PipeChat Digest #3700 - Monday, May 26, 2003
 
RE: 32 note pedal vs. 24 note pedal
  by "Andr=E9s G=FCnther" <agun@telcel.net.ve>
RE: Bach for church
  by "Andr=E9s G=FCnther" <agun@telcel.net.ve>
Re: Bach for church
  by "Alan Freed" <acfreed0904@earthlink.net>
Re: 32 note pedal vs. 24 note pedal
  by "John L. Speller" <jlspeller@mindspring.com>
Re: Bach for church
  by "Malcolm Wechsler" <manderusa@earthlink.net>
Emmanuel Church
  by "David Baker" <dbaker@lawyers.com>
Re: 32 note pedal vs. 24 note pedal
  by <Cremona502@cs.com>
Re: Bach for church
  by <Cremona502@cs.com>
Re: 32 note pedal vs. 24 note pedal
  by <Cremona502@cs.com>
Pedalboards and Pedal Technique
  by "Brent Johnson" <brentmj@swbell.net>
Re: 32 note pedal vs. 24 note pedal
  by "Domitila Ballesteros" <dballesteros@uol.com.br>
 

(back) Subject: RE: 32 note pedal vs. 24 note pedal From: "Andr=E9s G=FCnther" <agun@telcel.net.ve> Date: Mon, 26 May 2003 10:46:37 -0400   Andres Gunther agun@telcel.net.ve   At the beginning it seems to be difficult to swich from one pedal 'format' to another; with time and experience it becomes routine however.   My organ instructor told me following: When you play you must acquire the habit to "search" with the foot toe on the sharps first. If you must play g, for example, touch the edge of the f sharp slightly with the foot toe- the g is immediatedly at the right side, no matter what a kind of pedal it is. If you have to play a, touch the = edge of the b flat with the foot tip- the a is immediately at the left; and so on. e, f, h and c are "at the foot" of the sharp pedal edge. Sometimes you must get a key from the "other side" side however (like an a from f sharp, f.e.)- there things become tricky but it's always better to master them this way then "by feeling". In short, my instructor told: "always keep your feet close to the sharps with the idea to put your toes into the spaces between the sharps groups". Of course "touching the sharps edges" must be done in a fraction of a second.   This sounded terrible and was terrible at first- but after a time (playing pedal exercises first slow then faster with this method is fine for a = start) it becomes an unconscious habit like changing speeds on a sync car.-   **There are methods and methods** and each organist tend to say his or = hers is the best. If you are taking your organ lessons with a qualified instructor of course you have to do what he or she says- but the = instructor must be able too to explain you how to master this problem.   Cheers Andres =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D First was the cat, then was the Orgler. The Orgler got a pet and the cat got something to wonder about.    
(back) Subject: RE: Bach for church From: "Andr=E9s G=FCnther" <agun@telcel.net.ve> Date: Mon, 26 May 2003 11:09:02 -0400   Andres Gunther agun@telcel.net.ve   Interesting thread.     > Mark, I think the bigger chorale preludes are more useful for church > than most of the preludes and fugues, simply because of length. I have a > tight Mass schedule that doesn't allow for more than a 5-7 minute > opening voluntary and a 3-5 minute closing voluntary.   Amen to that. In Bachs own time people complained about his "endless" = organ playing- much more in ours! Solution: Shortening. Can be achieved by music sensitive and analytic people- but music sensitive people refuse to "mutilate" an original work.   Chorale preludes are great. But they should match with the liturgical yeartime- even if they're played in organ concerts. I've seen colleagues playing "Oh Mensch bewein' dein Suende gross" in Pentecost time!!- "What's the matter?- the cantabile sounds soooo great!"- yeah, but the lutherans = who know the chorales raised their eyebrows.   Cheers Andres =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D First was the cat, then was the Orgler. The Orgler got a pet and the cat got something to wonder about.    
