Secrets Of Organ Playing Podcast

Let’s start episode 308 of Secrets of Organ Playing Podcast. This question was sent by Jaco, and he writes: Dear Vidas Thank you for your daily posts - it is really an inspiration! I really like Bach's Toccata in d (Dorian). It is a piece that feels like it has perpetual motion - something always keeps moving in it. It is quite a difficult piece to master, but I decided to learn it. The edition I am playing from is the new 2012 urtext Breitkopf & Hartel edition. It indicates a trill in measure 29 on the top e in the RH (please see below). However, it does not indicate when this trill should stop. The note is held on for another 2 measures. When should that trill stop? I don't know how to play the RH in measure 30 if trill has to continue, since a lower voice starts with that hand halfway through measure 30. Another question - I know the piece has to be played articulate legato. However, it does sound quite nice if the first 2 semiquavers on the motive on beat 1 and 3 are slurred (played legato). I

Let’s start episode 306 of Secrets of Organ Playing Podcast. This question was sent by Jack and he writes: “Hello Vidas, I practice every day for 1 or 2 hours, sometimes even more. But I make slow progress on e.g. Bach level 1 course. Probably due to my age (71) and the fact that I didn't play for almost 30 years. But the good point is that I ENJOY the practicing now, thanks to your inspiring learning materials. Rgds, Jack”

Let’s start episode number 307, of Secrets of Organ Playing Podcast. This question was sent by Tamara. And she writes: Hello Vidas– I have been following your Secrets of Organ Playing emails—very helpful, thank you! Do you recommend total legato for hymn playing in any situation? I did learn and follow the 4 ways to render a hymn in the Ritchie book (Chapter 7). It seems that the best, most efficient hymn playing is balance of legato and articulation, distributed among the SATB parts. Thank you. Tamara

Let’s start episode 305 of Secrets of Organ Playing Podcast. This question was sent by Alan, and he writes: ​ Vidas, we are back from our travels. I enjoyed the Bach organ tour but the big surprise was how sharp most of the organs were. It wreaked havoc with my absolute pitch and made it very difficult to play. It didn't get easier, but I didn't push it too much as there were others waiting for a chance to play the organs. For something else to do I took measurements of the temperament octaves of many of the organs in order to make some comparisons. A podcast on coping with different pitches would be good.

Let’s start episode number 304, of Secrets of Organ Playing Podcast. This question was sent by Jeremy. In response to my weekly questions in our Total Organist Basecamp communication channel. When I ask ‘What’s the most frustrating thing for you this week, that you’ve been struggling with’? And Jeremy wrote: Focusing. During the postlude at this mornings service, about half way through the fugue of BWV 555 bad things just started happening. I tried to bring myself back into the moment, but it took about ten measures to get back into the zone. I am trying some of the techniques you mention in your "focusing at the organ" lessons, so the fugue didn't completely fall apart. Just a few hairy moments on a piece I felt completely fine with yesterday. I will say, ten years ago I would have stopped the piece and tried to restart it somewhere, so that's a win.

Let’s start episode 303 of Secrets of Organ Playing Podcast. This question was sent by Michael and he writes: “Hi Vidas and Ausra, Thank you for your recent email, to which I am now responding late (I apologize). My dream for my organ playing is that I would like to apply for, and be admitted into, a doctoral program in Organ Performance. I am currently pursuing a master’s degree in Organ Performance. At this time, I cannot think of three hindrances to my dream, but I can think of one in particular that is proving to be, and has always proved to be, a great problem for me: I am very shy about people hearing my practicing the organ - the repetitions, making mistakes, etc., that attend the process of learning a piece of music. I am a very introverted person (which I have found is not a very common personality trait amongst organists; at least, not amongst the organists I know personally). I believe that my fear of people hearing my practicing may (at least partially) stem from the shyness and introve

This question was sent by Henry, and he writes: I would like to start accompanying the congregation using an electronic keyboard. My question is, when and how do i start learning congregational opening hymns? Please i need your piece of advise on this issue.

This question was sent by Dan, and he writes: Hi Vidas, back in June, i’d tried out a small casavant organ, in a place which is used for people to stay at, they do corporate events there, and other stuff, and the owner of the place, doesn’t really play the organ. She wants me to play it on a couple dates in november. It’s a 1929 Casavant organ, and it’s their opus 1375. ​When I’d tried the instrument, I was mainly using the crescendo pedal to control it. Those can give you sometimes less than desirable results. I’d asked her if she could provide me with a stop list for the organ, so I could know what it has on it, so I can have finer control over the instrument. Her response was that she doesn’t play the organ, and that we’d have to get somebody in to help. Does Casavant, or any other organ builder for that matter, have an online database with specs on every instrument they’ve built that I could access? OR would it be worth contacting Casavant about this? Secondly, the instrument hasn’t been looked at

This question was sent by John. And it doesn't start like a question, but rather like feedback or response to another question that we discussed earlier about improvising alternate hymn harmonizations. So John writes: There are a number of books of varied accompaniment [published by companies such as Kevin Mayhew and Novello], but these are for hymns sung by English-speaking congregations. Eric Thiman composed two books of excellent accompaniments [published by Novello and OUP, still available]. A very effective way of beginning a final verse is by playing a flattened seventh on the pedals. Other devices include: introduce a dominant pedal towards the end of the hymn, changing major chords into minor [if possible], playing the alto line above the treble, placing the treble line in the tenor [fauxbourdon - this is quite difficult and needs to be written out in full]. My advice would be (i) get hold of Thiman's books to see the techniques he uses and (ii) if you require a varied accompaniment for a choral, wr

