Secrets of Organ Playing Podcast

Let's start episode 706 of Secrets of Organ Playing Podcast. Today we decided to discuss a little bit about our last summer organ trips. So we hope you will enjoy our conversation about all the recitals that we played in various countries.

This question was sent by Matthew, and he writes:
“Hello Vidas & Ausra,
Thank you for all that you are doing to encourage and coach organists!
1. What is your dream for organ playing?
Be able to accompany any song without losing the mood of the song. Rich bass and appropriate chords.
2. What are 3 most important things that are holding you back from realizing your dream?
a. Fingering
b. Unable to play soprano and alto in the right hand simultaneously (bass and tenor in the left hand simultaneously)
c. Knowledge of chords
Best regards,
Mathew”

This question was sent by Leo, and he writes:
Good morning, Which of your studies do you recommend for learning repertoire within a short period of time?
Thanks, Leo

This question was sent by Pamela, and she has a dream to be the best organist that she can be. And holding her back is playing anxiety, physical stamina, and lack of concentration.

This question was sent by Leo, and he writes

Good evening,
Thanks so much for the fine work that you and your staff render.
I am currently moving into a new position as organist for the Second Presbyterian Church here in Memphis. I am ecstatic about this amazing opportunity.
Are there any secrets or nuggets of wisdom as it pertains to learning difficult pieces quickly. Please advise or share what to purchase on your website.
Thank you
Leo

This question was sent by Richard, and he writes:

“Hey Vidas,
I just watched your video of 4 movements your Nun Danket Suite - VERY nice.
Question: how do the tablets with the music score know when to switch as they do?
Thanks!
Richard”

This question was sent by Pedro, and he writes:

1. My dream is to improve my improvisation techniques. I think this goes through more music analysis, and trying to write down small pieces.  I would also like to be more confident when choosing the appropriate registration.  And finally I would like to change my finger touch, that is still one of a trained pianist.

2. Things that hold me to reach that goal is : Time to play more often and access to an organ.

Thank you, Pedro

This question was sent by Rien Schalkwijk, our friend from YouTube, and he wants to know how Rorate caeli, ornamented chorale prelude by Jeanne Demessieux is constructed.

This question was sent by Rebekah, and she writes:

1) My dream is to be able to sight-read hymns well enough that a last minute change to a hymn in a church service doesn’t worry me.

2) What’s holding me back is time - I just started playing the organ a little less than 3 months ago, and I can only get to the church to practice 3 days a week. I do practice on my piano at home on the other days.

Rebekah”

Today, we’d like to talk about how to teach in an organ studio where one student is playing with one finger only, and another rather well.

Today, I would like to talk about what to do when you come to practice and there is a funeral in the church. It has happened to us many times before. We had our Unda Maris Studio rehearsal planned, but before that, we were going to record some organ music on our church organ. But before entering the church, we noticed widely opened doors which means something is going on. And sure enough, in one of the chapels, there was a funeral being prepared.

Today, we’d like to talk a little bit about how and why Total Organist Community has migrated from Basecamp to Discord.

This question was sent by Ed, he is one of our Total Organist students and he writes:

You asked me to get back to you about what I’m practicing, and I had to wait a few days to figure out how to explain this. As I mentioned in my prior email I have a masters degree in organ performance from many years ago, and then let it lapse for several decades. Now that I’m retired I’m trying to make the magic happen again, and it’s been challenging to figure out how to put the pieces back together. My technique has really slipped a good bit, most of my repertoire is rusty, and if I’m not careful I can get pretty discouraged.

One thing that has helped me is that I put together the attached spreadsheet. I took several days to go through all the music in the boxes to try to remember what I had learned already. I even found pieces that clearly I had played because my handwriting is all over the paper, yet I could not remember anything about the piece. I put all this information into a spreadsheet to help me understand my priorities and the current state of each of the pieces I was working on. It’s been very helpful to keep my focus to resurrect all of the things I’ve learned already well while still branching into some new material.

I’m in a good daily routine now. I spend about 30 minutes split between Hanon and the Davis textbook pedal exercises to get my dexterity back, and then I look through this repertoire list and pick some things that I’m interested in moving up on the current status list. I get pretty tired by mid afternoon, so I save the evening for watching YouTube videos from your site.  I also got a copy of the New Oxford Organ Method which I find delightful. One chapter a day seems to be good to remind me of what I used to know.

Keep up the great work. Every hour you put into organization is going to have tremendous benefits and increase the availability and respect for what you’ve done. Thanks so much.

Take care,

Ed

Welcome to Secrets of Organ Playing Podcast #693!

Today's guest is harpsichordist Alina Rotaru. Alina studied piano and choral conducting at the music academy in her hometown of Bucharest. After moving to Germany, she studied harpsichord with Siegbert Rampe and Wolfgang Kostujak at the Folkwang University of the Arts Essen, with Bob van Asperen at the Conservatorium van Amsterdam, and with Carsten Lohff and Detlef Bratschke at the University of the Arts Bremen. She is an active soloist and ensemble player, and also in charge of various orchestral, opera, and sacred music projects of the German Early and Late Baroque as an artistic director. As a soloist, she has performed across most of Europe, as well as in Japan, South America and USA. She teaches at the University of the Arts in Bremen. Her solo recordings of harpsichord works by JP Sweelinck, JJ Froberger, and English virginalists have earned excellent reviews in the music press and among their peers. Together with viol player Darius Stabinskas, Alina is the co-founder of the ensemble MORGAINE, which focuses on the music of the Polish-Lithuanian Commonwealth.

In this conversation, we talk about her love for early music, playing harpsichord and Sigismundus Lauxmin International Harpsichord Contest which she organised the 2nd time this year.

Relevant links:
https://alinarotarumusic.wordpress.com
http://www.bmfestival.lt
http://www.bmfestival.lt/bmf2022/en/contest.html​
http://fontesmusicae.pl/notes-editions-c-series/​
http://fontesmusicae.pl/szelest-en/​

This question was sent by Martin, and his response is to the question, “What are his goals in organ playing in the next 3-6 months?” So he writes:
“Improving my pedaling technique, independence of hands and feet”. 

This question was sent by Steven, and he writes:

“Vidas,
Here are my responses to your questions.
1. What is your dream for organ playing?
My dream is to improve my playing with the most effective way to practice and get the most out of my practice time.
2. What are 3 most important things that are holding you back from realising your dream?
A. Effective practice and getting the most out of practice time.
B. Better registrations for the music
C. Being more confident in my playing
Currently practicing Widor’s Toccata from his 5th organ symphony and Vierne’s Finale from 1st symphony and Carillon de Westminster. And these works of J.S. Bach:
Toccata and Fugue in d minor BWV 565
Fugue in D BWV 532a
Praeludium and Fugue in d minor BWV 549a
The Gigue Fugue, BWV 577.
Thank you for all you two do in assisting others to improve their playing skills at the organ.
Steven”

This question was sent by Andrew, and he writes

Dear Vidas,

My answers to your recent questions:

1. My dream is to be able to play the organ confidently in the liturgy and perhaps in recitals occasionally.

2. The 3 most important things holding me back from this are:

- Poor sense of timing and rhythm
- Lack of focus and concentration in practicing
- My legs are both slightly twisted outwards, which makes some pedaling uncomfortable (especially around the middle of the pedalboard; I cannot place my knees close together without great effort)

Nonetheless, I am finding Total Organist a very useful resource and community. I find your daily emails especially helpful.

My best wishes to you and Ausra from England,  Andrew

This question was sent by Rita, and she writes:

I am learning a lot from your episodes. I am a trained pianist but also play organ. The main problem with being an organist is that you usually can't practice at home because most people don't own organs and even so...probably not a pipe organ! There are many true organists that utilize all the stops and use both feet seamlessly. Because I now play on 4 different organs… I want to give the listeners/participants the best experience. My suggestion is to focus on the easiest registrations… easiest way of just knowing how to prepare for playing the quickest and easiest way. Practice makes perfect so my goal is to gain access to my 4 churches and devote practice time to each organ. Thank you again for your helpful lessons!

Find out more at organduo.lt!

This question was sent by Odubiyi, and he writes:

“My dreams for the Organ is to be a master on the Organ. Things holding me back: light, faulty pedal notes, spending too much time without getting much progress. Art of performance”

Find out more at https://organduo.lt

This question was sent by Robin, and she writes: 
Hello,

I am a singer first and a pianist second. . . and an organist very much third!

I was asked last September to serve as a short-term substitute pianist for a church whose organist had fallen and injured herself.  The piano playing was easily accomplished with my existing skills.  After a short time, the organist decided that it was time to retire, and the organist job became available permanently, and it was offered to me.  I made it clear that I did not play the organ but that I was willing to learn, and the church was willing to accept me on that basis.  The church's choir had not sung for 22 months because of COVID, and so they had lost their choir director as well.  I offered to cover both positions, as is done in many churches.  So as of January, I became the Director of Music, a position I had never expected to hold.  I'm taking organ lessons as fast as I can with the best organist in town, and I am playing the organ every Sunday and working hard to choose fine, liturgically appropriate music that is manageable at my novice level.

All of that is a long way of saying that there is way more to playing the organ than I, as a pianist, ever imagined.  I had thought it would mainly be a matter of learning about the stops and learning to play the pedals, and the manuals would be no problem.  I had no prior understanding of the very different fingering technique required for the organ.  So I am doing my best with my limited abilities to play music that contributes to the worship services, that interests and uplifts the congregation, and that is musically of a high quality.

The three main obstacles I am working to overcome in order to do that are 1) learning to play the pedals, 2) learning about registrations and 3) learning about proper fingering technique.  I realize that that pretty much covers most everything about playing the organ, but you asked for the three main things with which I need help!  I need more time and more practice and more instruction on all of these aspects in order to play at the level to which I aspire.

Thank you.  ~Robin

This question was sent by Gena, and she is our Total Organist community member. She has sent me her answer to the question what is her dream in organ playing for the next three months and also what are some of her challenges. So she writes:

“Thank you!
1. Full public organ recital on fine instrument here in FL. Program pieces have been gradually prepared over several years.
2. Currently putting all keyboard efforts into the next full piano recital Shall We Dance. Have a professional teacher/coach weekly. Can’t do both goals at once due to poor health, lack of time and organ teacher/coach. Still singing in multiple choirs.

Gena
Florida and Colorado
USA”

This question was sent by Dimi, and he writes about his dreams and the challenges that he is facing. So:

“1. I dream to play at my future organ romantic and baroque pieces, but not only that.
2. I plan to buy a used electronic organ (Ahlborn DS series, 2 manual+pedal) and I haven't found the owner manual and the service manual online, I looked on some forums and sent emails to Ahlborn website, but so far no answer.
The price is €250.
I can (barely) afford it, it is about 39% of my total net income, despite that I am optimistic.
I will use my Edirol FA-66 interface and GrandOrgue to test it.”

This question was sent by Scott, and he writes

My dream is to be able to play well enough that what I'm playing is recognizable. You see, I was once a church organist for 20+ years, until I had my first stroke on January 1, 1999. Two more strokes followed in 2013, so I have had 2 strokes paralyzing my dominant right side and 1 stroke weakening my left side and making it greatly uncoordinated. Now I play for physical therapy, but I can't find any easy music for my left hand and left foot alone!

So he writes further:

1. Finding music
2. Adapting existing music
3. Maintaining correct technique while I learn how to play in a new way, and being able to recognize that a given piece is not meant for me to play but to be satisfied with just listening to it being played by another.

This question was sent by Martin, and he writes

Dear Vidas,

I really enjoy receiving your emails and watching your Youtube channel.  From early childhood, I always admired organ music and organists. In church, I would always go up to watch how the organ was played. I grew up in Bratislava, Slovakia, and listening to the organ in the big Lutheran church was quite an experience (4 manual, 62 stops). It was always my dream to play it. Alas, my life took a different path and I now live in Canada. Last year, being stuck at home due to the COVID pandemic, I discovered the Hauptwerk virtual pipe organ. I built myself a 3-manual console + 25 pedal and started to learn. Your Youtube channel and those of other expert organists are an enormous help and inspiration, and I try to follow your tutorial steps as much as possible. One thing I might like your advice on is the following: since organ playing is my hobby, I can only devote maybe an hour a day to practice (sometimes even less). What would be the best way to use this time? Practice a little bit of everything every day (scales + compositions)? Or do scales (mainly pedals) one day, and composition(s) another?

Many thanks and best wishes
Martin

This question was sent by Rolf, and he writes his answer to my question, What is his dream in organ playing right now, and also what are some obstacles in reaching this dream?  So,

1. Playing Buxtehude and Bach reasonably well and being able to improvise simple but beautiful melodies for the church service.
2. Earlier there were three things: time, money and lack of knowledge. Since I am retired two things: money and lack of knowledge. I can study well on my own and there are plenty beautiful instruments in my house and churches around me.
Greetings
Rolf

This question was sent by Rolf, and he writes:

“Hi Vidas
Very good wishes for you both!
I want to tell you that I am studying this wonderful Praeludium in C from JS Bach, using your tips. Especially the tip cutting the piece in 4 bars and not making any mistake by playing slower, it’s working! In fact it goes faster and it’s giving me a lot of pleasure, thank you very much!!
I will support your beautiful work of course.
Greetings from Groningen
Rolf”

This question was sent by Miguel, and he is in our Total Organist community plus he takes private lessons with me, and one time he wrote this message:

“My back was quite painful, but now I'm fully recovered and practicing again. Part of the problem was sitting for too long, apart from the 8 hours a day I sit for my computer work at the bank. I sit an hour or two on a bench with no back support. The physio also told me that the movements of the legs on the pedals have a toll on the spine.

​So, I've been reintroducing walking that I haven't done for quite a while and also using my height adjustable desk for standing as well as sitting, at least during working hours.

Did you have problems with your back due to organ playing, or do you know other people that had the same problem?”

This question was sent by Hubertus, and he writes,

Hello Ausra,
Heard your demo of the Alessandria organ with interest. Thank you for hearing you play on that. However, I am 75 and do not yet have enough experience to distinguish what those sounds for registrations entail, because I only started playing about 13 years ago, the total overview is missing.
I also bought that organ this year, but I don't know what registrations you played the music with.
Is it possible to use the "Simple" screen for a next demonstration instead of the Console, so that it is possible to follow your choice of registrations, in order to be able to try them out by myself, because it sounded very nice, but my knowledge falls short.
Hope you can/will comply with my request.
Thanks for listening to me.
Best regards. Hubertus

This question was sent by Stephen, and he writes:

“I love the Zipoli Pastorale...!!! Thank you... Zipoli is one of my favorite early Baroque composers!”

Vidas: I wrote to him, “Thanks Stephen! What other composers do you like?” And Stephen writes: “In a more contemporary "vein"  I am fond of Dale Wood's music.  There are passages in his work that require a legato technique especially with chords...Sometimes I am at a loss as to how best to play them...finger substitution..but which is best..that sort of challenge.

In answer to your question, what composers do I like ....Of course BACH, esp some of the Chorale Preludes.  and I intensely care for the Eight Short Preludes and Fugues attributed to Bach but maybe not ?? I think his pupil Krebs may have had a hand in composing these???  I cannot prove that of course. but I love these pieces and I have always played them from the Wayne Leupold Edition...Sandra Soderland, editor.  I prefer to follow her revelations as to style and registrations etc...all toes pedal!!!!   I love them and find they never bore me....I studied them formally with Dr. Laura Ellis. Always from the Soderland Ed.!  I never learned them any other way.   so I was lucky :) Thank you and your wife/life partner for all you do to extend education to all who seek ....”

Vidas: And I wrote to him again, “Thanks Stephen! Yes, Wayne Leupold publishes great educational material. Current scholarship thinks these short preludes and fugues might have indeed been written by Krebs but there is no proof. So it's safe to say they were written by the Bach Circle.

You mentioned finger substitution being a challenge. It's just a matter of time spent and experience. Just continue to play easier pieces and little by little you can master more difficult ones as well. Fingers have muscle memory. And something more. They start to sense the best patterns after a while.

The first 20 years are difficult and then it's easy.”

Vidas: Stephen wrote back to me: “I just found a piece I had enjoyed and practiced several years ago...would like to share it with you ...I enjoy and care a lot for Marcel Dupre's work....This is one of the Seventy Nine Chorales Op. 28, he wrote for teaching purposes...I am guessing that you know them:  XXVIII The Son of God is Come....very short and beautiful...  And I wanted to share my a guiding principle in my organ study  which I think is in agreement with yours: "It is only through playing a lot of easier pieces and being able to consolidate our progress at a manageable standard that we can go on to greater things"  I want to play easier pieces well ..rather than difficult pieces badly! I find the ZIpoli can present some challenges… having the fingering at hand thanks to you...makes the task of learning it so much easier.  Dupre marked all the fingering and pedaling in the Chorales.   Happy Holidays:  All of them!!!”

This question was sent by Nick, and he answers my question, “What is your dream in organ playing in the next 3-6 months, and what are some challenges along the way?”  So he writes,

1. To be able to play a wide selection of easy to moderate standard organ pieces suitable for service use.

V:  and challenges would be

2. Sight reading, sight reading and sight reading!

This question was sent by Maureen, and she writes,

I have been working on Christmas carols.  There is a Catholic church 26 miles from my hometown needing an organist. I haven't played in public for a long time. Seeing this advert has given me renewed vigour to play with a definite purpose.

There is a huge part of me who would love to play again in public and there is the other part of me trying to be sensible, logical, and practical. I would need daily access to the organ and the energy to meet the challenge.

I don't drive; I haven't played in years; I don't know whether to let the priest know I can play a church organ with time to familiarise myself with it.  What would you do?

This question was sent by Gerrit, or, I don’t know how to pronounce it.  If he’s Dutch, maybe “Herrit.”  I would appreciate people maybe giving us feedback how to pronounce their names, right?  Would be nice.  So Gerrit writes:

I’ve watched and listened to your performance of Duetto, Op. 156 No. 6 of Joseph Rheinberger. Thank you for that. It sounds beautiful.

I have a question, maybe somewhat off topic, but I’ve noticed that playing from a tablet, the pages seem to turn by themselves. For example at 1:04. How did you do that? I am working with MobileSheets with the auto-scroll function, but your method is better.
Did you turn the pages by yourself or was it another person?
Hope that you can clarify this mystery for me.

This question was sent by Hubertus, and he writes:

“Hello Vidas and Ausra,
As for getting informed with your very-very good advice etc. I admire your setup, and do respond to your questions as a moral obligation.
As you probably remember from the last mail exchange, I’m 75, and do know for myself, the Very high difficulty of remembering my daily study already the next day.
13 years ago I started from scratch in music and organ play.
I generally get only 1 to maybe max. Sometimes 2 hrs time to practice a day, some days even less, for all kinds of reasons, concentration is a hot issue in this all.
So, on the moment I’m studied in this past holiday season the BWV 721, and after 2 months now I’m able to play the piece as tempi gives, and still make usual remembrance mistakes, and in between I TRY to replay several pieces I studied recently before, with lots of difficulties in reading.
Again, I still like to play and do, especially this Bach piece.
So to answer your nr 1;
My dream WAS, 12 years ago, to play beautiful easy pieces of baroque music etc., Nevertheless, to my feelings and due to my former remarks, this goal is not really to achieve anymore, most probably due to organ play starting age around 62, and present bad possibility to remember the study even of the day before properly, and maybe I have to study twice as much, but I cannot bring that up, sorry.
Answer Nr 2,
as mentioned = 1 – Concentration special in reading, 2 - Maybe not enough daily practice time, with coming wintertime I expect/hope to find more time, 3 – Impatience in having results.
Very much Thanks again for your lessons in practicing setup.
Hope this helps in your request.
All Best regards to both of you,
Hubertus”

This episode is very special, because this year we celebrate 10 years of “Secrets of Organ Playing” activities.

This question was sent by Chad, and he writes,

Hi Vidas,

A few years ago, I bought a roll-up piano hoping that it would provide a means for me to practice on my airline trips. I desperately wanted to like it. But I HATED it! There was no tactile feel… No way to tell one key from the other. And the contacts didn’t work very well, so it was difficult to play the notes without tapping them pretty hard.

But maybe there has been progress in their construction? Which one did you buy? You must be somewhat pleased with it if you can get it to work well enough to make videos!

This question was sent by Mike, and he writes:

“I would like to master a variety of organ music to be able to give a performance.

The most important hurdles to overcome are:

Being able to work on a consistent fingering to make passages flow smoothly

Interpretation of music, registration,

Developing and knowing how to make a piece artistically “my own” instead of just playing notes.

Many of your podcasts and notes are extremely helpful. Thank you for providing them.”

We have to take this saying with a grain of salt, because a lot of people today play at home with some kind of electronic instruments or virtual instruments, and in virtual instruments, the sound might be quite realistic, but the touch might be plastic. And it’s quite different from tracker touch in a real pipe organ situation. People might not necessarily discover on their own when they play their home organs.

This question was sent by Bob, and he writes:

“I have read in several places that using the thumb on the black notes is kind of frowned upon. The "Organ Playing Master Course" routinely calls for the thumb on a black note, can you please clarify when it is or is not proper fingering.”

This question was sent by Justin, and he writes,

Hello,

I am currently subscribed to the Pedal Virtuoso Course. My materials for the week usually arrive on Wednesdays around 11:30 am local time, but for some reason, I didn't receive my materials for Week 5 (not in either my inbox or my spam folder). Could you arrange to have it sent?

I've been enjoying the course. I'm an advanced organist, but in all my years of studying and playing, none of my teachers has ever taught pedal scales or arpeggios. So I'm grateful that this material is filling in that gap!

Thanks, and all the best,  Justin

This question was sent by Daniel, and he writes,

Hello Vidas,
My ultimate dream in regard to organ playing would be to gain the technical facility and coordination necessary to perform the masterworks of the Baroque repertoire (e.g., BWV 582, HWV 432, the entirety of BWV 1080).
Beyond that would be to gain the ability to improvise/think contrapuntally.
The three areas that are impeding these goals would be detailed as:

• Development & understanding of physical technique/coordination.I come from a piano/composition background, and have a well-developed hand technique, but encounter difficulty cultivating the coordination between limbs, while maintaining a balanced position. I have also studied the literature available regarding coordinate technique, such as the writings of Abby Whiteside and the work of Dorothy Taubman/Edna Golandsky, and have been trying to apply these principles to organ technique, which has been a process of  gradual integration. There are other methods of body re-education such as Feldenkrais or Alexander Technique, which may indirectly facilitate techniques that may be worth studying as well.
  
• Audiation:I am also very interested in the concept of audiation, aural skills, or "mental hearing" and have studied the available literature as well (partimenti, thoroughbass, the pedagogy of Nadia Boulanger). The concept of understanding the music at a deeper level and eventually being able to "think contrapuntally" must certainly translate into greater musical capabilities. I am still experimenting with and researching different methods to cultivate this ability. Sight singing appears to be a great adjunct to this skill. There are those who can purportedly just read the sheet music and hear it in their head without the aid of an external instrument as well.
  
• Fingering principles/Sight Reading:Prior to beginning organ, I have achieved a level of proficiency on the piano, and the fingering principles do not intuitively apply to the organ repertoire. This in turn hinders my ability to sight read. I am new to the repertoire, but am still trying to discern basic principles for good fingering choices.
  

I can expound on any of the items listed, if further detail if needed.
Thank you again and best regards,
~Daniel

This question was sent by Bob, and he writes,

I was just wondering if articulate legato applies to all keyboards or just organs?

This question was sent by  Irineo, and he writes:

“Hello there, dear maestro.
Thank you for your latest SOPP about Unda Maris. I really enjoyed it. But I have a question: who's the composer of that fantastic G-Major piece you played from 21:00 until 23:17? It sounds early baroque to me, but I can't really say whether it's Bach. And what an AWESOME Bombarde 16' does that organ feature! Where is it located? Sounds just as beautiful as that Jacek Siedlar instrument where Maestra Motuzaite also played a recital for which I congratulated her a while ago, if you recall. Keep rewarding us with those great treasures, maestro. Say hello to Maestra Motuzaite for me, will you?
Very truly yours,
Irineo.”

This question was sent by Vidas! By me! And, I've been struggling with mastering Part I of Trio Sonata No. 4 by J.S. Bach. For some reason it's harder to do than I imagined it would be.

