Tips for Using Same Foot Pedaling in Early Organ Music

Although alternate toes technique was the most popular type of pedaling used in Renaissance and Baroque organ music, quite often we have to use the same foot technique as well. If you know in which type of passages playing with the same foot is the best choice, you will quickly learn to see the familiar patterns in your pedal lines. In this article, I will give you two instances of using the same foot technique in early organ music.

Same Foot before Changing Direction. On passages in quarter, eighth, and sixteenth notes sometimes we use same foot instead of alternate toes technique. Here applies the general rule: use same foot before changing direction. This means that in a passage like C D E D we play with the same foot notes D and E because after ascending notes D and E the melody changes direction downwards. So the entire passage, such as C D E D E F G F G A B G would be played left, right, right, left, left, right, right, left, left, right, right, left, and left.

Same Foot on Long Note Values in Extreme Edges of the Pedal Board. In Baroque and Renaissance organ music, chorale-based compositions often employ cantus firmus technique - placement of the chorale melody in long note values (half and whole notes). Cantus firmus method can be used in any voice. Instances of cantus firmus in the bass were especially common because they could be played on a separate pedal division with a different sound color. Moreover, if cantus firmus was used in any other voice, it could still often be played with the pedals. The normal way of pedaling such melodies was alternate toes technique. However, in extreme edges of the pedal board one could play long notes with one foot because the traditional alternate toes technique is uncomfortable.

I recommend that you write in pedaling in every piece you play on the organ, at least in the beginning. This will prevent you from making accidental pedaling choices which will not necessarily be correct and efficient. With experience, however, you will start to notice familiar patterns in pedal lines of your organ music and gradually your pedaling choices will become automatic and natural. In other words, if you practice writing in the correct pedaling regularly, with time your pedaling will become instinctive and you will not need to write in any of it.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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Organ Technique: Tips for Choosing the Best Pedaling for Early Music

Early organ music requires a different kind of pedaling than Romantic and modern compositions. Just like fingering, choosing correct pedaling allows good articulation, phrasing, and touch, among other things. Whether you play music of Schlick, Buxtehude, Sweelinck, Bach, or any other Renaissance or Baroque composer, you will benefit from the correct pedaling methods. Today I would like to give you my advice on choosing pedaling for 16th, 17th, and 18th century organ music.

Do Not Use Heels. The rule in pedaling early organ music is to avoid using heels. In countries, like France, pedal keys were very narrow and it could be played using toes only. Moreover, very often organ bench on historical organs was in a position were playing with heels was simply impossible. In other words, the full foot of an organist could not fit between the organ bench and the sharp keys. Although in Italy pedal keys were not as narrow, they were quite short. So the only option on many organs was to play with toes. In addition, on the clavichord sound made by the heel would produce a squeaking effect. Since clavichord technique was the basis of organist technique as well, all toes pedaling is the best choice in early organ music.
Alternate Toes. Perhaps the most popular pedaling technique in early organ music is alternate toes. It basically means that some passages of pedal lines should be played using toes of left and right foot in alternation. For example, try to play the ascending C major scale in this way: left-right-left-right-left and so on. Start the descending scale with the right foot. Make sure that the notes would not be played legato. In other words, you should try to achieve small articulation between notes. Shorten every other note a little so that you will make small accents on strong beats.

Note that you should not use feet crossing with this technique. In other words, do not put you foot behind or in front of the other. Instead, move both your feet together as a unit. If you perform the C major scale in this way, it will be easy to feel the pulse and alternation of strong and weak beats.

I recommend regular practice of major and minor scales in most common keys using alternate toes technique. In other words, play scales with up to two accidentals which were the most often used in the Renaissance and Baroque music. This practice will help you to master not only this technique but also the natural articulation.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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What Are the 4 Types of Fingering Suited for the Performance of Early Organ Music?