This question was sent by John and he writes: “Hi Vidas and Ausra, Thank you for your amazing blogs lately, there's been some great discussions and I value the different perspectives you both bring. I'm wondering if you could please talk about how to improve finger accuracy, especially with fast passages. Specifically I'm trying to play In Dulci Jubilo BWV 729 by Bach, your training videos were great and I surprised myself how fast I was able to learn it (for me), it still took 2 months. Now my problem is trying to speed up to concert tempo. Most professional organists on YouTube seem to play this piece in 2:40-2:50 minutes, your Christmas Concert video shows you play it in about this time. I seem to be able to play it in about 3:10 mins quite ok without mistakes, but when I go faster, I seem to slur lots of notes by brushing against the key alongside, for example playing the note A I might bump the G sharp alongside. It feels like my fingers fumble, and I make mistakes in random places and even lose my

This question was sent by Anne, and she writes: Dear Vidas, Could you help me out a little with registration? I am quite confused about how one should register for many compositions by Bach, in particular his Trio Sonata in E flat (BWV 525). I understand that it was not common practice in his time to list out particular stops one should pull for each piece, and that it depended rather on the organist himself and the place he was in. But I don’t know where to start. If it doesn’t trouble you too much, I’d definitely appreciate your help. Regards, Anne

This question was sent by Dineke. She writes: Much pleasure with my pedal course. The first week I was some ill and the printer was new....I am studying with pleasure and it s just have been good I had basic knowledge of Theory..... we continue....beside my usual lessons. Nice you had a good Saturday with books meeting. Many greetings from Dineke. Secrets of Organ Playing: https://www.organduo.lt

This question was sent by Victoria and she writes: “Hi Vidas. I try my best on the church electric Organ as much as I can, but 30 hrs a week no way... Most I work on are hymns since we are a small church. It seems a long way to go for me, even the two part. But your advice is helpful! But I enjoy playing hymns on the Organ at church for practice, can’t do service yet. Hope one day I will be ready...Thanks again for your great work! You and Ausra are blessings! Victoria” Secrets of Organ Playing: https://www.organduo.lt

This question was sent by Anne, and she writes: I started working on Bach Prelude and Fugue in D Major, BWV 532. The opening pedal run is not hard except that I am a short person. The benches I sit and practice on are not adjustable so I have to sit close to the edge of the seat to be able to use the pedal board. ​ In order to do this pedal run using only toes - I have to adjust myself as I go up the scale because my legs are not long enough. Somehow I will have to figure out how to do the adjusting and also have my hands ready to play the opening chords at the end of the run. Should be an interesting few weeks until i get this figured out! Secrets of Organ Playing: https://www.organduo.lt

This question was sent by Andrew and he writes: “Mass for Fathers Day this morning went well. Parts of the Mass were sung to the Glendalough Mass by Liam Lawton. The school's REC (Religious Education Co-Ordinator) is a guitarist. I've rigged up a mixer to feed through the organ's amplifier and speakers. He puts his amplified acoustic guitar through it, plus a couple of microphones for the singers. He leads with rhythmic strumming, and he has a small choir consisting of students from his class who lead the singing quite well. I add judicious, unobtrusive organ support beneath. I create my own organ accompaniment for the mass setting, reading from the choral/keyboard score and blending the parts so that the soprano line of what I'm playing doubles the congregation's melody but I add other bits from the keyboard accompaniment to make it interesting. Playing only the SATB part or only the organ part doesn't work - it has to be an amalgam of the two. Some of the songs come with melody and guitar chords only, but

This question was sent by Jeremy, and he writes that he struggles with finding practice time.

This question was sent by Ruth. She’s our Total Organist student. And she writes: Ruth: My organ has completely broken down and cannot be repaired. So, I have spent quite a bit of time in looking for another. Through my teacher, I found another which is several hundred miles from here. The owner of it is willing to give it to me, but I need to pay for its transportation here. She had several persons come to examine hers. They have confirmed that it is in excellent condition. So, I feel fortunate. Meanwhile, I have been practicing on the piano. Has this happened to any of you?

This question was sent by John and he writes: “Lately I've been having trouble with osteoarthritis in my right hand (and to a lesser extent in my left) so my practice has been restricted to work on the pedals. Simple finger-work is basically fine for me, but holding a note(s) while the other fingers move can be quite painful. Being a pianist my pedal playing has always needed attention but it's distressing to have the hands so sore after playing.” V: How long can you play without the pain? “It varies, Vidas, but if the pain gets bad I just give up for the day and let my hands recover. If I start a session with no particular pain I can play for maybe fifteen minutes or so without too much trouble. If the texture is complicated and I'm trying (for example) to hold an inner part while another melody weaves around it that can be troublesome. I think I need to choose repertoire with more care and try to avoid anything that gives me grief. My home practice instrument has a modern keyboard action, so I don't hav

This question was sent by Danielle. She writes: Dear Vidas and Ausra, I was an organ major as an undergraduate but had no background in harmony or scales. So even though I could learn organ literature, play for church services, and accompany choirs on organ, I could never improvise. Because I had no mental shortcuts (ie knowing what key the piece had modulated to, etc) the learning process was extremely arduous, and I stopped playing as soon as I could and switched to choral conducting. The stress of preparing for weekly church services was just too great. Fast forward 25 years, and now I am subbing on organ for Catholic masses, and sometimes cantoring simultaneously! Thanks to some Dalcroze training, I can now entertain the possibility of improvising. But I’m finding it to be more challenging to improvise on organ vs improvising on piano for children’s music classes. So my dreams are to be able to improvise postludes and to be able to re-harmonize the final verse of congregational hymns to add a few juic

This question was sent by Osei. And he wants to become a great organist and a composer, but he struggles with fingering. https://organduo.lt