This question was sent by Manfred, and he writes:

“Hello Vidas,
I was not a novice on the pedal, since I played the church organ for a couple of years. When I started to look into nicer and more demanding pieces for organ, I felt I need a better technique at least for playing scales. Fortunately I found your Course in the internet, signed up and practiced the lessons every day over 12 weeks.
It is amazing: My feet find the right keys without looking. Now I can play with both feet to both edges of the pedals, even with my heels. How did I play before?
I tried to play an new piece. It is amazing how easy my feet play the notes almost automatically.
Thank you very much!
Manfred.”

Manfred is talking about my Pedal Virtuoso Master Course:

https://secrets-of-organ-playing.myshopify.com/products/pedal-virtuoso-master-course?_pos=1&_sid=b1b20c5b1&_ss=r

This question was sent by Louis, and he writes:

“Hello friends: I have read all about your Pedal Virtuoso Master Course.
I would like to answer one important question for me.
I have seen that there are many scales and arpeggios.
I think that this is very good but I need to practice how to find any pedal without looking at the pedalboard. Have you got any special technique for this? Teachers in Spain use to say the same as some of your teachers: there isn't any technique, you only have to repeat many times while looking at the pedalboard and your brain will memorize the movements.
I think that is the problem. I want to find any pedal, any interval... without looking at the pedalboard and with a technique.
Please, tell me if you explain this in your course.
Thank you very much.
I hope to find what I need in your courses.
Regards,

Luis”

This question was sent by me, Vidas! I posted my answer in the Total Organist Community Basecamp channel, where I’ve been asked the question, “What have you been struggling with the most in organ playing this week. So, I wrote:
“Last week I was struggling to record Trio Sonata No. 1 in Eb Major, BWV 525 by J.S. Bach. Somehow I find it easier to play live recitals than to record pieces one by one.”

This question was written by Diana, and she writes,

"This week I was struggling to record videos. When I play, sometimes I hit the wrong key or pedal... also I had some difficulties recording the introduction of my performance in Unda Maris concert."

This question was sent by James, and he writes that he is struggling with:

“Sitting down and learning a new repertoire. With all the performances and recitals I’ve been doing, it’s hard to set aside time to learn new things.”

This question was sent by Jeremy.  He’s our member of Total Organist Community, and helps us with fingering and pedaling scores.  And he writes,

Today I did a variety of different things on the organ.  The past couple of weeks I have been working through the New Oxford Organ Method just to see what it did (I really am enjoying it).  It acts kind of like an organ teacher for those who have basic piano skills.  It walks you through how to break the piece down into technical and musical bits.  So I recorded the last piece in the "ordinary touch" section of the book today--Rising Passacaglia by Frederick Stocken, and practiced the next piece in the book (which is evading my memory at the moment).  I began week three of the Pedal Virtuoso course and was inspired by Vidas to start the first Trio of J.S. Bach (learned four measures of the notes).  Then I started working on Walther’s Komm Der Heilige Geist and made sure Buxtehude's Lobt Gott ihr Christen Allzugleich was still in my fingers.  Practiced BWV 536 (which is Prelude and Fugue in A Major) for Sunday's service and worked on Hindemith second sonata, first movement.  Here's the Stocken:
https://youtu.be/eJYeQ-BJh_k

This question was sent by Jay, and he writes:

“Vidas:
I think I’ve seen that you use ForScore on an iPad for reading music.  I was wondering what size iPad do you use?  Have you had experience with more than the one size you use regularly?  I’d really like to do that but I’m not sure which size would work best for me.  I think the iPad 12.9” is likely optimal but so expensive.  Perhaps the 11” model would be adequate, being a bit less expensive.
Any thoughts you would care to share here or on your podcasts would be helpful.
Thank you!
Jay”

This question was sent by Eduardo, and he writes,

Greetings,

Recently I found about historical improvisation and I stumbled upon your dissertation "Improvisation of keyboard preludes in the style of JS Bach: A practical method comprising techniques derived from selected keyboard works" And it looks exactly what i'm looking for at the moment, but I can't find a complete version of it, I just found the index. Is there a way I can get the complete one?

Also , In your webpage you mention a Keyboard Prelude Improvisation Mini Course but the link is dead. Can I still join the Course?

Looking forward to hearing from you,

Eduardo Villalobos

This question was sent by John, and he writes,

Dear Vidas, wow this is so beautiful! I hear from respected organists that these trio sonatas are some of the most difficult music to play, and you executed it perfectly!  Thank you for such an enjoyable experience, and also for setting such a great example for me, your student!
Take care, John

This question was sent by Joe, and he writes:

“Vidas,

Hope all is well with you. I am making much headway on Widor's Toccata, even though I have had limited time to practice.

The score that I purchased from you certainly has helped expedite the learning process - MUCH THANKS!

Since the score did not include registration suggestions, I was curious if you know of scores that do include registration.

My organ has the following Stops:”

Pedal Organ
Diapason 16'
Bourdon 16'
Quintaten (Sw) 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Mixture iii
Posaune 16'
Trompette (SW) 8'

Swell Organ
Quintaten 16'
Gedackt 8'
Violas II 8'
Spitzprinzipal 4'
Koppelflote 4'
Nasat 2-2/3'
Blockflote 2'
Terz 1-3/5'
Mixture III
Basson 16'
Trompette 8'
Clairon 4'

Great Organ
Quintaten (Sw) 16'
Principal 8'
Rohrflote 8'
Violas II (Sw) 8'
Octave 4'
Spitzflote 4'
super Octave 2'
Waldflote 2'
Mixture IV
Krummhorn 8'

Vidas: He has three divisions: Pedal, Swell, and Great, and each has around 10 stops, maybe more. He writes further:

“I also have a Floating Division that can be applied to Pedal, Swell, and Great. This includes over 100 stops but cannot be mixed (i.e. only one per Pedal, one for Swell, one for Great).

Please let me know if you have any suggestions for registration based on my Stops List.  If you believe something is missing that is critical, I may have it in my Floating Division.

Your expertise would be greatly appreciated.

Much Thanks,
Joe Mark”

Vidas: Here’s what I wrote to him:

“Thanks Joe!

Unfortunately all Widor marks on the score is FFF, FF, F etc. As I haven't made a video of this piece I can't really demonstrate it for you right now. Since you have only 2 manual instrument, try to experiment with adding or omitting the reeds on both divisions one by one. FFF would be Tutti. FF would be without Clairon, F - without Basson, MF - without Trompette, PP - without Krummhorn. Manuals coupled. Pedals need to be reduced accordingly too.

Hope this helps for now (until I prepare a proper video course).

Vidas”

This question was sent by Ausra, and she writes,

"This week I’m struggling with sitting down on the organ bench. At first I didn’t have time and now I don’t have motivation to practice."

This question was sent by Manfred, and he writes:

Hi Vidas,
I was playing the organ in the church for services only. The requirements are low. Therefore I could train the Pedal in ‘wild’ and fairly uncontrolled way.
Because of Corona the congregation must not sing. The organist is asked to prepare a few pieces as a solo. So I started to look for organ pieces that are a little more demanding.
Then I was facing severe difficulties with easy or low-medium pieces for organ. Thanks to Youtube I watched the pedaling of good organ players. My style is way off!
This led me to you. You have a method, you want to teach it in an internet-based style – so, I gave it a try.
Man! The first week told me I was not using certain muscles in the ankle area, I had muscle sore. Now, I see a much higher flexibility in my ankles.
I was playing with a sort of tennis shoes. No way! Yesterday I started with organ shoes (dancing shoes actually). Now I can feel the pedal keys and can slide on them. Wonderful!

After this first week I do not detect better accuracy. But my feet want to adopt the new pedaling style when playing my organ pieces. This is sometimes confusing, but I am sure in 2-3 weeks the new techniques will make my feet more ‘relaxed’ as they become friends of the pedal.
I am eagerly looking forward to the next few weeks!
Best regards,
Manfred

This question was sent by Doug, and he answered my question, What is your goal in organ playing, and what are some challenges that he faces when he tries to reach this goal.  So the goal is to become a church organist, and basically advanced in hymn playing.  And the challenges are three:

Pedal techniques.

Taking a hymnal with one line and converting it to swell, great and pedals on the fly.

Grand Orgue or Hauptwerk conversion for home organ to practice on.

This question was sent by Bob, and he’s taking our Melodic Dictation Course Level 1.  He writes,

"Vidas,
I have a question about 4 kl. 280 in Melodic Dictation Week 9.
I thought that if there is a pickup measure in a song that the last measure of the song and the first measure should add up to one measure. But in this case there is a rest contained in the last measure, so the two measures do not add up to one measure. How do I decide whether I should add the rest or not? Or is it one of those times that it does not matter?
Thanks.
Bob"

This question was sent by Paje, and this is the answer to my question, “What is the goal in organ playing, and what are some challenges that get in the way of this goal. So:

“1. Dream to serve as an organist and lead the choir in my Church Organisation.
2. Lack of consistent mentorship, lack of accountability, lack of clarity on what to focus on first as a beginner.”

This question was sent by Nabil, and he writes,

1) My dream is to be a great concert Organist, and to be one of the most significant Organ performers in this century. Because I believe I have something new to bring.
Also to be the first Organist in a Cathedral (good organs usually are in big churches), to push the people in the church with me looking towards heaven in their prayers by making great music…

V:  This was his dream.  Number 2, it’s obviously the challenge, and it is

2) * Not having Organ or even Classical Music atmosphere around me.

V:  He lives in Israel.  Also

* Planning to study Organ and Church Music in Europe (it's very hard and complicated plan)

* I need support in social media to get known

Love you and Ausra!!!

his question was sent by Katrine, and she writes,

Thanks for asking about this Vidas.

1. To be as fluent and reliable at organ playing as I am at the piano (professional accompanist/repetiteur by background)
2. Getting the set-up right for feet and being confident that I am practising in a way that will lead to accuracy - not sure if stool height is correct, shoes are perhaps too wide etc. Unclear on where feet should be able to reach (get pain in legs if I stretch too far and have hurt knee trying to insist with my right leg that it can reach the bottom notes!) and not sure how best to practise pedal scales (have seen varying advice on toe/heel use).

Many thanks!

Katrine

This question was sent by Rosemary, and she writes,:

“Happy New Year greetings to you all. This day dawned breathtakingly beautiful and we will all be glad of the shade in the garden as the heat rises. A new year ahead in which our prayers and hopes are with those frontline workers caring for victims of Covid 19, and discoveries for containment. May you all and your families stay safe. Your comments, goals and plans are incredibly inspirational for me, with renewed energy I have heaped my attention on BWV 529, and various choral preludes, BWV 604 a favourite. Studying your improvisation and trying out some variations. Thanks to you all and the very best of good wishes for a happy and productive year ahead sharing your wonderful talents.

Rosemary”

This question was sent by Pieter, and he writes,:

“Dear Vidas,

Thank you for sending me the extra exercise supplementary to the sight reading course. I appreciate that very much. Firstly let me apologise for my late response after finishing the course. It has been rather busy with various things.

You may recall that when I first approached you asking your advice my goal to improve my sightreading skills was very much focussed on obtaining the CRCO (Colleague of the Royal College of Organists) diploma. I had already achieved credits for the paperwork and repertoire but not the musicianship tests. I am pleased to tell you that I achieved the last part of the qualification in the summer session and I therefore now have my CRCO qualification! I was really delighted to achieve this as it was a real challenge for me but after a lot of work, my efforts paid off!

There can be no doubt that the sightreading course helped me particularly with issues of rhythm which I always found a weak point so I am grateful for that indeed. Although transposition was something I found slightly less challenging, this is also a sort of sightreading so I am sure the course helped me there too!

I think I am done with organ diplomas so I will concentrate on learning repertoire now and just enjoying playing the instrument that I love but I have to say that my all round musicianship skills have improved through the experience of preparing for a challenging qualification and that has to help my playing in the general sense.This question was sent by Pieter, and he writes,:

“Dear Vidas,

Thank you for sending me the extra exercise supplementary to the sight reading course. I appreciate that very much. Firstly let me apologise for my late response after finishing the course. It has been rather busy with various things.

You may recall that when I first approached you asking your advice my goal to improve my sightreading skills was very much focussed on obtaining the CRCO (Colleague of the Royal College of Organists) diploma. I had already achieved credits for the paperwork and repertoire but not the musicianship tests. I am pleased to tell you that I achieved the last part of the qualification in the summer session and I therefore now have my CRCO qualification! I was really delighted to achieve this as it was a real challenge for me but after a lot of work, my efforts paid off!

There can be no doubt that the sightreading course helped me particularly with issues of rhythm which I always found a weak point so I am grateful for that indeed. Although transposition was something I found slightly less challenging, this is also a sort of sightreading so I am sure the course helped me there too!

I think I am done with organ diplomas so I will concentrate on learning repertoire now and just enjoying playing the instrument that I love but I have to say that my all round musicianship skills have improved through the experience of preparing for a challenging qualification and that has to help my playing in the general sense.

This question was sent by Whitney, and she writes,

My challenge is with getting enough courage to play hymns with pedals. I can do it fine when practicing, but I get way too nervous when I’m playing at Mass.

This question was sent by Graham, and he comments on my recording of the practice session of his Idyll. So he writes,:

“Wonderful, Vidas! It was written in the summer of 2020 during the first lockdown of the Covid pandemic. I saw a competition advertised for a meditative piece for organ and this composition appeared nearly instantly! I do love Erik Satie's 'Gymnopedies' (I have heard you play No 2 on the organ!) and there is a strong French impressionist influence in this piece. It came together remarkably quickly from an initial improvisation to the finished composition as I was very near the deadline for submitting for the competition. As you know, I am not 'original' in my writing as I recognize everything I create is derivative - a fusion of everything I have ever heard or played. I love the music of Cole Porter and George Gershwin and Irving Berlin . . . so there is a trace of those songsters deep inside the piece as well. It sounds gorgeous on the Salisbury Willis - a sound I never expected to hear. THANK YOU!”

This question was sent by Steven, and he writes:

“Hi Vidas. Organ playing is going okay, thank you for asking. These days I am making more time for practice, which is key. I still feel like I am a slow learner, but I know how to pull apart a new piece and start making it work. Pedal work continues to improve, with the biggest aspect I'm noticing is my accuracy. The right foot position (like keeping toes touching the "black" pedals) seems to be super helpful. I have a teacher, and we have lessons every other week for one hour. I typically work up a couple hymns out of the ELW, sometimes an introduction or related piece with those hymns. Then I have several other pieces in various states of progress.”

This question was sent by Andrew, and he writes:

“I just wanted to say thank you for your "Mastering" series on YouTube.

I am a percussionist turned organist, and every time I'm struggling to learn a new piece, it really helps to watch your videos. Even though I'm not learning the same music as you, the same principles of practicing apply, and I learn so much better when I remind myself to take things in small parts in repetition.

You are doing a wonderful job of producing great content to help people like me.

Right now, I'm working on "In dulci jubilo" by JM Bach, "Nun danket" by Karg-Elert, and "I Love Thee, My Lord" by Shearing, as well as some other long term Franck pieces that will be taking me a while to finish learning.

The most challenging thing for me in playing organ is developing my kinesthetic sense between hands and feet, so I don't have to look away from the music and lose my place. I'm not a keyboard player by training, so I'm trying to take things slowly and learn from my mistakes as they happen, instead of just getting frustrated. Once the pandemic hit hard, I decided it was time to get an organ for my house so I could practice whenever it would be convenient for me. I also have a 2 year old son, so it's hard to get away from home for a long time to practice at church. I bought a nice custom package from Content Organs that I enjoy, but I also really like your creative setup and what you were able to put together from online stores.

Looking forward to seeing more videos from you soon!

Thanks!
Andrew Fuhrman
Austin, Texas, USA

PS I will support you on Patreon!”

This question was sent by John, and he writes,

Dear Ausra, thanks so much for this superb recital! Sorry I couldn't join it live, I've been very busy traveling and catching up with family, Covid restrictions are returning in Australia so I am cherishing every moment with family.

Well done on the Bach, it sounded great, your articulation was so clear! How do you decide on a tempo for these Prelude & Fugues, do we have any historical indications or is it more based on how it sounds in the acoustic you play in?

And please thank Vidas from me for his lovely contributions also! I am so lucky to know you both as friends and my teacher, you are so inspirational!

Happy New Year to you and your family! Please stay safe and well!
Take care, John

This question was sent by Diana, and she wants to know:

“Is there a reason for avoiding parallel 5ths?”

This question was sent by Sally, and she writes,

"Do you have a secret to playing melody in the left hand and harmonies in RH?  I have a hard time with that. My brain doesn’t want to allow LH to take the melody, at least not for long."

This question was sent by Rosemary, and she writes,

Hello Vidas
Firstly can I thank you for the wonderfully informative emails you have sent during the last week, To date I have found them very helpful and thought provoking.  A good beginning to the information I need to develop my study for the next 12 months.

In reply to your first question. My goal for this coming year is a 30 minute lunchtime recital on 8 October 2021.

My practice situation is a small instrument, one manual with a full pedal board and 5 stops in our local church  (country town). The recital is on an instrument 8 times this size
in a provincial city 45 km away.

Aug 2019 I was included in the programme and played an all Bach programme  (BWV 554, BWV 555,  BWV 604, BWV 536 and BWV 570 )  I lacked confidence and found it a rather tough experience and have resolved to better the experience.

Important aspects to address. Developing a plan for the year's study.  Developing the programme. (Bach again as his music is a passion of mine, or a European tour,
(Boellmann, Faure..Italian school, and Bach )

The learning of a piece, bringing it up to concert standard and maintaining the standard for the recital date.

Work on analysing the piece, Your email of Dec 1st has been a great catalyst. Maybe this is one of the secrets to understanding the piece and gaining confidence in performance.

Additionally, I have shortened the length of the fragments I learn at a time and have resolved to trial your suggestions.

The content of the material you've sent seems like a good foundation. I need all these tips and more. I have had no formal lessons on the instrument, gathering knowledge through reading, listening and suggestions from colleagues in recent years.  More information on ornaments, (BWV 555 do you include the marked trill on the resolution of the prelude.)  The French Noels how do you fit in the mordants and how are they played,

Currently I am learning Priere a Notre-Dame  L Boellmann your copy with fingering and pedaling,
Sicilienne OP.78  G Faure
Sonata 5 BWV 529 Bach third movement

I am particularly interested in your copy of Ich ruf' zu Dir, Herr Jesu Christ  BWV 639  where you have written out the interpretation of the ornaments and how they fit in.More on this please.

Time I stopped, I have gained regular access to the organ for the recital determined to be more familiar with the instrument, I have considerable support and assistance from the regular organists especially with choice of registration.  A big learning curve.

Hopefully this finds you and yours well, a strange year with so many new challenges. Every good wish for this festive Christmas season.

kind regards
Rosemary

This question was sent by Andrei, and he writes:

“Hi Vidas and Ausra!

I have a question for you:

If in a church there is a need for an organist, and the only two keyboardists are a professional concert pianist and a mediocre/intermediate organist, who do you think would be better to play on the organ?”

This question was sent by Stephen, and he writes:

“At 72 years of age my goal is to play some of Bach's organ music with musicality and appropriate style...i.e. registration ...trills ..phrasing. I have explored the "Little preludes and Fugues"  using Soderlund's book on authentic technique for that period.   To be able to continue to practice.  (I own an Viscount Digital Organ with appropriate AGO standards. I also studied formally with an organist for 2 years)

To be able to improve my pedal technique. I have used your Pedal Mastery Course to help in that regard. I purchased it when you first offered it to us.  I would like to know other sources of exercises that might help in improving.

To be able to memorize even at my age....I find that practicing the organ and piano HELP keep my mind sharp ...Excellent therapy...

Stephen”

This question was sent by Scott, and he writes,

Hi Vidas. I'm new to organ playing and came across your site. Do you have a course that goes in order from kind of the beginning? I'm an intermediate piano player who doesn't read well yet. I also don't have pedals nor multiple manuals right now. Just using a midi controller with organ presets. Can a membership on your site help me where I'm at now with organ?

This question was sent by André, and he writes,

Hello dear Vidas, I received the statement from Patreon about your support. I am extremely honored and grateful for your help, which means a lot to me. First, because I’ve been following your channel for many years, long before you started using Hauptwerk. In fact, many years ago you recorded a video about possible works to study with only a manual, which was a starting point for me in the organ. And finally, I printed the paper pedal board that you made available on your website! Anyway, receiving your support means a lot because you have always been a person who inspired me! Here in Brazil things are scarce in relation to the practice of the organ, but I was never discouraged, I was always positive. And now with Hauptwerk, and with my future equipment, I will be able to study this instrument that I love so much more!

Thank you very much, affectionately,
André Barbosa

This question was sent by Mario, and he writes:

“Hello Vidas, my name is Mario I am a 25 year old musician from Panamá.

My dream is to become Panamá's first organist, we have two pipe organs in the country and lucky for me I have access to both.

One is Spanish pipe organ with 2 manuals and 30 note straight pedalboard and 51 keys on each manual.

Second is a Renaissance pipe organ built in 2019 by a Polish organ company, it has 3 manuals with 51 keys also and a 27 note pedalboard.

I am very interested in developing my sight reading abilities to a high level, where I could Just grab any composition and play it at tempo, and I mean piano or organ composition. I am wondering if your sight reading course would be good for me.

I am comfortable sight reading hymns, but I don't have knowledge on pipe organ repertoire, only Bach.

I practice on a digital Piano a Yamaha p155. I bought an AGO pedalboard and it should arrive in 2 weeks.

Let me know if you can help me become a master at sight reading.”

This question was sent by Diana, who transcribes fingering and pedaling from our videos, and she writes that:

“Sometimes I read a treble clef like a bass clef...”

This question was sent by Keith, and he writes in response to my letter asking what are his goals and challenges in organ playing.  He writes,

Vidas,

Thank you for sharing your knowledge and love of organ playing.

My dream for organ playing is to facilitate the expression of worship in music, with the language of harmony.

What things are holding me back from my dream?
1. My ignorance/lack of skill.
- In February I dusted off my marginal four years of grade school piano lessons, after 34 years.

2. Realizing what good technique is - what such technique should feel like when I practice and play.

3. Practice method/discipline - What is a minimum of major/minor scales, vs Hanon finger exercises, vs practicing a piece.
- I practice about an hour a day, some days twice that. Wish I could practice more.

The mini-course emails have been very helpful to me.  I let them queue up behind each other, until I have a chance to fully consider each one.

Regards,
Keith

This question was sent by James, and he writes,

Thanks Vidas for acknowledging my donation.  With lockdown and retirement I have a bit more time to work at learning the organ.  I am now 73 so things are a bit slower for me.

I have an old analog Viscount organ but I have found that my new iPad can produce even better and authentic sound. Favourite at the moment is Pipe Organ and St Just. So I have brought out my old Casio keyboard which has a MIDI possibility and bought the necessary connectors and connected it to my old stereo system, it really can sound amazing and have to keep the volume down. Love the “pedal notes”.

Over the winter I shall follow your example and buy new keyboards, I think it will be better than only one.

Music wise I continue to work away at hymns and have started flowkey. I bought your Prière à Notre-Dame as it is just about my level though hard work with all the accidentals. So I would appreciate you doing more of the simpler stuff, I am not quite ready for the toccata.  The likes of simpler advent music and Rhoysymedre like what you are beginning to play with fingering would be really useful. It helps build confidence and speeds the process up if an expert such as yourself does the ground work.

So thank you for all you do, all you online organists are amazing at this time and offer so much to those of us who feel safer not going to church, a real godsend indeed.

So you keep safe and bless you,
Jim (James)

This question was sent by Abe, and he writes,

I had a stroke which hit my left hand very hard.  It is slow and lazy.  Any suggestions?

This question was sent by Brigitte, and she writes:

“Thanks Vidas for the complete pedaling and instructions. It has created a great opportunity for me to focus on the pedal technique for early music beyond toes only.”

This question was sent by Luis Garcia, and he writes,

Dear friends: I live in Spain and here there are few organ teachers.  Pedal Technique is a mystery here.  I need to learn how to play pedals without looking at the pedalboard and with a mind strategy.  Some teachers recommend to slide the foot counting the intervals. I think that it may well be in some times but not all the time.  Others recommend memorizing the gaps in the pedalboard.  And the worst teachers don't recommend anything. Even it is very difficult to see organists with organ shoes.  Spain is a bad country to learn how to play the pipe organ.

