he writes: Hi Vidas and Ausra! I love your podcast, especially that I can read the transcript when I am in a place where I can't listen. I have a question about articulation. When you have a sustained note, like in the first partial measure of BWV 603 right hand, and an adjacent voice that sounds the same note, how do you articulate it? Do you just hold the sustained note—then it seems like the adjacent voice just goes away! Or do you break the sustained note, to sort of make room for the converging voice? Then it seems you don't hear the sustained note like you should. Similar problem in the fourth measure. Am I missing something? Thank you. -Glenn

This question was sent by Bruce. And he writes: Hi Vidas, I just came across your youtube of Estampie Retrove from the Robertsbridge Codex. Do you have sheet music to this? Preferably not in tablature; actually, regular manuscript and tablature would be fun. Cheers, -Bruce

This question was sent by Irineo, and he wrote: Splendid/illustrative podcast, maestros. Great guns. But I think maestro Rob left something missing: One of my teachers many years ago told me "if you possess what's called a 'melodic ore', you have an advantage over those who don't". My questions are: 1-How can you teach students to develop that "ore"? 2-Where does it originate? 3-Are some people just born with it? 4-If not, is it possible at all to teach those who don't possess it how to develop it, you think? Irineo

Let’s start episode 343 of Secrets of Organ Playing Podcast. And in this episode we’re going to discuss top 10 of Ausra’s organ videos.

This question was sent by Estella. And he writes: My dear Vidas, I have subscribed to your organ blog and it has helped answer some questions about improving my organ skills, thank you. I have a question about the Allen Chapel organ, which is the one that I use at my church. Last year one of the keys on the Great Manual started clicking or clacking (G). After calling a repairman and 500.00, it was repaired. Just recently, the B flat key has started making the same sound. I don't think our church will be willing to spend any more money. Do you know a quick or inexpensive way that it can be fixed? Hope you can help, Estella

Today we have two comments which we would like to discuss. The first was sent by Irineo and he writes: “Nice post as usual, maestro. But I recall having seen (or heard) that when you use a very low fifth stop (10 2/3' for instance) along with a 16' you get the effect of a 32'. Trouble is that there isn't any 16' stop left over there. So I guess the only solution lays in calling the technician. Could that be caused by the bellows having ruptured or collapsed and not being able any more to deliver the necessary pressure for the heavier stops? What do you think maestro? Irineo.” And the second question was sent by John. He writes: “I frequently quint bass notes on the Subbass - no other stops drawn, as it sounds unpleasant. It only works (as far as I can tell) from bottom C to F - after that it doesn't sound good. This idea of playing the tonic + its fifth on the pedals goes really well with string combinations and 8' - 4' flutes. This gives a quasi 32' effect. Of course when you are playing full o

This question was sent by Barbara, and she writes: Dear Vidas and Ausra, Thank you so much for your wisdom and advice! I have De Grigny's Premier Livre, but haven't learned any of the pieces. If you have a recommendation on where to start, I'd be happy to take it. I love Dandrieu (know a couple of his Noels), and will use your fingerings for Couperin. First, I'll learn how to interpret all the ornament markings -- and read about the composers, so I know who they are. My practice organ is electronic (not as thrilling as real pipes), but I can get pairs of reedy sounds for conversations among the voices. This will be fun! I'll see what I can find in the way of exercise classes, too. Love walking. Will work on taking breaks and breathing (one of my singer friends is helping me learn how to sing/breathe better, too). Many thanks, Barbara p.s. I sat in on an Olivier Latry master class two summers ago at the AGO/RCCO convention in Montreal. He recommended that one student study Chopin -- for touch, phrasing,

Today is Thanksgiving so all of our subscribers, readers, listeners, students, customers we want you to know how much we appreciate you and we are grateful for the fact that we are all in this together for what, seven or eight years now. So Ausra if you could start the list of three things you are grateful with our Secrets of Organ Playing community what would that be? And I’d like you to start this list because while you talk I’ll be thinking of my list. A: That’s so unfair. V: I know. A: You are putting me on the spot. I don’t like making lists but as Vidas often says we love to help you grow and in that I think you are helping us to grow too and this is very important.

