Secrets Of Organ Playing Podcast

This question was sent by Robert. He writes, “I never had a teacher or lessons. I have been doing this on my own.”

This question was sent by Neil, and he writes: “Hello Vidas, I’ve recently changed careers from working in IT to now a freelance organist/pianist. My dream as an organ player is to be able play to the best of my abilities playing pieces from Bach to modern composers but also learning to improvise.”

Today’s question was sent by Neil, and he writes that he finds it hard to think of chord progressions and keep on sticking to a few major and minor keys.

Today’s question was sent by Neil, and he writes: “I don’t have a home organ so practising is on my Roland piano but I have access to an organ at my parish church.”

Welcome to Secrets of Organ Playing Podcast #122! Today's guest is a Swedish composer and organist Thomas Åberg (b. 1952) from Stockholm. Most of his works are written for the organ and are characterized by their rhythmic joy, simplicity, and humor. He has stated that "music must bring enjoyment, without abandoning reverence," and as such his style often uses the most basic of musical materials to create a discourse that is both spiritual and visceral. His music has been performed by organists at festivals throughout Europe, Asia, and the USA. He also tours regularly worldwide as concert organist with his own works. Thomas is a member of Society of Swedish Composers since 1986. In this conversation, Thomas shares his insights about his musical style and creative process and gives tips for organists who would love to begin composing don't know where to start. ​Enjoy and share your comments below.

Today’s question was sent by Neil, and he writes that his challenge is with confidence: “I do suffer with nerves and when I have a service to play I try to make sure all hymns and service music feel OK.”

Today’s question was sent by Neil. He writes: “My challenge is with concentration - practicing a voluntary is one thing but when playing the piece at the end of the service I feel under pressure and can make mistakes even though the run-through before the service went OK.”

#AskVidasAndAusra 114 - How Do You Deal With The Organ Loft Getting Cold In Winter by Vidas Pinkevicius

#AskVidasAndAusra 113 - He Is A Very Poor Sight - Reader And And Learned By Ear by Vidas Pinkevicius

#AskVidasAndAusra 112 - Please Tell Me How To Use The Both Feet by Vidas Pinkevicius

Welcome to Secrets of Organ Playing Podcast #121! http://www.organduo.lt/podcast Today's guest is an American organist, carillonneur and choir conductor Dr. Mark Konewko. Mark has been carillonneur at Marquette University since 1999 where he began as Interim Chorus Director in fall 2010. He holds an MBA from Cardinal Stritch University as well as a Masters of Music Degree in Organ Performance from the American Conservatory of Music. He studied carillon at the University of Utrecht in Amersfoort and has played worldwide in places such as the Netherlands, Belgium, and France. In addition to being carillonneur at Marquette, he has an extensive back ground in vocal music and choral conducting, and he teaches courses in music appreciation, business of music, carillon discovery, and music technology. He also serves as Director of Music at Mother of Good Counsel Catholic Parish in Milwaukee, Wisconsin. We have met in Vilnius where Mark presented his research on "La Nativite" by Olivier Messiaen for the internati

Today’s question was sent by Robert. He writes: Hi Vidas. Robert here from Vancouver, Canada. I was wondering if it is possible to find the booklet from August Reinhard Op. 74. Heft I (so first half). I have the second half. In German it's "50 Übungs und Vortragsstücke für Harmonium”. As I mentioned I have the second half but it would be nice to get the first half too, to complete the set. It's great stuff! Keep up the wonderful work you both do, and so now and then I keep purchasing a piece you've worked out if I can manage it. I'm still working on BWV 577. I find it hard to get it fast and smooth. Slowly! Blessings, Robert http://www.organduo.lt

Today’s question was sent by Kevin and he writes: Thanks for sending the week 2 materials for Prelude Improvisation Formula. I have enjoyed working through week 1 modulation exercises. My goal was to start Descending Sequence 2 and keep going until I passed through all the closely related keys without stopping! This goal was a little too ambitious at first. I made progress taking one modulation at a time, and I found that modulating to keys with two accidentals is much smoother adding one change at a time instead of all at once. Walther's elegant pitches from Pamela Ruiter-Feenstra's Volume 1 of Bach and the Art of Improvisation are also helpful. Thanks again Vidas. Learning how to improvise in the style of J.S. Bach is the realization a lifelong dream. http://www.organduo.lt