Remember that I am interested in a romantic technique.  I know that you like Baroque music.

Please, try to help me.  Thank you.
Luis García

This question was sent by James, and he writes about my piece called “Nassat, from the Organ ABC”:

“The speed of this piece and transparency of registration made me appreciate how generous the acoustic is at your church. I’m still stuck on Krummhorn and Larigot”.

This question was sent by Robert, and he writes,

Dear Vidas,
I completed your Pedal Virtuoso Master Course in late August and upon your request, below you will find my feedback.

Without a doubt, I am very happy to have taken your course!  I discovered it online at the beginning of June after searching for ways to improve my pedal technique which was holding my organ playing back.  My goals consisted of learning how to sit comfortably on the organ bench so that I could play the pedals and maintain my balance, discover for myself how to develop more flexibility in my ankles, and learn how to use my feet more efficiently in order to play more advanced passages as well as reduce strains put on my foot muscles and joints (i.e., prevent future injuries).

After spending twelve weeks working on the given assignment for the day, to my surprise, each goal saw improvement and not just a slight improvement!  Although I often needed more than fifteen minutes to work on a given assignment, my feet now know where to go and my hips and body now support my balance and the ability to play a passage legato while avoiding foot strain.  One thing I did that helped solidify what I had learned in previous weeks, was to review previous assignments in addition to the daily assignment.  Currently I am reviewing the course by playing every scale and arpeggio from a given tonality three times a day for one week (this is my fourth week, so I am reviewing scales and arpeggios in E minor which is Day 1, No. 4 from each of the twelve weeks).

This question was sent by William, and he writes,

Vidas,

Thank you for putting together this course. My sight reading of notes and rhythms both improved significantly from 9 months ago. It also improved my sight reading of dense passages of music. The areas that gave me a little trouble (that I need to continue working on) are the counting of 32nd notes and irregular rhythms (triplets against 2 eighth notes / 4 sixteenth notes / dotted eighth note and a sixteenth note).  Regards, Bill

This question was sent by Brigitte, and she writes:

“Hi Vidas and Ausra,
The more complicated rhythms are my favorites for sight-reading. Also I have been listening to recordings from Art of the fugue and did some research as I was wondering about the meaning of the different parts.
There must be so much more that can be learned from the Art of the fugue.

The variations of the Genevan Psalms are of interest to me too. Can I find them somewhere together to come back to them?
Enjoy following you and learning from you.
Regards,
Brigitte”

This question was sent by Brigitte, and she writes, The variations of the Genevan Psalms are of interest to me. Can I find them somewhere together to come back to them? I enjoy following you and learning from you. Regards, Brigitte

This question was sent by Markus, and he writes: “At the moment I started to play hymns. Some time in the future I want to do church service. And I want to improvise hymns over modern pop and musical music just by hearing the song in the radio. A really high challenging goal for a late-beginner, I know. :) Therefore I really appreciate your melodic dictation course. Thanks, Markus”

This question was sent by David, and he writes, "I didn't see this video when it was posted because I was buried with work at the time. Thank you for posting it and this podcast. This week, I am experiencing the same thing, but with a simple hymn that I should have no trouble with, but one measure is just not coming, and I, too, felt like hitting the (imitation) organ as I was practicing... (but I didn't do it... it already doesn't fully function properly on Sunday mornings). This made me realize that sometimes this is a normal thing to experience."

This question was sent by Graham, and he writes about the video where I introduce my Hauptwerk set-up on YouTube. Hauptwerk set-up and streaming set-up, to be precise. He writes, As others have already commented, Vidas, a really useful and helpful upload explaining how you produce such wonderful recordings - though as amazing as all this technology is, it would mean nothing if it was not for your truly fabulous playing and teaching! As you know, I am a big fan of James. He recently played some Clementi on the organ and I commented with a reference to the contest between Mozart and Clementi in 1781. So I am going to make the same judgement as Emperor Joseph II, who diplomatically declared a draw between those two great composers. I declare a draw between the massive amount of wiring and equipment both you and James have. Just looking at all those 'tripping hazards' gives me palpitations. At least my humble Viscount Chorum just plugs in and plays . . . but of course, does not give me access to some of the greatest organs in the world! Thank you, Vidas.

This question was sent by Ian, and he writes: “The organ world needs more videos like this - however experienced and skilled you are, practice is sometimes slow, difficult and/or frustrating. It helps everyone if we're open about it. Thanks for sharing!”

This question was sent by Robert, and he is a student of Pedal Virtuoso Master Course. And he has a question which sounds like this, Dear Vidas, I just finished the tenth week of your Pedal Virtuoso Master Class. Unlike previous weeks when I come to the last day, I still have issues maintaining a proper sense of balance while seated on the organ bench. This affects my accuracy (I either hit an extra pedal in one foot, miss a pedal, or slide off the correct pedal and into a non chord tone), playing legato (sometimes a major third in one foot is not possible to connect), and playing the pedals silently (as opposed to making a too much noise). Regarding balance, I found in all the previous weeks that I could sit quietly on the bench and avoid having to pull myself back to my normal seated position by shifting my weight from one hip and buttocks to the other. This week, perhaps due to the fact that an octave arpeggio in octaves covers too much space on the pedals in such a short amount of time as well as the fact that two feet moving at the same time reduces the body’s range of motion, playing an arpeggio this week with confidence was not possible. My appearance on the bench was too active as I had to keep adjusting myself when my body would move closer and closer to the console as a result of twisting my body in order to reach pedals. For some of the arpeggios, like B Minor, E Major, and D Minor, not moving on the bench put too much of a strain on my legs and feet that in the end did not enable me to reach the desired pedal in one foot (and occasionally pedals in both feet) with confidence. My remedy this week has been to shift my weight a little bit, however, a precise note to shift on (unlike scales and all previous arpeggios) or even which direction to shift into (left or right side) has not been possible for me to determine. These problems occur when I am playing very slowly in rhythm. Faster tempos are not possible this week. Feel free to contact me. Thank you for your time and thank you very much for designing a wonderful course as well as sharing your knowledge with me and every other organist. Sincerely, Robert

This question was sent by Diana, and she writes: “I don’t really understand the difference between open and closed position chords.”

Let’s start episode 610 of Secrets of Organ Playing Podcast. This question was sent by Joanna, and she writes: “Dear Vidas, can finger substitutions be used in slow baroque music, such as Kyrie by Cabezon? Or is it best to stick to articulated fingering even in relatively slow passages?”

This question was sent by Paul, and he writes: “Thank you for sending your Organ Duet Recital. Bravo! For the moment my challenge is BWV 564. I am able to play the toccata by heart, Adagio I still need the score and fugue is not yet on an optimal level. I try to realize what you call articulate legato. Best greetings Paul”

This question was sent by Kaki, and Kaki writes, "Thanks for the upload! I remember when I was learning the whole suite, always loved Krebs and this Courante was my favorite. There aren't many videos if any at all on this Clavierubung #2 and you uploaded the whole suite! Thanks so much, I enjoyed listening (: A little gem in the sea of youtube videos!"

This question was sent by Laurie, and she writes: “Hi Vidas, Be sure you are sitting down to read this. 😂 I have no objection to the study of articulate legato touch for early music, but my question is, why MUST we use it? I understand it was the practice in the time of Bach and early music, but wasn't that true because the tracker instruments lent themselves to that sort of touch? And the flat pedalboards could be navigated easier with all toes, rather than using heels. But if we have a modern instrument that does not have "tracker touch" and has a concave radiating pedalboard, why not lend new interpretations to these masterworks? It could give new life and new understandings to old music. I'm sure you have heard Cameron Carpenter play. I'm not always a fan, but I learn something new about the construction of the music when I listen to his interpretations. For example, here he is playing the Bach B Minor Prelude and Fugue on a modern organ, making full use of colorful registrations and expression pedals. https://www.youtube.com/watch?v=jixCGS_AAG8 Isn't this improvisation in its own way? What do you say?”

This question was sent by Robert, and he writes, "Dear Vidas, Thank you so much for the video of you working on Vierne Final, sym 1. Within just the first 3 minutes I learned so much about how to practice properly, the key word here is properly. I, of course, practice (and I'm a slow learner but I get there) usually sections at a time and slowly but watching you slowly and what appears to me slight hesitation at certain points to read ahead. I may be misinterpreting what you're doing but it makes sense and allows for a much smoother transition from section to section until the full work is learned and brought up to speed. I've listened to more than 3 minutes but not the complete video which I will do now. I can't wait to see what's ahead that I will learn. You are such a good human being and make the world a better place. Thank you. Warm regards to you both, Robert"

This question was sent by Richard, and he writes, I am a pianist and I’d love to get the pedals working when I sit at the organ. I also struggle with improvisation which can be a real hindrance during church services.

This question was sent by Francois, and he writes: “Good day Vidas and Ausra, I hope you are well and you and your loved ones are safe and healthy. My name is Francois, I live in London and I came across you on the Hauptwerk Facebook group as well as YouTube. Thank you so much for all the wonderful videos and music that you two post, it really is an inspiration. I also saw your article about your Hauptwerk setup at home which was very helpful and I’m now in the process of replicating your setup. I received my keyboard stand over the weekend and today two of my three Nektar Impact GX61 keyboards were delivered. I’m only using the basic Hauptwerk subscription as I haven’t played organ in about 20 years and I need to get back in the saddle, so to speak. The peddle board will have to wait for now as it is a bit pricey. I would like to get a bit more info and help on your sound setup. I see you have Presonus Eris E4.5 monitors in your list of equipment. Are they good for reproducing a good sound especially in the 16’ and 32’ registers? How do you connect them to your Apple, do you connect them using an audio interface? I’m running on Windows 10 on a Dell laptop and any guidance and advice will be appreciated. Sorry for all the questions, but I really like your setup and I know that if you are happy with it then I will definitely be happy. Thanks again for your amazing videos and for sharing your talent with us. Much appreciated. Kind regards, Francois”

This question was sent by Klāvs, and he writes, "Hi Vidas, There are answers to your questions. 1. My dream for playing organ is to play in church services and in concerts. I have played in church services some times. 2. My 3 important things that are holding me back from realizing my dream is: Equipment - if I want to learn organ playing I need to go to my church, where there is a pipe organ with pedals and 2 manuals. Quiet place, where I can learn. Knowledge of playing technique, because I don’t have an organ teacher yet. ~Klāvs"

This question was sent by Pieter, and he writes, Dear Vidas, Thank you for your email with week 11 of the sight reading course attached. I am persevering with the daily routine and I notice first of all a much greater stability and confidence with rhythm. Some of the figures in the exercises are complex from a sight reading perspective but this has definitely improved over the weeks. I think notation accuracy was not a major problem for me but I still have to be careful to observe accidentals etc. It is very easy to miss repeated ones. ​I am greatly enjoying the routine of the course and am always a little curious as to what the new challenges will be week on week. I will of course contact you if there are any queries but for now it is all very clear and the approach you take is very logical. My very best wishes, Pieter

This question was sent by Wendy, and she writes: “Hello Vidas, Your organ duet recital was wonderful… so inspiring. You and Ausra are a great team. Many thanks for sharing your huge talents. I am one of 3 organists who play for services at a Catholic church in Ipswich Queensland Australia...St Mary's. My training is as a pianist. I don't have an organ at home and my organ pedal skills are very limited. Enjoy your coffee!! Best wishes, Wendy”

This question was sent by Tim, and he writes: “Dear Vidas Are you able to help me please. I am currently learning the Dubois Toccata in G No 3 and have previously downloaded your fingering and pedaling for the piece. I'm having trouble getting it up to the required speed and wondered if you had any tips to help with this or any other tips or practice ideas that might help. Thank you in anticipation Tim"

This question was sent by Vivien, and she writes: “Thank you so much for your acknowledgment and interest Vidas. Next time I will understand better how to enter the amount of money and make it more in line with the quantity and quality of expert help coming from you and Ausra. Lockdown means no Church Services and so has given me a chance to improve my basic skills instead of being stressed with deadlines. I’m trying to improve my trills and am using a manual piece Jesus, meine Zuversicht, BWV 728. I listen to Wolfgang Stockmeier because I happen to have his CDs, copy him and then record myself. The long trills still sound awkward, but then I found your advice of slow, exact and emphasising every other note which I’ve never read before. Feeling optimistic that this could be a breakthrough. Can’t believe the way that you understand such detailed problems. I hope that you both are coping well in this crisis. Best Regards Vivien”

This question was sent by Jeremy, and he writes, "Now that summer is here, I am excited to get into one of the courses on Total Organist again. Maybe the Couperin Mass or improv mini-course. Either actually as I have just signed up for them…"

This question was sent by Dan, and he writes: “Hi Vidas, I hope you and Ausra are doing well in your part of the world. Things are going well here. I’ve had to stop getting instruction for the time being from the local organist that’s working with me, due to how things are with this world-wide pandemic. I’m still working away here though, on my hauptwerk VPO, and it’s good I’ve got that here to still work on stuff. I’m working on Buxtehude’s prelude, fugue and chaconne in c, BuxWV137, and as well as Carson Cooman’s tuba tune. I think you’ve had Carson on the podcast a couple times. I was going to participate in an organ recital with other organ students from the area I’m in, on the 28th of March, and play the Grand Choeur in B-flat major by Dubois, but that got postponed as well. I notice you’ve gotten into Hauptwerk as well, which is cool. What’s the sample set you’re using? it sounds like a nice one, that I might be interested in getting a hold of. A link to it would be appreciated. Take care, and stay safe.”

This question was sent by Ruth, who is our Total Organist student, and she writes: “I am learning a lot about new ways of playing organ, etc. from taking this course. This must be one of the finest courses of its kind on the Internet. Please recall though that some of us are still learning like "wee kids" about the new ways you and others have of using electronic methodology and media. Please hold on to your patience and call forth your skills for teaching us. Thanks. Blessings. Ruth”

This question was sent by María de Jesús Redentor. And Maria writes, "Good evening, Vidas. My goal in learning to play the organ is to play during the liturgical celebrations and I would like to focus on that. In addition, I would like to get to know the organ registration, as well as improvisation and improvised accompaniment, and also the possibility of performing pieces, especially in the Baroque and Classicist style. My obstacles are: 1) I am a beginner organist and I do not have much practice. 2) Because of my personal situation I do not have a lot of time to exercise and I cannot commit myself to systematic and conscientious exercise. 3) What I want to add is that I still have difficulty in performing typical organ pieces with a pedal. Using the opportunity, I would like to thank you very much for this possibility to learn playing the organ online and for very practical and helpful instructions. María de Jesús Redentor"

This question was sent by Bill. And he writes, "I put in 15-30 minutes a day working on the sight reading course. I've been working on BWV 543 Bach Prelude & Fugue in A Minor mostly beyond that. Two things that frustrate me are it takes me about 3 months to learn these big fugues (practicing about 1.5 hours/day) and the playing the strings of 32nd notes evenly at high tempo. Any suggestions to speed up learning and play better at high tempos would be appreciated. I do like the sight reading course, it certainly has me reading better! Regards, Bill"

This question was sent by Amir, and he writes: “Hi Vidas Thanks for your email What I have now in my schedule is a daily time to practice sight reading. It does not take more than 15 minutes daily. At the same time I am redoing the exercises I have done 10 weeks ago. I find that looking at the same things again after 10 weeks of doing them, gives me more confidence that things are getting better. Most important benefit is for me to be regular in the sense of the beat pulse, and I think this is not beneficial for sight reading only but for music interpretation in general. It is better to do an intended "rallentando" than to slow down because the passage is just difficult. In addition these exercises are allowing me to predict to a certain extent my capabilities to keep a steady tempo in a piece of music. Looking at difficult passages and to have a certain estimation about how things can go, can help me to be steady. Changing to unexpected notes and rhythms is always tricky. Hoping that I am getting better. Amir”

This question was sent by Giovanni. And he asks, How much is the price of an organ for a home, and where can I buy one? Our Hauptwerk setup: https://www.organduo.lt/tools.html

This question was sent by Graham. And he writes, "Hi Vidas, First I would just like to say thank you for your informative videos on playing and teaching the organ. Your passion and insights are much appreciated. 1. I'll mention that I am a complete beginner to playing the organ despite my musical background. I am actually a jazz guitar player who is studying music at university but who has long been passionate about Baroque organ music as well as jazz organ and I decided to start learning recently. Although it isn't serious right now (but I practice a lot) I would love to be able to one day play some of North German music such as Bach or Buxtehude and develop a good pedal technique. For now I only have access to an electric organ (I have a spinet with 13 pedals) but will try to get a Hammond with 25 pedals for practice. So in short I would say my dream would be to become fluent in some North German repertoire (and maybe the opportunity to one day actually play it on a real pipe organ haha). 2. - First limitation is my current instrument. Since I can't really practice a proper two foot pedal technique on my 13 note spinet there doesn't seem to be too much that I can play from the German repertoire. (If you have any recommendations on beginner organ music with easy pedal parts that are real baroque music that would be very helpful!) - My current technique on the manuals is limited. Since I don't have an organ teacher it's hard to know if I am using the correct fingering techniques on the manuals. I know I should use fingers substitutions but it's hard to know exactly how when reading it from a book. There's way more about piano technique online than organ it seems so it can be hard to find someone demonstrating the exact techniques. - Last, would be an effective practice plan and a clear place to start. A plan that would help a beginner start to learn how to really play the instrument. Since I'm already a musician who must play and improvise all the time it can be frustrating when switching to a new instrument yet very exciting!! Thanks again for the great lessons, keep it up! Best regards, Graham"

This question was sent by Hervey, and he writes: “1. My dream for organ playing: To be able to play with above average results for an audience. 2. The three most important things holding me back: a. Not good enough at reading notes. b. Have to memorize music before it can be played. c. I consciously play every note instead of letting it flow freely from the mind.”

This question was sent by Amir. He’s taking our Organ Sight-Reading Master Course. And when I asked him how his organ playing is going so far, he writes: “It was not that bad, my main difficulty are the unexpected changes in rhythms and jumping notes.”

This question was sent by Justina. And she writes, Hello, my name is Justina Pupeikytė and my dream is to get into the Royal Academy of music and after that become a professional organist. But there are few things that are keeping me down. I have very poor sight reading skills and weak transposition. I also learn musical pieces slowly. I am not talking about slow tempo while playing that concerns me, but the time that it takes for me to learn the piece and it's long. Can you help me? Thank you.

This question was sent by Ruth. And she writes, Hi Vidas, I am in the process of memorizing a piece, based upon what I am learning in this course! I am also trying to keep in touch with members of my church, because we did not meet last week.

This question was sent by Maureen. And she’s our Total Organist student. And she writes, Hi Vidas, The concern with the coronavirus is ratcheting up as you will know. Scotland is beginning to grow concerned and lockdown is being implemented for next week. I thought it would be a great opportunity to play as often as possible during the time when this happens here in Scotland. I would like to study the Bach Prelude and Fugue in D Major, BWV 532 and BWV 552 (this is Prelude and Fugue in Eb Major). Is this fingered for purchase by any chance? I would love to purchase it if it is. Thank you, Appreciatively, Maureen

This question was sent by Amir, and he writes: “I think you surely heard this question before. What is the rule regarding accidentals if a note with an accidental is to be held for more two bars and after that it is repeated in the second bar, should the note change as an accidental be repeated in the second bar (in case that there is no sign of an accidental) or it is to be omitted? Thanks Amir” This podcast is supported by Total Organist - the most comprehensive organ training program online. A: It has hundreds of courses, coaching and practice materials for every area of organ playing, thousands of instructional videos and PDF's. You will NOT find more value anywhere else online... V: Total Organist helps you to master any piece, perfect your technique, develop your sight-reading skills, and improvise or compose your own music and much much more… A: Sign up and begin your training today at organduo.lt and click on Total Organist. And of course, you will get the 1st month free too. You can cancel anytime. V: If you like our organ music, you can also support us on Patreon and get free CD’s. A: Find out more at patreon.com/secretsoforganplaying

This question was sent by John, and he writes: “I'm wondering if you could help with selecting the next piece I should learn, and give a ranking to the difficulty of these pieces. As you know I'm at a beginner/intermediate level, there's no way I can tackle a large Bach fugue. I know I should learn some French repertoire, but that is also a challenge with finger technique and playing fast passages. Let me know what you think. - BWV 547 Prelude in C major (Prelude only) - BWV 546 Prelude in C minor (Prelude only) - BWV 578 The Little Fugue in G minor - Fanfare by Lemmens - Noel X by Daquin Feel free to suggest any other pieces I should have in my next wish list! I am also hoping to spend some time preparing a basic composition or improvisation for Easter, perhaps on the Hymn tune ‘Christ the Lord is risen today’.”

Vidas: Hello and welcome to Secrets of Organ Playing Podcast! Ausra: This is a show dedicated to helping you become a better organist. V: We’re your hosts Vidas Pinkevicius... A: ...and Ausra Motuzaite-Pinkeviciene. V: We have over 25 years of experience of playing the organ A: ...and we’ve been teaching thousands of organists online from 89 countries since 2011. V: So now let’s jump in and get started with the podcast for today. A: We hope you’ll enjoy it! V: Let’s start episode 585 of Secrets of Organ Playing Podcast. This question was sent by James. And he writes, Hi Vidas, James here from Rustington, England. Hope you are keeping well. Just getting ready for the first ever UK National Organ Day on April 18, when we'll be opening our church for the morning and hoping to welcome visitors- not least young ones- to explore the 'Hidden Mysteries of the Pipe Organ' with demonstrations, powerpoint presentations, to have a go themselves and play nursery rhyme tunes in a group on hand-held pipes if the coronavirus scare has passed. England desperately needs young organists! Someone is bound to ask me to play the BWV565 Toccata, so I must learn to play it properly. But my fingers refuse to obey in bars 12-15 however much I practice: they always want to play together rather than alternately. Can you give me some simple advice to train them? Best wishes and happy memories, James

This question was sent by Amir, and he is taking our Secrets of Organ Playing course called “Sight-Reading Master Course,” and he writes: Amir: “Thanks very much Vidas. This should also be interesting as a pedal exercise technique Amir” And I wrote to him: Vidas: “You are right, Amir! Almost everything that can be played by the hand, can be played by the feet too. In fact, the feet often can be regarded as the third hand in organ playing.”

Today's guest is ​Crista MILLER who is the Director of Music and Cathedral Organist at Houston’s Co-Cathedral of the Sacred Heart where she chaired the Organ Committee for Martin Pasi’s Opus 19 pipe organ. She oversees the Celebrity Organ Series and the First Friday University of Houston Series and leads a growing Cathedral music organization, with the Schola Cantorum in high demand for large-scale, festive liturgies, including those prepared for the National Catholic Education Association, the National Winter Conference of the University of St. Thomas’ St. Basil’s School of Gregorian Chant, Church Music Association of America, various Archdiocesan offices, and for Archbishop Joseph A. Fiorenza’s ceremonial receipt of the Pallium from Pope Benedict XVI in Rome in 2005. She was already a guest on the podcast 3 years ago when we talked about the new organ for the organ. Recently she left a thoughtful comment about our past podcast conversation so I asked how she is doing under the quarantine. Our chat seemed to me like a perfect topic for the podcast conversation so I invited her to be a guest again and she graciously agreed. So in this conversation we talk about organist's life during the quarantine - challenges and opportunities. Enjoy and let us know how you approach those challenges and opportunities yourself in the comments bellow.