This question was sent by Denham. And he writes: My dear Vidas, I hope you and Ausra are doing well. My name is Denham and I live in Sri Lanka and I am about to start learning the First Final from Louis Vierne’s No.1 for Christmas this year. I’m hoping to learn one page a week in order to master it well. The question that is in my mind is I am unsure of how to register the organ to play it. Please are you able to provide some insight into this? As in can you please help me with the registration? ​I’d be more than grateful to you. And I am willing to pay you for your trouble! Thank you so much Denham

This question was sent by Neil and he writes: “Hi Vidas and Ausra, Thanks for your email and I love your wonderful conversational style! I take it that Lithuanian is your native language but your English is delightful! I admire that so much, as I'm afraid we Americans are mostly unilingual. My grandfather sang songs in Lithuanian, Polish, Russian, and English. His father was Polish but he grew up in Lithuania because his mother's family owned a farm there, I think not far from Kaunas. On a musical note, I will soon be taking my first formal organ lessons, from a local church organist. The church where I am choir director will pay for them, and I am delighted. I've been a musician/music teacher for forty years, but not on the organ. I'm still looking for organ shoes, but my feet are extra wide, and I also need loafers, because I prefer not to deal with the laces. Will I be able to find organ shoes like that? Thank you again for your wonderful, inspiring messages and music. God bless--you are both ea

This question was sent by Jan. She is on the team who transcribes our fingering and pedaling scores. And she asked: I attended a djembe African drumming workshop at my local library. I had a great time. It was so much fun to play music as part of a group. I have a question...to remember the rhythms, would a classically trained musician automatically translate these rhythms into notation? (Sort of like visualizing a word that you are trying to spell.) I was able to play the rhythms by copying them, but I was not able to translate into notation. I hope that I will be able to teach myself to do so. The whole reason for me attempting to play the djembe is because I am so totally over not being able to keep a consistent tempo in my pipe organ playing and I thought that djembe drumming would provide a more whole body experience.

This question was sent by Lukasz. And he starts with his questions, with a quote from our previous podcast conversation about performing the Dorian Toccata by Bach, where Ausra, says: ..."A: Well, unless you would use the 5th and 4th finger to make the trill. V: “Oh, that’s...that’s torture!” A: “It is! Or maybe you could play those 16th notes with your left hand"… So Lukasz later writes: I think it is not a torture, it is a necessity for Bach. Try to play Goldberg's without 5th and 4th trills in right ... and left hand... agree, at start it is difficult, but for Bach - in my opinion - necessary, same like playing parallel sixths legato in one hand - same right and left hand. I also considered these things as too difficult, something just from art of circus and not really needed for organ. Until the time I've start to work with Goldberg's variations—which I loved and when I started to play it I went crazy about it. But by the way, it completely overturned my manual technique. More—I practiced it on SIN

Vidas: Hi guys, this is Vidas. Ausra: And Ausra. V: Let’s start episode 332 of Secrets of Organ Playing Podcast. This question was sent by Steven and he writes: “Good morning Vidas, Hope all is well with you. Thank you very much for your helpful podcasts. Today and tonight I accompanied several choral numbers and performed a few hymns and Campra's Rigaudon at a very large venue out of town on a very large pipe organ. I'm nearly 70 years old, my memory isn't all that bad any more but it's not quite as quick to store information as it used to be. When I perform at the organ I'm finding it necessary to sight read a good deal more than I used to. I was familiar with the music and the instrument but hadn't performed it there in about 15 years and was given only about a month's notice to get things prepared. The instrument is fully playable with electropneumatic action but has a few quirks -- most noticeably a very deep key fall with stiff action on the pedal keys and very weak manual key springs to w

This question was sent by Lev, and he writes: Hello Vidas, Could you please (if you find time) take a look at my suggestions for progression T1TS2SD3DT4T in C major and a minor (Exercise 9-2 from Harmony for organists course) and give me short feedback about mistakes. I'd like to make sure I've understood the harmony stuff correctly so far. Thanks in advance and best regards

This question was sent by David. And he writes: Hello Vidas and Ausra, This past Sunday I completed the 40-week course. I really liked the course and thank you for it. As requested here are my comments. Yes I can sight read better but still need more work. I tried several new pieces I had tried before the course and I was better. I was away for 2 weeks in the summer and caught up by doing 2 days in 1. Not a good idea so I am repeating from week 29 on. Some comments: I found the first weeks quite easy and we did not start 3 staves until week 29. I think it would be better to introduce the 3 staves earlier or at least LH and Pedal. The early weeks were mostly in d minor. I think they would be more useful if transposed in various keys. I am also augmenting the material with Dupre's 79 chorales and using baroque pedaling. These are my comments. Thanks again Best regards, David

This question was sent by Hanna and she writes: “Hi Vidas, I am having pain in my inside right groin from trying to hold my knees and feet together. It was all I could do to do 10 reps of the Master organ course Week 2 Day 1 this morning. I am only 5' 1" and it is difficult for me to perch on the edge of the organ seat to reach the pedals as you describe. I can only hope that the pain will decrease with time. I was not able to do all of Week One in the Pedal Virtuoso course last week, but am trying to be more faithful daily this week. But things are improving, more accuracy bit by bit. –Hanna”