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I guess I should've said it's not "just" a math problem. Too many church accompanists play too far in the extremes where it's either impossible to spit the words out in time or it's so dirge-like that long held notes and melismatic melodies become virtually impossible to sustain. But it's still incredibly important not only for good phrasing and having a place to breathe, but for tempos. which came long before my organ experience. I also come from a wind background so the concept of breathing and shaping phrases that way was sort of ingrained in me even before I got choir experience which also came long before my piano experience. I almost take this advice for granted and forget to mention how important it is because one of my regular gigs requires me to sing while playing so I'm always keenly aware of how something feels being sung. If it doesn't feel natural when you sing along, it won't for anyone in the congregation. If we are not consuming other examples of our craft, it's hard in my opinion to know what sounds good and what may not work.Īnd she stressed always to sing along when playing hymns. That is to say, listening is very important, though that's true for any musician. As I work weekly, I don't have much opportunity to visit churches as much as I like, but whenever I am traveling and have a Sunday off, I am always at a service, be it NYC, Baltimore, DC, Charlotte, Stockholm, Berlin, or Tokyo. It's a different skillset and like anything else requires practice. I'm not playing particularly difficult voluntaries from week to week, but I have to learn several hymns, liturgy occasionally, anthems, and have things prepared with minimal practice. You may find conservatory organists who can play repertoire day and night, but ask them to play a church service, much less a liturgical service with sung responses in addition to hymns, and it's simply a difficult set of skills. The two skills are complementary to one another. And ultimately I'm of the mind that good singers also make good organists. It is formulaic, but the good organists don't make it seem so, their playing is consistent and deliberate, so it sounds natural. At the end of the stanza, I will generally hold the final note for a measure and a half (plus whatever I need to make a pick up note fit, if there is one). Repeated notes get half the value, so a quarter not repeated once, you'd play the first quarter note as an 8th notes. I would have a bit of disagreement about playing not being a math problem. I've taken that to heart and fortunately the services where I work currently are recorded, there is always an opportunity for self reflection.
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I learned organ from a fabulous musician who could play any keyboard instrument, repertoire, church music, you name it.and she stressed always to sing along when playing hymns.
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how about just letting the music breath on phrase breaks?
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It's just a wash of noise because they aren't paying attention to clean releases specifically for rearticulations of the same pitch.Īnd beside the point of physically letting those in the congregations breathe. It blows my mind as a person who doesn't have a lot of organ background just how badly some people with decades of experience on me play from a musical standpoint. does it sound good? Do you really need to calculate which millisecond you need to release or apply the pedal? How does it sound on the instrument you're currently playing because it will vary.
#Lowrey organ genie 98 how to
People trying to mathematically decided how to use the sustain pedal. I think too many people are just playing like it's a math problem. Like, do you hear yourself? Does it sound muddy? Does it sound choppy? Does anything about this have remotely musical phrasing? I feel like most of these could just be solved by musicians actually using their ears, but sadly I agree with your statement:ĭoing those things will put you ahead of a good number of organists out there working.