This question was sent by Pieter. And he writes, Dear Vidas and Ausra, A friend has sent me a link to your website and I think that it is something that is very interesting for me. Before I look into it further I would be grateful for your guidance as to how I might proceed. I will tell you a little about my situation. I am an organ student living in the Netherlands although I have had a fantastic organ teacher in London where I lived for many years. I have an organ at home and practise every day. I do not have regular organ lessons at the moment as I am still very loyal to my teacher in London and prefer to go to her when I am there. Although I played the organ many years ago I did stop but about 3 years ago I restarted lessons. I am highly motivated and I am in the fortunate position that I have a lot of time to practise as I am now retired (I am 63). I have recently taken the Colleague diploma of the Royal College of Organists and I achieved success in the Pieces as well as the Harmony, Counterpoint, Theory and Aural sections. I was not successful with the tests at the organ although I did get a pass mark for transposition of a hymn tune. I think sight reading is my weakest area. As this diploma is modular I can repeat just the section that I didn't pass and if I am successful the next time then I will get the full award. Of course I do understand that playing the organ is so much more than passing exams and I guess my goal is to be a better musician. I suppose I am looking for guidance as to how to approach these challenges and whether your material might help me in that respect. I am sure nothing can substitute for regular lessons and somehow I need to sort that out but your thoughts on that would be much appreciated. Many thanks in advance for taking the time to read this email. Kind regards, Pieter

This question was sent by Maureen, and she asks: “Dear Vidas, Please could you suggest suitable music for this particular week in the Catholic Church? I love the harmonies for ‘O Sacred head sore wounded’. Is there an organ rendition for this one? Your suggestions would be appreciated as always. Thank you, Maureen.”

This question was sent by Steven, and he writes: “Hi Vidas, Not long ago Vidas it was my job to serve at the organ to lead a congregation of mostly untrained singers in a meeting outside a worship service with the singing of a closing song with which most of them were unfamiliar. The tune was St. Clement, a traditional hymn not especially easy for a trained voice to sing that's better known to members of the Anglican faith and perhaps a Methodist or two in the audience but completely unfamiliar to everyone else. This number does not appear in any of the newer hymnals -- I have only found it included in a couple of very old editions of hymn books which have been out of print for a very long time. People singing this tune on YouTube videos are doing so at a tempo Moderato about half the time and the other half of the time they sing at something close to an Adagio."

This question was sent by Amir. And he writes, "Hi Vidas, definitely counting while reading new music is helping me to keep on a stable rhythm. I still found rapid shifts in note values and spacing of melodies in my left hand a bit challenging. Thanks."

This question was sent by Julie. And she writes, "I tend to focus too much on what I am playing on Sunday and don’t make as much progress on the “bigger” pieces that take much longer than a week to learn. Sometimes there isn’t much I can do about that if things are particularly busy at work."

This question was sent by Jeremy, who is transcribing our scores and adding fingering and pedaling, and is our member of the Total Organist Community. He writes: “I like that Total Organist is keeping me focused on my practicing, and how to practice.”

We just recorded the previous episode with the question sent by Rebecca about the articulation of “D Minor Toccata and Fugue” by Bach , and Rebecca’s question sort of continues in this episode. Okay, so she writes she has problems with: “Sticking with a schedule of practicing. Time management.” And also: “Pieces to play for an organ recital? Suggestions as to what would make a good program? I feel somewhat limited in what I can play. (I played piano during my early years, and I am semi retired at this point. However, I LOVE to play and I want to challenge myself to do a recital. I am thinking of the Bach piece, which has not been done in our recital programs in the last year and the ‘Westminster Carillon.’ Thank you for any input.”

This question was sent by Diana, and she writes: “I’m struggling with keeping all fingers on the keyboard”

​Ms. Keller's extensive church music experience includes work in with volunteer and professional choirs and instrumental ensembles devoted to the highest level of music for worship. She is devoted to the development of amateur and volunteer choristers and musicians of every age level. Ms. Keller has created organ and choral scholar programs at small to mid size parishes, developed successful children's choir programs, and led choirs on tour including a residency at Bristol Cathedral in the UK in the summer of 2011 with concerts at Bath Abbey and Canterbury Cathedral. In April of 2011 Ms. Keller won first prize in the North American round of the Michael Tariverdiev International Organ Competition, earning a place in the second round in Kaliningrad, Russia in September. In Kaliningrad she was awarded the Special Shabyt Prize from the Kazakh National University of Arts in Astana, Kazakhstan for “the most promising organist for inspiration and luck” which included a recital in Astana and a CD recording. In August of 2010 Ms. Keller was an instructor in the Internationale Orgelakademie at St. Stephan’s Cathedral in Passau, Germany. The course focused on American and English organ music and included students from several countries in Europe. In conjunction with the course, she played a recital at St. Stephan’s Cathedral and at the Church of St. Peter and St. Paul in Waldkirchen with Dr. Horst Buchholz, Director of Music at the Cathedral Basilica of St. Louis. ​Ms. Keller received the Performer’s Certificate and the Master of Music Degree in Organ Performance and Literature at the Eastman School of Music in Rochester, New York under the tutelage of David Higgs. While at Eastman, she studied continuo with Arthur Haas and improvisation with Dr. Gerre Hancock. She received the Bachelor of Music Degree in Piano Performance from the Baldwin Wallace Conservatory of Music in Berea, Ohio, studying piano with George Cherry and Jean Stell and organ with Margaret Scharf. In this conversation Nicole shares her insights about the importance of listening to a lot of other music besides organ. Relevant Link: http://www.nicolekeller.com

This question was sent by Ruth. And she wrote an answer in return of my question in Total Organist community: How do you like Total Organist so far? And she wrote, "In Total Organist I am learning a lot, from reading of the experiences of organists around the world. I appreciate the opportunity to ask questions of them and also to listen to recordings of some of them."

This question was sent by Rebecca. And she writes: Thank you for your email. When I ordered the "Toccata and Fugue in d minor", by J.S.Bach, it would be nice to have a tutorial with you talking about certain sections of the piece. I studied with Roberta Gary at Cincinnati Conservatory of Music, and she introduced playing with a more 'detached' style or more suitable early organ music style of playing. With the Bach piece I am now working on, I don't know exactly how to play the opening section. I played the piece a long time ago, but it was before I studied with Dr. Gary. When listening to others play the piece, I wonder if I am making too much distinction between the notes by trying to accent the correct beats. Could you do a short tutorial on the piece to help me understand the correct articulation? V: So that was her first problem. And the second one is sticking with a schedule of practicing and time management. And the third one was pieces to play for an organ recital. ​Suggestions as to what would make a good program. I think somewhat limited in what I can play. I played piano during my early years, and I am semi retired at this point. However, I LOVE to play and I want to challenge myself to do a recital. I am thinking of the Bach piece, which has not been done in our recital programs in the last year and the "Westminster Carillon". Thank you for any input. Also, I didn't quite understand if I joined for 1 month of your study, would I have to continue if perhaps it didn't work out for me?

This question was sent by Laurie, who transcribes our podcasts into text. And she is also a member of Total Organist community. She writes, Hi Vidas, I have set a goal for myself to give a solo concert at my church in May. So I have started to practice some new, challenging repertoire, including the Bach Gigue Fugue (I downloaded your fingering and pedaling!) and Mulet's "Thou art the Rock." (or Tu es Petrus) Sometimes, it doesn't seem like I'm making much progress practicing, and it takes so much longer to learn something in my 50s than it did in my 20s or even 30s. But.... My sight reading (and general playing) of our choir anthems is easier and better. And even my typing for your podcasts is going faster and smoother for me, since I started to practice slowly and carefully. So, yes --- when you practice, miracles happen. Thanks for all you do for organists around the world, even those of us who don’t often post in Basecamp or enter contests. Love to Ausra, as well. You are lucky to have her. More than once, I have wanted to object to something you say in your podcast, and then she says exactly what I was thinking. Perhaps I need to get her some coffee or decaf. Blessings to you both.

This question was sent by Albert, and he is our Total Organist student now. He writes: “Dear Vidas, I was browsing on your website and just have a couple of questions. I just want to know if I were to subscribe to your program, there are two things I want to develop. My Technique (left and right hand manuals and both feet pedal playing) Sight Reading Learning Hymns faster What kind of materials will I expect to improve these from your programs? Also I currently have a 61 key Hammond Organ/Keyboard and a 20 note Hammond Pedal will this be enough for me to make use of your program to achieve my goals? Thanks Albert”

This question was sent by Dave, and he writes: “Vidas! I did your year-long subscription some years ago… and after that found a local organ teacher. I just wanted to let you know that after 40 yrs, I successfully accomplished (another) audition for going back to college to get a Bachelor's degree in Church Music with an Organ Performance certificate. I just started this new semester at a college here in North Carolina; where I have an opportunity to practice on a wonderful Fisk instrument (currently enrolled in Music History, Harpsichord and Organ.) Your course was very helpful in getting back to my “roots” and kick-starting this entire adventure. So, while I’m not currently enrolled, I do get your weekly messages (and even read them) and I do look at the weekly competitions. Just wanted to say “thank you” for your “nudge” back into the world of organ playing. Dave”

This question was sent by John. And he writes: Dear Vidas and Ausra, How are you today? I'm sorry to hear about your troubles with the music distributors and the very unfair treatment you are receiving. I can't believe they are doing this to you. And it seems James Flores is also being harassed over copyright issues when his music is in the public domain. Thanks for your advice on the role of music director, and I look forward to your next podcast! I am working hard on Prelude in the Classic Style by Gordon Young, and I am finding I am learning it much faster than I expected! I remember one of your students from the Unda Maris studio played this piece and it sounded magnificent on the St John's organ! So now when I'm practicing I try to imagine I am there playing it at St John's! Take care, God bless John...

This question was sent by Paulius. And he writes, Hello! Vidas, do you have the pedaling of D major scale in the Baroque style? Paulius

This question was sent by Jason. And he writes: Hello Vidas, Thank you for your email. My dreams are to be truly expressive in whatever I play. I want to do my own arrangements and improvisations to pieces. Important to me is to take songs which are outside of the Church or Classic repertoire. With these songs I would create interesting organ pieces with real musical depth, I’m talking about arranging music like Jimi Hendrix—Voodoo Child, David Bowie—life on Mars there are so many. Sticking with more standard pieces then new stuff like Hans Zimmer—Interstellar pieces would be great. But above all the knowledge and ability to arrange and play modern pieces. What is holding me back is my brain over complicating music theory. Thank you Jason

This question was sent by Daniel, and he writes: “Hello Vidas and Ausra! I have a question about fingering and practising in a very slow tempo. If I do the fingering early I often have to choose another solution when I know the difficult parts better and can play them in a ”final” tempo. So the question is: When is the optimal moment to decide the fingering? Thanks for all good inspiration!”

This question was sent by Allen. And he writes, Hi Vidas and Ausra, It is great to read other people's problems and challenges and I would love to hear your responses to mine. I took up the organ seriously in 2015 after retiring and I am now 71. I practise every day for at least two hours and my latest piece (which I have just mastered) is the Bach Toccata BWV 538 (Dorian). Unfortunately, I do have the occasional BAD day when everything goes wrong, even bars that never went wrong before. I soldier on but it often gets worse. Do you ever experience this? If so, what do you do? Hoping to hear from you, Allen

This question was sent by Arthur, and he writes: “Hello Vidas, I resigned up for Total Organist in August and was just trying to download some music that you have composed tonight and for some reason I can’t download it without paying extra for the music. Is this the case for Total Organist members? Are the compositions of yours and music which has had fingering applied to it something that we have to pay extra for? Looking forward to hearing from you. Arthur” And I wrote to him: “Thanks Arthur! Up until now my compositions were not available for Total Organist community. If you think they might be interesting to people, I can add them to the list. Please let me know.” And Arthur continued: “Hi Vidas, I didn't realize that they weren't part of the Total Organist "package" as it were. I listen to and watch your youtube improvisations as a way of studying what you do with harmony and have gained very much from doing this. I recently heard a recording of one of your works that was put on Contrebombarde.com - which is a site where organists from all over the world post music which they have recorded on a Hauptwerk virtual organ. This particular piece of yours was posted there by Carson Cooman. I really enjoyed the piece and wanted to study the score to analyze it and learn about some of your composition techniques from this process of analyzation. The particular piece of music was ‘Meditation in D, Op. 35’. Here is a link to the post: http://www.contrebombarde.com/concerthall/music/36764 For me it is one thing to learn by listening but there are some things that I learn more easily from looking at the music. On the other hand, I understand the need and desire of a composer to make an income from their music so I'm not asking you to do something that isn't part of what you have already set up. Sincerely, Arthur” And I wrote: “Thanks Arthur! I hope you will enjoy playing this piece.” and I sent him the score of my ‘Meditation in D, Op. 35’ to which he replied: “Thank you very much, Vidas! I really appreciate it and know that it will be a piece that I'll play for our church here in Pleasant Hill, California more than one time - so many people here will enjoy it as well. Warm regards, Arthur”

This question was sent by Andrei. And he writes, "Thank you very much! My organ playing is improving and has improved drastically. I'm especially thankful for your sight reading course. It's great!"

This question was sent by Maureen. And she writes: Hello Vidas and Ausra, I think now that I have received a few items of fingered music from you, I would love to be back on the organ bench playing confidently and also with feeling for the music; to be accurate and musical. I had dreamed of playing the Widor Toccata. It is not easy to access a church organ in my area. Maureen

This question was sent by Monty. And he writes, Vidas, I'm slowly going through the Orgelbuchlein. Because of a very late start, my playing resembles one of your slow-motion videos, but nevertheless I greatly enjoy it. A wonderful thing about music is that there is something great for everyone. One thing I especially appreciate is that you mention things, and dozens of times they've turned out to be very useful. For example, I use the Wayne Leupold Orgelbuchlein edited and fingered by your old teacher Quentin Faulkner. It is a treasure. Had you not mentioned Faulkner I probably never would have been introduced to his books. Another example. A while back you mentioned that you were going to interview Frank Mento. I didn't know anything about him but I went right to Amazon and picked up his two new consolidated volumes. While my Hauptwerk organ has a harpsichord sample set (without of course realistic touch), so far the pieces work for organ. This is a beautiful progressive series, thoughtfully created by someone with an obvious dedication to education. As mentioned near the beginning of the podcast that I just started, it required a huge amount of work to produce. The books contain hundreds of nice period pieces. Advanced organists who already play well and understand early fingering might find the series to be too elementary, but I'm getting a lot out of it. In particular, there is a strong focus on shifting hand positions. Maybe to give one more example, someone was once having trouble with Bach and it might have been Ausra who suggested that maybe they should try Pachelbel because his works were more approachable. So I picked up the Belotti edition from Wayne Leupold and, sure enough, it was full of very nice fugues that can be played by ordinary people. The year is almost at an end and I'll wish you and Ausra a very Happy New Year. ~Monty

This question was sent by Maureen. And she writes: Dear Vidas, My brain won’t work!… Could you suggest a piece of music for organ which could be shared with a violin player. Fr. Benedict wants to play his violin at a Gaudy night which is usually on Epiphany Sunday. I’m not sure of his level of playing. I would take a guess and place him around grade 6 of Royal Schools of Music. He could be much higher but a monk who has a lot of responsibilities and little leisure time. Thank you so much; I do appreciate your help. Maureen

Welcome to Secrets of Organ Playing Podcast 562! Today's guest is an English organist Dylan McCaig. Dylan is a former Head Chorister of the Liverpool Metropolitan Cathedral and achieved his RSCM Gold Award at the age of 11. He studied at St. Edward’s College and was appointed Junior Organ Scholar at the Liverpool Metropolitan Cathedral during his time in Sixth Form. Dylan has achieved his Grade 8 Piano and Organ with Distinction. He is currently in his final year studying Music at the Royal Birmingham Conservatoire on a scholarship, specialising in the Organ, under the tutelage of Daniel Moult, Henry Fairs and Professor David Saint. He has also received conducting training from Paul Spicer and Daniel Galbreath. During his time in Birmingham, Dylan has had the opportunity to accompany large scale projects with choirs and orchestras, as well as conducting various choirs and perform as a solo recitalist. In addition to his studies at the Royal Birmingham Conservatoire, Dylan McCaig was appointed Organ Scholar at St. Chad’s Cathedral, Birmingham in September 2017. His duties include playing the Organ at Sunday services, Chapter Masses, as well as any other services required by the Cathedral. Dylan has also been given the opportunity to conduct and accompany the Cathedral Choir as well as visiting choirs in major services during the liturgical year. In addition, from 2017-2019, Dylan was heavily involved in the Cathedral’s Outreach Project, directing/accompanying the Junior Choir as well as playing for Outreach Services. From September 2020, Dylan will undertaking the role of Senior Organ Scholar at Liverpool Cathedral. Past performances have included playing at the Birmingham Town Hall, both Birmingham Cathedrals and St George’s Hall, Liverpool. In addition, he has played in masterclasses for internationally renowned organists, Martin Schmeding, Nathan J.Laube, Kimberly Marshall, and Pieter Van Dijk. ​ Dylan is currently in the middle of preparing for his Major Project titled, ‘Membra Jesu Nostri’ which takes place on Friday 21st February 2020 at 7pm in St Chad’s Cathedral, Birmingham. Dylan will be exploring the work of Dietrich Buxtehude (a great influencer of J.S. Bach) using the Main Cathedral Organ as well as directing a solo SSATB Choir and Baroque Ensemble from the Chamber Organ. This music will be tied into the Cathedral using the theme of Jesus Christ, with the highlight of the concert being Buxtehude’s standalone work ‘Membra Jesu Nostri’. All ticket sales will be donated to Birmingham Children’s Hospital and providing financial assistance for youth volunteers from the Birmingham Diocese to visit Lourdes. For more information, check out: https://www.stchadscathedral.org.uk/events/major-project-membra-jesu-nostri-by-st-chads-organ-scholar-dylan-mccaig/ Today we are talking about the finding some repertoire you absolutely love. To see more of Dylan, check out: Instagram: @dylanmccaigmusic: https://picpanzee.com/dylanmccaigmusic Facebook: Dylan McCaig – Musician: https://m.facebook.com/dylanmccaigmusic/ Website (in development): http://www.dylanmccaigmusic.co.u

This question was sent by Kirk, and he writes: “I know church organists push using organ shoes but I have been using just socks on the pedalboard I find it is easier to find the notes when practicing. What do you think about those organists that either use stocking feet or bare feet while playing? I find some of them around here, they are very good organists, some of them told me they just got sick of the shoes.”

This question was sent by Joanna, and she writes: “Dear Vidas, The little finger on my right hand is giving me problems. It has been like this for a few years. I am afraid I will have to give up organ playing in a couple of years’ time because it is stiff, and it clicks and makes a jumping movement at the knuckles. It is a problem to play fast passages because of it. Is there anything I can do… practise more? Practise less? Exercises? Joanna”

This question was sent by Jake. He writes: “Vidas, My goal as an organ player is to be able to play organ for worship services regularly. The three things that are holding me back the most are: 1-lack of consistent practice. 2-lack of knowledge of what to practice. I need help building a practice schedule based on an organ method book. I’m using the red book by Roger Davis. But I do also own the little organ book by Peters 3-lack of access to a working organ.”

Welcome to Secrets of Organ Playing Podcast 558! Today's guest is Hans Davidsson, Artistic Director of Göteborg International Organ Festival & Göteborg International Organ Academy. ​Hans Davidsson (born 1958) is a Swedish organist and organ teacher. He was one of the driving forces behind establishing the organ research center GOArt and the Eastman Rochester Organ Initiative. He is currently professor of organ at the Royal Danish Academy of Music. Davidsson studied organ at University of Gothenburg with Hans Fagius and Rune Wåhlberg. He later spent three years at the Sweelinck Conservatory, Amsterdam, studying with Jacques van Oortmerssen. He began teaching organ at Göteborg University in 1986 and was appointed professor in 1988. In 1991 he became the first doctor of music performance in Sweden, successfully defending his dissertation on the organ music of Matthias Weckmann. From 1995 until 2000 he was the director of the Göteborg Organ Art Center, GOArt, leading research in organ building and performance practice. ​From 2001 to 2012 he worked at the Eastman School of Music serving as professor of organ and project director of the Eastman Rochester Organ Initiative. In 2007 he was appointed professor of organ at University of the Arts Bremen and in 2011 professor of organ at the Royal Danish Academy of Music. In January 2004 he was awarded H. M. The King's Medal for "significant accomplishments in musicology and music, primarily in the fields of organ research and organ education". In 2015, he was awarded the Large Prize by the Frobenius Foundation in Denmark for “significant achievements as musicologist, pedagogue and musician”. In 2016, he was elected member of the Royal Academy of Music in Sweden. In this conversation Hans Davidsson shares his insights about the upcoming Gothenburg International Organ Festival 2020 "The Organ as Mirror of Its Time". ​ Related link: https://www.organacademy.se

This question was sent by Agnese. And she writes: Dear Vidas! Your advice is great! My dream for organ playing is to do some improvisation and to be able to sight-read the score. For some practical reasons—chorals within church service, for example. I have seen Your videos about improvisation on Major and Minor chords and rhythmical canon. These were pretty simple and I could try them. I got very inspired afterwards, thank You about that. So, answering question—what is holding me back from my dream—lack of experience (for sight-reading), lack of ideas (for improvisation) and lack of self-confidence—in general. But I am pretty sure, that experience, techniques and ideas I can get from You or some other smart person. So—advice for improving sight-reading and some more simple (easy understandable) improvisation ideas would be really great from You! With best wishes - Agnese.

This question was sent by Sjouke. And he writes, Hello Vidas, It has been a while since I wrote to you, maybe last spring. My memory is not that great anymore, as we get older it seems that is one of the things that seems to stand out more being forgetful that is. My question to you is this, quite a few years ago I was pretty good playing fantasy and choral by Jan Zwart, Translation. A mighty Fortress is our God, you may not know that piece for he was an outstanding organist and composer as well, but getting back to my problem and question, I just picked up that piece again and I found something quite shocking that I have forgotten how to play that piece of music totally. For about a week now or a little more, I am practising this piece but I do not seem to be getting anywhere. Just as I think I am getting it together again I come back the next day, it is as though it is back to the first day again. Now to be fair to you and your wife, I suspect I have had the suspicion of having had a few minor strokes, not noticeable on my speech, but more so I forget so many things as though I am really out of it and that usually lasts a short time a couple of hours, but it usually comes back but not in my organ playing I am afraid to say. I had it once that I got up one Sunday morning and had to play, practised all week and got up Sunday morning did not know what I had practised, till I looked at my notes and wonder if I really did practice all that I had written, I noticed in my playing, it was not all that bad, I do not think anyone else noticed it, but I did. But what I want to know is that before mentioned piece of music will I be able to get it back, I am starting to lose hope. ~Sjouke

This question was sent by John. And he writes: I believe you and Ausra would have had quite a bit of experience organizing the church music program in the US, including choirs? Would be great to learn some tips from you guys! I would enjoy getting some advice from you on keyboard technique and finger accuracy.

This question was sent by J. Flemming. He writes, Although my teachers have stressed the importance of articulate legato in playing Baroque music, I was never taught early fingering, so it is very easy for me to lapse into familiar patterns (like crossing my thumb underneath my fingers). I am learning BWV 659 (ornamented chorale Nun komm, der Heiden Heiland) with Vidas’ fingering, and it is taking more repetitions to get used to the fingering. The results will be worth it, though. I expect to be able to play this in a service before Advent is over. It’s been a good exercise in developing the discipline to do it right instead of quickly.

This question was sent by Diana, and she is our Unda Maris organ studio student. She is practicing only the second year, and she writes that she struggles the most in coordination.

