Playing organs requires continuous finger substitutions (playing a note with one finger, then changing the finger while holding the note to ensure that a finger is available for the next note), and trying to create legato chords and octaves requires "walking the thumb" (using the tip and knuckle as if they were two fingers!). Ned recommends placing your fingers on the tops of the keys and simply rocking your body on your sit bones: forward (to play), then almost sitting straight up (to release) all fingers simultaneously: "One thing is simpler and more accurate to move than ten things."Ģb. The keys start the sound when you play them, but immediately cease to sound when you let go, thus, holding notes for their full durations and releasing exactly on the rests is essential technique. Because an organist cannot create dynamic differences through articulation (the keys simply drop to the felt), when playing a reed organ the feet and right knee create the expression. FINGERS (Technique). Organ technique is really quite different from piano. Only the evening before the crucial dress rehearsal (the only rehearsal with all the musicians together) did it finally click.Ģa. To be honest, for the first two days I truly wasn't sure if it would work out: I practiced in the mornings and late into the evenings. Forcing my brain to absorb new material, and my body to take on a new set of motions was a challenge. HEAD: I quickly discovered that playing this instrument would require quite a bit of physical coordination that I am not used to as a pianist. When he demonstrated the sound I immediately was amazed: the keys seemed to sing! Reed organs have wonderful expressive possibilities.ġ. He gave me a two hour lesson on how to play a reed organ. Ned Phoenix ( ) of Phoenix Reed Organ Resurrection in Townshend, Vermont owns this beautiful instrument, among many others of all sizes in his collection. On Tuesday, April 30, the instrument (an Estey reed organ - in the Style E parlor organ case - made in Brattleboro, Vermont in 1891) was delivered to Dartmouth, and I changed course: new instrument, new music. Until Tuesday, I had been serving as pianist for weekly rehearsals. This past week I learned how to play a new instrument. I had been invited to play the harmonium part for the Dartmouth Glee Club's performance of the Petite Messe Solennelle by Gioachino Rossini. Sometimes the process is easy and fun, and other times it takes considerable effort. just don't ever stop learning!" In school, in life, and in music, I've found that to be solid advice. My grandmother used to tell me: "You can be as old as a house.
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