Specification of Wicks Opus 3047
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A Note About the 'Baroque Double Bass' for Composers Working With
A note about the 3baroque double bass4 for composers working with period instruments. For a variety of reasons, performers may present composers writing new music for period instruments with tunings some way removed from the likely historical options. Having sought advice from, or written for, a specific player, a composer may find that the part she/he has written does not transfer well to another performance with different personnel. Not all performers in period instrument ensembles are necessarily historical specialists; gut strings replacing metal on otherwise modern style instruments is not unknown. String bass instruments larger than modern violoncello size divide into 4 main categories: A. instruments of very great size [around 8)/244cm tall+ with limited technical possibilities used in a small geographical area in the early 17th century. B. /or 01 string viols larger than modern cello size that survived well into the 18th century, capable of playing unsimpli#ed bass lines at sounding pitch. C. 4 string instruments similar in size to B, more likely to be favoured where strong preference for violin family instruments prevailed. D. double basses around .)/182cm tall coming late to the party in the last quarter of the 17th century, with limited downward range and a variety of tuning possibilities; capable of more technical playing than group A but still well documented as simplifying the basso line in performance. A 2 D are octave transposing instruments like the modern double bass /31.) pitch4). B 2 C play at pitch /38) pitch41 and are smaller in size that instruments in category D. B instruments have sometimes been supposed to be octave transposing because of a bottom string /not always present1 lower than C2. -
The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
THEATRE VOICES PEDAL • 32 Contra Violone • 16 Ophicleide • 16
THEATRE VOICES CLASSICAL VOICES GREAT PEDAL • 16 English Post Horn French Trompette • 32 Contra Violone Contra Violone • 16 Brass Trumpet (ten c) Trompete • 16 Ophicleide Posaune • 16 Bombarde Tromba • 16 Diaphone Diapason • 16 Diaphone Diapason • 16 Violone Violone • 16 Solo Tibia Clausa (ten c) Bourdon • 16 Bourdon Bourdon • 16 Tibia Clausa (ten c) Gedackt • 8 English Post Horn French Trompette • 16 Clarinet Cromorne • 8 Trumpet Tromba • 16 Krumet (ten c) Krumet • 8 Open Diapason Octave • 16 Orchestral Oboe (ten c) Basson • 8 Solo Tibia Clausa Gedackt • 16 Saxophone (ten c) English Horn • 8 Tibia Clausa (Pizz.) • 16 Violins 3 Rks (ten c) Violas III • 8 Clarinet Cromorne • 16 Vox Humana (ten c) Vox Humana • 8 Flute Harmonic Flute • 8 English Post Horn French Trompette • 16 Piano Choralbass 4 • 8 Brass Trumpet Trompete • 8 Piano Mixture III • 8 Tuba Mirabilis Tromba • Accomp to Pedal • 8 Trumpet Trumpet • Bass Drum Great to Pedal • 8 Open Diapason Principal • Tap Cymbal (Brush) • 8 Solo Tibia Clausa Bourdon • 8 Tibia Clausa Gedackt ACCOMP • 8 Clarinet Cromorne • 8 English Post Horn French Trompette • 8 Krumet Krumet • 8 Brass Trumpet Trompete • 8 Orchestral Oboe Hautbois • 8 Tuba Mirabilis Tromba • 8 Saxophone English Horn • 8 Trumpet Trumpet • 8 Violins 3 Rks Violas III • 8 Open Diapason Principal • 8 Quintadena Quintadena • 8 Tibia Clausa (m) Gedackt • 8 Concert Flute Harmonic Flute • 8 Clarinet Cromorne • 8 Vox Humana Vox Humana • 8 Violins 3 rks Violas III • 5-1/3 Fifth (Tibia) Quintflöte • 8 Oboe Horn Oboe Horn • 4 Octave Octave • -
The Chapel Organ
Pedal Organ Couplers 23 stops, 11 ranks (Pulpit and Lectern Great to Great 16/4 Positiv Unison Off THE CHAPEL ORGAN sides, partly exposed and enclosed) Great Unison Of Great to Positiv Resultant 32 derived Swell to Great 16/8/4 Swell to Positiv 16/8/4 Principal 16 32 pipes F Choir to Great 16/8/4 Choir to Positiv 16/8/4 Brummbass 16 32 pipes* Positiv to Great 16/8 Rohrflöte 16 (Swell) Swell to Swell 16/4 Violone 16 (Great) Swell Unison Off Octave 8 32 pipes A Choir to Choir 16/4 Great Organ Positiv Organ Choir Unison Off Great to Pedal Bordun 8 12 pipes* 12 stops, 15 ranks (Pulpit side, 11 stops, 14 ranks (Lectern side, Great to Choir Swell to Pedal 8/4 Rohrflöte 8 (Swell) partly exposed on wall, unenclosed) partly exposed on wall, unenclosed) Swell to Choir Choir to Pedal 8/4 Violone 8 (Great) Violone 16 61 pipes F Holzflöte 8 61 pipes B Positiv to Choir Positiv to Pedal Choralbass 4 32 pipes Principal 8 61 pipes A Octave 4 61 pipes A Flöte 4 12 pipes Bordun 8 61 pipes B Koppelflöte 4 61 pipes B Accessories Octavin 2 (from Mix II) Violone 8 12 pipes Super Octave 2 61 pipes A 256 Memory Levels Mixture II 2 2/3 64 pipes* Octave 4 61 pipes A Waldflöte 2 61 pipes B (12 Generals and 8 Divisionals) Mixture IV 1 1/3 128 pipes Hohlflöte 4 61 pipes B Quinte 1 1/3 61 pipes A 2 Tuttis Kontra Posaune 32 12 pipes Fifteenth 2 61 pipes A Sesquialtera II 2 2/3 122 pipes B Crescendo with Indicator Posaune 16 32 pipes Cornet III 2 2/3 183 pipes B Scharf IV 1 244 pipes A Nave Shades Off Basson-Hautbois 16 (Swell) Mixture V 2 305 pipes A Dulcian 16 12 pipes -
PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer. -
EN CHAMADE U the Newsletter of the Winchester American Guild of Organists