This question was sent by Emmanuel. He writes, Hello Sir, I thank God and you for your kind support to me indeed it's helpful as I can now play well some pieces, music chords and compositions, my request to you is to let me know if I can get a free music notes software that will guide me in composing songs. Regards, Emmanuel

This question was sent by May. She’s our Total Organist student. And she writes, Thanks Vidas. We just returned from a 2-week Europe trip yesterday. Now I almost fall asleep (because of the jetlag) practicing BWV 659 Nun komm der Heiden Heiland as the prelude for tomorrow. I should be very comfortable with this piece for I played it quite a few times at the Church in the past Advents. However, I am now very nervous about my ability of getting everything right tomorrow. I haven't practiced for 2 weeks and I am very tired. What is your advice on how I should proceed with my practice in the remaining hours of today? It is 4:05 pm here in Eastern Canada now. May And I wrote to her: Thanks May! It's 11:31 PM here in Vilnius and going to bed. So I'm keeping this message short: Go to sleep first. No use of practicing when you're exhausted. Then if you have time to practice BWV 659 do that. If not, play tomorrow several verses of the same hymn tune instead on different registration. 1. Principal 8' 2. Cornet in the soprano, alto and tenor on the flutes in the left hand. Pedal with 16' and 8'. 3. Principals 8' and 4' etc. Off to bed now. Hope this helps, Vidas And she wrote to me her answer: May: Thanks Vidas for replying to my email late in the night. My biological clock was also like in your time zone when I composed this email yesterday :) I did practice until 10 pm last night. Good that I didn't feel as tired this morning. We didn't have that many people attending the morning service because of a winter storm in our area. I did play BWV 659 as a postlude in a very relaxed manner for I saw and I thought many people had left. Actually many did stay and listen to my playing. I was not aware of their presence until they applauded at the end. This turned out to be my best performance of BWV 659 and it was a pleasant surprise. Perhaps psychology plays a significant role in terms of the result of a performance. It is also the biggest obstacle to overcome. How could I perform in public without being nervous? That always the biggest issue. Thanks again Vidas for your advice. May

This question was sent by Harris, and he writes, As a little boy growing up, I started having great love, passion and zeal for church classical music. But there was nobody who could guide me, teach me and mentor me on what music was all about. I also had no access to any musical instruments at home. I had to join the church choir at age 14, and pleaded with the choir leaders to teach me music, but nobody had that time and patience to teach me music. All I was doing back then as a choir boy, was to internalize the kind of notes and sounds I hear from the organ/keyboard. I was learning how to sing tonic solfa as I hear the keyboard/organ sounds, each time we are having choir practice and during church services. I did this for several years and got myself into hearing music and playing what I hear. As time goes, I got a small phone and started reading small books about the rudiments of music, how to understand lines and spaces on a sheet music. I was able to understand a little about the STAFF and tried to sight read as I play, but I discovered I am too slow and it’s sort of confusing to me. As a result of playing by hearing, I became the organist of my local church and other churches I have served as an organist, I have performed with several chorale groups back home in Nigeria, played for several concerts, church services, bands and also indoors. I do play Hymns and classical songs to accompany the choir. I discovered I am not growing to the level I aspired to get to, so I have been seeking for means to travel out to abroad where they do music so well, so I can be able to learn as well, but it has not been easy. I have tried to register in some Organist forums, seeking for employment as an organist even its a small local church choir where I could start up from and learn. But I hardly get a positive response. Please sir, I really would appreciate if I can get great help from you in any way, to help me build my Christian music life, for I don't want the music fire in me to die off.

This question was sent by Richard, and he writes, Dear Vidas and Ausra, How lovely to see our conversation make one of your SOPPs this week. Thank you! I don’t know Franck’s L’Organiste. I will order it and enjoy a good read. Do you know Guilmant’s ‘Organiste Liturgical’? A wonderful collection of his music that would have been (and still could be) used during Mass in France. Another gorgeous work I am dipping in and out of is Vierne’s Messe Basse for organ, again for use in Mass. It contains some wonderful movements, particularly ‘Elevation’ and ‘Communion’. I am vice chairman of the local organists’ association. The association is 70 next year and I’m arranging the trip to Paris as our birthday event. The organists I’ve met, or emailed this year, have been really lovely and welcoming. I have played some superb instruments, large and small, and am looking forward to the trip in April (I’m going back for a weekend in November as I just adore the wonderful instruments!). We will be playing at St. Eustache, St Clotilde, St. Laurent (Cliquot pipework), St. Gervais (Couperin dynasty), Notre-Dame des Champs (where Cavaillé-Coll worshiped and had his workshop just round the corner. He was always tinkering with the organ in the church which is why it is such a large two manual! The sound………….WOW!!!) and others. You’re right when you say that the playing must be perfect. It’s why I’ve already started learning music from Couperin to Langlais. I hope the other 9 players are working hard too! It should be a good trip! With best wishes to you both, Richard PS I drink decaf coffee too!

Welcome to Secrets of Organ Playing Podcast 549! Vidas: I'm so excited to be able to talk with John Higgins now from Australia, my old friend, and he's been on our show for maybe 3 times before so I'm really delighted we can connect because John has some news to share. Last time we talked it was a while ago and he's very busy with raising a family - he has 3 sons. And also he's been working in a church, playing church music and also doing all kinds of church music related things which we will talk about today. So thank you so much, John and welcome to the show! John: Thank you so much, Vidas and it's such an honor to be on this podcast and I'm so proud to be one of your students for over 8 years now. V: I remember you were in Vilnius and recently I was looking through all the photos from the past and found the one with you playing our church organ and you together with me and Ausra and we all spent some time together. Your flight was delayed, it was a big adventure. And after practicing for 7 years, you finally got to play a recital on the largest pipe organ in Lithuania. That was quite an adventure! J: Yes, it was one of the most amazing experiences of my life and such a wonderful opportunity. I can't thank you enough for this. I'll never forget it. I feel like the organ is part of me, and you and Ausra are such a huge part of my life as well. V: What happened afterwards, John, after you came back to Australia? I know you have very dangerous bushfires in your area and I hope firefighters will stop them and that you will get some rain soon. That's my hope for New Year. We're hoping for much milder climate. So could you share, John about your life after you came back to Australia? What have you been up to? Related link: Hidden Treasures, John Higgins' YouTube Channel: ​https://www.youtube.com/channel/UCrikng_XqeuuLbV2mo3zfig

This question was sent by Maureen, and she writes: “Hello Vidas, Please can you direct me to any suitable organ music useful for devotions and quiet hours in the Catholic Church? I would possibly enjoy playing something around intermediate level as this would need to be learned as good sight reading at this stage. I am enjoying your expertise and that of Ausra. Wonderful! Thank you, Maureen”

This question was sent by Ray, and he writes: “Hello Vidas Pinkevicius, Thank you for asking for my answers to your questions. 1. I am 65 years old and have only returned to organ playing in 2014 after spending 35 years working as an architect and part-time singer “to earn money for our vacations.” My dream is to learn some of the major organ pieces on my list and be able to play them with my heart, with confidence and in recital. Having some substitute church assignments that require me to learn shorter pieces and play hymns is also fun for me. 2. The 3 most important things holding me back are: practice discipline, practice discipline and sight reading. My hope is that when I am fully retired at the end of 2020 I will have more time to practice and be more efficient with my practice time and learning ability. In the meantime, focusing on real learning during my practice time is my goal. I find it difficult to not read ahead or have patience to only learn a little bit each day, which I know is more efficient. Thank you. I enjoy reading your emails. I just need to focus on doing what you recommend. Ray”

This question was sent by several people. And maybe even answers to our community on Basecamp, members of Total Organist, where I asked them: ​ ‘How do you like Total Organist so far?’ The first to reply, Jeremy. He wrote: Jeremy: I enjoy that there is a place that I can find encouragement. Being an organist and pianist, I spend a lot of time alone with little insight from other people. That occasional "Boost" makes the days sometimes more manageable, and I like that people post the same problems that I am having. We are not alone! Vidas: I wrote: I also enjoy seeing people supporting each other. It's one thing for me to connect with everybody through email but it's an entirely different level to give like-minded people an opportunity to connect to each other. Ruth jumped in, in the conversation: Ruth: I enjoy the diversity of persons who write in Total Organist. I am learning a great deal from their writing and experiences. I appreciate the energy and work that all of you are putting into your organ practice. Of course, you inspire me! Vidas: I wrote to her: This diversity is enormous! From amateurs to concert organists, from elderly to young, from underprivileged societies to developed countries. We all are different and have different needs but also share some of the commonalities also and are able to speak the same organ language.

This question was sent by James, and he writes: “Thank you for your podcast, it has been a great help. I have played the piano for 25 years and the organ at my church for 17, but was only able to take organ lessons for the first 2 years, the rest has been essentially self-taught. Your podcasts have been very informative. 1. my dream for organ playing: I know I will never be a concert organist, but I would like to be able to really make my church organ sound great, and select unique registrations throughout the Mass. 2. The 3 most important things holding me back: a. over the years, I have basically settled for just a handful of different basic registrations for hymns, etc. without much variety b. my church has a relatively small, 22-rank, 2-manual Zimmer pipe organ, installed in 1999, which is almost completely enclosed inside an alcove, and doesn't "sing" very well. The church is the size of a cathedral, but I'm afraid the organ is too small for the space. c. I have never had formal instruction in the theory of organ registration, other than what I have learned on my own. I know the basics of building a principal chorus, understanding overtones and harmonics, etc., but my registrations are still very "boring" in my opinion. Again, thank you for your podcast and teaching, and I look forward to any advice you can give me. -James”

Welcome to Secrets of Organ Playing Podcast 545! Today's guest is Daniel Moult who is Head of Organ Studies at the Royal Birmingham Conservatoire and international concert artist, is “one of the finest organists of our time” (The Organ). Renowned for his virtuosic, intelligent and engaging performances, his musicianship has been praised as “exhilarating” (Gramophone), “dazzling” (The Organ), and “formidable” (Organists’ Review). Daniel’s innovative approach to the promotion of organ music has seen him presenting and performing in the DVDs Virtuoso! Music for Organ, a film featuring some of the most demanding organ repertoire of the twentieth-century, and The Elusive English Organ, a journey through English organ music from Byrd to Wesley. He is currently filming The English Organ, a major DVD and CD boxset covering music and organs from Handelian times to the present day. He has made several CDs, including the first solo recording of the newly-restored organ of Arundel Cathedral, and one of Handel's organ concerti and other pieces on the Signum Classics’ releases, Handel at Vauxhall. As a soloist, Daniel has performed in the UK, Europe, Asia and Australia. Upcoming appearances include major venues and festivals in the UK, as well as concerts celebrating Handel with the London Early Opera Orchestra, and concerti appearances in Germany. He has been Artist in Residence at Sydney Grammar School and is due to record in Australia and New Zealand in 2018/19. Based in London, Daniel was born in Manchester and studied at Oxford University and Amsterdam Conservatorium. At Birmingham, he heads the highly-acclaimed organ department in a new £57 million building. He teaches and leads masterclasses, workshops and courses around the world. Daniel has published several editions, including the Easy Bach Album and the Easy Handel Album for Bärenreiter. He broadcasts frequently on BBC television and radio and has recorded for various record labels including Fugue State, Signum and Sony BMG. Today with Daniel we are talking about what it takes to be an ambassador of an English organ. I was delighted to know that we have a common friend, organist James Flores from Australia. ​Relevant link: http://www.danielmoult.com

This question was sent by Maureen, and she writes: “Dear Vidas, I am a graduate from the Guildhall School of Music and Drama, London which was for piano playing.. I have never sat any organ exams nor played music for the organ at that level. My foot work was not at such a high standard. In recent years I had to give up playing in public because of my physical health. I have a condition called Fibromyalgia which is a painful and debilitating one. Playing the organ was my first love and made my debut in my hometown when I was only 13 years old. I played at a Sunday evening service in the Protestant Church of Scotland and later asked to deputise for my music teacher who was the church organist. Good organists were scarce as was money so choices had to be made as to the disciplines which would be most beneficial to me. I chose piano, singing and cello. Organ was almost an extension to the piano lessons. I loved playing in Church for all the various Sunday services and for Mass. Hymns were particularly important to me and practised diligently each day before I started my teaching. Voluntaries were also played daily in preparation for services. Funeral music was always being worked on and it was my delight in investing in a variety of suitable music. Weddings over the years have dwindled as many people do not favour the sacrament of holy matrimony as once they did in my teenage years. I can have access to a small organ in the nearby monastery of Pluscarden Abbey, Elgin Moray where there is a healthy community of Benedictine monks. They sing plainchant which I love doing when I attend Sunday Mass there each week. I have no transport to attend daily Mass when I could be staying on to play the organ. The nearest I get to practising an organ is on my own personal Klavinova which I can attempt to mimic a near enough pleasant enough sound for the organ. I would like to think that I was more than competent as a regular organist who accompanied Church services. To put a grade on it would be one for my hands and a different level for my feet I think... Thank you for reading this account.” V: And she continues writing later: “The most important fact which I failed to tell you about was the loss of use in my right hand and arm. My hand wouldn’t open out without pain and tightness in the palm of my hand. Pain went through the whole of my arm constantly for five years! Over time and with acupuncture my hand and arm became pain free. Nothing showed in x-rays and nerve tests. What I still find is a reduced dexterity in my hand. The muscles are strong there was no damage to be found only excruciating pain. I would appreciate your advice on which type of exercise I could do daily. Hanson for piano is my mainstay at present. Thank you, Maureen”

Welcome to Secrets of Organ Playing Podcast 541! Today's guest is organist and harpsichordist Frank Mento, who was born in the United States and holds degrees from the Dana School of Music (Youngstown State University), from the College-Conservatory of Music (University of Cincinnati) and from the Ecole Normale de Musique de Paris. He has done additional study with Huguette Dreyfus (harpsichord), Eiji Hashimoto (basso continuo), Daniel Roth and Raphaël Tambyeff (organ). He is Professor Emeritus of Harpsichord at the Conservatory of the 18th precinct in Paris and Organist Emeritus at Saint-Jean de Montmartre Church, also in Paris. He concertizes in Europe and North America. Frank has already been on our podcast talking about the earlier volumes of his Complete Harpsichord Method: http://www.organduo.lt/podcast/sop-podcast-14-frank-mento-on-harpsichord-playing-for-organists https://www.organduo.lt/home/frank-mento-on-teaching-harpsichord-technique Now has an exciting update to share because his harpsichord method is available on Amazon in paperback form: https://amzn.to/34CTzrR Relevant Link: http://harpsichord-method.com/

This question was sent by Kirk. And he writes: "Vidas; I have been practicing 2 hours a day on my full console organ. A couple of questions for my organ only has 25 pedals, so what does one do when running in organ music that is above the range of that pedalboard which runs down to 2 octaves below middle C up to Middle C on the piano. Also, I have been working out of my hymnal breaking up my practicing on the hymns down from soprano, alto and tenor and the bass part separately. With the Marcel Dupré book, I am working on one piece at a time, and working consistently on one section at a time in piece until I get my coordination and phrasing right before I go to the next phrase to work on. Kirk"

Welcome to Secrets of Organ Playing Podcast 531! Today's guest is Michael Calabris who is a Northeast Ohio-based composer, organist, harpsichordist, and clavichordist. He received his Bachelor of Arts in Music degree from the University of Akron and his Master of Music (Composition) from Cleveland State University. In January 2017, Michael’s composition Kyrie Eleison (for SATB Choir) was premiered by the Cleveland Chamber Choir, directed by Dr. Scott MacPherson. His string trio, Aria, was premiered by members of Cleveland’s NO EXIT New Music Ensemble in March 2018. Michael is currently completing Master of Music Performance degrees in both Organ and Harpsichord at Cleveland State University, where his instructors include Todd Wilson (organ) and Joela Jones (Harpsichord). ​During his time as a graduate student at Cleveland State University, Michael has been the recipient of several academic awards, including the Bain Murray Award for Excellence in Music Composition and the Leonard and Joan Terr Ronis Memorial Scholarship. On the podcast we talk about the importance of finding your own voice as an organist composer. Related link: Michael Calabris on SoundCloud: https://soundcloud.com/michaelcalabris and Steem: https://steempeak.com/@michaelcalabris

This questions was sent by Kirk. And he writes: "Vidas It has been a long time since I have written you. How are you doing? I am working out of Marcel Dupre 79 Chorales for Organ. Talk about working on coordination, for me to do them I am practice between 50-60 MM. And if I mess up I go to the measure and practice at least 10 times just to start. Question besides having a teacher, how can a self-taught organist become proficient and get to the master level of the organ?"

Welcome to Secrets of Organ Playing Podcast 530! Today's guest is Samuel Giddy, young and talented organist from Australia. Described as “one of the finest young musicians of his generation” (The Sydney Organ Journal), Samuel has rapidly established a reputation as one of Australia’s leading young organists. After studying piano with Israeli pianist Arnan Wiesel, Samuel began learning the organ in 2011, taking lessons with Philip Swanton in Canberra and practicing at St Clement’s Church in his home town Yass. He gained his Licentiate in organ with distinction at age fifteen. Two years later, he began his studies at the Sydney Conservatorium of Music, majoring in organ performance and graduating in 2019. During this time, he served as the inaugural organ scholar at St Mark’s, Darling Point, as organist at St Paul’s, Burwood, and (from 2019) in his current role as senior organ scholar at St Andrew’s Cathedral. Performance highlights include inaugurating the successful St Mark’s Organ Scholar Recital series, winning the 2018 Sydney Organ Competition, being a finalist in the 2019 Gottfried Silbermann Competition in Freiberg (Germany), and undertaking a 2019 recital tour of England (including performing at Chester and Guildford Cathedrals). In addition to liturgical playing, Samuel performs regularly in Sydney and elsewhere, also teaching organ students at the Sydney Conservatorium Open Academy. His aim is to use music to bring enjoyment to others and praise to God. Relevant link: Samuel Giddy on Facebook: https://www.facebook.com/samuelgiddy.organist/

This question was sent by Robert, and he answers my question where I asked him how is his organ practice going. He writes: “Oh I wish you hadn't asked. Not well I haven't practiced in a very long time. Health and other things are preventing me. I must get moving soon or I will not be qualified to call myself an organist any more. I do read and soak in and enjoy and certainly appreciate receiving the emails and all the good instructions. Hopefully soon I will be applying it. Thank you for asking. Best regards, Robert”

A few weeks ago was quite a difficult trip to Vabalninkas for me to demonstrate pipe organ to bunch of 8th graders and 9th graders. And from that trip the most difficult thing was to get them to play this 19th century organ. They were very shy. Too shy, I should say… So, Ausra, this is my question. Right? How to get young kids to be more excited during such events and willing to try things that maybe are difficult for them, or overcome their fear of other teenagers, their friends.

This question was sent by Lee, and Lee commented on the YouTube video of mine where I talk about articulate legato touch in early organ music. I demonstrate how it sounds vs. normal legato. Normal legato is when notes are connected, and articulate legato are where there is some detachment between the notes. Right? So he asks: “"How would "articulate legato" be notated in a score vs. normal legato? Thanks."

This question was sent by May. She’s our Total Organist student. And he writes: Hi Vidas, I read from your post that you classify BWV 565 as advanced level. Actually, which part of this piece do you think is the most challenging? I personally find the fast passage towards the end (especially that part to be played by hands only with alternate hands. I find it very difficult to play each note evenly and clearly. Is this the most difficult part of this piece in your mind? What do you suggest I can do to improve my playing of such fast passages? Vidas: Do you like playing Hanon exercises, Bach Inventions and Sinfonias? May: Thanks Vidas! I wish I played more technical exercises before. The fact is, my piano teachers never instructed me to do so in the past (when I was a teenager). My piano at home is now awfully out of tune. I seldom play it ever since I started learning organ. To be honest I would rather spend time on compositions that require pedals. I always choose compositions that require more hands-feet coordination and less manual techniques. This doesn't mean I do not want to improve my manual skills. I just don't want to spend too much time on manual only pieces like Bach's inventions and sinfonias. I have little knowledge of Hanon exercises. How many of exercises does it have and how many shall I work on? I assume I'll have to practice them on the piano... Thanks again, May Vidas: How about Bach's Orgelbuchlein? How many chorales have you mastered from this collection? May: Hi Vidas, With the Orgelbuchlein, here's the list of pieces I have played in the Church and that I am fairly comfortable with. BWV 609, 610, 621, 623, 625, 627(verses 1,2,3), 631, 636 Below is the list that I believe I have mastered. BWV 599, 602, 605, 606, 613, 626, 630, 639. I am quite comfortable with BWV 659 and 645. ​ V: By the way, 659 is Nun komm from Eighteen Great Chorales, the first one, and 645 is "Wachet auf" from Schubler collection. May: I have been playing them in Church during the advent season in the past few years. Any advice from you will be greatly appreciated. Thanks, May Vidas: And I finished my writing to her like this: Thanks May! There are 45 chorale preludes in this collection. It's worth mastering them all. Also the Schubler chorales. Do one per week. In fact, you can record one piece every week for our Secrets of Organ Playing Contest. This would quadruple your results.

Welcome to Secrets of Organ Playing Podcast 529! Today's guest is French organist Christophe Mantoux who is Professor of organ at the PSPBB and the Conservatoire régional of Paris and titular organist of Saint-Séverin Church in Paris, Prof. Mantoux studied organ and improvisation with Gaston Litaize and harmony and counterpoint at the National Superior Conservatoire of Paris. In 1984 he won the first prize in Interpretation of the Chartres International Organ Competition, an accomplishment that propelled him into an international career as a concert artist and has led him to more than 25 countries in Europe as well as the USA, Canada, South America, China, South Korea, and Japan. Titular organist of Chartres cathedral between 1986 and 1992, professor of organ at the Strasbourg Conservatory from 1992 to 2011, member of the French National Commission of Historical Monuments (organ section), Ch. Mantoux is regularly invited for masterclasses in International Academy of Haarlem, Groningen, Lübeck, Berlin, Yale University, University of Notre-Dame, and others. He is also invited as a jury member for international competitions in Freiberg, Nuremberg, Groningen, Erfurt/Weimar, Chartres, Miami, Tokyo, etc. He was invited to teach for the Fall semester 2018 at Southern Methodist University in Dallas. Prof. Mantoux is represented by Penny Lorenz Artist Management: http://organists.net/artist/christophe-mantoux/ Watch the videos of Prof. Mantoux performances: https://www.google.com/search?q=christophe+mantoux+video&sxsrf=ACYBGNTncWSKTHk3P0NLofUhOjKETrNV2w:1575204451858&source=lnms&tbm=vid&sa=X&ved=2ahUKEwjJv7TuvZTmAhVH_SoKHYuQDywQ_AUoAnoECAgQBA&biw=1266&bih=561

This question was sent by Alex, and he writes: “Hello Vidas, My dream as a long-time pianist/harpsichordist and new organist is to be an excellent performer of early music and hymnody. The three biggest obstacles: 1) Pedal technique 2) Lack of practice time due to graduate school (in choral conducting) 3) Physical limitations in my neck, back, and arms which keep me from being able to practice more than about 90 minutes per day. Thank you for receiving feedback. I absolutely love all the content on your wonderful website. God’s blessings on your excellent musical endeavors!”

Welcome to Secrets of Organ Playing Podcast episode 528! Today's guest is a German organist Martin Sander who is an internationally renowned concert soloist and professor of organ at the Hochschule für Musik (University of Music) Detmold as well as at the University of Music in Basel. He studied at the Hochschule für Musik und Theater Hannover with Ulrich Bremsteller, organ, and Gerrit Zitterbart, piano and received his "Konzertexamen" degree in 1994. Master classes with Harald Vogel, Luigi Ferdinando Tagliavini, Flor Peeters, Daniel Roth and other renowned teachers completed his musical education. After having won one of the highest national awards, the Mendelssohn Prize in Berlin (1986), he succeeded in winning three of the most important international organ competitions: the International competition of the ARD in Munich (1987, 2nd Prize; a First Prize was not awarded), the International J.S. Bach Competition in Leipzig (1988, First Prize and Special Prize), and the organ competition of Prague Spring Festival (1989, First Prize). Other successes were the 2nd Prize at the International Organ Competition "Anton Bruckner" in Linz, Austria (1986) and the 2nd Prize at the First International Organ Competition Musashino-Tokyo (1988). He has given recitals in many important churches and concert halls (amongst others, Cathedrals in Passau, Munich, Vienna, Helsinki, and Trondheim, Berlin Philharmony and Schauspielhaus, Herkules Hall Munich, Meistersinger Hall Nuremberg, Gewandhaus Leipzig, Brucknerhaus Linz, Dvorák Hall Prague, Tchaikovsky Hall Moscow, Kapella and Philharmony St. Petersburg, Suntory-Hall Tokyo, Izumi-Hall Osaka, Aichi Arts Center Nagoya, Teatro Municipal de São Paulo) and performed at renowned festivals (Bach Festival Stuttgart, Internationale Orgelwoche Nürnberg, Göttinger Händelfestspiele, Niedersächsische Musiktage, Musikfestspiele Saar, Prague Spring Festival, Wiener Musiksommer, Bach-Tage Odense, Festival Toulouse-les-Orgues, Philadelphia Bach Festival, and others). Read some press reviews here. Among the orchestras he played with as a soloist are the Berlin Symphony Orchestra, Bach-Collegium Stuttgart, Händel Festival Orchestra Halle/Saale, Radio-Philharmonie Hannover, Bochumer Symphoniker (all in Germany), Basel Sinfonietta (Switzerland), Szolnók Symphonie (Hungary), Filharmonia Pomorska Bydgosz (Poland), Fukuoka Symphonietta (Japan), Orchestra of the Teatro Municipal de São Paulo (Brazil). Various German and foreign stations recorded many of his concerts and invited him for productions. Especially successful was a TV recording of the organ sonata by Julius Reubke which also appeared on CompactDisc and was awarded the German critics' prize, "Preis der deutschen Schallplattenkritik". His other CompactDiscs span the range from North German baroque music to the 20th century. A number of live recordings are available on YouTube. From 1999 to 2012, he worked as a professor of organ at the Hochschule für Kirchenmusik (College of Church Music) in Heidelberg. Since 2011, he is professor of organ at the Hochschule für Musik (University of Music) in Detmold. Additionally, from 2008 on, he is teaching at the Hochschule für Musik (University of Music) in Basel (as the successor of Guy Bovet). He conducted numerous master classes, amongst others in Prague (State Academie of Musical Arts AMU), Warsaw (Academy of Music "F. Chopin"), St. Petersburg, Kazan, Seoul (Yonsei University), São Paulo, and at historical organs of different times in Salzgitter-Ringelheim (Schweimb and John 1696/1707), Grauhof near Goslar (Chr. Treutmann d.Ä. 1734-1737), Verden/Aller (Furtwängler&Hammer 1916), and Heidelberg (Voit&Söhne 1903). In this episode Martin Sander shares his insights about organ playing, being competition judge and physical chemistry. Relevant link: ​http://www.martinsander.de

This question was sent by Diana, and she writes: “It’s difficult for me to know how much time it’s best to leave for learning new music and how much time - for refreshing previously mastered material. Most often I spend too much time on new pieces and too little time - on pieces learned earlier.”