Playing early organ music requires much knowledge in registration, articulation, fingering, and other aspects of organ performance. Fingering, in particular, is an area where correct choices can facilitate the execution of articulation, phrasing, and ornamentation. The right way of fingering can even help to feel the pulse and the meter easier. If the organist plays a Baroque or Renaissance organ piece with the correct fingering, chances of performing it in style are much higher. In this article, I would like to give you 4 types of fingering suited for music composed before 1800.

1. Paired Fingering. The most famous of all kinds of early fingerings, paired fingering is used primarily for one voice passages in one hand. It can help to emphasize the meter and the pulse if used correctly. Paired fingering is based on the idea that the notes on the stronger beats should be played with stronger fingers. Authors of treatises from different national schools had their own ideas about strong fingers. They even referred to them as good and bad fingers.

2. Position Fingering. This type of fingering means that we choose the fingers which would allow playing the most number of notes without changing position. Like paired fingering, position fingering is also used for solo passages.

3. Interval Fingering. While paired and position fingering are best suited for solo passages, interval fingering is used to play two notes in one hand. Thirds are best played with 2-4 or 1-3, fourths - with 2-5 or 1-4, fifths, sixths, sevenths, and octaves - with 1-5. The succession of the same kind of intervals is played with the same fingers.

4. Chord Fingering. Because of narrower keys in the 16th and 17th century organs, the chords (and solo passages) in early music are often played without the thumb. For example, first inversion major chord E G C can be played with 2 3 5 in the right hand). The left hand chords are often wider, as in C G C and played with 1 2 5. The general rule for the Renaissance and early Baroque music is to avoid using thumb (especially in sharp keys). However, there are many instances where the thumb cannot be avoided, such as in music written in G minor, or F major.

Because of the chromatic nature of the music of J.S.Bach and complicated keys used in his works, playing with the thumb and using finger crossing is quite comfortable. However, try to avoid finger substitution and glissando which are best suited for the legato manner of playing used in organ music written about after 1800.

By the way, do you want to learn to play the King of Instruments - the pipe organ? If so, download my FREE video guide "How to Master Any Organ Composition" http://www.organduo.lt/organ-tutorial.html in which I will show you my EXACT steps, techniques, and methods that I use to practice, learn and master any piece of organ music.

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The Piano Gallery: Step One in the Early Nurturing of Piano Virtuosos

For centuries, pianos have introduced some of the world's finest virtuosos. When your seven-year-old child prodigy gets on the piano and starts playing Nocturne Op. 9 No. 2 by Chopin, you can tell that his musical future will be bright. The piano is more than just an instrument to make music to everyone's ears, as it is also the medium with which talented prodigies become musical superstars.

An example of a very young classical pianist that made his debut into the world of music is William Crotch. At three and a half years old, Crotch already played the piano for both the St. James' Palace Chapel Royal and before the presence of King George III, the ruler at the time. His debut at a young age allowed him to gain experience and learn not only about piano but about music in general.

If playing the piano can be compared to painting, the piano itself is the canvas and the music it creates is the masterpiece. The skill at which the pianist gracefully transitions from key to key is the paint from which various musical pieces are formed. The speed of playing a piece with the piano adds a unique flair to the music-a familiar trait of contemporary piano music. A pianist can think of many ways to use the piano to create wonderful sounds.

Playing the piano at an early age helps the child develop his sense of creativity and nurture his attention to detail. A great number of today's piano prodigies began playing the piano as early as one to two years old, and made their debut at around three to five. If you need a piano for your family to play some classical pieces for leisure or for learning, a piano gallery is the best place to look for one.

The piano can also teach children the value of hard work and perseverance in the toughest of times. Mastering piano pieces takes years of habitual practice, while improving on technique is a lifetime journey. Classical pianists such as Chopin and Mozart rose to fame and fortune because of their sense of perseverance. What better place to start one's career in music than a in a piano store?

Overall, the role of the piano beyond being an instrument that creates music is clear. The piano gallery is home to different kinds of pianos, keyboards and synthesizers you can choose from to get started with this activity for your family. Whichever musical piece your child chooses, the road in producing a piano prodigy starts with the press of one key.

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