Tag Archives: organ

Organ Concert

Free organ concert with Malcolm Kogut at Foothills Methodist in Gloversville. June 3 at three. Free. Here is a sample (Flight of the Bumblebee):


Point Of Sound

One of the causes for strain, stress, injury and other maladies pianists, organists and typists experience is simply that they press too hard into the keybed of their device or instrument. Let’s first take a look at sports and then physics (that HS subject you think you don’t use in real life).

As a baseball player stands at home plate and the ball is hurtling toward him, he back-swings, forward swings, hits the ball, then all the energy left over from the swing dissipates into the follow through. The same action occurs when an athlete swings a tennis racquet, kicks a ball, swings a golf club, punches someone, throws a ball, etcetera. That is Newton’s third law of physics that every action has an equal and opposite action. In order to forward swing, one must first back swing. Even when we walk forward, as one leg is extending up and forward, the other leg is pushing backward. So according to the laws of physics, in order to type or play the piano down, one must first lift up. Many of us were trained or taught to play or type from a resting and relaxed position which actually creates tension because holding a position requires effort. So we know that everything requires an opposite motion and a follow through. I bet all you smart kids out there know exactly where I’m going with this.

Now imagine that our baseball, tennis, soccer, golf, football players or boxers are standing before a concrete wall and they backswing then forward swing but instead of hitting an object and following through, they strike the immovable wall. All the energy of the swing, instead of following through and dissipating, ricochets back into the athlete. That can hurt.

A piano is much the same. Many pianists press into the keybed of a piano and not only does that fail to produce any more of a tone but, all the energy of pressing down is being transferred back up into their finger joints and tendons. We often don’t notice this until after an hour or so of practice or the next morning when we wake up with stiff fingers. We are taught by bad teachers “no pain, no gain.” In this case, it is very much a lie. No pain, no gain is fine when building muscle but not for bones, joints, tendons, ligaments and certainly not for our technique. Often poor technique, strain or missed notes are a result of what we are not doing rather than what we are doing and often we are using the wrong muscles.

Sit at any acoustic piano and very slowly, depress a key so you don’t play a sound. At some point you will hit a little bump in the action, then press through it and you will hit the keybed. That little bump is the point of sound once you actually play.

As a pianist drops the controlled weight of their arm onto a key, they must use Newton’s third law. As they hit the point of sound, much like an athlete striking a ball, they must then follow through without hitting the keybed. When they press into the keybed, not only is their energy backfiring but, they are pressing down and according to Newton, we can’t set up for the up motion if we are pressing down. This hinders technique. You can’t play down if you don’t play up and you can’t play up if you are pressing down.

So, the key and cure to playing without tension or pain is learning to play to the point of sound and simply following through and not pressing into the keybed. Unbeknownst to most teachers, their students press into the keybed. It is a motion that is often invisible. When a student experiences problems with technique or pain, the teacher often says practice more or run exercises to build strength and endurance and the teacher is often oblivious that the way the student practices is what needs to be addressed, not a clock.

Danger Will Robinson. Before anyone tries to learn to play to the point of sound, there are other components of technique which must first be in place. This includes controlling arm weight, controlling up/down, controlling in/out from the shoulder and elbow, using the fulcrum of the elbow, controlling rotation of the forearm through the use of the pronator and supinator muscles. Likewise, there are movements to avoid such as abduction, curling the thumb under the palm, isolating a finger, equalizing fingers, radial and ulnar deviation, and trying to play too relaxed, still and quiet.

A virtuoso technique looks like it is effortless and relaxed. That is true, the fingers are relaxed because the arm does all the work. Observers are often looking at the pianist’s hands and fail to notice the elbow and arm is actually doing most of the work. Pianists who attempt to play from the fingers and have fatigue, are told to relax so, they relax the same muscles they are continuing to use and they achieve nothing.

Once all of the proper motions are achieved and the improper ones eradicated, point of sound will just happen. Some “techniques” such as the Russian Technique, surreptitiously imbue the pianist with these movements but personally, I would rather learn the physics and ergonomics of movement rather than being tricked through mindless imitation. Although, it works to some degree. Where it fails is when a pianist encounters a passage they can’t execute and if they knew the mechanics of the arm, would be able to figure out what sort of adjustment is required to play that passage.