Welcome to Secrets of Organ Playing Podcast 527! Today's guest is a young and talented American organist Tyler Boehmer. ​With international acclaim for his keyboard abilities, Tyler carries much promise as a future organ virtuoso. After completing undergraduate studies at Brigham Young University with Dr. Don Cook, Tyler moved to the University of Kansas to study with Dr. James Higdon. He has also been active in many national and international competitions. Recent accolades include first prize in the Miami International Organ Competition (2019), second prize in the Sydney International Organ Competition (2018), and the diploma prize in the Mikael Tariverdiev International Organ Competition (2017). Besides attending school, T. Boehmer also works for the church where he plays for services and works with the children’s handbell ensemble. In the future, he plans to become a university professor. I met Tyler at my church and we talked about his experiences in preparing and participating in the 8th International M.K. Ciurlionis Piano and Organ Competition. By the way, just before coming to Vilnius he won the 3rd prize in Shanghai International Organ Competition. Relevant link: http://www.tylerboehmer.com

This question was sent by Roland, and he writes an answer to my question, how is his organ playing going on these days? He writes, Very well thank you. As I studied in the Netherlands and before that in Austria I was nervous of becoming too one-sidedly Dutch/Germanic in my repertoire and my approach, so am now preparing French repertoire and have tuition in Paris with Prof. Cauchefer Choplin (with whom you have recorded the interesting interview) in the coming period.

This question was sent by Vitold, and he writes: “Good day! This is Vitold from the organist school. Can you send or recommend literature to better understand organ harmony? Because I write those notes and I can't understand where and how those intervals are calculated. The hardest part I ever studied was the harmony I never understood. I played mostly from hearing and finally I would like to learn. Sincerely Vitold”

This question was sent by Terry, and I asked him about his “8 Little Prelude and Fugues” practice. So, he writes: “Hi Vidas! Thanks for asking. The pedals are not second nature to me yet, unlike, say, doing scales on a piano. I made great progress with your pedal challenge courses but I need to get in some sort of regular pedal practice like doing my daily Hanson exercises, which I have not sorted out yet. I am also unsure of registration and tempo. Finally, remembering to practice articulate legato in both hands and pedals requires focus. Your fingering and pedaling suggestions, however, are a great time saver, although I do make some changes that seem to work better for me. In any event, practicing these works is a great joy with only a year under my belt. One other thing: it is hard for me to figure out a gradual progression of compositions to practice within your guidance of beginning, intermediate, and advanced groupings. I also stated with the “Orgelbuchlein” compositions, so I started with BWV 599 and will go from there. A small confession: I started with the Widor Toccata as my first piece, quite foolishly, although it was a thrill and I stayed with it through memorization. Maybe I will actually be ready for it with appropriate technique in a few years, but at age 71 I can’t wait too long. Playing these works of the masters is tantamount to coming in direct contact with the Divine, before I pass through earthly bonds and come, hopefully, face to face. All the best, Terry”

Today's guest Carson Cooman who is an American composer with a catalog of hundreds of works in many forms—from solo instrumental pieces to operas, and from orchestral works to hymn tunes. He was already a guest on our podcast in episode 84 talking about creating and promoting contemporary music. His music has been performed on all six inhabited continents in venues that range from the stage of Carnegie Hall to the basket of a hot air balloon. Cooman’s music appears on over forty recordings, including more than twenty complete CDs on the Naxos, Albany, Artek, Gothic, Divine Art, Métier, Diversions, Convivium, Altarus, MSR Classics, Raven, and Zimbel labels. Cooman’s primary composition studies were with Bernard Rands, Judith Weir, Alan Fletcher, and James Willey. As an active concert organist, Cooman specializes in the performance of contemporary music. Over 300 new compositions by more than 100 international composers have been written for him, and his organ performances can be heard on a number of CD releases and more than 2,000 recordings available online. Cooman is also a writer on musical subjects, producing articles and reviews frequently for a number of international publications. He serves as an active consultant on music business matters to composers and performing organizations, specializing particularly in the area of composer estates and archives. In this conversation, Carson shares his insights about how he has managed to create on average one composition every week for 27 years. Enjoy and share your comments below. ​ And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. ​ Thanks for caring. Relevant links: http://carsoncooman.com ​Carson Cooman's YouTube Channel: https://www.youtube.com/user/CPCooman/playlists

This question was sent by Joanna, and she writes: “Dear Vidas I bought a copy of Vieux Noel by Cesar Franck from your website. I wanted to ask you something which I do not understand. What are the numbers at the beginning of the piece...number 1, number 4 and number 0 in a circle? Regards and thanks Joanna”

This question was sent by Mark. And he writes: Hello I am 63 years old and have had a stroke on my left side. I fell and banged my head and had a further brain injury. I can still play but things feel different. I have reduced feeling in my fingers. I am trying to retrain myself. My muscle memory is just not there. My sight reading is much harder. I have a Rodgers organ at home so I have no trouble practicing. I sometimes feel like I am beating a dead horse. I have Hauptwerk and can play a nice Father Willis organ with it. Any suggestions for something I could do?

This questions was sent by Diana. And she writes: When I play an organ I look too much at my hands. So sometimes I lose where I play. And it makes trouble when I need to play in Mass or concert (not only this week).

Welcome to episode 516 of Secrets of Organ Playing Podcast! Today it's my pleasure to introduce to you Paul Ayres who is a prize-winning composer, arranger, choral conductor, musical director, organist and accompanist from the UK. We are talking about his organ music. Vidas: Thank you so much, Paul for joining in this conversation! I'm very delighted to be able to talk with you through the internet. I came in the contact with your work some months ago when I found out about your fabulous Toccata for Eric. And you sent me other pieces to listen to and then I bought the entire Suite for Eric which was very exciting suite for me. And I'm actually learning and practicing it right now. Actually, before we started talking I practiced the Prelude and Fugue from this suite. You can find out more about Paul Ayres and his work by visiting his website at https://www.paulayres.co.uk. Relevant Links: ​a re-written version of J S Bach's Toccata and Fugue BWV 565 awarded second prize in the AGO Seattle Chapter 'Bach to the Future' composition competition online live recordings: https://youtu.be/lGxCCNq01Yw http://yourlisten.com/paulayresaudio/mostly-bachs-toccata-and-fugue ​ ​Fantasy-Sonata on Over the Rainbow http://paulayres.co.uk/catalogue/404 https://www.youtube.com/watch?v=gbP5qiHzYD8 https://soundcloud.com/user-517413285/rainbow1 https://soundcloud.com/user-517413285/rainbow2 https://soundcloud.com/user-517413285/rainbow3 https://soundcloud.com/user-517413285/rainbow4 https://soundcloud.com/user-517413285/rainbow5 http://paulayres.co.uk/catalogue/404 Toccata (Fantasia) first prize in the Harrison and Harrison organ builders 150th anniversary composing competition http://www.youtube.com/watch?v=M_fhV6Hh6vw http://yourlisten.com/paulayresaudio/fantasia-150-ayres-for-organ http://paulayres.co.uk/catalogue/318 ​ Washington Toccata second prize in Washington DC AGO chapter composing competition [this one not performed nor recorded yet!] Aria (from Suite for Eric) https://youtu.be/j0bCdjBm6yA https://soundcloud.com/user350556481/aria-ayres http://paulayres.co.uk/catalogue/296 Mostly Bach's Toccata and Fugue in D minor https://youtu.be/lGxCCNq01Yw http://yourlisten.com/paulayresaudio/mostly-bachs-toccata-and-fugue http://paulayres.co.uk/catalogue/398 Concerto on I want to hold your hand https://youtu.be/PXCq2a_LcaU https://soundcloud.com/user-517413285/i-want-to-hold-your-hand-ayreslennonmccartney http://paulayres.co.uk/catalogue/359 Green Suite first prize in the Brindley & Foster composition competition 2010 http://paulayres.co.uk/catalogue/276 Adagio Cromatico on Michelle https://youtu.be/WGZcwocxMZM http://yourlisten.com/paulayresaudio/adagio-cromatico-on-michelle-paul-ayres http://paulayres.co.uk/catalogue/408 Toccatina on Here Comes The Sun https://youtu.be/idE2tyMWVKg http://yourlisten.com/paulayresaudio/toccatina-on-here-comes-the-sun-ayres http://paulayres.co.uk/catalogue/410 Trio on Ich steh' and Hey Jude https://youtu.be/dpd682Ko1SA https://soundcloud.com/user-517413285/trio-on-ich-steh-and-hey-jude-ayresbachbeatles https://soundcloud.com/user350556481/trio-on-ich-steh-and-hey-jude-ayres http://paulayres.co.uk/catalogue/388 Lament on And I love her https://youtu.be/07syFRJjGWE https://soundcloud.com/user350556481/lament-on-and-i-love-her-ayres http://paulayres.co.uk/catalogue/390 Funiculi Funicula Finale http://paulayres.co.uk/catalogue/407 Fantasia on Mission Impossible https://www.youtube.com/watch?v=aGiGCMLIK98 http://paulayres.co.uk/catalogue/298 The Departure of the Queen of Sheba https://soundcloud.com/paul4141/the-departure-of-the-queen-of http://paulayres.co.uk/catalogue/242 Andrew Lloyd Webber Variations for cello and rock band (the entire album, transcribed for solo organ) http://paulayres.co.uk/catalogue/356 A Whiter Shade of Pale http://paulayres.co.uk/catalogue/357 Exite Fideles (based on Adeste Fideles) http://www.youtube.com/watch?v=3149lMJdysk http://paulayres.co.uk/catalogue/191

This question was sent by me, Vidas, answering what I have been struggling the most this week. And my answer was, This week, I’ve been struggling the most with having an 8 hour sleep at night. Used to wake up quite early..

In this episode, we would like to thank Richard Knot, who sent us his generous donation of £10. And he wrote: Dear Vidas and Ausra. Enjoy a coffee on me!! Best wishes, Richard So then, I wrote to him a message thanking Richard. I wrote: Dear Richard! Thank you for your generous donation... It's very kind of you. How is your organ playing going? ~Vidas And he wrote: Dear Vidas, I thought you’d both like a coffee! My playing is going ok thanks, although I’m finding it harder to learn new things quickly and efficiently. I’m learning quite a bit of French music to play during upcoming visits to Paris. Although I have an excellent teacher from the Royal College of Organists, I’m thinking of joining your Total Organist scheme to give me more skills for good effective practising. It’s a lot of money though. V: And I wrote to him: Thanks, Richard! Having a goal to be prepared for organ trip in Paris is an excellent motivation. If you can wait until Thanksgiving, Total Organist will have a 50% discount. To which he replied: Thanks for letting me know about that, Vidas. It’s very good of you. I can certainly wait for Thanksgiving and your promotional emails!

This questions was sent by Oluwadotun. He’s a new subscriber of ours and he answered the question; when new subscriber after maybe two weeks, they get this question from us: ‘what are your dreams in organ playing right now and what are the challenges that prevent you from reaching your dream?’ And he wrote: Dream of playing MUSICAL scores or pieces at sight. V: And he writes further: Oluwadotun: I need training on my sight reading ability and skills. I also want to improve my sight playing.

This question was sent by Lawrence. And he writes: Hello Vidas, In your last note to me, you asked me what challenges me. I find pedal playing a challenge because it is relatively new to me. I have only had this organ for a year and a half. All through my playing life I have found sight reading to be difficult. I also need to practice in a more structured way. I think your practice video should be a big help. Thank you, Lawrence.

Vidas: Thank you so much, Wolfram for joining this conversation with me! I'm so excited to be able to talk with you because one day ago I backed your project "Paper Organ". I saw this video last week on Facebook and I could not stop but watch and even share later on. I couldn't do anything for backing the project right then because it was pre-launch. But I subscribed to your email list and got notified. And at that moment also my friend James Flores, an organist from Australia also got notified because we engage very often every day. And he wrote me a message right away, "Did you see it? Do you have FOMO? (Fear Of Mising Out)". And I said, "Yes, I do." And I remember that a week ago I saw your video about this project and hope that this project will succeed because Paper Organ is an amazing concept. We all know about OrgelKids but it's heavier and larger and more expensive. So what you came up with with paper instrument or model of the instrument is I think ingenious. So thank you so much Wolfram and welcome to the show! The moment I'm writing this, Paper Organ project on Kickstarter has been backed almost 50% with 55 backers and 27 more days to go! ​Here are some relevant links: Paper Organ Project on Kickstarter: ​https://www.kickstarter.com/projects/designatplay/worlds-first-modular-paper-organ Paper Organ website: http://www.paper-organ.com/ Kickstarter Pitch video: https://youtu.be/X9oi1LB6yBg Unboxing the prototype box: https://youtu.be/obLzN-OgUy0 Playing on the organ: https://youtu.be/0Y5_ie0r2Bc Playing a bit of Bach's Bourree: https://youtu.be/apxxI5rW1js (Wolfram had to blow a deep and a high pipe because it was outside the tone range :-) ) Another piece on the organ: https://youtu.be/0Q7GpZ9Ujw0 And Wolfram's daughter playing: https://youtu.be/1AuZrCjjoHQ

In this episode we’d like to talk a little bit about our Total Organist students answers. Once a month we ask them a question, ‘how do you like Total Organist so far?’, And here is what James wrote on Basecamp: James: I feel bad when I get the next week's email and I haven't even finished the one from two weeks ago haha! Vidas: I wrote: I like Total Organist because it gives people an opportunity to quadruple their motivation to practice and consequently quadruple their results. Jeremy: I love it. It is a place of encouragement in some parts (the daily updates on what we've been working on) and also pushes me to become better by taking weekly classes or watch videos etc. Vidas: And Ruth wrote: Ruth: This program provides terrific encouragement for me. I see how something should be played ideally. I can hope to do the same, one day. At least, that is my hope. I am grateful for the constant encouragement.

This question was sent by Jay, who is on the team to transcribe our podcast conversations so we really appreciate his work every week. And he writes: Accuracy in all parts, especially pedals, keeping correct tempo throughout.

this question was sent by Linda, and she writes: “If I could I would practice organ 10 hours a day, but I can't because it would ruin my hands. I had hand surgery in 2015 from over-practicing. I passed Part I of the AGO colleague exam in May. I am set to take Part II in November. I'm sixty years old, and in the remaining years God gives me on this earth, I hope to also achieve the higher AGO exams, plus learn as much organ literature as I can. I heard a youtube recording of Klaas Jan Mulder's "Fantasie-Toccata on 'Was Gott tut, das ist wohlgetan", which blew me away. Dutch organ literature is definitely an area I want to explore, as well as the standard organ literature I haven't learned yet. Love your website. There's a lot of material there. Blessings on you, and thank you again.”

This question was sent by Fintan. And he writes: Hi Vidas, I’m practising hard. I retired after 35 years as a Primary School Teacher and have gone back to study Organ Performance and Musicology in university. It’s hard work but I find it very useful to have fingering notated in advance when learning new repertoire. I’ve just purchased a copy of your Toccata in F, BWV 540 with fingering and look forward to learning it. Regards, Fintan

This question was sent by Dan. And he writes: Hi Vidas and Ausra, Hard to believe that you guys are almost up to 500 episodes already. Seems just like yesterday that you started the podcast. I’ve been a listener right from day one. To comment on this episode, another thing that an organist could do during service, if playing a hymn that’s less familiar, is to solo out the melody on a second manual, with a prominent reed stop, a couple of principals, or a suitable combination on that second manual, so that the melody could be heard. I’ve observed over the years that this is a technique that I’ve heard organist use, to assist congregations with new material. Our organist that we had when I’d first started going to the church I’m going to, back in 2000, if there was an unfamiliar hymn, before the service, he’d take maybe 10 minutes and go over it. Then during service, for the first verse, he’d solo out the melody, on the festival trumpet on the choir division of the organ there. I think in the service, soloing out the melody of a hymn, is a good technique to assist the congregation right from the organ.

You can find out more about Dr. Pamela Ruiter-Feenstra and her work by visiting her website at ​https://www.pamelaruiterfeenstra.com

Welcome to episode 508 of Secrets of Organ Playing Podcast! Today's guest is an American organist, carillonneur, improviser and composer Dr. Pamela Ruiter-Feenstra from Ann Arbor, MI. She was a guest on the podcast several times before and in episode 3 she talked about improvisation in the Bach style. In episode 15 she was back on the show and shared her perspectives about creativity and musing with children, and in episode 120 she talked about her Bach style improvisation treatise. Most recently I met her a year ago in Poland, at the Paslek International Organ Music Festival where she performed a splendid recital on the 1719 Hildebrandt organ and gave a lecture about Bach and improvisation for listeners who came to the event. It was amazing for me to reconnect with her, and this event was a pinnacle of the fall of 2018 for me. Today she will be sharing her insights about improvisation as the key of playing any instrument, carillon playing and composing as well as lifting up marginalized voices by music. You can find out more about Dr. Pamela Ruiter-Feenstra and her work by visiting her website at ​https://www.pamelaruiterfeenstra.com/

This question was sent by Brendan. And he donated us £10 and we were so surprised when we received his Paypal donation. And I wrote a thank you message to him, and then asked him about his organ playing, too. So he writes, Hi Vidas, Just thought I'd be able to buy you a coffee! You guys put in so much work! My playing is improving - which is good news - but slowly. While I was working regularly, it was hard to practice as I worked away from home. Now that I'm approaching retirement I've space to practice daily. I'm going back through your sight reading material - which is very useful. I've even been able to cover in church services while our regular organist took a couple of short breaks. Might not seem much - but a huge milestone for me! Enjoy the coffee. Best wishes to you both. ~Brendan

This question was sent by Diana. And she writes: I’ve been struggling with fingering the most this week. I didn't have piano lessons, so I don't know when I can cross fingers, how to change positions.

This question was sent by Andrés, and I asked him how his organ playing is going these days, and he writes: “Well... unfortunately the organ music is almost dead here in Costa Rica, learning organ playing here is almost impossible. Fortunately I have access to a pipe organ and I give the maintenance but I don't have a teacher who can guide me in organ playing."

This question was sent by Maureen. And she writes: Vidas and Ausra, My three dreams are these. I would love to be able to play Widor’s Toccata, Bach’s Prelude and Fugue in D minor and to be a very good organ player for Mass including the Mass music and hymns. Thank you, Maureen

Vidas: So I'm here with Auke Jongbloed, an organist from the Netherlands, talking over the internet. I'm in my church and Auke is my friend from the Steem platform. We got to know each other from his participation in our weekly Secrets of Organ Playing Contest. And I was so surprised and delighted to hear North German and a little bit of Dutch oriented organ music on Steem, 17th century, even older probably. And he has a business of transcribing old manuscripts into modern notation which is called Partitura Organum. So thank you so much and welcome to the show! To find out more about Auke Jongbloed and his work, please visit: Partitura Organum: http://partitura.org/ Auke's profile on Steem: https://steemit.com/@partitura Auke's channel on Contrebombarde: http://www.contrebombarde.com/concerthall/user/1893 Auke's channel on YouTube: https://www.youtube.com/channel/UCx2iiqZuzri08lwGU4zbaBA

Vidas: So, I'm here at St John's church in Vilnius with Jonathan Embry, organist from the US who recently graduated from McGill University in Canada. He had an interesting adventure in the Baltics. I remember going to his recital at Vilnius Cathedral at the end of August but afterwards he went to other places to play in Lithuania and then he went to Russia, to Kaliningrad and then came back. So today is Monday, September 2, 2019 and we're starting our conversation. This is Secrets of Organ Playing Podcast No. 491 and I'm really delighted that we can meet face to face so I'm going to just congratulate you on this wonderful occasion. Thank you so much and welcome to the show!

A: Wow! We made it—500! Can you believe it? V: Yeah, we can stop now. A: No! Now we have to reach 1000. V: Do you believe we can reach it? A: I don’t know. When we just started it I thought, ‘oh, maybe we will do fifty of them or maybe one-hundred. But we reached 500 so… V: Our horizon is always moving further away. A: True. And because of all your wonderful questions. V: Yes. In this episode today, we wanted to give a little bit of overview of what we’ve been talking about over those few years. Obviously, in our website, you will find all of them and also on our Soundcloud channel as well.

This question was sent by Ruth, who is our Total Organist student. She wrote: “I wonder what are the best ways for teaching new hymns. I am also the pastor. So, I have had some choice in the hymns. I wonder, though, how others teach new hymns. And, which ones have been loved by your congregations? Have some choices been a surprise?”

Vidas: I'm here with Andreas Spahn from Germany whom I met last Thursday at Vilnius Cathedral during the recital of Lithuanian organist Balys Vaitkus, but before that Andreas contacted be via email asking about the opportunity to hear me play because his son is going to start studying at Vilnius University Medicine Department. So I mentioned him that recital at Vilnius Cathedral and he came - it was a big surprise to me last Thursday. I'm really glad that we're meeting here at Vilnius University St John's church. This is Monday, September 2 and today we have a big celebration at the opening of the academic year at the university and we're going to talk now in depth about what Andreas is doing, what is he practicing, what is he working on at church and things like that. So thank you so much Andreas and welcome to the show! Andreas: Thank you Vidas! It's a really big pleasure for me to be on your podcast. V: Andreas before we started this conversation tried out this instrument for a while playing some of popular organ music, modern creative organ music and it sounded sometimes like music from the movies to my ears and it seems like Andreas' congregation is enjoying this music. So Andreas, can you introduce your congregation to us , what you do there, and what's your current environment? A: OK! You know my name - Andreas Spahn and I've been playing the organ for 35 years, the church organ. I started my organ training first on an electronic organ, I think I was 10 years old and it only had a short pedal - one and a half octave. I was too small to play those pedals. I learned for 4-5 years electronic organ and then I changed to the church organ. After some years I took the C level exam. It's a level for lay persons. I've been training on the service and playing during Mass and at the time I've been studying liturgical singing, choir conducting, singing in the choir, hymnology, organ building, music theory and ear training. It was 3 year training. V: And now you can play in church, right? A: I've been playing in church for 35 years. In Catholic and Protestant churches. V: In which town? A: In a small town near Stuttgart, in Leutenbach. It's about 20 kilometers away from Stuttgart in Germany. And in Birkmannsweiler. I've been playing 3 small but very interesting organs. V: It's very interesting to hear you play and you mentioned that your Lutheran congregation stays after the service and listens to your playing while Catholic congregation just walks out after 30 seconds. Do you think it depends on their music education level or mentality or what is causing this difference? Here is more information about Andreas Spahn and organ-related activities in Leutenbach and Birkmannsweiler: ​https://www.facebook.com/profile.php?id=100011248180510 ​https://www.facebook.com/FvKKLeutenbach/ ​https://www.kirche-leutenbach.de/foerderverein-fuer-kultur-und-kirche-leutenbach/ https://www.ev-kirchengemeinde-birkmannsweiler-hoefen-baach.de/fileadmin/mediapool/gemeinden/KG_birkmannsweiler/Rueckblicke/Rueckblicke_-_Teil_2/Orgeleinweihung_BMW/Festschrift_Orgeleinweihung-9MB.pdf https://www.kirche-leutenbach.de/fileadmin/mediapool/gemeinden/KG_leutenbach/Plakate/120412_text11.04.pdf

This question was sent by Delphine. And she wrote an answer to my question when I asked her ‘what are some things you are struggling with’. She writes: My touch My fingering Pedals Motivation

This question was sent by Ariane. And she’s our Total Organist student. And on Basecamp communication channel, she writes a few thoughts about her situation. So I’m going just to read some of her thoughts to you: Dear Vidas, Thank you so much for your kind words. Maybe it’s just a sign to play on the level I have reached and not to aim for something that is beyond my ability. I am just playing around now and try not to shed any tears about what might have been. I am glad to be part of Total Organist, though. And she is mentioning probably behind the lines that, between the lines, that she doesn’t have enough time to practice now because of the time constraints that her current job demands of her. So I wrote to her: Thanks, Ariane. You will still need short term and long term goals in organ playing. Otherwise, your motivation to practice may diminish if you just play around. One thing that I cannot recommend highly enough is to participate in our weekly Secrets of Organ Playing contests. James Flores, who recently joined our Total Organist community, can testify that it has worked miracles for him.

