Secrets Of Organ Playing Podcast

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 a

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

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 a

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

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!!!