Secrets Of Organ Playing Podcast

We’re continuing our discussion from the previous podcast conversation about our recent concert of Vilnius University Unda Maris studio. You can check it out in podcast Episode 228.

Today we’d like to discuss the concert of Vilnius University’s Unda Maris studio that was held at St. John’s Church on May 26. It was the culmination of our year-long season.

This question was sent by David, and before that, I asked him what challenges is he facing when preparing for a wedding. And he wrote: Fortunately, I have 5 years to practice for this. My biggest hurdle was actually covered in one of your recent podcasts where Jan was mentioning she might be practicing to quickly the speed of the piece. I have the same problem as I want to capture the artistic interpretation immediately, but am starting to realize it's more important to get the correct fingering and pedaling down first and perfect that and then focus on interpretation.

This question was sent by Daniel. He writes: “Vidas: In your opinion, could Jesu Meine Freude, BWV 610, be setup with a big registration, which includes reeds and mixtures?”

This question was sent by Steven, and we are continuing our discussion about what makes a good free theme, let’s say for a prelude, because in a previous podcast we talked about the fugal theme. So let’s look at our example of BWV 541, Prelude and Fugue in G Major by Bach (and we discussed the fugue in the previous conversation).

This question was sent by Steven and he writes: It would be an extremely interesting subject some time for a podcast, if you and Ausra might consider discussing what the elements of a good free theme and a good fugue theme are, as regards development. All the best, Steven

This question was sent by David, who is helping us transcribe my slow motion videos into scores with fingering and pedaling. And he writes: I'm getting better at this, yes. I'm quite enjoying this. I have an organ transcription for BWV 35, the aria Gott Hat Alles Wohlgemacht. I've been adding the fingering as I go, but with the work I'm doing here, I've been noticing things in the fingering that has got me going back and analyzing the entire aria and I've revamped the fingering in certain areas and I'm actually writing it in for every note while testing it at the same time to make sure it makes the most sense. I have a good grasp of the pedals, but with some of what I've noticed you do, I'm now applying those techniques and it's starting to catch on with the basic hymn playing I do. Sections that I used to find a bit challenging to figure out the proper pedaling before are now becoming a breeze!

This question was sent by Samuel. And he struggles with recognizing patterns in the form of chords, completely and independent, and sight reading harmonies, especially hymns.

This question was sent by Ron. He writes: Hi Vidas, I signed up for Steemit 15 days ago; they verified my email but haven’t sent me a password yet, so I couldn’t get into the contest site to upload on Dsound. Anyway, for what it’s worth, here is my recording. It is very simple, but I learned a lot, having forced myself to stick within the FGAC theme. A very interesting exercise. I actually did another one, for 6 minutes, and made no note mistakes (!) but didn’t want to force anyone to listen to something that long. What I tried to do with this one was 1) stick to the notes 2) keep fair time 3) allow myself to play with resolution and not 4) allow my fingers to play fairly disciplined, and then more-or-less spasmodically—which gave me a feel for that “other” side of playing and what we fear to do… Anyway, you don’t have to listen to this or upload it—but you can if you would like; the site won’t let me yet. I do intend to enter these contests, I haven’t “forced” myself to do anything quite

This question was sent by Jan, and she writes: Dear Vidas, Thank you for asking how my practice is going today. Today I am struggling with hymns. I am not very competent with the pedals. I practice separately...pedals, RH, RH and pedals, LH, LH and pedals, RH and LH, RH LH and pedals. I also write in the pedaling and fingering. It seems to take me ages to learn a hymn; especially as playing a hymn on the piano is very easy. Perhaps I need to do more slow practice and perhaps I need to do more separate practice rather than playing the hymn together over and over again. On a more positive note...I have been playing in church for a year now and my playing has definitely improved. I am very pleased. It has been worth all the hard work. Thank you for your help over the last year. Kind Regards, Jan

This question was sent in by Russell, and he writes: Greetings, Vidas. I found your course while searching for guidance as how to educate myself in music theory. I have a piano and an old Hammond organ, but I am not a musician. I read music, but only with difficulty. I desire to learn music theory because I do not understand many things about music. Most importantly, would a given piece of music have the same "feel" if transposed to a different key? For example, why did Bach choose D-minor for the Toccata & Fugue, BWV 565, and C-minor for the Passacaglia & Fugue, BWV 582? Would music written all in the same key be boring or tiresome? Or does the key (other than major or minor) enhance the effect of a particular piece of music? It seems to me that, for me, a good starting point would be to practice and memorize scales and chords. I love classical organ, but I wonder how an organist manages to keep track of multiple voices, such as in a fugue. I wonder whether some brains are "wired" with this

