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This one is best read from the ​source

Greetings, friends! As part of the Southwest Region’s ongoing theme of professional development, I wanted to post today about an issue that many may consider an awkward topic: how to know when it’s time to leave.

This is a bit of a difficult topic for some of us and it’s one that we often don’t even consider until we’re starting to wonder why we haven’t left yet. My goal is to get you thinking *now* about these things so that, if/when the day comes, you’ll be ready.

A few weeks ago, I was looking through Facebook and noticed a post by an older gentleman asking for opinions on how one should know when it is time to “hang up your shoes.” There were several great responses in the comments that followed, but I was concerned at the lack (at least so far) of a certain question I believe is one of the most important – Is it still fulfilling? I believe that it is safe to say that very few (if any) of us have gone into the music industry to make money, nor have we any misconceptions about the often-accurate stereotype of the ‘struggling artist’ and how, at least for a substantial amount of time, we will likely fit into that stereotype all too neatly. Eliminate a desire for great wealth and the next most logical reason most of us could give to one who is questioning why we are musicians is something along the lines of, simply, “I enjoy it.”

Think of your own position. Why are you a musician? Not only does it not fit the tropes in other fields of studies being ‘encouraged’ by parents/mentors in order to land a steady job in the future, but it actually is often quite the opposite. How many of us chose academic paths centering on or revolving around music, *despite* the many extra challenges and obstacles that placed in front of us? At some point, (hopefully this is still very true for all of us now) we have enjoyed making music and being a musician has been fulfilling to us.

Now for the harder question: what happens when that is no longer the case? What happens when you discover that you no longer derive satisfaction, fulfillment, and joy out of being a musician? It can happen at any age – not just when it is close to time to retire. In a world like the one today, a world packed full of distractions and “greener grass” mirages, it is absolutely critical that you CONSTANTLY evaluate yourself and your job to determine if it is still bringing you joy and contentment.

That’s not to say that a job can’t have its difficulties. Most, if not all of us have experienced difficulties, hazards, and obstacles, whether that was relationships with fellow staff members, with congregants, with colleagues, or even just general stresses of a busy job. We have to be able to look *beyond* all of that to be able to answer that important question above.

There are obviously many other important factors when it comes to determining when it’s time to leave. Many of these fall under the headline of “important, but not something I really want to ask myself because I’m slightly afraid of what the answer will be.” These questions can include (though are not limited to) ones such as…

• Is this position appropriate for this point in my career?
• Does this position fit into my final career goals or can it at least contribute a reasonable amount of experience and character/musical development to fit?
• Is my work valued? (It is important here to be as objective as possible and include questions about your own work and ways you can improve to be absolutely sure that it deserves greater value)

One final question that many of us often forget to include is, “Have I gotten too comfortable?” While comfort, contentment, and peace are crucial in any position, there is a fine line past which comfort can begin to translate into laziness. Have you been doing the exact same thing for the past ___ years? Have things started to become stale (keep in mind that successful programs can still be stale and vice versa)? Especially as young organists, it is important that we consider that the position we currently hold likely will not be (nor should it be) the job we still have when we retire. Evaluating [critically and objectively] the stagnancy of a position we’ve held for a long time is vital in determining if it is time to move on or if something else can be done to reinvigorate things.

I am not an expert on this subject. With the exception of my newest job change, most of my changes have been due to moving away, and my latest was simply a large step up in my career and, in that way, became just as necessary as changes due to moving away. However, I believe that this is a not-oft-discussed topic that can easily become a source of pain and angst at any age and at any point in our musical careers. Please feel free to share your own suggestions in the comments. While I ask that you generalize names/places, feel free to share your own experiences. Remember that all of this is to help out your fellow young organists!

Solena Rizzato

Good evening, and greetings from far away in the West!

As many of us are aware, this year marks the 500th year since the traditional beginning of the Reformation. Although we may not all be celebrating it in our congregations, we must acknowledge the role that Martin Luther played in sacred music. Many great compositions come from the Lutheran tradition, from J.S. Bach to Paul Manz, and many more.