I once studied with a leading concert pianist in my area who didn’t know what he was doing but had a phenomenal natural technique. His instruction to me was to watch him play then imitate his motion. That would have been fine but I already had bad habits hardwired into my brain which were getting in the way. Since he didn’t know anything about ergonomics nor physics, he had no idea how to fix me other than prescribing “practice more.”

I once gave a lecture on this topic and a pianist disagreed with me about Newtons third law citing that the piano is down, not up. The finger must come straight down onto a key. If the pianist is playing with a “still and quiet hand” and they must also play black keys, note that the black keys are higher than the white keys. This results in the still and quiet pianist to stretch or twist to reach those keys which in turn create vector forces or, two muscles pulling one bone in two directions simultaneously. This creates tremendous imbalance in the arm which controls the hand and fingers and this leads to an incoordinate technique. Keep in mind your fingers have no muscles. They are moved by the flexor muscles in your forearm so that is where the pianist must first play from.

If you were to walk up stairs, your ascending leg would lift HIGHER than the next stair, then come straight down onto it. If you tried to walk upstairs without lifting your foot higher than the step, you’d trip. Playing the piano is the same. We must use the larger muscles of the arm to get the fingers higher than the notes we are desirous to play. Of course as we become more efficient, we minimize the height but make no mistake, although it may appear invisible, it is still there. Hanon knew this and prescribed the pianist to isolate one finger and lift it high but, this isolation engages the flexors and extensors at the same time resulting in strain to the long flexor tendons which leads to median nerve entrapment (AKA carpal tunnel syndrome). Remember the arm, hand and fingers can only move in one direction at a time. By abducting, for instance, the hand gets pulled in two or four directions despite the pianist trying to play a passage in a specific direction.

I have no conclusion to this post other than don’t try this at home. Find a teacher who knows what a pronator and abductor is and work from there.

Halloween Organ Recital

Join the Foothills Methodist Church, 17 Fremont St. in Gloversville on Sunday, October 30, at 3:00 p.m. in the church sanctuary for an exciting Halloween organ recital featuring a smorgasbord of classics, favorites and surprises. Malcolm Kogut will perform pieces such as the vivid and bristling with energy Dubois Toccata and the ubiquitous Toccata in D Minor by J. S. Bach. Other music will include Queen’s “Bohemian Rhapsody,” Boellmann’s famous suite Toccata, and “In the Garden.” The organ recital is free and open to the public.

Halloween Organ Recital

Join the Foothills Methodist Church in Gloversville on Sunday, October 30, at 3:00 p.m. in the church sanctuary for an exciting organ recital featuring a smorgasbord of classics, favorites and surprises. Malcolm Kogut will perform pieces such as the vivid and bristling with energy Dubois Toccata to the ubiquitous Toccata in D Minor by J. S. Bach. Other music will include Queen’s “Bohemian Rhapsody,” Boellmann’s famous Suite Gothic Toccata, and the tear jerking “In the Garden.” The organ recital is free and open to the public. For a sample medley of the recital, point your browsers to Youtube, here:

One thing Malcolm Kogut loves about living in New England is the endless number of mountain trails there is to explore. Malcolm loves challenging himself and friends to explore a new trail together and he enjoys both the defiance of and going with gravity. His favorite hikes over the years have been St. Regis near Saranac Lake, Mt. Baker in Washington state and Ice Caves Mountain in Ellenville, NY. Hiking is one of the best ways to get fit and explore nature at the same time. Malcolm’s commitment to hiking is especially important to keeping up his musical pursuits for, hiking gives him something to play about. After all, nobody lies on their deathbed wishing they worked more.

Make Recitals Great Again

From my “Make Recitals Great Again” recital. It was 95 degrees outside and I don’t know what the temperature was inside the church under those 500 watt flood lights but this was the stickiest, sweatiest and most difficult recitals I have ever played. My fingers were so sweaty that they were sliding off the keys.

This has always been a difficult organ to record because the swell and solo divisions are located in a chamber on the other side of the chancel, the great is located right behind my head and the choir division is installed up in the balcony and consequnetly often sounds out of sync. For this recital I placed the recorder in the middle of the church amongst the people and that seems to have equalized it.

