This question was sent by John, and he writes:

I’ve almost learnt In dulci jubilo by Bach, your training videos have been so helpful thank you! It seemed a really daunting piece to learn, but its coming together quicker than I expected, all the sight reading has helped me and your teaching has really helped me improve.

My question is how should I play this piece on smaller church organs in buildings that have flat acoustics. When I played my recital on St Johns organ in Vilnius, it was an incredible eye opening experience to play on a large mechanical organ in a huge acoustic. I came to realize how articulate legato suddenly made sense playing on an instrument closer to Bach’s time in a resonant acoustic.

When I listen to other professionals play this piece in large churches or cathedrals, I can hear some parts get lost in the blend of legato.

But when I play it in our church, I’m worried it sounds a bit too staccato and the gaps between the longer notes sounds a little disjointed.

Can you give some advice about playing Bach in flat acoustics? Should I try to play more legato? Did Bach ever use finger substitutions? Would I have to play it faster in flat acoustics?

This question was sent by John, and he writes:

I’ve almost learnt In dulci jubilo by Bach, your training videos have been so helpful thank you! It seemed a really daunting piece to learn, but its coming together quicker than I expected, all the sight reading has helped me and your teaching has really helped me improve.

My question is how should I play this piece on smaller church organs in buildings that have flat acoustics. When I played my recital on St Johns organ in Vilnius, it was an incredible eye opening experience to play on a large mechanical organ in a huge acoustic. I came to realize how articulate legato suddenly made sense playing on an instrument closer to Bach’s time in a resonant acoustic.

When I listen to other professionals play this piece in large churches or cathedrals, I can hear some parts get lost in the blend of legato.

But when I play it in our church, I’m worried it sounds a bit too staccato and the gaps between the longer notes sounds a little disjointed.

Can you give some advice about playing Bach in flat acoustics? Should I try to play more legato? Did Bach ever use finger substitutions? Would I have to play it faster in flat acoustics?

This question was sent by John, and he writes:

I’ve almost learnt In dulci jubilo by Bach, your training videos have been so helpful thank you! It seemed a really daunting piece to learn, but its coming together quicker than I expected, all the sight reading has helped me and your teaching has really helped me improve.

My question is how should I play this piece on smaller church organs in buildings that have flat acoustics. When I played my recital on St Johns organ in Vilnius, it was an incredible eye opening experience to play on a large mechanical organ in a huge acoustic. I came to realize how articulate legato suddenly made sense playing on an instrument closer to Bach’s time in a resonant acoustic.

When I listen to other professionals play this piece in large churches or cathedrals, I can hear some parts get lost in the blend of legato.

But when I play it in our church, I’m worried it sounds a bit too staccato and the gaps between the longer notes sounds a little disjointed.

Can you give some advice about playing Bach in flat acoustics? Should I try to play more legato? Did Bach ever use finger substitutions? Would I have to play it faster in flat acoustics?

This question was sent by John, and he writes:

I’ve almost learnt In dulci jubilo by Bach, your training videos have been so helpful thank you! It seemed a really daunting piece to learn, but its coming together quicker than I expected, all the sight reading has helped me and your teaching has really helped me improve.

My question is how should I play this piece on smaller church organs in buildings that have flat acoustics. When I played my recital on St Johns organ in Vilnius, it was an incredible eye opening experience to play on a large mechanical organ in a huge acoustic. I came to realize how articulate legato suddenly made sense playing on an instrument closer to Bach’s time in a resonant acoustic.

When I listen to other professionals play this piece in large churches or cathedrals, I can hear some parts get lost in the blend of legato.

But when I play it in our church, I’m worried it sounds a bit too staccato and the gaps between the longer notes sounds a little disjointed.

Can you give some advice about playing Bach in flat acoustics? Should I try to play more legato? Did Bach ever use finger substitutions? Would I have to play it faster in flat acoustics?

This question was sent by Irineo. He writes: “How can you detect the German, French, English spirit or accent in Bach’s suites? There weren’t so many different answers back then, so how can you tell?”

This question was sent by Irineo. He writes: “How can you detect the German, French, English spirit or accent in Bach’s suites? There weren’t so many different answers back then, so how can you tell?”

This question was sent by Irineo. He writes: “How can you detect the German, French, English spirit or accent in Bach’s suites? There weren’t so many different answers back then, so how can you tell?”

This question was sent by Irineo. He writes: “How can you detect the German, French, English spirit or accent in Bach’s suites? There weren’t so many different answers back then, so how can you tell?”

This question was sent by William. He wrote:

Hello again! Question. I am working on some choral preludes from the Orgelbuchlen. When there is a melody separated from left hand and pedal, do you articulate all of the parts? Thank you. William

This question was sent by William. He wrote:

Hello again! Question. I am working on some choral preludes from the Orgelbuchlen. When there is a melody separated from left hand and pedal, do you articulate all of the parts? Thank you. William