(back) Subject: Re: Bach for church From: "Alan Freed" <acfreed0904@earthlink.net> Date: Mon, 26 May 2003 11:23:29 -0400   On 5/26/03 11:09 AM, "Andr=E9s G=FCnther" <agun@telcel.net.ve> wrote:   > "Oh Mensch bewein' dein Suende gross" in Pentecost time!!-   I hear you, Andres. I once jokingly proposed it for a wedding. But a friend "topped" me by recommending instead, "Turn Back, O Man, Forswear Thy Foolish Ways." =20   Alan    
(back) Subject: Re: 32 note pedal vs. 24 note pedal From: "John L. Speller" <jlspeller@mindspring.com> Date: Mon, 26 May 2003 10:57:24 -0500   Andr=E9s G=FCnther wrote:   >My organ instructor told me following: >When you play you must acquire the habit to "search" with the foot toe on >the sharps first. If you must play g, for example, touch the edge of the = f >sharp slightly with the foot toe- the g is immediatedly at the right = side, >no matter what a kind of pedal it is. > This is also the way my organ teacher taught us at school in England. Furthermore we were not allowed to look at the pedals, which helped when it came to learning to find one's way around the pedals by feel.   These days the organs I play are generally AGO standard 32 note ones, though I know of one organ (an 1863 Derrick & Felgemaker) that has a 20 note pedal that is centered with the keyboard, so that nothing is under what you would expect. Rather curiously also, the only pedal stop is at 4 ft. pitch. Even this, however, need not give me too much difficulty. In my earlier days I was mostly used to RCO 30 note pedalboards in England, and I have also had my share of playing on 27 note flat ones.   Only one pedalboard has really ever caused me any difficulty, and this was the one in the church in England where my family attended when I was growing up. This was an 1862 Robson organ and had a 25 note straight and flat pedalboard. The notes were very closely spaced and it was quite excruciating to play on. Furthermore, there was nowhere to rest one's feet when not actually playing on the pedals, and no Pedal Check to disconnect them. One visiting organist described it as "not so much a musical instrument as an instrument of torture." Happily it has now been replaced by an RCO standard radiating and concave one.   John Speller    
(back) Subject: Re: Bach for church From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Mon, 26 May 2003 11:59:41 -0400   Really Alan,   You were thinking of the other official pronunciation of O Mensch bewein which is, as most music students know, O Wench, Be Mine. With that in the bulletin, it becomes quite suitable for a wedding.   Problem solved.   Malcolm   ----- Original Message ----- From: "Alan Freed" <acfreed0904@earthlink.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Monday, May 26, 2003 11:23 AM Subject: Re: Bach for church     On 5/26/03 11:09 AM, "Andr=E9s G=FCnther" <agun@telcel.net.ve> wrote:   > "Oh Mensch bewein' dein Suende gross" in Pentecost time!!-   I hear you, Andres. I once jokingly proposed it for a wedding. But a friend "topped" me by recommending instead, "Turn Back, O Man, Forswear = Thy Foolish Ways."   Alan     "Pipe Up and Be Heard!" PipeChat: A discussion List for pipe/digital organs & related topics HOMEPAGE : http://www.pipechat.org List: mailto:pipechat@pipechat.org Administration: mailto:admin@pipechat.org Subscribe/Unsubscribe: mailto:requests@pipechat.org        
(back) Subject: Emmanuel Church From: "David Baker" <dbaker@lawyers.com> Date: Mon, 26 May 2003 13:25:28 -0400     I just read Chester Berry's post and went to the link he gives. I've lived in the Boston area for about 10 years but never been in Emmanuel Church. Maybe I'm out of line but for the life of me I can't figure out why the church would not want to restore the organ itself. It can't be for lack of money. The church is located near one end of Newbury Street on VERY expensive real estate. It has a world-class music program with Bach cantatas every Sunday with full orchestra and paid choir, and music events outside of worship. IMHO, this is very poor stewardship, in every sense of the word, of a a marvelous gift. That organ was built for that church and that church should take care of it. Replacing it with a toaster is sinful, again IMHO.   Church web site: http://www.emmanuel-boston.org/   Pardon my rant! David Baker    