Today’s question was sent by Barbara, and she writes: Dear Vidas and Ausra, You are very welcome. Your emails have already answered many questions -- some I didn't even know I had -- everything from why some of your fingerings are so different to how to hear inner voices to how to deal with injuries. Thank you! And thank you very much for the Boellmann toccata. I actually learned it many years ago when I was still taking organ lessons (I started lessons 18 years ago at age 48). I played it for a Halloween postlude one year at my church, and they brought the Sunday school in to listen, so I really pulled out all the stops at the end. But I'm very glad to have your fingering. I've been on retirement "vacation" for many months because of numbness in my hands, so I've been trying new fingerings as I ease back into things (long story, but I think I've been using too much piano technique on the organ all these years and it's taken its toll, especially as my muscles and joints age). Thinking of a question for y

This question was sent by Andrew, and he writes: “Dear Vidas, thank you for your email particularly since you must be very busy judging by all your posts! In reply to your question, I’m currently working on the Franck Final, and hoping to move on to Stanford’s “Rheims” from the second organ sonata, hopefully in time for Armistice Day 2018.. I visited Rheims last year. What do I struggle with? Early fingering and ornamentation, particularly making Early English music sound coherent and fluid. Andrew” http://www.organduo.lt

Today’s question was sent by Brice, and here is how it sounds: “When I learn a piece of music depending on its difficulty I can learn it in several hours, or several days, several weeks or 1 to 2 months. Don't mind taking a lot of time to learn to music, but I'd like it so that I can get myself up to the level where I read simple pieces of music down to less than an hour if not 30 to 20 minutes to learn. Or be able to just sight read such a easy piece.” http://www.organduo.lt

Welcome to Secrets of Organ Playing Podcast #120! http://www.organduo.lt/podcast Today's guest is Dr. Pamela Ruiter-Feenstra who is an American organist, international performer, composer, liturgical musician, scholar, and pedagogue. She returns to our show to introduce our listeners to the newly published Vol. 2 of her treatise "Bach and the Art of Improvisation". Here's our previous conversation about Vol. 1. Simultaneously revolutionary and realistic, Pamela Ruiter-Feenstra resuscitates historic improvisation from relevant treatises and documentation of Bach's improvisation pedagogy in counterpoint with tried and true applications. She incrementally guides the reader from improvising cadences, chorales, partitas, and dances in Volume One to improvising interludes & cadenzas, preludes, fantasias, continuo playing, and ultimately, fugues in Volume Two of Bach and the Art of Improvisation. The chapters on continuo playing alone beckon reform of current practice. Pamela invites those willing to immers

This question was sent by Collins, and he writes that he needs the Hallelujah Chorus by Handel, with sheet music and fingering... for piano. http://www.organduo.lt

Welcome to Secrets of Organ Playing Podcast #119! http://www.organduo.lt Today's guest is Nicholas Papadimitriou, an organist, pianist and composer originally from Greece but currently studying and working in the Netherlands. Born in June of the year 1993, he started studying the piano at the age of six with his first teacher Domenica Mikaits. Two years later he joined an orchestra for young children, in which he participated for six years. At the age of thirteen, he joined the Philippos Nakas Conservatory in Athens where he studied the piano with Athanasios Grozas. At the age of fifteen, he started studying the Organ privately with Zafeiria Vassiliou in the Megaron Concert Hall and in the Anglican Church in Athens. In 2009 he enrolled in the Conservatory's Department of Music Theory where he studied with Michalis Rousselakis. During this time, he also participated in Choir Direction classes with Valeri Oreskin and has been a member of the Conservatory's choir. In 2012 he received his degree in Music T

Today’s question was sent by Dan. He writes: “Hi Vidas, I’m curious as to what the piece is that you have at the opening and ending of every SOP podcast? It sounds quite interesting. Is it something which you’d improvised? If so, that’s very cool. Take care. Dan.” http://www.organduo.lt