This question was sent by Ariane, and she wrote on BaseCamp: “I was on a one week boat trip and could not practice at all. Instead I fell from the ship and almost broke my back!!! Thank God I just got badly bruised.”

This question was sent by Massimo, and he writes: “Hi Vidas! I have a question about prelude improvisation formula. 1. What level of harmony I need to follow the course? 2. How many hours a day I need to have a good results? Thanks Massimo”

Vidas: Hi guys! This is Vidas and we're starting episode 489 of Secrets of Organ Playing Podcast. Today I'm going to talk with an excellent organist from Australia whose name is Pastor de Lasala. He is an organist at Sacred Heart church in Mosman and it's very exciting to share with you this story how I came to know him because of this platform Steem where Pastor is participating in our weekly Secrets of Organ Playing Contest submitting his videos and because of recommendation of our friend James Flores, also Australian organist, he's now a Steemian, part of Steem family and regularly submits his videos. So this is how I came to know Pastor and decided to get to know him even better through today's conversation. Thank you so much Pastor, I know you are busy travelling from Australia to Singapore and also to Europe now so I'm going ask you all kinds of questions. Thank you so much and welcome to the show! Pastor: Thank you Vidas! V: So Pastor, let's start first of all with your nice story about how you fell in love with the organ. Do you remember it? ​Listen to entire conversation Visit Pastor's channel on YouTube (tormus1): https://www.youtube.com/channel/UCkjZjVchccS8wkrzfkuN02Q And Steem: ​https://steempeak.com/@tormus1958

This question was sent by Sally. And she’s our Total Organist student. And she wrote: I made it to the piano after work today. Spent 1.5 hours working on choir music for the fall, both accompaniment and choir parts. Open score for choir parts is always a challenge. I hope to make it to the organ tomorrow for prelude and postlude work.

Sarbievijus Rhapsody (Organ Improvisation).mp3 by Vidas Pinkevicius

This question was sent by Sally. And she writes: Choir rehearsals for the fall start Thursday, September 5, so time to get serious and spend time going through the music. I have a meeting with our music director this week to review the music for the fall and go over expectations. I also need to continue working on pieces for preludes and postludes this year, as well as meditative music to use at the end of communion. My goal is to spend time at the organ /piano everyday. It is challenging because I work full time and often am mentally drained by the time I get home. But once I make it to the piano or organ, I can easily spend an hour. So that's my goal.

Vidas: So, Jeremy, I'm so delighted that we're finally meeting face to face and being able to talk with you and it's really a pleasure to get to know you better after all those long months that you've been on the team that transcribes fingering and pedaling for us. I'm so grateful to you and welcome to the show! Jeremy: Thank you for having me! V: Let's start our conversation, Jeremy about your background - how did you get into organ world and most specifically, how did you first fell in love with the organ? Do you remember the story? J: Yeah! Well, my dad is a Lutheran minister. The church that he was working at was looking at trying to get me to start taking organ lessons. So they paid for the original organ lessons. That was when I was 14 or 15 - it's a long time ago. Wasn't really into it at the time but when my father moved to another church, it had a really great organ there. And I remember actually what made me fall in love with it. At one postlude, the organist was playing Guilmant's March on a Theme of Handel "Lift Up Your Heads" and when that fugue started, people started coming back into the church and that slowly built over time. And I just fell in love with the piece, I fell in love with the organ. I took lessons when I was in college. I have my doctorate in Music, in Piano Performance and so my first job after I received my doctorate was in a small town called Blue Mountain. There was a church looking for an organist and it was a great extra money so I started playing the organ more extensively and started studying even more at that point. And that's really when it took off. That was about 15 years ago now. Check out Jeremy Owen's profile on Facebook: https://www.facebook.com/jeremy.owens.50767 Email: jeremy dot owens at priorcliff dot edu

This question was sent by Andrei. He wrote: I am working on the Sight Reading Master Course and I am struggling with the 32nd notes, how do I count them?

This question was sent by Jeremy. And he wrote on Basecamp, when he received a question, What was he working on today? He wrote: Went to an organ recital tonight. First time I had heard Tournemire played. Will be looking into his work.

This question was sent by MaryLu, and she writes: “I’ve been with you for only a few days, but what you say is right-on. I'm 78 years old, and hold a Bachelor’s degree in Music Education, and advanced degrees in piano performance, organ performance and church music. At the moment I work full time at a large church where I direct 4 choirs and play all English and Latin Masses. I also play several organ recitals a year. Over the last few years I have found that I'm in a rut, replaying organ repertoire that I've been playing for years, so this year I'm breaking out of that rut and preparing new repertoire which I plan to use for the first time this November. And I would VERY MUCH like a bit of guidance. Rheinberger Organ Sonata #17 in B Major (registration especially, though it seems straight-forward, I can't seem to get it just right. Bach "Little" Fugue in g minor (Can't believe I'd never played that one!!) which you have already reviewed -- that's how I found you! Alain Litanies I know this doesn't answer your questions, but . . . . . Thank you for being here! MaryLu”

James Flores is our guest today and he is a man of many things now, not only an organist in Albury, New South Wales, Australia. But he is also an IT magician as I can testify myself and also very interested in all kinds of technological developments, new technologies which can revolutionize the world potentially and make many changes for musicians, for example, for organists. So since that last time we've been chatting with James over social media platform called Steem and I have this opportunity to do these Secrets of Organ Playing Contests every week. And James has been a constant, diligent and faithful participant every week, week after week and has been recording even more than it is required. He publishes a lot of his other posts and creative ideas online and also shares his other videos not related to the contest itself. So I've seen his work over this year and a half so much on Steem that he's become like a team member to me, really. We've been chatting every day about all kinds of things, about organ-related things, about Steem-related things so it's wonderful! Here are some places where you can find more about James Flores and his work: ​ https://steempeak.com/@contrabourdon​ https://www.jamesfloresorganist.com/ ​https://www.facebook.com/james.l.flores

Today, we would like to talk about our recent trip to Denmark to Svendborg and Copenhagen. In Svendborg, we played our organ duet recital, in the Svendborg International Organ Festival, so I thought it could be a nice opportunity to talk about it in greater detail.

This question was sent by Susan. she writes: Hello Dr. V. I have subscribed to the pedal virtuoso master course. I am 76 years old, started playing organ after retiring from a non-musical career at age 70. I have taken organ lessons for 5 winter seasons in Florida (I am a snow-bird). I have fibromyalgia and found after week 1 of pedal exercises that my legs were very sore and tired; can deal with the soreness, but fatigue make them want to give out. Week 2 I could only practice every other day. Week 3 I did not start, because I had to continue to practice and be able to play for weekly church service, plus this past week was practicing for a funeral service. So now I am a week behind. Do you think I should continue this course? Also, regarding the lessons—are the arpeggios supposed to be all legato? I wear size 10 1/2 shoe but still find it difficult to reach g to c. Thank you for your consideration of my problems. Susan

This question was sent by Tamara. And she writes: Starting out “with a bang” on the 10 Day Pedal Challenge and Pedal Virtuoso course. It’s already Day 4 for me! My biggest issue will be making time every day to practice, say, for ½ hr or so, instead of trying to cram everything in on 1 or 2 days per week. So far I’m on a regular schedule. Could use support from the gang here in staying on track! Thanks to Vidas, Ausra, and all organists here!

This question was sent by Ruth. And she writes: "Today I will be going over hymns not familiar to my congregation. The reason is that I would like to select several for them to learn, but only one at a time."

This question was sent by Ruth. And maybe this is not a question per se, but an observation. I asked Ruth, who is our TotalOrganist student, to write what she has been working on and she wrote: Our church organist has been in the hospital with a very serious illness. I am an ordained minister, with some experience in music. In this geographical area, it is difficult to find substitutes for organists. So, for several Sundays now, I have played the piano for the hymn singing and have also led the worship service. For special music, I played the flute, on which I have done a lot of solo work. So far, it is working out fine, but I do not know when the organist will be able to return. For now, I practice music and also prepare the worship service. Preaching is a major part of the service. For me, it takes a huge part of the week to prepare the sermon, with an effort to study the Biblical texts in great detail, since those texts form the foundation for the sermon. So, my days consist of practicing music and studying for the sermon and service preparation. I ultimately have to write the service for the bulletin. Fortunately, this church has someone to type and copy the bulletin.

This question was sent by James. And he writes: Dear Vidas, Forgive me emailing you again so soon, but I have recently been to two recitals by world—famous organists that were very disappointing. Reason? Playing in churches with very resonant acoustics which turned the music into a mere muddle of sound. I played one of those organs today (see attached) similar acoustics and layout to St John's Vilnius (a loud final chord took 6 seconds to be inaudible), with an attached console in the west gallery. Playing for my own enjoyment, I played at my normal speed and it sounded fine—the resonance wasn't so apparent in the gallery. But I know in the body of the church it would have sounded a mess. Are there any simple rules for judging speed, legato etc in these circumstances? Maybe this will be of interest to others. Best wishes, James PS am still working on "Memento" - a challenge, but the miracle WILL happen!

This question was sent by Suzy. And she writes: Dear Vidas, ​One of my dreams for organ playing is reaching higher and lower for pedals with confidence that I hit the right pedal. What is holding me back is: 1. Performance Anxiety which fluctuates. I have rituals for getting into a good mindset. I have a breath deeply, and center the mind so it is not fighting itself eg right and left centring. I imagine a dial in the middle of my forward that I have to press the word ‘Center’ switch. I must not be too analytical but go with the flow, and have muscle memory. 2. Sometimes the way I practice. I need to not just play through; I need to focus exclusively on the bars that need attention. Timing this even for ten minutes a time rather than playing through without corrective practice. I have to consciously prevent myself just playing through which is not practice. 3. Having confidence in my ability. Also setting targets. Realistic ones. Don’t keep starting new pieces without finishing perfecting them. Eg learn two new pieces per month. So I need to set targets. Also playing hymns at the right tempo. Thanks, Suzy

This question was sent by Ariane, who’s our Total Organist student. And I asked her on Basecamp, what is she struggling with, in organ playing. And she writes: I am trying not to worry about struggling, I just want to make music as good as I can.

In this question, William writes: “I worked on Meditation of Vierne. Not used to playing double flats. It was fun.”

This question was sent by William, and he writes: “I worked on Meditation by Vierne. And the first page of Vierne Carillon. Very discouraging. Just can’t seem to bring tempos up after practicing. When you practice over and over slowly it is difficult to get pulse of to sound musical. Any thing I can do. Do I just keep going slow? At what point do you move tempo?”

This question was sent by Tim. And he writes: Well, I work as a musician playing organ in churches for weddings, services and funerals, mostly funerals. So the challenge for me is always staying on top of the work. Sometimes also arranging music choices so that they can be played on the organ.

this question was sent by Jeremy. He wrote on our Basecamp communication channel for Total Organist Community: Going to be a busy week, so I hope to get to the organ a little more than I think I will. We are having new floors put into our upstairs, so I will be hanging around the house. Piano practice will probably not happen, and my dogs will be going a little nuts with the construction happening. If possible, I will practice on the G minor Little Prelude and Fugue for Postlude on Sunday, and Demessieux's Attende Domine for Prelude. After that, I will be working on my normal repertoire. And I wrote to him: I have a feeling your congregation will enjoy hearing Demessieux. Do you write some program notes in the church bulletin? And Jeremy answered: No. Only a portion of the congregation listens to the preludes and postlude, so that lets me plan things like the Demessieux or even Messaien. And then, Dianne jumped into the conversation as well: A portion is something! When I subbed for my daughter, I played the last half of a 3 minute postlude to an empty sanctuary, save one little old lady, who stood up and applauded when I was done! My daughter says this is normal for her as well, and she is an excellent organist. And they mostly talk through the preludes, or enter the sanctuary at the last moment. To this, I responded: This is all quite sad to hear. Really what happens is that service starts with a prelude and ends with a postlude. So lots of education needs to be done. Including clergy. Maybe write short program notes about the music to be played that week in the church bulletin.

This question was sent by James. And he writes: Playing an Eminent digital organ in a local church last night, I discovered that by pressing a couple of buttons I could bring up Netherlands tonality and Kirnberger III tuning! Almost Heaven! Best wishes James

This question was sent by Ariane, and she writes: “I don’t know, I am a bit lost. I could not stay with my new organ teacher after all because I am just so busy at work. Ever since I moved to my current city I have found it almost impossible to practice regularly. Maybe I should just have a break or only play what I feel like playing and watch the world move around me. I also wonder whether it is worth working towards a music exam I will never need anyway.”

This question was sent by Anne, and she writes: “I am finishing up learning the notes to the Bach Prelude in D, BWV 532. This has been a long road to learn this piece – I started working on it again in January but put it aside in March for the Easter season before getting back to it in late April after Easter was over. I am currently practicing the spots that I have trouble with slowly each day and then I play the entire Prelude up to speed as many times as it takes to get through it with the least amount of errors. Staying focused is my biggest problem at this point. My mind tends to drift when I’m doing all the repetitions. However, each day it feels as if it is becoming more and more familiar and I hope this eventually will allow me to play through the piece with few errors. I will continue doing this for the next month before I begin to think about performing it. I have a lesson this coming week so I’ll be interested to hear what my teacher has to say. I have not had a lesson for a while due to the Easter Season. Hopefully, he will like what I have done with the piece.”

This question was sent by Jeremy, who is on the team of transcribing our videos into scores with fingering and pedaling. And he writes: It seems I forgot the Rep I was going to work on at the church yesterday. So, read through some of Guilmant's Practical Organist and started work on Franck's First Chorale. ​ Question: At the opening where it is written in the manuals, do you take some of the large stretches by putting the bass note in the pedals? Or do you play all of the bass notes in the pedals coupled only to the Great? Or just simply wince at the pain of the stretched 11th interval....? I was able to redistribute some of it between the left and right hand, but there is at least one stretch on the first two pages that seems to be physically impossible (I believe it is a E, B, G-sharp in the left hand with a wide stretch in the right. I don't have the music here in front of me.)

This question was sent by Taiwo, and Taiwo writes: I want to become a world-class organist, and I have difficulties in playing advanced musical pieces.

This question was sent by James, in response to my email where I ask him ‘what is his dream in organ playing, and what are some obstacles that are challenging for him’, and he wrote: 1* to play hymns with a very clean and clear technique, and with spiritually inspiring embellishment and improvisation. To come out of “Ordinary organist”. 2a * accurate counting. (Naturally and effortlessly) 2b * natural and easy interpretation of embellishments 2c * self concept. (“I am just an ordinary organist, and won’t reach the top”). ........................................................................ I play digital electronic 2 manual organ with full AGO pedalboard. Rodgers C505. In the past I neglected to develop a firm technique for counting, metre and beat sub division. Theory is good. Organ understanding, pretty fair to good: Roger Davis Manual. Practice habits, fair to good. I had a 15 year gap not playing, restarted in 2017. ...... Thanks VP and A. Blessings!

This question was sent by Mike, and he is answering my question to him when I asked what is his dream in organ playing and the obstacles that are holding him back. So he writes: “It's just the learning process. Your pedal videos helped a lot and getting pretty comfortable with the first octave and working on the second octave now. Your advice to practice slow and take a couple of measures at a time has made a lot of difference in the outcome. I had a couple of years of piano so this experience is really helping. I am 72 years old and it takes longer to learn things that it did when I was 17. Appreciate you, Mike”

This question was sent by Fedor, and he writes: Hello Vidas, Thanks for your helpful video and advices. I'm not a musician, but have primary music education on piano (7 years of music school). Many years I'm fan of organ music and play something in piano transcriptions. But, at one side, these transcriptions is often so difficult and I should simplify them, whereas in organ scores the musical tissue looks transparent, at second side, transcriptions still don't reflect power of originals, and, at the third side, I always dreamed to study playing on the king of musical instruments. Finally, I got an opportunity to assemble home midi-system with my Yamaha keyboard (88 keys) and midi pedalboard (Nord pedal Keys 27 keys), and I started to master original organ scores. I should say that it's not easy, but wonderful simultaneously! Due to your and others videos, I mastered correct sitting and simple playing on pedalboard, but it's more difficult for me to combine playing my feet with my arms. So I would like to kindly ask you to tell and show in more details exercises for the development of the pedal technique and methods of quick connections with hands score. Answering your questions: 1. I would like to learn to play masterpieces of baroque music (Buxtehude, Bach, Bruhns, Clerambault and others), 2. As music is not my profession, the main problem is in free time, but I try to practice regularly. At this time I should navigate on pedalboard as freely as on manual and make quick connections my feet with hands. Also, it would be useful to show the principles of correct legs changing and selection of heel or toe, on examples from Orgelbüchlein or something else. Thank you again for education. With my best regards and appreciation, Fedor

This question was sent by William, and he writes: I want to learn Carillon of Westminster by Vierne, which I purchased score from you. I can play pieces like the Te Deum of Langlais. Dupre Cortège and Litany. Do you think I would be capable of learning this piece if I practice one page for a week or two very slowly? I am working now on relearning 8 little preludes and fugues. I don’t want to take on that much. Do you have any suggestions? Does it help to practice Vierne on piano? I have to start very slow practice to learn a piece. If I know it well, I can play any speed. I am 79 years old and still have full time cathedral job. Thank for any advice. ~Bill

This question was sent by Guinn, and Guinn writes: Good Morning, I purchased 10 Day Organ Pedal Playing Challenge last night. I have a flat Baroque 27 note pedal board, normal for Baroque which is what I play. I cannot possibly play those exercises as indicated with toe and heel. Most of them have the incorrect clef marking. Treble clef is marked, this must be an editorial mistake. What must I do? How do you direct students with a normal Baroque pedal board? Thank you, Guinn

This question was sent by Bass4Art, and he writes: “Hi Vidas I have a Kawai Electronic full console organ here at my house. While I took some time away from practicing, I have been taking piano lessons, in fact, I am up to advance level 5 and beginning level 6 and still plugging away at it. Now I have gotten myself up to that level, I like to push my organ playing up to that level as well. I do have to work on my pedaling some more work on my coordination between hands and feet. While I have gotten rid of a lot of the organ music I had. I still have a full pile of it. So how would you advise? Not this coming up month, but more towards the end of the year. I do plan on purchasing your organ training course to help me with those things.”

This question was sent by Blackstone, and Blackstone writes answers to my question about the dream in organ playing and three things that holding back from the progress. 1. My dream for my organ playing is to spice my music creativity with some great organ sonic vocabulary. 2. The 3 things hindering my progress are: (i) Inadequate practice, (ii) lack of instructional resources, (iii) Don't have my own instrument.

This question was sent by Alessandro, and he writes: Dear Vidas "The Total Organist" has the taste of being very intriguing and complete. But from your video I have not well understood: 1) The total duration of the course 2) The total price of the course 3) If one has to master every section of a level before passing to the next level, or the pupil can choose exercises by carefully looking at what he can already do and knows and what are still his/her weak points? 4) The pace of tuition: if I'm a slow learner what happens then? May I see and re-see the videos again and again? May I also write an mail asking for explanation (I'm sure that I may, since I did it in the past) 5) Can i get in touch with other learners Sorry for bothering you, but I need to Clarify these points Thank you very very much for your answer Alessandro

This question was sent by Abraham, and he writes: “Thank you Mr Vidas Pinkevicius for this wonderful opportunity... First and foremost, my dream for organ playing is to be able to play classical pieces like the professionals do, and also to be able to play church hymns with varied hymn harmonies or alternate harmonisations... I'll also be glad if you could share me PDF files of hymns with alternate harmonisations, and hymns with varied harmonies... 2. The 3 things holding back from practising hard are (a) it takes me weeks to be able to practice and memorize a classical piece which always pisses me off....I do ask rhetorically, how long does it take professionals to learn and practice a particular classical piece and memorize it? This has always given me much concern. (b)Unable to gain access to worship materials... Here I mean, I don't have full access to practice on the organ, and this also makes me feel discouraged.. (c)Inability to play the organ pedals like a professional because i don't have access to the organ.. Thank you once again Mr Vidas for this wonderful opportunity... I look forward to hearing from you”

This question was sent by Kiel, and he writes: Hi Vidas, I found a Facebook video of an organ student of yours playing the Dupont Meditation. I have two rhythm issues I’m wondering if you can help me with. One being the 5 against 4 sixteenth notes. This is when the melody is on the moves down to the great and are on off beats. The way I’m currently playing it is the f’s are together, g flat is two by itself, three four and five are with the remaining three sixteenth notes. Is that correct? The other spot being the six measures of two groups of three triplets against the four sixteenth notes. Would you be able to explain where the sixteenth notes fall against the two groups of three triplets? Thanks. -Kiel.

This question was sent by Gavin, and he writes: G’day Vidas, Thank you for your work. My dream for my organ playing is to really enjoy playing well. What’s holding me back from this I think is good practicing…and not just in the amount of time, but also in how practice is done. I know that there can never be one solution that fits everyone, but guidelines are difficult to come by! Cheers, Gavin

This question was sent by David, and I asked him how his organ practice is going, and he wrote: “Very well! And I played a full service - as substitute organist - last Sunday. And they applauded after the postlude. Miracles really do happen (when you practice)! Played ‘Lobet den Herren mit Pauken und Zimbeln - Alla Händel’ by Karg- Elert (also listed as ‘Festliche Musik Alla Händel’). For the prelude, I played ‘Heut‘ Triumphiert Gottes Sohn’ - using your very helpful fingering! This is the first time I’ve played as a substitute organist at a different church (beyond my own church) for many years. So it really is possible to relearn to play the organ (at age 64)!”

This question was sent by Abraham, and he writes: Good to hear from you Mr Vidas. Is it possible to follow these steps and master any organ composition a week before performance?

This question was sent by Christianna, and Christianna writes: “My dream for organ playing is to be able to play, at very least hymns and sightread intermediate organ music. The three inhibitors at the moment I think, would be: 1. Lack of a teacher, 2. Having to drive fifteen minutes to play on an organ and, having to deal with the fact that it's not available on weekends, 3. None of the music stores in my area carry any sort of organ method or scale book. I think that might help at first as I work on figuring out the foot pedals and stops, even though my organ only has four stops for each manual.”

This question was sent by May, and she writes: Hi Vidas, What are the prerequisites to Organ Hymn Improvisation Master Course Level 1? For example, what kind of chords do I need to know in order to study this course well? What level of music theory should I have before starting this course? Also, what are the expected outcome of this course? Thanks, May

This question was sent by Patricia, and she writes: Dear Vidas and Ausra, Thank you for contacting me regarding your program of Organ tuition and assistance. I studied organ at Trinity College in London and also at the same time I studied the French music from Jean Dattas at Notre Dame in Leicester Square. I was working in London at the time teaching English to students at Morden Girls Secondary in Surrey. When I returned to Kingston, Ontario in Canada, I worked as an organist in a Lutheran Church called St. Marks for 5 years. My mother got an illness which the doctor's said was incurable. They said it would be better to take my mother to Australia to help her but that was not a good idea as she died soon after arriving. I live in Melbourne and have a Johannes organ in my house. I am very bad at practicing and need some help to get started again. I need to master some on my favorites such as the Bach toccatas and other organ preludes and fugues which I played before. I am trying to teach myself the Widor Toccata.

