And the first episode was about how to keep a steady tempo when you play the organ. Remember Ausra, why we started talking about that? About talking with each other, in addition to interviewing the guests? A: I think because this is one of the major problems that many organists encounter. We wanted to help you grow and to answer your questions on the podcast. So those episodes were also numerous, and we sometimes kept going in parallel with Secrets of Organ Playing interviews. But then as I said earlier, I found it too difficult to continue and only started talking with Ausra.
But now we merged two podcasts into one and only have Secrets of Organ Playing Podcast, and today, is episode number A: Amazing! We hope you guys find value out of our conversations and continue asking questions, giving feedback, because I recently started doing those interviews with guests, so I hope you will find those interviews also useful. A: Do you know what I remember the most? V: No, Ausra. A: One organist by name of Ugochukwu.
V: Ugochukwu. A: There was a time when he just kept sending us a questions and we kept answering them. But then he was disappointed because he could not get answers right away. And he stopped actually, I think, following us. V: Uh-huh. A: So after even when he stopped asking us questions I would still remember his name.
And each time when Vidas would tell me that this question was sent by somebody, I would, in my mind I would keep telling myself, by Ugochukwu. V: Laughs. And sometimes we really had funny situations while talking with Ausra. And sometimes by reading this question I get stuck and you have to do it again and again and again.
I remember one episode we started laughing hysterically, right Ausra? I guess we were just so tired, and, yeah. V: I even saved this podcast which was as a hysterical laugh, so maybe when the time comes, we can laugh together again. Listening together. A: And of course there were questions like sent by Michael, where he asked a lot of things and suggested various topics for our podcast.
V: like a true master class, one week long.
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So thank you guys. Please continue sending us your questions. We love helping you grow. V: This was Vidas.
A: And Ausra. Today I had our 3rd Unda Maris organ studio rehearsal this year. The church was rented out for some event so we played at the Aula Parva on a single manual Baroque organ with pedals. All but Diana and Justas are starting to play the organ only this year.
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One lady went to the church instead and didn't find my message in time. A couple of other students wrote to me saying they couldn't make it today. Diana had to leave the earliest so she started the first and played a chorale "Wer nur den liebe Gott lass walten" by Johann Ludwig Krebs 2 outer voices only. I recommended she start feeling the pulse to get the music flowing. I taught him to use articulate legato and play with one finger only to discover the ideal touch.
Karolina at first started to play a hymn but she didn't have the music and really could handle 4 part harmony. I wanted her to start practicing in 7 different combinations for the next time. Franziska also played the same trio but I wanted her to shift her body position easily by pushing off with the right foot when the melody moves downward and with the left foot when the melody ascends. She discovered the need for organist shoes with heels. Since he used a rather antiquated edition, I recommended he ignore the slurs and play the mordents from the upper note.
For the next time he should also choose one of the Little Preludes and Fugues to work on. The last was Justas who showed to Rokas the little Prelude and Fugue in A minor which he played last year.
Maybe Rokas will pick that one. Justas also played one piece from some movie arranged for manuals only. He added his own pedal line. Tomorrow I plan on creating a special team for Unda Maris on Basecamp for internal communication because I've noticed how inefficient email is I can't even find my Unda Maris list on the phone so I'm stuck to either responding to earlier messages or writing on the laptop which not always is possible, like today when I had to change the place of the rehearsal on a short notice.
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I hope you'll enjoy playing this piece yourself from my PDF score. Thanks to Jeremy Owens for his meticulous transcription from the slow motion video. What will you get? PDF score with complete fingering written in which will save you many hours of work. Basic Level. Let me know how your practice goes. Check it out here. This week my main focus is going to be on preparing publicity materials for the 3 recitals at my church. The posters are already done but I have sent them to the approval of our communication's specialist.
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Then I also have a press release ready for my organ and dance improvisation recital. It's on the Biblical story of "Exodus". But I'm still waiting for some thoughts from the organists of the other two recitals. One is especially tricky to publicize. It doesn't have a clearly focused theme. The organist says - it's just a regular concert.
Rousing hymn singing, virtuoso organ playing and enterprising chamber music programs
Yes, but this title won't get anybody interested to come. And they don't play almost any programmatic music which title could be the theme for the entire event. Monologues, because 3 instruments won't be playing together. This week I also intend to sight-read through the music collections of Tore Bjorn Larsen, an organist and composer from Svendborg, Denmark.
I played one of his pieces today and was quite surprised about the dissonant musical language. I'm actually intrigued if I could sight-read through his music and perhaps pick up some inspiration for my own improvisations. I also want to sight-read through the works of Paul Ayres, an English organist and composer. I bought his Suite for Eric and played through the Toccata today.
It's definitely worth looking more closely into. If the rest of the suite is on a level of the Toccata, I think I might be looking forward to performing it. Speaking of which, today I checked my calendar and discovered that I have to play a recital on December 21 in my church. It's close to Christmas time so this week I have to figure out what music I'm going to play then. I secretly hope Ausra will want to play some new organ duets with me but we'll see how school work is treating her.
We will definitely sight-read through some organ duets of Denis Bedard at home this week though. This morning I received a phone call from the organizer of the organ festival in Anyksciai, a town in the northern part of Lithuania which has St Matthew's church with a donated 3 manual Romantic English organ in it. This organizer wants me and Ausra to play a duet recital in August He also wants me to bring Unda Maris organ studio to the festival for masterclasses and a joint concert and to lead some of the masterclasses.
