Yes oh greetings from Nigeria 🇳🇬🇳🇬🇳🇬🇳🇬

Thanks, Graham. I hope you and Marion are well. Cheers, Steven

Hi Dave, Yes, you are correct. The hymns sung in English cathedrals are usually a bit slow, partly because of the large and tricky acoustics, but also partly because of their culture. I like a faster tempo, so the hymns don't drag, and become hard to sing. I live in Australia, and hymns are usually sung at a faster speed here. Also, gone are the days when hymn books included suggested tempos marked at the top e.g. "Slow", "Moderately slow", etc. That said, I play Good Friday hymns e.g. "When I survey the wondrous cross" more reflectively. The words govern the way a hymn should be played. If you would like me to send you a copy of my 2-page article on accompanying hymns, please email me at [email protected] Best wishes, Steven Nisbet

Thanks, JC. Best wishes, Steven Nisbet

Hi Jean-Jacques, The answer is 'quite easily'. That's because a digital organ these days has a wide range of stops - principal chorus, flutes, strings, reeds, mixtures, and mutation stops - all with authentic organ sounds, because they have been digitally sampled from good pipe organs. The pipe organs in my local area don't have such a range of stops. Cheers, Steven

Hi Brannigan, Thanks for your comment. Have you seen my other two videos about organ stops - "Understanding organ stops" and "How to combine organ stops"? Cheers, Steven Nisbet

Thanks, Andrew. I'm glad you like it. If you would like some pdf files of other reharmonisations of mine, email me at [email protected] Cheers, Steven Nisbet

Thanks for your comment. Would you like me to send you some free samples (pdf files) of my other reharmonisations? If so, email me at [email protected] Cheers, Steven Nisbet

Thanks, Glenda. Is there anything I can do to help with the computer? Steven

Thanks, Kent. Cheers, Steven Nisbet

I 'm glad you enjoyed it, Jose. Best wishes, Steven Nisbet

Hi Kathy, Thanks for your lovely message. Steven Nisbet

Thanks for your comment, Markus. Yes, the music of Flor Peeters is very attractive to listen to , and enjoyable to play as well. Cheers, Steven

Thanks, Shane, for your kind comments.

Thanks, Sharon.

Thanks, Hector.

Hi Christopher, It's BWV 727. My score is from "An Introduction to Bach", edited by A.M. Henderson, published by Bayley and Ferguson. I will upload a photo of the score (1 page). Cheers, Steven.

I will upload the score to my Facebook page. Cheers, Steven

Hi Mike, REED pipes have brass reeds in them that vibrate to make the sound when air passes by them. The air in the pipe above the reed resonates to amplify the sound. This is similar to a person playing an orchestral clarinet, where the reed vibrates to make a sound. In contrast, FLUE pipes have no reeds in them, relying on air being blown across the mouth of the pipe to make the sound. This is similar to someone blowing across the mouth of an orchestral flute to make a musical note. Cheers, Steven

@@stevennisbet9398 one thing I do know is when you hit “Tutti”, the REEDS overpower everything else and it makes for a big, but ugly sound :D

@@michaelgatien4277 Hi Mike, Yes, the big chorus reeds have to be used judiciously. They are usually the last stops to be added in a crescendo to full organ. On a pipe organ, the reeds sound best if they are in tune, i.e. tuned to the flues. Out-of-tune reeds do produce an ugly sound. That's why the reeds need to be tuned regularly, usually when the ambient temperature changes. The quiet reeds, such as Clarinet and Oboe, can be beautiful stops (when in tune) and are usually used to highlight a solo melody. Cheers, Steven

Thanks, again. Cheers, Steven