Secrets Of Organ Playing Podcast

Where do you put a camera when recording organ music? by Vidas Pinkevicius

Would you like to publish a book? by Vidas Pinkevicius

What does it take to organize a successful organ recital? by Vidas Pinkevicius

Demonstrating the largest pipe organ in Lithuania by Vidas Pinkevicius

How to be productive? by Vidas Pinkevicius

This question was sent by John, and he asks, “Could you do a podcast about making a CD, please?” So he returned back home from his trip to play in Vilnius, and now he’s in Australia. And he’s thinking about recording some of his organ performances on CD and presenting them as a gift. So, I thought we could talk about how I do it.

This question was sent by John, from Australia. When he got back from his European trip, and he visited us and played the recital at our church, Vilnius University, St. John’s Church. And upon returning he sends this question, feedback basically.

This question was sent by Jane. She writes: Is there a source on the Internet for all of the toe-toe, heel/heel scale patterns? I am playing 15-20 hours per week in preparation for some private lessons in Paris this summer. I am an accomplished musician, but my pedal technique has become lazy over time. Working it back into shape as I am playing repertoire such as the Guilmant, op. 42 which has very demanding pedal passages. Thank you for your inspiration! Jane

This question was sent by Ahra. And she writes: Dear Vidas, My name is Ahra Yoo. I am an organist in Korea. My recital is coming up in Germany, and the organ has short octave. I have never been played on short octave organ and I read your article about ‘CDE Octave’ Could you recommend any appropriate pieces for this organ? I am in trouble to make a program. It will be very helpful any of your advice. Thanks, Ahra

This question was sent by Alison. And she writes: Hi Vidas, I enjoying reading your blog and would appreciate some advice on repertoire using the mutation stops. I am to give a recital on an organ which has 3 mutation stops and would like to demonstrate all 3 during the recital. I have looked out a Cornet Voluntary by John Stanley and a tierce en taille by Michel Corrette, but perhaps you could suggest some other repertoire I could play? Here is the full specification of the organ: Department and Stop list Pedal Key action Suspended Stop action Me Compass-low Compass-high Keys 1 Sub Bass 16 RDH Bourdon Manual I Key action Suspended Stop action Me Compass-low Compass-high Keys 2 Principal 8 3 Stopped Diapason 8 4 Octave 4 5 Fifteenth 2 6 Nineteenth 1 1/3 7 Twentysecond 1 Manual II Key action Suspended Stop action

This question was sent by Petty. She writes: I would like to offer my contribution as follows : 1. What is your dream for your organ playing? To become a reasonably capable parish organist. 2. What are 3 most important things that are holding you back from realizing your dream? I would like to provide a brief background of myself to put my input into a better perspective : I will be turning 50 in a few days' time and have just retired. I started learning to play the piano since the age of 7 until my early thirties when I have to leave for a job overseas. I have since been playing the piano, not very often, as a leisure hobby, i.e. only with sparing technical exercises. I have stood in as substitute organist a few times in 2016 and 2017 which sparked my interest in taking organ lessons, and this started last September. I practise in the church a few times a week and will practise on the piano other times - finger exercises and piano pieces. To me, the three most important issues in adapting to organ play

This question was sent by Kae, who is helping us to transcribe some of the podcasts into text and make them into blog posts. So, she wrote a question: Labas Vidai ir Aušra! She knows a little Lithuanian. So this means, “Hi Vidas and Ausra!” She continues: I was inspired by AVA192 to make a video of my newest creation--a lyric song, which meant I would have to sing (*shudder*)--and post it on YouTube for the whole world to see! I had a couple thoughts about it that I'll share with you: I try to make my lyrics as non-specific as possible, probably for 2 reasons. 1) I want them to be universally accessible. But 2) I think I also try to hide my personal life, even though songwriting involves putting it on display for the whole world--so I make lyrics that don't give away specific details. It's a weird balance I have to find, isn't it? ...Or do I? Another thing I was thinking about is: I want to encourage people to use and change and improve any music I create. I don't believe in copyrighting the kind of stuff

This question was sent by Robert. And he writes: Hi Vidas ... Robert here again from Vancouver Canada: I'm at a point where I read well and have pretty good independence with hands and pedals. I seem to have trouble with arpeggios though, left and right hand. Basically it's doing the fast transitions to other chords (in the progressions) which are often in inversions. Any material you know of or from your own courses that really exercises a disciplined technique? Cost factor I'm fine with as this is something I'd really like to get " under my fingers " yet, so to speak. I'm just playing this material way to slow. Appreciate your or Ausras input!

Have you shared your diary entry today? by Vidas Pinkevicius

What is your bucket of ink? by Vidas Pinkevicius

What is your one thing? by Vidas Pinkevicius

Give yourself permission to fail by Vidas Pinkevicius

How do you start your mornings? by Vidas Pinkevicius

What did you love doing when you were 6 years old? by Vidas Pinkevicius

What things increase and decrease one's creativity? by Vidas Pinkevicius