This question was sent by Bruce. He writes: Hi Vidas and Ausra, I am working on BWV 615 (In dir ist Freude) from the Orgelbüchlein, and I have a question about possibly moving a measure or two written for the pedals and taking them in the left hand instead. In measure 8 (and later, equivalently in measure 24, and also possibly 4 bars from the end), it seems to me that the quasi-Alberti figure in the pedals could (and possibly should) be taken by the left hand. In terms of registration this also makes sense to me (allowing the pedals to have a 32 foot stop, and individuating the left hand from the pedal with a 16 foot stop in the left hand). Also, by doing this, the pedal part that is established in the wonderful figure in the first measure (and found throughout the piece), can be given it's own character. Besides, to be honest, my pedal technique still isn't quite up to a full measure of 8th notes yet ... A few quick questions then: 1) Is it a common and acceptable practice for an organist to essentia

This question was sent by Francher. My Dear Vidas… Thank you so much for your response and inquiry! Although it is unlikely that I’ll ever perform, I do practice “very well”…and, for at least 2 hours every day. I start my day with an hour to an hour and a half practice, and end my day with another hour (with several shorter sessions, as time permits, throughout the day). I knew I wanted to be an Organist when I was about 10 years old…I also knew I wanted to be an Architect then too. As a profession, Architecture “won”. So, I spent my “productive” years doing the Architecture thing. Although I “piddled” with the organ for many years, I didn’t start serious music study until I retired at age 72. I found a wonderful teacher, who convinced me that I would learn more quickly if I knew some theory. So, I went back to college (at 74) and studied Music Theory for a year. Then, after studying with her for four years, she abruptly gave up all her students and quit teaching. That’s when I discovered “Total Organist

Welcome to Secrets of Organ Playing Podcast! Today's guests are Francine & Matthieu Latreille, who are Canadian organists and choirmasters, currently sharing duties as co-directors of music for Saint Thomas' Anglican Church in Belleville, Ontario. Both recitalists in their own right, they are active as soloists as well as a duo on the North-American scene. The husband and wife team regularly gives joint concerts since 2009. They also share a deep passion for sacred music and liturgy. ​They served together at Saint Ambrose Episcopal Church (Claremont, CA), before coming to Belleville, Ontario, where they live since 2014. I've talked with Francine last year on the podcast and I'm glad I had a chance to interact now with them both. In this conversation let's find out how Francine and Matthieu practice, perform, work and even how Matthieu recently recorded his own solo CD recording. ​Relevant links: Matthieu's CD Page: http://rmlatreille.wixsite.com/duopergulae/cd Their Website: http://duopergulae.com T

This question was sent by Denham and he writes: Please can you do a masterclass on the In Dulci Jubilo in the same Orgelbuchlein Book. BWV 608. How to master the rhythm of 3 against 2s. It is so difficult. Thank you Vidas!

This question was sent by George. And he writes: Dear Vidas, My greatest problem at this point is independence of both hands and feet, in addition to the usual issues sight reading all the separate parts. You're very kind to write! Yours truly, George

This question was sent by Tim. He writes: My dream for organ playing is to have the confidence to play publicly in church and concert settings. How can I get comfortable play for others and play as well then as I can when playing just for myself. Barriers include no local teachers in our small community. I’m learning on my own so get no critical feedback on my playing. Lack of opportunity to play publicly is number two. Presumably that could be resolved by joining a local church, but that would really be the wrong reason to join a church. Access to an instrument is not a problem as I have a fine Allen digital organ in my house, but access to a variety of instruments is a problem and limits opportunities to develop more sophisticated registration ideas. Tim

This question was sent by Brad. He writes: I am a 39 year-old music educator and church musician who has played piano for twenty years, and began studying/playing organ five years ago (with two years hiatus due to a significant job change). I returned to my study of the organ a year ago and have made significant progress. 1. My dream would be to become a proficient organist, capable of playing standard classical repertoire (Johann Sebastian Bach, especially) with good technique both on manual keyboards and on the pedal board (which I am currently struggling with), as well as being proficient/comfortable at hymn playing and accompanying a soloist/congregation. 2. Challenges 1) I am 6 feet, 8 inches tall and I have a size 16 foot. The majority of my height is in my legs. I find it very difficult to develop my foot technique on the organ because sitting at an appropriate height and distance on the bench often restricts my ability to move my legs with the necessary freedom from pedal to pedal or from pedal t

This question was sent by April. And she writes: Hello Vidas Pinkevicius, I am answering your survey. 1. What is your dream for your organ playing? I would like to know more about how to convert piano sheet music to organ sheet music. Our hymn book for church is written for piano and I struggle with creating a reasonable, but fairly easy, pedal line and deciding which stops to use. 2. What are 3 most important things that are holding you back from realizing your dream? Access to organ sheet music. Practice time. Using the pedals because I am only 5 feet tall. I am enjoying your organ coaching and it helps. Thank you. April

This question was sent by John, and he writes, Could you also talk in your podcast about actually recording the CD, like where to place the microphone, or what sort of microphone to use. How to pick the repertoire, what sort of editing processes should be used, and how to organize the actual recording schedule. For example, did you do the whole CD in one hit, or over several days or weeks? Did you record at night when there is less background noise (in a city location).