(back) Subject: Re: 32 note pedal vs. 24 note pedal From: <Cremona502@cs.com> Date: Mon, 26 May 2003 14:18:02 EDT     --part1_ac.40ad9bc7.2c03b45a_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 5/26/03 10:23:14 AM Eastern Daylight Time, agun@telcel.net.ve writes:     > When you play you must acquire the habit to "search" with the foot toe = on > the sharps first. If you must play g, for example, touch the edge of the = f > sharp slightly with the foot toe- the g is immediatedly at the right = side, > no matter what a kind of pedal it is. If you have to play a, touch the = edge > of the b flat with the foot tip- the a is immediately at the left; and = so > on. e, f, h and c are "at the foot" of the sharp pedal edge. (snip... = etc) > Please don't take this as unkindness, but I was taught to avoid this = method and over the years have noticed that it is very distracting to me watching =   someone who uses this method. It looks very insecure and beginner-ish.   My experience has been that it is easier to do a few exercises to get used = to the distance between third, fourths, and fifths, and getting acclamated to =   the location of a couple of key notes on the pedal board. The above = method, to me, seems to be developing a crutch.     Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502   FEED AN ANIMAL FOR FREE <A = HREF=3D"http://tinyurl.com/2j5i">http://tinyurl.com/2j5i</A> (please it'll = only take a minute!)     --part1_ac.40ad9bc7.2c03b45a_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 5/26/0=3D 3 10:23:14 AM Eastern Daylight Time, agun@telcel.net.ve writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">When you play you must = acqu=3D ire the habit to "search" with the foot toe on <BR>the sharps first. If you must play g, for example, touch the edge of = the=3D f <BR>sharp slightly with the foot toe- the g is immediatedly at the right = sid=3D e, <BR>no matter what a kind of pedal it is. If you have to play a, touch the = e=3D dge <BR>of the b flat with the foot tip- the a is immediately at the left; and = s=3D o <BR>on. e, f, h and c are "at the foot" of the sharp pedal edge. = &nbsp;(snip=3D .... etc) <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0">Please don't take this as unkindness, but I was taught = to av=3D oid this method and over the years have noticed that it is very = distracting=3D20=3D to me watching someone who uses this method. &nbsp;&nbsp;It looks very = insec=3D ure and beginner-ish. <BR> <BR>My experience has been that it is easier to do a few exercises to get = us=3D ed to the distance between third, fourths, and fifths, and getting = acclamate=3D d to the location of a couple of key notes on the pedal board. = &nbsp;&nbsp;T=3D he above method, to me, seems to be developing a crutch. <BR> <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR> <BR>FEED AN ANIMAL FOR FREE <A = HREF=3D3D"http://tinyurl.com/2j5i">http://tinyu=3D rl.com/2j5i</A> (please it'll only take a minute!) <BR></FONT></HTML>   --part1_ac.40ad9bc7.2c03b45a_boundary--  
(back) Subject: Re: Bach for church From: <Cremona502@cs.com> Date: Mon, 26 May 2003 14:20:41 EDT     --part1_39.39092e74.2c03b4f9_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 5/26/03 10:44:52 AM Eastern Daylight Time, agun@telcel.net.ve writes:     > Amen to that. In Bachs own time people complained about his "endless" = organ > playing- much more in ours! >   Could be that he was playing them Chorale Preludes!!! Many "seem" = longer than they are. I am seldom bored by a prelude and fugue.   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502   FEED AN ANIMAL FOR FREE <A = HREF=3D"http://tinyurl.com/2j5i">http://tinyurl.com/2j5i</A> (please it'll = only take a minute!)     --part1_39.39092e74.2c03b4f9_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 5/26/0=3D 3 10:44:52 AM Eastern Daylight Time, agun@telcel.net.ve writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Amen to that. In Bachs = own=3D20=3D time people complained about his "endless" organ <BR>playing- much more in ours! <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"> <BR>Could be that he was playing them Chorale Preludes!!! = &nbsp;&nbsp;&nbsp;=3D Many "seem" longer than they are. &nbsp;&nbsp;I am seldom bored by a = prelude=3D and fugue. <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR> <BR>FEED AN ANIMAL FOR FREE <A = HREF=3D3D"http://tinyurl.com/2j5i">http://tinyu=3D rl.com/2j5i</A> (please it'll only take a minute!) <BR></FONT></HTML>   --part1_39.39092e74.2c03b4f9_boundary--  