They will also have some organ students from Poland. This week I have to give him an answer. This week I have to calculate the costs and submit organ duet recital programs of our upcoming concert trips to Sweden and Germany for the next year. I will apply for travel reimbursement from the university, application for which has to be done this week. On Wednesday we will have our Unda Maris organ studio rehearsal and today I received an email from a Latvian student who attended our Saturday's organ duet recital and she liked it very much.
Now she wants to join the studio. She plays piano but not on the professional level. She has studied at the music school for one year and then continued to play on her own for the hearing but she also says she can read music. She played in the band of synthesizers in the past and her grandma is an organist. Therefore, she has a little organ playing experience as well. I told her to come on Wednesday and be prepared to play something. Vidas: Hi guys, this is Vidas!
Ausra: And Ausra! This question was sent by Ruth, who is our Total Organist student. 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? V: I had an experience in teaching new hymns at our St. And you would conduct the congregation from downstairs. You could use it. I think that would be an idea. Maybe your organ is upstairs, but maybe your piano is downstairs. And the piano, maybe, is in the visible place where people could see you.
Some places you could even move the piano closer to the center during the rehearsal. I just had this podcast conversation with Andreas Spahn, organist from Germany. He is a church musician. They are just three or five minutes long, before the service starts. Why not 15 minutes, like we would do. A: Sure, time is money, so… everybody is counting.
V: Everybody is making money on Sunday morning. Not only for new hymns, but maybe old hymns that have been forgotten and need to be resurrected. How would you, Ausra, conduct this rehearsal, if you had to choose. A: Well, I would just go through each line. V: How many hymns? A: Well, I think for such a rehearsal you may do only one thing. You can only introduce one new hymn per service. V: Why not two? A: It might be too difficult—too much new information. Does it matter where this new hymn comes in the service?
In the beginning? But, of course, if you just rehearse before the rehearsal, then it really would be an opening hymn, right from the rehearsal to performance. V: Is it okay if I did a rehearsal when I first sang the first verse, and then asked them to repeat phrase by phrase, line by line? It should work.
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But other verses, they are written below the page after the score is finished. I think in Western hymnals, they have three or four verses written under the notes. So, basically, go through each verse, and then this melody will sing by itself, probably, into their memory. A: True! Plus, I think a lot of success also depends on the meter of the hymn. If it has a regular meter, strong beats in every measure, then it makes life easier. But if you choose something based on Gregorian chant, or sort of modal, also based on modes, that might not be as easy to sing for a congregation, because I think rhythm is crucial for congregational singing.
So I would suggest maybe just to avoid such hymns. V: I think this might work, too. A: You also need to include your choir into your rehearsals. That might be a big help for you and for your congregation. And I remember that what else you could do, of course, the choir might show an example of that unfamiliar hymn for a congregation, but later on during the service, you might spread your choir throughout your congregation.
You might divide your choir members between those rows, that you might help your congregation to sing better.
Pipe organ - Wikipedia
I think this might work, too. V: This is really a clever idea, and it has been done before, and usually the congregation feels more confident when there are people around them singing with confidence. A: So you might try that, as well. V: Do choir members have to be dressed like civilians or in robes? They have to conceal themselves. A: Not necessarily, I think. V: If they are members of the congregation, people will recognize them, anyway. Ok guys, we hope this was useful to you. Please send us more of your questions; we love helping you grow. Thank you everyone for participating!
You all made us very happy with your entries. Have you ever wanted to start to practice on the organ but found yourself sidetracked after a few days? Apparently your inner motivation wasn't enough. I know how you feel. I also was stuck many times. What helped me was to find some external motivation as well. The bulk of the pipework is usually found behind this decorative part.
Pipes are generally made from an alloy of tin and lead. A common misconception is that the organ is only capable of playing loudly. These are separate boxes of pipes, opened and closed by a pedal to decrease the volume. The stops are used to stop the air from flowing through the pipes. As explained by the organ specialist website Nazard,. The stops are part of the action that controls which pipes are allowed to speak and which are to remain silent.
People sometimes ask whether only old people play the organ. Definitely not. Many organists start learning while very young. It helps if their feet can reach the pedal board. These pedals are usually to produce the low-pitched notes. So, the next time you see or hear a pipe organ, remember that this instrument is more than a box of whistles high up in a dusty loft.
Screen music and the question of originality - Miguel Mera — London, Islington. UEA Inaugural lecture: Alternative performance measures: do managers disclose them to inform us, or to mislead us? Edition: Available editions United Kingdom. Theo van Wyk , University of Pretoria. Swedish organist Anna von Hausswolff. Anders Nydam. The organ is often associated with horror movies. Durable and complex As long as organs have existed — years — composers have been writing for them, in every conceivable style.
It was built in about and was restored in Range of sounds A common misconception is that the organ is only capable of playing loudly. As explained by the organ specialist website Nazard, The stops are part of the action that controls which pipes are allowed to speak and which are to remain silent. The new Rieger organ at the Paris Philharmonic Hall. It has 6, handmade pipes, is 15 meters high and 16 meters wide, with 91 stops on four keyboards and pedals specially designed for the symphonic repertory.
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