I am not even a musician but I love to learn and your descriptions are so clear and logical. Thank you!

Thanks

Thanks for sharing 😀👍 greetings from Colombia.

Hooray for the RCCO to put together this cross Canada tour by Roger. The best soundtrack I’ve ever heard for a serious sci fi movie and an organ feast for the ears ! Can’t wait!

Started watching for the organ, stayed for 51 MINUTES for the total EXPERIENCE!!! I've watched this video...8 times so far. WOW!!!!!!!!

Merci beaucoup. Très utile !

Ces moments où il n’y a rien à dire…. sinon remercier Dieu en son cœur pour le don précieux de la musique ! Ce conducteur est merveilleux ! L’organiste est fantastique ! La chorale est extraordinaire ! Merci pour ce moment de pur bonheur.🖤🤍💛💜🩵

Very Good Isabelle for the techniques for playing the organ.

Very interesting but organists should not be encouraged to mess around with taking off the bellows weights. They can be heavy and a hazard if dropped, you could also unbalance the reservoir or bellows top if they are put back in the wrong position, especially on romantic organs with high wind pressure you may also cause the reservoir to overblow causing damage.

Pintaste los 💋 labios y ponte sandalias de taco alto para apretar los pedales👠👠👠👠❤

If only most cone tuned organs could go 30 years without the fluework being touched. Too often nothing is done and they end up sounding unfocused and disappointing due to changes in the soundboard, dirt dust etc. Blowing the dust out should be the first action followed by small adjustments little and often, but always by an experienced tuner with lubricated tuning cones. I much prefer tuning slides, well made and fitted ones can be very stable.

Thank you for all the great ideas and tips! I'm a 50 year old musicologist and one of my last great ambitions is to learn to play the organ properly. My challenge is however being able to see and understand three lines at the same time. Which is interesting, because I have no problem sight reading and "hearing" in my head even complex choral or orchestral scores. But somehow when I'm at the organ, I tend to be able to pay proper attention to only two of them at the same time. Do you happen to have any ideas for fixing this? Thank you!

Thank you very much for these valuable informations. I am sure, it will help me a lot.

Excellent clear and informative lesson

Such a great help. Have been playing for years on the organ but there is always more to learn. Thank you for the advice!

This was exceptional - thank you.

Ugh. 20 minutes in and nothing is said except chords on the pedal which is so far beyond the beginning level. Awful. She spends the entire time telling people what NOT to do. And now she's talking about repeated notes. Again, where is the real instruction on pedal technique? This isn't instruction. It's just tips on repeated notes and double pedal chords. Sorry to say, she is not a good reacher. She just started in with chords for the THIRD time. God awful teacher. Chords are entirely rare. Why does she call this a FIRST lesson on pedaling? Now she's talking about chromatic scales before she ever taught a single thing about basic technique such as whether we play on the inner side or the outer side of the foot. Disaster. Total waste.

Nice one

The C# against the D on 'anger' is fantastic 😂

Thank you! I would love to see more of your improvisation classes!

I occasionally play the organ in our church but can't play the pedals. To say that this video is inspirational is an understatement. Excellent, clear, non 25:25 sense advice and no waffle. Thank you for giving your time and expertise.

Please, more videos!

Dr Isabelle Demers is one of the most relaxed performers I have ever seen or heard! I have sponsored three times at my church, and have heard her in many other venues over the years, and she has as much energy at the end of her concerts as she does at the beginning! As anyone who really knows her, she indeed does what she "preaches"!! Every organist should watch this series with her!

Thank you very much for this impressive "walk-and-talk-around". I wish I had seen this two years before when we had our instrument:s cleaning. B. Regards from a German organ apprentice.

What method books will you recommend for playing the Organ. And legatho fingering.

That was really fun to watch you two collaborate on this! 😃 Keep this up! 😁

I absolutely agree with Kevin. I am thoroughly enjoying my newly built virtual organ. I have the Salisbury sample set and the Romsey Abbey sample set I use the most. I believe this is the way of the future as these organ sample sets begin to grow, while being preserved for future generations of organists. Similar to a flight simulator, I can now enjoy different organs around the world. Best of all developing and experimenting with new artistic techniques as shown in your video. Its a whole new and exciting world to explore. Thank you for this series.

Experiencing music in person offers the most enriching encounter, wouldn't you agree? I'm fortunate to attend Wesley Hall's live performances every Sunday at 10am. While our sanctuary boasts a distinctive single quality pipe organ in the chancel area, imagine adding a second organ-a Walker organ-in the gallery at the opposite end. It's quite an unconventional idea, but it's becoming a reality. The installation of the Walker organ will soon be finalized. The ultimate goal is to host special concerts and educational sessions for young musicians once both instruments are fully operational. Keep an eye out for upcoming announcements! Meanwhile, don't forget to join us every Sunday at 10am for an unforgettable in-person musical experience.