(back) Subject: Re: 32 note pedal vs. 24 note pedal From: <Cremona502@cs.com> Date: Mon, 26 May 2003 14:23:54 EDT     --part1_68.30d8bbd5.2c03b5ba_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 5/26/03 11:58:08 AM Eastern Daylight Time, jlspeller@mindspring.com writes:     > These days the organs I play are generally AGO standard 32 note ones, > though I know of one organ (an 1863 Derrick & Felgemaker) that has a 20 > note pedal that is centered with the keyboard, so that nothing is under > what you would expect. Rather curiously also, the only pedal stop is at =   > 4 ft. pitch. Even this, however, need not give me too much difficulty. > In my earlier days I was mostly used to RCO 30 note pedalboards in > England, and I have also had my share of playing on 27 note flat ones. >   The only pedalboard that has really given me trouble was a 13 note = broomstick version with the pedals crunched at the left side of the console. I = played a Hook & Hastings 1/6 with a 13 note pedalboard, centered beneath the = manual. About ten mintues and we were great friends.   Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres http://members.tripod.com/Brucon502   FEED AN ANIMAL FOR FREE <A = HREF=3D"http://tinyurl.com/2j5i">http://tinyurl.com/2j5i</A> (please it'll = only take a minute!)     --part1_68.30d8bbd5.2c03b5ba_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: quoted-printable   <HTML><FONT FACE=3D3Darial,helvetica><FONT SIZE=3D3D2>In a message dated = 5/26/0=3D 3 11:58:08 AM Eastern Daylight Time, jlspeller@mindspring.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3D3DCITE style=3D3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-=3D LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">These days the organs I = pla=3D y are generally AGO standard 32 note ones,=3D20 <BR>though I know of one organ (an 1863 Derrick &amp; Felgemaker) that has = a=3D 20=3D20 <BR>note pedal that is centered with the keyboard, so that nothing is = under=3D20 <BR>what you would expect. &nbsp;Rather curiously also, the only pedal = stop=3D20=3D is at=3D20 <BR>4 ft. pitch. &nbsp;Even this, however, need not give me too much = difficu=3D lty.=3D20 <BR>In my earlier days I was mostly used to RCO 30 note pedalboards = in=3D20 <BR>England, and I have also had my share of playing on 27 note flat ones. = &=3D nbsp; <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D3 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D3D"#000000" SIZE=3D3D2 FAMILY=3D3D"SANSSERIF" = FACE=3D3D"Ar=3D ial" LANG=3D3D"0"> <BR>The only pedalboard that has really given me trouble was a 13 note = broom=3D stick version with the pedals crunched at the left side of the console. = &nbs=3D p;&nbsp;I played a Hook &amp; Hastings 1/6 with a 13 note pedalboard, = center=3D ed beneath the manual. &nbsp;&nbsp;About ten mintues and we were great = frien=3D ds. <BR> <BR>Bruce, with Miles, Molly and Degui &nbsp;in the Muttastery at Howling = Ac=3D res http://members.tripod.com/Brucon502 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR> <BR>FEED AN ANIMAL FOR FREE <A = HREF=3D3D"http://tinyurl.com/2j5i">http://tinyu=3D rl.com/2j5i</A> (please it'll only take a minute!) <BR></FONT></HTML>   --part1_68.30d8bbd5.2c03b5ba_boundary--  
(back) Subject: Pedalboards and Pedal Technique From: "Brent Johnson" <brentmj@swbell.net> Date: Mon, 26 May 2003 13:41:59 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_001E_01C3238C.94CC0CA0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   You know, I never thought much about my pedal technique. It's never =3D been a problem for me, and I've always gone after pieces of music with =3D challenging pedal parts. Shortly after starting the organ, I broke my =3D right wrist, so I spent a month doing nothing put pedal exercises. I =3D think that paid off down the road. Not long ago, I actually stopped to = =3D look at my feet while playing, and it turns out I do exactly what Mr. =3D Gunter described, except without thinking about it at all. I know =3D distances between pedals, but if there's time, my feet with =3D subconsciously find the nearest sharp to mke sure I'm on the right path. = =3D =3D20   In college I spent most of my time on a 32 note flat, straight, =3D pedalboard. I restricted myself to similar instruments so I could get =3D used to the difference. Now I'm re-adapted to AGO consoles, and flat =3D boards feel strange, but I think as long as my feet can feel their way =3D around, I'm okay. Pretty smart feet, I think.   