Learn This Piece in 7 Days while Playing
Only 30 Minutes a Day
HOW TO PLAY AND MASTER MENUET
IN G MINOR, BWV ANH. 115 FROM THE
NOTEBOOK OF ANNA MAGDALENA
BACH ON THE ORGAN
A Step-by-Step Practice Guide for Study
without an Instructor
VIDAS PINKEVICIUS
BEGINNER LEVEL
SECRETS OF ORGAN PLAYING PUBLICATIONS
www.organduo.lt
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
2
COPYRIGHT NOTICE
This is not a free e-book. You may print it for your personal use only. You may not share
it, distribute it, alter it in any way. Thank you for respecting my hard work.
ABOUT THE AUTHOR
Dr. Vidas Pinkevicius is the creator of Secrets of Organ Playing (www.organduo.lt) – a
blog which contains hundreds of articles and other instructional material with tips and
down-to-earth advice about the art of organ playing. He also is an active promoter of
organ improvisation and the art of organ playing and popularizes them through extensive
writing, lectures, seminars, demonstrations, and recitals. He graduated from the
Lithuanian Academy of Music and Theatre in Vilnius with Bachelor‘s and Master's degree
in Organ Performance. He also holds Master's degree from the Eastern Michigan
University under Dr. P.Ruiter-Feenstra. V.Pinkevicius graduated from the University of
Nebraska-Lincoln with the Doctor of Musical Arts degree in Organ Performance where he
studied under Dr. Q.Faulkner and Dr. G.Ritchie. At UNL, V.Pinkevicius has defended his
DMA dissertation on Improvisation of Keyboard Preludes in the Style of J.S.Bach.
V.Pinkevicius won several prestigious scholarships and prizes, including Graduate
Performance Competition at Eastern Michigan University in 2002. V.Pinkevicius
performed recitals in many venues in Europe and the USA, including several international
festivals. He participated in a number of major masterclasses and organ academies in
Sweden, Austria, the Netherlands, USA, and other countries. As a soloist, he performed
with leading Lithuanian orchestras.
Currently, he is the president and co-founder of the National Association of Organists,
teaches at the National M.K.Ciurlionis School of Arts and is the organist of Vilnius
University.
HOW TO USE THIS GUIDE
Similarly to its sister Menuet in G Major from the Notebook of Anna Magdalena Bach, the
Menuet in G minor, BWV Anh. 115 always fascinates the keyboard players of all levels of
ability. Equally accessible to beginners and the seasoned performers, this wonderful little
gem is full of enormous artistic power, formal balance, and classical tonal plan. In this
video, I would like to share with you the steps necessary to play, practice, and master the
Menuet in G Minor on the organ. This practice guide is fully edited and intended for
instructional purposes with complete fingering, articulation, phrasing, ornaments, tempo,
and registration. Therefore, this score is perfect for study without an instructor.
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
3
Articulation
The general traditional touch for music which was composed before 1800s is articulated
legato. It is also applicable for this menuet. Writers of the Baroque period used a term
“Ordinary Touch” to describe such an articulation. As a general rule of thumb you might
think of articulated legato as having small distances between the notes. It is not non legato
because the spaces between the notes are very delicate which does not make the music
sound choppy. Actually, this playing manner is quite vocal and Johann Sebastian Bach
refers to it as “Cantabile”.
The authors of the Baroque period called this touch “Ordinary” because it was widely
accepted and there was no need to indicate it in the music score. For this very reason you
will rarely see any articulation markings in early music. But you should not assume that
although the score is clean, you should play everything legato, which some organists still
do even nowadays. The habit of playing legato comes from our background of piano
playing. Actually, people who have experience with articulated legato touch use it for
playing early music even on the piano.
This touch has many similarities to the tonguing of wind instruments and bowing of the
strings. For example, when a violinist uses up and down strokes of the bow we barely hear
the articulation. Nevertheless, we can clearly hear that the notes are not slurred. The same
is with articulate legato on the organ. Although there are small distances between the
notes, we may not even be aware of them unless we pay attention. The ordinary touch can
easily be tested by playing a scale with only one finger but as connected as possible. Then
try to copy the same sound with the usual fingering.
Fingering Paired Fingering. The most famous of all kinds of early fingerings, paired fingering is
used primarily for one voice passages in one hand. It can help to emphasize the meter and
the pulse if used correctly. Paired fingering is based on the idea that the notes on the
stronger beats should be played with stronger fingers. In this menuet the paired fingering
is represented in the right hand using 3-4-3-4-3-4-3-4 fingering. Try to achieve the slight
pulsation while shortening the notes which you play with finger 4. Do not cross the fingers
but shift the position with the entire hand. In other words, move both fingers together as a
unit.
Position Fingering. This type of fingering means that we choose the fingers which would
allow playing the most number of notes without changing position. Like paired fingering,
position fingering is also used for solo passages. Putting the thumb under and switching
to the new position is very efficient way to play such passages.
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
4
The general rule for the Baroque music is to avoid using thumb (especially in sharp keys).
Also, try to avoid finger substitution and glissando which are best suited for the legato
manner of playing used in Romantic and modern organ music.
Emphasize the Meter
Although the ordinary touch is very important for early music, you need something more
to make this menuet come alive. You need to emphasize the meter and the strong and
week beats of the measure. Because the organ pipes cannot sound louder or softer
depending on the level of strength that you are using with your hands, there are three
primary ways to make accents in organ playing. First, you can make the strong beat longer
which will have the impression of accent on the listener. Second, you can make the weak
beat shorter which will have the opposite effect. Finally, you can come in a little late on the
strong beat which will make it even more accented.