This question was sent by Mark, and he writes: Vidas and Ausra, 1. What is my dream for my organ playing? Answer: to be able to play all the hymns of my church (The Church of Jesus Christ of Latter-Day Saints) and Sunday organ solos as needed using the foot pedals. I'm a "recovering pianist" who started playing the organ at age 62. I haven't yet been able to master the skill of playing the foot pedals along with both hands. I can play the bass part of most hymns using the foot pedals alone. As soon as I try to play the pedals and manuals together, everything falls apart. Instead, I use an electronic bass coupler on my church's digital organ to automatically play the bass voice while I play the manuals with my hands. 2. What are 3 most important things that are holding me back from realizing my dream? Answer: 1) lack of time. I also work a full-time job, exercise at a gym, and I'm preparing 3 to 4 hymns every week for presentation each Sunday at church. I'm the only organist in our congregation so it falls on me to have all of these hymns ready to go each week. 2) having to be at the church building in order to practice playing the hymns on an organ. I do have a full-size digital keyboard in my office that I use to practice playing hymns with my hands only, but it's not the same as the organ manuals and, of course, it doesn't have a pedal board. 3) lack of knowledge of an effective and time-efficient method for a pianist to learn how to play the organ manuals and pedal board together. Thank you for making the Total Organist program available and for asking the above 2 questions. I look forward to your answer. Sincerely, Mark

This question was sent by David, And he writes: "Hi Vidas, I bought shoes from Organmaster but I didn’t quite like it. Do you have any recommendation? Regards, David"

This is a continuation of SOPP446 about learning Noel X by Daquin.

This question was sent by John. He writes: “Hi Vidas and Ausra, How are you today? Soon I would like to start learning Noel X by Daquin as we discussed a few months ago. Could you please give some guidance and teaching on these points? How to play the French trills in this piece? Please spell out exactly what notes to play. When to play pedals, and do you double the left hand in this case? How to play the fast arpeggios in the left hand accurately especially on page 4? What registration would you use on a small two manual English style organ? I hope if I start learning soon then I can have it ready by Christmas this year! I really enjoy listening to you play this piece in your Christmas Concert at St Johns I think in 2016. I have read your podcast SOPP346 which has some great advice! I hope you have a great day! Take care, God bless, John...”

This question was sent by Carlos, and he writes: Thanks a lot Dr. Vidas and Dr. Ausra. Well, the primordial matter that I would like to reach in organ playing it's a fine performing level in public. One thing that I think it holds me, and also a matter of my capital focus it's the control of the nervousness in performance. I think that there is a lot of technique to control the panic in scene, I have used some of them and they work well, but I'm sure that you have some great hints for prepare the mind to get a major level for focusing one self in public performance. Thanks a lot for your course, it's pretty good and accurate. Greetings to you all!

This question was sent by Micky, And he writes: My dream is to be a good sight reader and solving the note quickly. My problem is when I practice I am good but when I go to play it in the church I don't play it good with accuracy.

This question was sent by Dan, And he writes: "Hi Vidas, I noticed that you’d uploaded to YouTube, a version of Carillon of Westminster by Louis Vierne, where you’re playing it slowly. I know you normally do this, so people can transcribe what you’re doing, and eventually produce a print score with fingering and pedaling. This as well, may help me, as I learn things by ear here, due to being totally blind, and finding Braille music to be tedious, and slow. So along with helping people to transcribe stuff, I’d say what you’re doing with that, is also helpful to me too. Take care." And then I asked Dan this question: What is the easiest way for you to learn music by ear? When you hear entire texture or separate hands and feet? Or even separate voices? And Dan replied, "What I usually like is to have separate hands and feet, and then entire texture to work with. That has worked well over the years for me. I’ll then take that and work on its parts separately to start out, then manuals only, then right hand and pedal, left hand and pedal, and then put things together."

Maria Zart by Arnoldt Schlick (Ausra Motuzaite-Pinkeviciene) by Vidas Pinkevicius

Memento Nostri, Domine, Op. 69 for solo organ by Vidas Pinkevicius by Vidas Pinkevicius

The Three Wise Men (Organ Improvisaiton) by Vidas Pinkevicius

Franz Seydelmann Sonata No. 1 In C Major For Organ Duet by Vidas Pinkevicius

Praeludium No. 2 in G (Dorian) by Franz Tunder performed by Ausra Motuzaite-PInkeviciene by Vidas Pinkevicius

This question was sent by Dan. He writes: “Hi Vidas, the whole incident at Notre Dame in Paris, France is shocking, and sad at the same time. It’s really, really good, that the main organ wasn’t damaged by the fire. Very cool that you’d visited that instrument back in 2014. Is the other choir organ that they have, a totally separate instrument, with its own console and everything? If so, how many ranks is it? And is it Cavaillé-Coll as well? A podcast talking about your experience there, due to all that’s happened, would be cool. When you were there in 2014, did you get to have a go at the organ then too? And did you get any audio recordings, or YouTube videos when you were there then? If so, links would be greatly appreciated. Take care, and all the best from Dan in Ontario Canada.”

This question was sent by Michael, and he writes: Hi Vidas and Ausra, Thank you again very much for liking and reposting music! I cannot thank you enough, and I am extremely honored by your likes and reposts! I have given some thought to blogging—particularly since my studies focus on early music (particularly English composers like Byrd, Gibbons, Tallis, etc.). I've always loved early music, so it was not difficult for me to decide on what part of the repertoire I wanted to focus. I have given some consideration recently to creating a website for my work in general (compositions, studies, recordings), and I have also given some thought to recording an album of my clavichord music. I am still researching into how I can do all these things. I know there are some free domain sites, but I am not sure about PayPal so people can purchase my scores or recordings, or how to add a feature that allows people to peruse my scores before purchasing them, etc. I am hoping to do all these things before university resumes in late August. At the end of this month, I have a harpsichord recital, so I am focusing all my energies on that, at this time. On the recital will be pieces by William Byrd, Girolamo Frescobaldi, Ercole Pasquini, Domenico Scarlatti (the "Cat Fugue"), Domenico Zipoli, and several of my compositions. I will be performing on three instruments, all tuned to a temperament appropriate for the time in which those works were performed (meantone tunings for Byrd, Frescobaldi, and Pasquini; well-temperament for Scarlatti and Zipoli, etc.). The semester will conclude the week after the recital. After resting for a few days, I will try to begin the process of creating a website/blog. Thank you again for your message and suggestions, and thank you again very much for liking and reposting my music! I greatly appreciate it! Most sincerely, Michael

This question was sent by Alan. And he’s a member of the team who transcribes fingering and pedaling from the videos, and prepares nicely done fingering and pedaling practice scores. So Alan writes: Vidas and Ausra, I enjoyed this episode, thanks. You mention Sauer’s crescendo roller. We saw one of these demonstrated by Andreas Sieling when we toured the Berliner Dom last year. I didn’t quite understand this unique device ; perhaps you could explain exactly how it works in a future episode. Is it selectable to specific manuals? Does it change wind pressure or add/subtract from registrations? Thanks and regards, Alan Peterson

This question was sent by Erika, and she writes: “I’m working on the choir piece for Easter. Beautiful piece. Quite a bit trickier than I usually do. It’s become an Easter tradition. A couple of sections are like a fugue and there is one section that I didn’t practice as I should have when I first learned it several years ago. So now I have to drill it every year or my fingers seem to fall into the wrong place at the wrong time.”

This question was sent by May, who is our Total Organist student. And she writes: Hi Vidas, Thank you again for addressing to my concerns in details! I have not had the time to spend on the 3 to 4 rhythms yet. In fact, I had to put the sight reading courses aside in order to focus on the harmony (which has been taking 1.5 hours each day from my practice time). I simply don't have the time for writing out the chords beforehand (it would have taken me at least another 45 minutes each day to do so). In your week 11 video, you said it would be easier if we write down the chords before doing the hands on practice. How could practice in writing makes playing easier (for we are not looking at our chords when we play the harmonization anyways)? And, she has questions on the week 11 harmony video and exercises.... 1. When you demonstrate exercise 1, you say aloud each chord (and how it connects to the next chord). For the first 3 chords in the 2nd half of exercise 1, I think I hear you say "subdominant". Should they be tonic? 2. In exercise 8, the 2nd note (A) in measure 3 belongs to tonic chord, and the 3rd note (D) belongs to the subdominant chord (See attached). They are apart by a 4th. In what way should they be connected using our rules? Thanks in advance for your help. May

This question was sent by Ariane. And actually it’s not a question, but a feedback, because Ariane is one of our Total Organist student, and once a month they get this question where we ask them “How is Total Organist working for you so far?”. And Ariane wrote: Joining Total Organist is the best thing I’ve done since Christmas, and I keep telling everyone I know how amazing this program is.

Organ Improvisation - My entry for Steemit Open Mic Week 137 by Vidas Pinkevicius

Spring Rains (Organ Improvisation) - My entry for Whaleshares Open Mic Contest Week 30 by Vidas Pinkevicius

This question was sent by Ariane, and she writes: “More improvisation and some theory on counterpoint and how canons are constructed - a lot rings a bell now, especially the stuff on consonant intervals and countermovement.”

This question was sent by Ruth, and she writes: I am working hard on the pedal parts of every piece I practice. I do this at a large organ in a local church. I isolate the parts first and listen carefully and repeat. I then attempt to memorize, although that is s long process. All of this is a labor of love.

This question was sent by Ariane. And she writes: When I am doing the hymn improvisation, should I think in 3rds and 6ths or should I think harmonically?

This question was sent by Gena, and she answers my question for Total Organist students on Basecamp, where I ask, “What are they struggling with this week.” So she writes: “Slow practice for accuracy” “Isolating tricky sections to practice them repeatedly”, and, “Faster more accurate manual changes” So basically, those three things were the most challenging for her.

Improvising on Principal Stops by Vidas Pinkevicius

Practicing Offertoire in C Major from l'Organiste by Cesar Franck by Vidas Pinkevicius

Practicing Poco Allegro in C Minor from l'Organiste by Cesar Franck by Vidas Pinkevicius

Practicing Poco Lento in C Minor from l'Organiste by Cesar Franck by Vidas Pinkevicius

Practicing Poco Lento in C Major from l'Organiste by Cesar Franck by Vidas Pinkevicius

Practicing Andantino in C Major from l'Organiste by Cesar Franck by Vidas Pinkevicius

This question was sent by Irineo, and he writes: Now that WAS an interesting post. I recall when I started to think of pedal exercises in order to achieve as close a legato as possible. I took a long look at the pedalboard and imagined which pedals would turn out to be most comfortable for each foot while playing scales upwards. Then downwards. It became clear rather soon that the bottom C would be perfect most of the time for your left foot while the upper C for your right. But when I started playing pieces a bit more demanding, I realized that not all the time that would be the case. For instance, when I played my own arrangement to Mussorgsky's "Pictures at an Exhibition", there's a measure where you should interchange your left and right feet at bottom C [while playing C(left)-F(right)-G(left)-C(right)-F(left)-G(right)-C(left)]. Afterwards I thought about what would happen if I turned things around while playing the "regular" or "standard" order while rehearsing scales/arpeggios. What I'm getting at is that maybe inverting the apparent "standard order" of playing could help Terry with his problem, because I'm of the opinion that NOTHING should warrant undergoing surgery (especially regarding your feet) only to solve a purely mechanical challenge, because you might actually create a bigger problem. Hope this helps him. Irineo.

My entry for Steemit Open Mic Week 135 (Organ Improvisation) by Vidas Pinkevicius

Swan (Organ Improvisation), my entry to Whaleshares Open Mic Contest Week 28 by Vidas Pinkevicius

Sally wrote: “I struggle with finding time to work on expanding my organ skills and techniques. It seems I spend most of my time at the organ prepping for choir rehearsal and weekend Mass. I also work full time, so there not a lot of hours available for practice.”

Spring Rays - Organ Improvisation by Vidas Pinkevicius

My Entry For Steemit Open Mic Week 134 Three Lilies (Organ Improvisation) by Vidas Pinkevicius

Robin (Organ Improvisation) - My entry for Whaleshares Open Mic Contest Week 27 by Vidas Pinkevicius

Today, I’d like to talk a little bit about what Jeremy wrote about Total Organist when I asked him how is total organist working for him so far. He wrote: "Just so much to learn! Loving every second as it gives me something to work on daily."

This question was sent by May, and she writes: Hi Vidas, Thank you very much for addressing to my concerns in this email! I have been spending over an hour each day on the harmony exercises for a few weeks. I worked on the difficult way whenever possible (using 2 fingers from each hand) as suggested by you in an earlier email. Ever since I could manage to use to play the bass part (of hymns) with the pedals, I always use the pedals. I find it much easier to play the hymns with 3 fingers and both feet. Now I am not comfortable at all playing hymns with hands only. I am hoping I can slowly regain my hands-only hymn playing skills by doing these harmony exercises. For quite many chords in the exercises, there is no way I can play them with hands only and 2 fingers from each hand. I need the help from the pedals anyways. I always wonder how piano players practice these chords. A question from the week 8 harmony exercises… we should skip all D-T sequences starting with the 3rd note (from the dominant chord) on top. Is this correct? I saw that you have made the fingering of BWV 618 available a few days ago. I love to learn this chorale prelude but my hands are small and my fingers are short. My hands and fingers could only stretch to reach one octave only, meaning I am not able to reach certain intervals (e.g. from the low A to middle C in measure #7). Does it mean I could never play this chorale prelude? Is there any ways I can overcome this difficulty? May

This question was sent by Marjorie. And she writes: Thank you! You were very helpful. My problem: I passed my Grade 7 for Associated Board Organ Exam about twelve years ago. Since then, my playing has deteriorated. I play for church services every Sunday, but I am not challenged. I play a two manual tracker organ with limited stops, and only a bourdon in the pedal. I took my exam on a four manual Cathedral organ. My dream is to play fluently on the organ. Pieces grades 6 and 7 standard. Thanks -Marjorie

This question was sent by John, and he writes: I have struggled to get much quality organ practice in the last 2 weeks, but family has to come first. Prior to that I have been diligently practicing the first 10 Hanon exercises with a metronome, starting at 60 bpm and working my way up to 80. I started noticing a few small issues where I was drifting off beat. I have also tried practicing pieces to a metronome as I am subconsciously changing the tempo without realizing. I have learnt the first 2 pages of Wachet Auf from Schubler chorales, and playing it ok, it took quite a while to get the chorale tune, it certainly tests my coordination and independence of RH, LH and pedals. Page 3 with the modulation to minor mode is taking even more work, but slow practice is working. I am playing for our church service on Sunday, I am really excited as I haven't played at church for since January due to Isaac arriving. One of the hymns is a new one, and when I practiced it, I had a special moment of realizing how much my skills have improved. After 3 days of very slow practice, I was able to play all four parts together with hardly a mistake! I reckon even 2 years ago it would have taken 7-10 days to achieve this. In fact 2 years ago I remember emailing you saying I was struggling with playing all four parts of hymns when I had only 1 weeks notice. I think I have finally reached a point where I am committed to trusting the learning process, whereas sometimes I would skip some combinations, or try and play at performance tempo. Now I really focus on slowing the tempo right down, and sometimes practice each fragment 10 times instead of 3 times. I wanted to thank you and Ausra for being the reason for my first DVD sale in the USA from one of your subscribers Paul Anderson! I had a go at organizing the payment and shipping through PayPal, and so far so good. Also could you and Ausra give your advice on a podcast on some practical strategies to improve my phrasing, this could apply to hymns but particularly Bach pieces and music in general. How do you incorporate pauses/breaths while still keeping a steady tempo. It is getting close to 1 year since my Vilnius trip, the memories are still fresh, and I would love to come and visit you guys again one day! I hope the weather will soon warm up and bring you more energy! Take care, God bless, John...

Practicing Poco allegretto in C Major by C. Franck from L Organiste by Vidas Pinkevicius

My Entry For Steemit Open Mic Contest Week 133 Crucifixion (Organ Improvisation) by Vidas Pinkevicius

This question was sent by Jay, and he writes: Hymns for church service on Sunday. Trying to get to the point where I know the music well enough, to recover quickly if (or when) I mess up.

Summer (Organ Improvisation) - My Entry For Whaleshares Open Mic Contest Week 26 by Vidas Pinkevicius

This time, Colin writes: "Thank you for the bonus materials for the Pedal Virtuoso Master Course, I shall look forward to working on them."

This question was sent by Irineo. He writes: Hello back there maestro! Now that was an interesting discussion you had. But I wonder, which other clefs are there besides two G, two C, and one F? Those are the ones I’m familiar with. And while transposing, you mean when you’re writing a score or improvising? Thank you. Very truly yours, Irineo

Sunrays (Organ Improvisation) - My Entry For Whaleshares Open Mic Contest Week 25 by Vidas Pinkevicius

This question was sent by Damian, and he writes: Hi Vidas, I've been catching up on podcasts lately and I'm very pleased that you've touched the topic of my little device. It is a very simple solution from the technical side and there is nothing revolutionary in it, maybe only the application is unusual ;) In Poland, displaying song text in churches is very popular, at least in my area there is a display in every church. The ways are different, from the old school slide projector, through the large TV, to the LED displays, assembled by specialized companies in this field. I also know that in some regions of the country the organist only displays the number of the song, and people have the books in which they find the text. A separate topic is how much such displays help in singing. Decades ago, we didn't have such inventions, and people sang much better. It was because they wanted to sing and sang a lot, and what follows, they knew the lyrics by heart. I do not know how it is in Lithuania, but in Poland, the desire to sing in the church is getting worse, especially among young people. Indeed, displaying the text helps if you sing a less-used song, or further verses, but only to people who want to sing. Sometimes I get the impression that these displays try to "improve" the singing, make people sing more and "as before". Nevertheless, in my opinion, they will not encourage people who do not want to sing anyway, and the problem lies in the fact that contemporary people sing less and less. Thus, technology helps, but to a limited extent, and unfortunately it is not easy to eliminate the unfavorable changes taking place in singing in parishes. Damian

I started hymn improvisation week 5 where I am playing 8th against the hymn tune. I am just not sure what exactly the notes should be apart from the fact that the notes on the beat should be consonant. Do they have to be steps or can you jump up and down? (Ariane)

This question was sent by May, and she writes: Thank you Vidas for sending me this video. I didn't have a chance to watch it yet. The harmony course is challenging enough for me. It's like a brain exercise. With the S-D transposing sequences, I have to first figure out what key it lands on at a major 3rd interval. Then which key is its subdominant and which key is its dominant. I took a long time before I could run through each of the 6 sequences from C major, a minor, Bb major and g minor three times without making mistakes. Today, I just finished watching the week 7 video. I think I have to postpone the sight reading course until after I finished with the harmony course (hopefully in 6 weeks). Otherwise I would not have time to prepare or the music in lent. Actually, how much time we should be spending each day to work on these exercises in order to accomplish the improvement you expect? I guess I can use the pedals with the week 7 exercises. Perhaps I should say I have to use pedals for the bass because it's impossible to reach all 4 notes by hands only in many cases. Thanks again for your advice. May

This question was sent by Colin. And he writes: Dear Vidas, Firstly, I’m sorry if you have already received the following message. My computer is playing up and I’m having difficulty in sending and receiving some emails. Thank you for your Pedal Virtuoso Master Course. For some strange reason, I have been unable to download the material of the final lesson. A bit of background about me: I’m retired and I have played the organ for very many years. However, the demands of my job and family have meant that I have not been able to practice regularly, with the inevitable result that my skills have deteriorated. I’m arthritic and find it difficult to move joints easily, especially the ankles and hips. I try to practice your course regularly though I have not been able to progress from week to week as rapidly as I should like. I see no virtue in going on to the next lesson until I feel like I have mastered the current one. I’ve found the sessions on arpeggios etc. particularly helpful, and I feel that I’m beginning to recover some of my earlier flexibility. I still find shifting position difficult though, I continue to work on it. As you suggested, I have played a couple of pieces which I have not played for a long time, in order to see how my pedal technique has improved. I was really amazed at the confident way I was able to play the final part of the Mendelsohn organ Sonata n°1. Likewise, I managed the g minor fugue, BWV 542 confidently, even the long pedal passage in the middle, where you have to shift position felt very comfortable. So my practice is clearly paying off. Thank you very much indeed, every good wish, Colin

@laputis and I today visited our friend organist Paulius Grigonis (@pauliakaz) at his church where we showed him the photos from our recent concert trip to the French Alps. He in turn gave us coffee and cake. Before we left, I asked his permission to sit down on his organ bench and record this training. I wanted to show you guys how to harmonize C major scale in 4 voices - soprano, alto, tenor and bass. Let me know what you think.

This question was sent by Dieter. He writes: In Bach’s Two Part Inventions, if I were to move some of the left hand parts to the pedal, how would I set about that?

Blue Jay (Organ Improvisation) - My entry for Whaleshares Open Mic Contest Week 24 by Vidas Pinkevicius

Mont Blanc (Organ Improvisation) by Vidas Pinkevicius

Adagio from Brandenburg Concerto No. 1, BWV 1046/2 by J.S. Bach by Vidas Pinkevicius

Cats of Notre-Dame-des-Neiges (Organ Improvisation) by Vidas Pinkevicius

Trying out the organ at Alpe d'Huez.mp4 by Vidas Pinkevicius

Preparing for Mass at Alpe d Huez by Vidas Pinkevicius

This question was sent by May, and she writes: Hi Vidas, Thank you for sending me the week 6 Harmony material. I have been working hard (and struggling) with the chords, the progressions and the sequences in the past 2 weeks. I find it most difficult to play with hands only using 2 right hand fingers and 2 left hand fingers. It is easier to play with left hand doing the bass only and right hand playing the triad (chords in closed positions). Playing the bass with the pedal is also much manageable than playing with 2 fingers from each hand. It takes a long time to go through the exercises first with hands only and then with pedals together. Shall I practice with hands only, with hands and pedals, or both? What do you suggest? I am working on the sight reading master course at the same time. I struggle with the rhythms in week 3 day 2's triplets. I could never play a triplet with one hand and four 16th notes with the other hand together. If I assign 12 units to each quarter note, each note of a triplet will get 4 units and each 16th note will get 3 units. I am not sure if it will help me to get a better sense of this complicated rhythm by doing this. It will also take a long time to finish the passage. Do you have any suggestions? Thanks, May

This question was sent by Tim, and he writes: Dear Vidas, The course is working out fine for me, and I’m able to keep up to date with it. Sometimes, I do a few days ahead, depending on work commitments. I usually use a tempo of around crotchet = 16, and I find I am able to get all the articulation correct in all of the parts. Looking forward to the rest of it. Kindest regards, Tim.

This question was sent by Jeremy, and he writes: Played for church this morning. Krebs e minor prelude and fugue for prelude, accompanied a handbell piece on the organ and ended with Piece Heroique of Franck. Standard hymns and some piano playing in there as well. I did improvise a bit today during the passing of the piece. Played through a hymn, then tried to improvise a canon between the soprano and tenor over a pedal tone while keeping the alto the same. I thought it worked pretty well.

Today, instead of a podcast conversation I would like to share with you my newest organ demonstration I just did for a group of 5th graders from Vilnius International School in English. On the Klais organ at Lutheran church was my colleague Dovile Savickaite and I talked about the pipe organ, J.S. Bach and his music. Let me know what you think.

This question was sent by Jeremy, and he is on the team who transcribes our fingering and pedaling videos. So, he writes: I have been struggling with the Bach Dorian Fugue. The notes for the most part are there at half speed, but getting it up to speed has been… difficult. This being said, I did have a bright moment today that I will verify tomorrow by phone. I am learning the Dorian's Toccata and fugue for the AAGO exam in June. As I filled out the paperwork for I thought today, I realized only the Toccata is on the list of pieces. Huzzah! I can almost play that part of it up to speed already!

Sinfonia No. 3 In D Major, BWV 789 By J.S. Bach Slow Practice Tempo by Vidas Pinkevicius