Same organ in college also had the Great on the bottom manual and =3D Positiv in the middle. That, however, may have scarred me for life.   Brent Johnson The Organ Classifieds http://www.organclassifieds.com The Organ Web Ring http://www.geocities.com/organwebring   ----- Original Message -----=3D20 From: Cremona502@cs.com=3D20 To: pipechat@pipechat.org=3D20 Sent: Monday, May 26, 2003 1:18 PM Subject: Re: 32 note pedal vs. 24 note pedal     In a message dated 5/26/03 10:23:14 AM Eastern Daylight Time, =3D agun@telcel.net.ve writes:=3D20       When you play you must acquire the habit to "search" with the foot =3D toe on=3D20 the sharps first. If you must play g, for example, touch the edge of = =3D the f=3D20 sharp slightly with the foot toe- the g is immediatedly at the right = =3D side,=3D20 no matter what a kind of pedal it is. If you have to play a, touch =3D the edge=3D20 of the b flat with the foot tip- the a is immediately at the left; =3D and so=3D20 on. e, f, h and c are "at the foot" of the sharp pedal edge. =3D (snip... etc)=3D20     Please don't take this as unkindness, but I was taught to avoid this =3D method and over the years have noticed that it is very distracting to me = =3D watching someone who uses this method. It looks very insecure and =3D beginner-ish.=3D20   My experience has been that it is easier to do a few exercises to get = =3D used to the distance between third, fourths, and fifths, and getting =3D acclamated to the location of a couple of key notes on the pedal board. = =3D The above method, to me, seems to be developing a crutch.=3D20     Bruce, with Miles, Molly and Degui in the Muttastery at Howling Acres = =3D http://members.tripod.com/Brucon502 =3D20   FEED AN ANIMAL FOR FREE http://tinyurl.com/2j5i (please it'll only =3D take a minute!)=3D20   ------=3D_NextPart_000_001E_01C3238C.94CC0CA0 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 6.00.2800.1170" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>You know, I never thought much about = my =3D pedal=3D20 technique.&nbsp; It's never been a problem for me, and I've always gone = =3D after=3D20 pieces of music with challenging pedal parts.&nbsp; Shortly after =3D starting the=3D20 organ, I broke my right wrist, so I spent a month doing nothing put =3D pedal=3D20 exercises.&nbsp; I think that paid off down the road.&nbsp; Not long =3D ago, I=3D20 actually stopped to look at my feet while playing, and it turns out I do = =3D exactly=3D20 what Mr. Gunter described, except without thinking about it at =3D all.&nbsp; I know=3D20 distances between pedals, but if there's time, my feet with =3D subconsciously find=3D20 the nearest sharp to mke sure I'm on the right path.&nbsp; </FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>In college I spent most of my time on = a =3D 32 note=3D20 flat, straight, pedalboard.&nbsp; I restricted myself to similar =3D instruments so=3D20 I could get used to the difference.&nbsp; Now I'm re-adapted to AGO =3D consoles,=3D20 and flat boards feel strange, but I think as long as my feet can feel =3D their way=3D20 around, I'm okay.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>Pretty smart feet, I =3D think.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Same organ in college also had the = =3D Great on the=3D20 bottom manual and Positiv in the middle.&nbsp; That, however,&nbsp;may =3D have=3D20 scarred me for life.</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Brent Johnson</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>The Organ Classifieds</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2><A=3D20 href=3D3D"http://www.organclassifieds.com">http://www.organclassifieds.com<= =3D /A></FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2>The Organ Web Ring</FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2><A=3D20 href=3D3D"http://www.geocities.com/organwebring">http://www.geocities.com/o= =3D rganwebring</A></FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <BLOCKQUOTE=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3DCremona502@cs.com=3D20 href=3D3D"mailto:Cremona502@cs.com">Cremona502@cs.com</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">pipechat@pipechat.org</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Monday, May 26, 2003 1:18 = =3D PM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Re: 32 note pedal vs. = =3D 24 note=3D20 pedal</DIV> <DIV><BR></DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2>In a =3D message dated=3D20 5/26/03 10:23:14 AM Eastern Daylight