Thank you very much for this tutorial. The tip of keeping the rhythm going whatever happens is indeed very useful. That is actually something that has been (and still is) very challenging for me "not to stop when something goes wrong, a terribly habit from studying literature organ works" I have had in the past that I hit (unwillingly) the most spicy harmonisations (and alternative melodies) but nobody even noticed it, as long as I just continues playing and they could just continue singing in the rytmic flow 🙂
Yes, very true. It's so hard to keep going in time and not be distracted by mistakes - and to pretend that those spicy harmonisations really are intentional advanced atonality.
@@EdwardConnor-l4u IMO you should always play all verses of all hymns to a metronome during preparation, and then use the metronome silently to set the beat before you start the play over during the service (because under pressure, your perception of tempo can change, and the range of what works with hymns is small e.g. 104 good, 108 too fast, for Hark the Herald with a big congregation). This is not a beginner technique; this is how to do pristine accompaniments. You must stay exactly with the metronome at all times, or else you are not ready for the service. I first discovered this trick for a big carol service. The improvement in singing was beyond belief, and I was already a rhythmical musician! About mistakes. Think on now and next only! 🙂 And always learn the pedal part so you can play it without looking at the score. It's the foundation of everything, after rhythm.
@@JSB2500 You're quite right that perception of tempo does change under stress - good thinking. The only reservation I would have (other than that the tempo will be different from one place to another, if you play in several churches) is that you can "read" a congregation and sometimes you get a sense that you need a faster or slower tempo in response to what the congregation is like that day. Tim
I'm so glad that the films are useful. I totally agree about how hard it is to keep going steadily whatever happens! The very best wishes for your service playing! Tim
Seriously, the brain works on what's ahead well before it starts playing. It is NOT a MIDI player! So having the whole journey ahead clear before you get to it works far better than winging it because your brain has worked out a good plan of execution. (Curiously, my phone keyboard just suggested replacing "winging" with "angina" - clearly it understands this well! 😃). All this doesn't mean that you can't be flexible, but it does give you a good basis from which to function.
By the way, do check out my new book on www.thegreatbritishbookshop.co.uk/products/organist-at-your-service
Thank you very much for this tutorial. The tip of keeping the rhythm going whatever happens is indeed very useful. That is actually something that has been (and still is) very challenging for me "not to stop when something goes wrong, a terribly habit from studying literature organ works" I have had in the past that I hit (unwillingly) the most spicy harmonisations (and alternative melodies) but nobody even noticed it, as long as I just continues playing and they could just continue singing in the rytmic flow 🙂
This really is THE most important thing! 😉
Yes, very true. It's so hard to keep going in time and not be distracted by mistakes - and to pretend that those spicy harmonisations really are intentional advanced atonality.
@@EdwardConnor-l4u IMO you should always play all verses of all hymns to a metronome during preparation, and then use the metronome silently to set the beat before you start the play over during the service (because under pressure, your perception of tempo can change, and the range of what works with hymns is small e.g. 104 good, 108 too fast, for Hark the Herald with a big congregation).
This is not a beginner technique; this is how to do pristine accompaniments. You must stay exactly with the metronome at all times, or else you are not ready for the service.
I first discovered this trick for a big carol service. The improvement in singing was beyond belief, and I was already a rhythmical musician!
About mistakes. Think on now and next only! 🙂
And always learn the pedal part so you can play it without looking at the score. It's the foundation of everything, after rhythm.
@@JSB2500 You're quite right that perception of tempo does change under stress - good thinking. The only reservation I would have (other than that the tempo will be different from one place to another, if you play in several churches) is that you can "read" a congregation and sometimes you get a sense that you need a faster or slower tempo in response to what the congregation is like that day. Tim
I'm so glad that the films are useful. I totally agree about how hard it is to keep going steadily whatever happens! The very best wishes for your service playing! Tim
02:50 This is confessing that you are a TRUE expert! 🙂
Seriously, the brain works on what's ahead well before it starts playing. It is NOT a MIDI player! So having the whole journey ahead clear before you get to it works far better than winging it because your brain has worked out a good plan of execution. (Curiously, my phone keyboard just suggested replacing "winging" with "angina" - clearly it understands this well! 😃).
All this doesn't mean that you can't be flexible, but it does give you a good basis from which to function.
@@JSB2500 Yes, that's very wise. Avoid angina: plan ahead! Tim