As you can see, not all the notes have the same length in early music. Some notes are
longer or shorter than the others depending on the beat of the measure. In syncopation,
the weak beat becomes accented. Therefore, make the weak beat longer and the downbeat
shorter.
Ornaments
Ornaments in this menuet should be played from the upper note. Do not rush your
ornaments and do not allow them to sound virtuosic. Try to maintain the elegant character
even in playing the faster notes. Do not play the ornaments automatically in the precise
rhythm. They will sound more natural if you hold the first note of the trill or the mordent
longer and play the remaining notes a little faster.
Tempo
Practice at a tempo which allows you to play without mistakes. It could be very slow.
However, as your performance gradually becomes better and better, try to play at the
concert tempo which also should not be fast. The most important thing to remember about
choosing the right tempo is this: pick such a tempo in which you can comfortably count all
three beats in a measure and feel the alternation of strong and weak beats. My suggested
tempo is stated at the beginning of the menuet. Make larger breaks before the stronger
beats which will allow you to emphasize the meter.
Registration Although for practicing purposes this piece can be played on a quiet stop, such as Flute 8‘,
when you perform it in public, you can use Flutes 8‘ and 4‘. In addition, Principal 8‘ might
sound quite well, too. However, feel free to experiment with other combinations of flutes
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
5
or principals. Because of the elegant character heavy Organo Pleno sound with full
principal chorus and mixtures is not applicable to this piece.
Learning Process Since this menuet can easily be divided into 8 fragments in 4 measures each, it is best to
practice it by playing one fragment at a time. As you practice each fragment, in the
beginning play each of the two parts separately carefully observing that your fingering,
articulation, and ornaments are correct. After you can play each of the parts with precision
and accuracy at least three times in a row, practice combinations of two voices. Only after
you master these parts separately, play the entire fragment with both hands. Try to resist
the temptation to go to the next fragment before you master the previous one.
Before practicing, you can sight-read this menuet on pages 6 and 7 in order to become
aquainted with the music. For your convenience, after the score of this menuet you will
find the exact practicing procedure described above notated in the score. Just follow the
score, play and practice each separate fragment until you master it and when you reach
the end of the page 16, you will have mastered every fragment. The end of each fragment
is notated by the double barline and coincides with the end of each line. As you reach
every double barline, go back and perfect this particular fragment to achieve the best
results.
If you practice this menuet according to my suggestions, you will gradually achieve the
level when you can perform it with precision and clarity. For best results, make sure you
play each fragment at least three times correctly in a row with correct notes, rhythms,
articulation and fingering. After each individual fragment can be played correctly, you can
combine two fragments (8 measures) at a time and make your fragments longer. Later
practice 16 measures at a time and only then play the entire menuet.
Similarly to practicing other compositions in the Baroque style, you must have the
patience and inner motivation which leads to success. However, if you succeed in
mastering this menuet, you will feel the inner sense of certain achievement and you will
have made one step forward towards perfecting your organ playing. Therefore, it is well
worth the effort.
DAY 1: Learn Fragments 1 and 2
DAY 2: Repeat Fragments 1 and 2, learn 3 and 4
DAY 3: Repeat Fragments 1-4, learn 5 and 6
DAY 4: Repeat Fragments 1-6, learn 7 and 8
DAY 5: Play the Menuet by stopping every 8 measures
DAY 6: Play the Menuet by stopping every 16 measures
DAY 7: Play the entire Menuet without stopping
NOTE: The minimum time required for practice is 30 minutes a day but some people may
have to practice longer. The results may vary according to the technical level of the person.
In addition, some people may have to practice longer than 7 days to master this piece.
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
6
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
7
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
8
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
9
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
10
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
11
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
12
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
13
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
14
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
15
Vidas Pinkevicius – How to Play and Master Menuet in G Minor, BWV Anh. 115 From
The Notebook Of Anna Magdalena Bach On The Organ
© Vidas Pinkevicius, 2012. All rights reserved worldwide. For more training materials, visit
http://www.organduo.lt Secrets of Organ Playing – down-to-earth tips and advice about how to play the organ
16
CONCLUSION
Congratulations! You have reached the end of this step-by-step guide and mastered this
Menuet.
If you want even deeper mastery of this wonderful piece, you can memorize it. Although
you can memorize the piece using many different methods, I will show you now this
simple and easy system that Marcel Dupre, the master French organist and composer used
in his teaching.
Dupre suggests that we subdivide the piece into fragments of 4 measures. Then the
memorization is done in the following manner. First, learn measure 1. Just repeat it a few
times in a slow tempo, perhaps 5 times looking at the score and 5 times without looking.
Then learn measures 2, 3, and 4 this way. Always finish the fragment on the downbeat of
the next measure.
After learning these 4 measures separately, practice two measures at a time. Combine
measures 1 and 2, 2 and 3, 3 and 4. Again, repeat them 5 to 10 times. Then practice
fragments of three measures: 1, 2, and 3, and 2, 3, and 4. Only then master measures 1, 2, 3,
and 4. Then take another fragment of 4 measures and learn them in the same manner.
Remember to repeat the previous fragments before learning something new. After
learning the piece in these fragments, you can combine 2 of them together and practice 8
measures at a time. Later, take 16 measures, and so forth.
This system is so powerful, but at the same time so simple and easy to implement that if
you use it, you will notice how much faster and easier the whole learning process will
become. The fragments will stick together in larger blocks very easily and you will know
the entire piece inside out.
If you liked practicing this Menuet, you might enjoy my other practice guides from
www.organduo.lt/shop.html.
To your success in organ playing,
Vidas Pinkevicius www.organduo.lt