Time, <A=3D20 href=3D3D"mailto:agun@telcel.net.ve">agun@telcel.net.ve</A> writes: =3D <BR><BR><BR> <BLOCKQUOTE=3D20 style=3D3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px = =3D solid; MARGIN-RIGHT: 0px"=3D20 TYPE=3D3D"CITE">When you play you must acquire the habit to "search" =3D with the=3D20 foot toe on <BR>the sharps first. If you must play g, for example, =3D touch the=3D20 edge of the f <BR>sharp slightly with the foot toe- the g is =3D immediatedly at=3D20 the right side, <BR>no matter what a kind of pedal it is. If you =3D have to=3D20 play a, touch the edge <BR>of the b flat with the foot tip- the a is = =3D   immediately at the left; and so <BR>on. e, f, h and c are "at the =3D foot" of=3D20 the sharp pedal edge. &nbsp;(snip... etc) <BR></FONT><FONT lang=3D3D0 = =3D face=3D3DArial=3D20 color=3D3D#000000 size=3D3D3 =3D FAMILY=3D3D"SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT lang=3D3D0=3D20 face=3D3DArial color=3D3D#000000 size=3D3D2 = FAMILY=3D3D"SANSSERIF">Please =3D don't take this as=3D20 unkindness, but I was taught to avoid this method and over the years =3D have=3D20 noticed that it is very distracting to me watching someone who uses =3D this=3D20 method. &nbsp;&nbsp;It looks very insecure and beginner-ish. =3D <BR><BR>My=3D20 experience has been that it is easier to do a few exercises to get =3D used to the=3D20 distance between third, fourths, and fifths, and getting acclamated to = =3D the=3D20 location of a couple of key notes on the pedal board. &nbsp;&nbsp;The = =3D above=3D20 method, to me, seems to be developing a crutch. <BR><BR><BR>Bruce, =3D with Miles,=3D20 Molly and Degui &nbsp;in the Muttastery at Howling Acres=3D20 http://members.tripod.com/Brucon502 =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 <BR><BR>FEED AN ANIMAL FOR FREE <A=3D20 href=3D3D"http://tinyurl.com/2j5i">http://tinyurl.com/2j5i</A> (please = =3D it'll only=3D20 take a minute!) <BR></BLOCKQUOTE></FONT></FONT></BODY></HTML>   ------=3D_NextPart_000_001E_01C3238C.94CC0CA0--      
(back) Subject: Re: 32 note pedal vs. 24 note pedal From: "Domitila Ballesteros" <dballesteros@uol.com.br> Date: Mon, 26 May 2003 16:26:48 -0300   Hi, List.   Andr=E9s G=FCnther wrote:   > My organ instructor told me following: When you play you must acquire=20 > the habit to "search" with the foot toe on > the sharps first.=20   In the same way than G=FCnther, my organ instructor told me this such=20 procedure. He (my teacher) studied in France with Langlais, that was blin= d. I think, this procedure he my organ instructor) learn of Langlais,=20 although in the your Method, he (Langlais) doesn't make any mention on=20 this subject. The habit of search with the foot toe on the sharps is=20 described by Rolande Falcinelli, in your "Initiation a l'orgue".=20 Falcinelli was Marcel Dupr=E9's student, and her successor in the organ=20 teacher's position in the Conservatory of Paris However, I think, this=20 habit is was not learned from Dupr=E9. When I was writing my mastering=20 dissertation, I wrote for Bruno Chaumet, president of the association=20 of the friends of Dupr=E9, (Association des Amis de l'Art de Marcel=20 Dupr=E9) inquiring just about this procedure. He seemed not to know the=20 subject. I transcribe below some passages of Falcinelli about this subject. =20 Sorry, but I write in French, because my English is not enough for to=20 do the translation.   "A l'orgue, c'est uniquement l'=E9tendue du p=E9dalier qui d=E9termine le= centre. P=E9dalier de 30 notes: - Le deuxi=E9me ut doit se trouver sous le pied gauche; - Le deuxi=E9me mi sous le pied droit (...)" (p. 9)   "c)Rep=E8res:=20 Il est important de s'habituer, d=E8s les d=E9buts, `ne pas regarder le p= =E9dalier. Le seul moyen valable pour se pour se rep=E9rer consiste =E0 se servir d= es intervalles compris entre chaque groupe de touches noires. Premier groupe: do #, r=E9 #. 1o. Placer la pointe du pied (droit ou gauche) contre le r=E9 #, ainsi le= mi naturel est sous le pied, donc le r=E9 naturel est voisin. 2o. Placer la pointe du pied contre le d#, le do naturel est sous le pied= ; ici encore le r=E9 est voisin. (...)" S'exercer quelque temps =E0 cet exercice de rep=E9rage en =E9vitant de gr= ands mouvements de pieds. C'est l'extr=EAme pointe qui doit se caler cont= re la touche noire; par cons=E9quent, il nya plus qu'a glisser l=E9g=E8re= ment ers la gauche ou la droite, selon la touche que l'on veut atteindre.= "(p. 15)   Regards Domitila Ballesteros