As an amateur trying to play harder pieces, I do find that I hold my breath without realising it. Also playing in socks, I have smashed my toes and hurt my foot. It's best to have proper organ shoes in my experience.

👏👏

2:20 ❤

Productions have a good day

Again thank you so much Marias! Great lesson, so important, and wonderful playing. God bless

Thank you both Marias this is amazing!

Yes, to thinking free of measure and not emphasizing beats... however, Tournemire's student Jean Langlais specifically taught to lean on high notes of phrases!

Great video which am sure will benefit lots of people. You seem to be a natural teacher who can explain technical content with ease and charm! 👏🏼

Couldn't ask for a better lesson of truly looking at both words and dedicating to the meaning as if the words were preached.. Thank you

Brilliant and talented musicians. Thanks for sharing.

Great pedalwork!

22:53 best moment 😂😂😂

Definitely be honest with your videos. No shame on anyone, but there are a couple who always list a Bombarde, Spanish Trumpets, or massive church organ with the Rotterdam Laurenskerk organ as their thumbnail. Occasionally they’re on the real instruments, but most times they’re at home. I think it turned me off a little from their channel, but, if you like all those items- that’s your place to go.😊

The first example bears a resemblance to the Offertoire from Tournemire's l'Orgue Mystique suite 35: Assumption. It would be well to study exactly how the chant theme is, and isn't, used in that piece, and learn how best to apply that. The ostinato using the fifth (which is actually just parallel thirds, later sixths, not a fifth alternating with a minor third), supports a "litany" figure in the right hand (similar to one used in the opening of Jehan Alain's Postlude for Compline), rather than a statement of the chant melody. This then alternates with unaccompanied statements of the chant melody. The next movement of Tournemire's Assumption suite, the Élévation, however, does use an ostinato of parallel fifths to support simultaneous statements of the chant melody, along with an additional ostinato appearing simultaneously in the left hand. This bears study, as do other examples of his use of ostinato to support a chant theme, e.g. the Communion from Suite 38. To suggest that this texture could be used for an Elevation is confusing when instead the decision is made to develop the piece as a ternary form, as Tournemire's Élévations were just one page long, never extensive enough to assume ternary form. Then, if indeed it is Tournemire's style to be taught, it would be best to study Tournemire's works so as to reveal their actual formal structures, which in his mature style -- i.e. that of l'Orgue Mystique -- were not based on the conventional, classical models. Saying that tying the repeated notes in the Jesus Dulcis Memoria chant is justified "because there is no text" makes no sense, because the original chant has separate syllables of text for each note -- i.e. there is no melisma at all. Marcel Dupré, in his improvisation treatise, when discussing sonata allegro form, recommends never using the head of a theme in the development. Though the ternary form used here is not a sonata allegro, it would help to avoid a sense of redundancy in the middle section by using a later phrase of the chant to develop. That said, the ternary form doesn't figure as such in Tournemire's l'Orgue Mystique, forms for the shorter movements instead growing out of the structure of the Gregorian chant melodies, and the longer pieces from the Franckian chorale genre (i.e. variation-fantasy on more than one theme). Calling the Introït of Tournemire's Suite 7 a rondo is far-fetched, to say the least. The piece simply presents each phrase of the Gregorian chant melody, preceding each with a three-chord introduction. Besides, a proper rondo form should incorporate more than just two thematic elements A and B, i.e. at least also C, even D; and it should conclude with A, not B as in the Tournemire Introït. Also, if one is seeking to use Tournemire's registration for this Introït, note that the indication "petites mixtures" for Manual III does not mean principal-chorus mixtures, but individual mutations, as well as the 2' -- so typically flutes 2-2/3', 2', 1-3/5'. Messiaen was another who used this stop terminology, as found in the scores of his two final organ works, _Méditations sur le Mystère de la Sainte Trinité_ and _Livre du Saint Sacrement_.

From the onset (0:35) I don't understand how there can be a "rule of thumb about pedal technique" !?! Does Pr Demers have opposable toes? 😉

Quoi? Aucun vidéo en français? Et vous dites “Financé par le gouvernement du Canada “ Je suis outré.

Your pedal work is incredible awesome amazing Very enjoyable to watch

That is amazing,how can I get these shoes

I think dressing appropriately is very important. I once saw an organist dressed for a recital wearing a T-shirt. Not really appropriate.

Interesting combination with drum. Thanks for this presentation!👍

Great teaching. Also what a wonderful attitude rosaröds the student.

I agree absolutely, concerning the appearance of the performer and the performance. At one time, performers would always dress formally, both to look impressive, and as a matter of respect to their audience. Even if you want to be less formal, you should realise that, whilst watching and listening to a musical performance which may go on for an hour or more, the viewer will look at all the details which can be seen, right down to the scratches on the legs of the piano stool, or whether the performer's shoes have been recently polished. In this, as in other ways, the Scott Brothers score full marks. Thanks for these interesting videos which give us a glimpse of what goes on behind the scenes.