Are you celebrating Reformation Sunday this year? Are you going to sneak in some Bach? Go all out with choir and brass, or maybe your church is just going to pass? Tell us in the comments below. I’m certain some good ideas will surface.

Luther’s Impact

Greetings from the Mid-Atlantic Region! We will talk this year about moving from playing the piano to playing the organ. Many exciting topics await exploration, so make the 28th of each month your day to check back here!

It happens inevitably in the pianist’s career that he or she will, at some point in time, be asked to play the organ. The request comes most often from those who do not understand the niceties of technique, touch, and coordination associated with the various instruments in the keyboard family, and it is assumed that if one keyboard looks like another, than it will be an easy enough affair to transition from one to the other. Indeed, certain gifted artists within living memory have successfully attempted this feat. The majority, however, feel a lack of certainty upon hearing this request, and some have even reported feelings of terror and existential despair. We, the Officers of the Mid-Atlantic AGOYO, wish to address some of the concerns and issues associated with transitioning from piano to organ, therefore making seamless and smooth what once was perilous and uncertain, and to this end, we have designed a course of study for those who wish to embark upon this noble undertaking.

In this course, we will discuss such topics as the Mechanics of the instrument, the Sounds it is capable of making, the Pedal Board and it’s function, the common Repertoire of piano and organ, the Registration of organ repertoire, the practical performance of Hymns, Service Playing, and finally Repertoire and Career Growth. The Mechanics topic will endeavor to explore the construction and appearance of the organ, and the technical problems associated with the different types of instrument construction. In the Sounds topic, we will explore the tonal resources of the organ, as well as regional and builder specific sound classes. The Pedal Board topic will introduce the intrepid reader to the function of this essential part of the console, associated exercises, regional and period technique.

Our common Repertoire topic will explore what piano works transition well to the organ, and how to register such compositions. Registration follows, quite logically, and we will explore the practical application of the tonal resources of the average instrument to repertoire present and past. Additionally, we will discuss the application of those odd stops with no immediate practical use. Hymns and Service Playing go quite naturally hand-in-hand, but both topics are sufficiently unwieldy as to warrant separate lectures. Practical registrations for hymns, as well as conventions and certain tricks of the trade, will be discussed in the former, while in the latter we will explain the differences in liturgy between those denominations that employ an organ in worship, and which related skills the prudent church organist would be wise to develop. Finally, we will cover Repertoire and Career Growth, in which we will discuss the various exams available to the enterprising organist to prove mastery in related topics, how to find a teacher, how to join the American Guild of Organists, and how to search for jobs.

Various pitfalls and difficulties present themselves to the initiate in the art of organ playing. It is of vital importance that the process of learning not be rushed, and that a methodical approach to mastery be observed at all times in the course of studying the organ. Too often the neophyte, perhaps overzealous in his or her endeavor, or even rendered careless in light of recent mastery of another element, embarks on the next step in learning without first laying a solid foundation in the previous step. Such a heedless approach has undoubtedly resulted in many instances of sloppy and haphazard technique, or an incomplete grasp of the history, theory, and common practice in performance of certain repertoire. It is also easy to become disheartened at any lack of progress toward mastery, and these students we cannot encourage enough to remain steadfast in their pursuit. The organ is by far the most complex instrument to master, requiring as it does the independent movement of hands and feet, and an unparalleled understanding of music theory and history. Such lofty goals take a lifetime to master.

Finally, we also encourage prospective students to be careful in selecting a teacher and learning resources. The teacher should be both patient and knowledgeable, and the resources must be comprehensive and the information contained therein must not be dubiously sourced. For the latter, the AGO provides a comprehensive bibliography for their exam process and for the edification of organists. For the former, it is hard to go wrong with a good recommendation from a friend working in the field already.

We thank you for embarking on this journey with us, and should you have any questions, please do not hesitate to get in contact either with us or with your regional officers.