The Throne Room From Star Wars Foothills May

Other Pieces from this Recital:

Fugue in G Major, Bach
Allegro From Concerto II, Bach
Princess Leia’s Theme from Star Wars
Carillon De Westminster by Vierne
Fanfare by Malcolm Kogut
Prelude in C Major, Bach
Battle Hymn of the Republic
Toccata on “Duke Street”
Once In Love With Amy
Hedwig’s Theme from Harry Potter
Trumpet Tune by Marsh
Eternal Father, Strong To Save
20th Century Fox Fanfare
A movement from Jupiter; Bringer of Jollity by Holst From The Planets

Malcolm Kogut
malcolm kogut recital pic

I have been sober for 45 minutes

Q: What?
A: Two organ recitals.

Q: Boring!
A: I mean, no, not like that stuff you hear in church on Sunday. Sunday organ can be very boring but this recital, it’s big, like, like really big, like OJ did it big. You gotta come.

Q: We have guitars and a band in my church.
A: The organ has a noble estate in church music. It is a sustaining and strengthening instrument designed for congregational singing. Consider other instruments such as guitars, piano or percussion. Once you play a sound on any of these instruments the sound immediately begins to decay, necessitating more fills and chords. But singing doesn’t work this way. The organ’s sound lifts and sustains the voice of the congregation through each phrase, guiding each breath, and setting the character of the song through its wide range of voices. The organ fills a room naturally making it possible to fill any space. An amplified band gives you a directional, electronic copy of the instruments while the pipe organ needs no amplification; Give it a chance. You may go back to your guitars on Sunday.

Q: Tell me about the two organs.

A: Trinity’s organ is a relatively new three manual tracker which means it is very challenging to play for many organists who are trained but still don’t know what they are doing ergonomically. After the recital, feel free to go up and touch the keys. Malcolm will be giving a talk about the ten ergonomic movements required to properly and effortlessly play a tracker and, how to avoid and cure tendonitis and carpal tunnel syndrome through natural movement. The talk will begin around 2:30 but make a reservation so he can prepare materials. The Foothill organ is an electronic four manual Rodgers with speakers placed around the room for the ultimate in surround sound.

Q: Is there a Malcolm Kogut action figure?
A: We would think so.

Q: Is Malcolm Kogut still alive?
A: Yes, as far as we know. We don’t have any current information about his health. However, being older than 40, we hope that everything is okay.

Q: Where was Malcolm Kogut born?
A: On a hill, far away in Troy, NY

Q: What is Malcolm Kogut doing now?
A: Supposedly, 2016 has been a busy year for him. However, we do not have any detailed information on what he is doing these days. Maybe you know more. Feel free to share the latest news, gossip and official contact information with the person next to you.

Q: Are there any photos of Malcolm’s current hairstyle or shirtless?
A: There might be. But unfortunately we currently cannot print them here. We are working hard to fill that gap though. Check back tomorrow or Google it.

Q: Where are these recital things?
A: THERE ARE TWO; The first is on April 10, at Trinity Lutheran Church at 42 Guy Park Ave, Amsterdam, NY 12010. The theme here will be “Old Friends.” It will be somewhat selfish on Malcolm’s part in that all the pieces will be pieces that he likes to play, has played many times and they fit like a glove. Not like the OJ glove but, bigger.

The second is on May 22 at Foothills Methodist Church at 17 Fremont St, Gloversville, NY 12078. This recital will consist of patriotic music. The final number is guaranteed elicit a standing ovation from the audience. Both recitals are at three o’clock in the afternoon.

Q: Cost?
A: They’re freeeeeeee! (my Harvy Levin impersonation).

A letter from Malcolm Paul to the internet; I am very pleased and excited to be performing these recitals on April 10 and May 22, at three, and I Tertius, who wrote this letter, am pleased to be going, also. Malcolm has been playing the organ since he was 15 and by simple calculations, that makes him OLD which is often fatal and highly contagious; To be more precise (and nerdy), his current age as of right now is 19742 days or (even more geeky) 473804 hours. Malcolm was born on the 16th of January which was a Tuesday meaning he was conceived between April 21 – April 29. His next birthday is only 245 days from today. BTW, at both recitals, I hear there will be cake.

Sample links of each organ (Stars and Stripes):
Foothills Organ: http://youtu.be/MGbI3gHmnKs
Trinity Organ: https://youtu.be/yJQRQaEeNLc