u EN CHAMADE u The Newsletter of the Winchester American Guild of Organists Daniel Hannemann, editor [email protected] Our website: http://www.agohq.org/chapters/winchester June ~ July ~ August 2016 From the Dean - - - The recital series proposed by the board for the Lutheran retirement community at Orchard Ridge was enthusiastically accepted by administrators at Orchard Ridge. Judy Connelly, Daniel Hannemann, & Steven Cooksey met with officials from the village in late March. Below are excerpts from the minutes taken by the Director of Activities at Orchard Ridge. Hopefully, they provide a clear picture of our series. Examination of the instrument has shown it to be first rate and quite versatile. Guild members are encouraged to come and practice on it, provided the room is free (it is best to call ahead). A receptionist has a list of our members and will direct you to the chapel. Steven Cooksey, in consultation with several of the members, has arranged for the first seven concerts. Each will be shared by two or more musicians, with occasional orchestral instruments or piano. If you are willing/interested in playing on future programs, but are not scheduled for any of the first seven, please contact Dr. Cooksey. We are interested in having a large number of our members perform. - Minutes from WAGO/Orchard Ridge Meeting - Concerts are scheduled for the second Monday monthly beginning with Monday, June 13; concerts will begin at 7 p.m. • Concerts are scheduled through December 2016, with a review to determine continued coordination for additional months/second part in 2017. • Concerts will be theme-based with either a single performer or multiple performers. -
The 1930 Skinner Organ 8 September 2006 — Page
JEFF WEILER PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS PLANNING & PROJECT MANAGEMENT VOICING & TONAL FINISHING 1845 SOUTH MICHIGAN AVENUE #1905 CHICAGO, ILLINOIS 60616 312.842.7475 [email protected] jlweilerpipeorgans.com t h e 1930 Skinner Organ i n Sinclair Auditorium, Coe College cedar rapids, iowa Site survey and visits: 7-11 august 2006 Report submitted: 8 september 2006 Sinclair Auditorium, Coe College — the 1930 Skinner Organ 8 September 2006 — page 2 INTRODUCTION This report comes at the request of Dr. Brett Wolgast. It comprises an historic overview, a survey the organ, a report of existing conditions, and recommendations for the immediate care and ultimate restoration of the Sinclair Auditorium organ. To prepare this document, Jeff Weiler and Jonathan Ambrosino spent August 6 to August 10, and the morning of August 11: • playing the organ, inspecting the pipework, surveying mechanism and photo- The organ contains thousands of pipes, most of metal but documenting conditions; some of wood. These are in the Swell organ. • opening up windchests to determine the state of the internal leather; • creating an inventory of pipes stored in the basement; • removing the non-original Great Trumpet and reinstating the original First Open Diapason, formerly stored in the basement (the Trumpet stop was put into a storage box and arrayed in the basement storage area); • through-tuning all 57 ranks; • meeting with Brett Wolgast, Bill Carson and Dick Harmon to discuss the organ’s history, present and future. This document is a prolonged snapshot of the organ over a week’s visit. Our impressions here blend with experience from other Skinner organs to appreciate and describe its present condition. -
User Manual Available Either Online Or on the Installation Media to Familiarise Yourself with the Various Features It Offers
HAUPTWERK™ v.5 SAMPLE SET Version 2.00 - © Lavender Audio 2020 www.lavenderaudio.co.uk Thank you for purchasing this sample set. Please note that installation files for the Haverhill OIC set are available either for download or can be supplied on a USB Memory Stick at a modest additional cost. It is recommended that you take a little time to read the user manual available either online or on the installation media to familiarise yourself with the various features it offers. Installation of the Haverhill OIC Full set The Full sample set requires a total of two Data packages and one Organ package to be installed. These are identified as follows … Haverhill-DataPackage-674 Haverhill-DataPackage-675 Haverhill-Full-OrganPackage For correct installation, it is essential that Hauptwerk’s component installer is used. Start Hauptwerk and (unless installing from a download) insert the USB memory stick into a suitable USB port. In Hauptwerk, choose “File | Install organ, temper- ament or impulse response reverb...” and then navigate to the USB drive or to the location you saved the downloaded instal- lation files and find the first data installation package (674). Once Hauptwerk has analysed the package you may be presented with the sample set licence which you will need to accept. After a while, the following screen is presented: Ensure that the Selected installation action for the [Data] item is set to Install and then click OK. Installation should then proceed and the whole process should complete quickly. Repeat this process for DataPackage-675. When it comes to installing the Haverhill-Full-OrganPackage, you will notice that two organs are available to be installed - these are as follows .. -
Theatre Owner's Manual
TH-202/TH-302 Theatre Models IMPORTANT! Organs which contain GeniSys™ technology no longer include the GeniSys™ Controller Guide within the model specific Owner’s Manual. The correct GeniSys™ Controller Guide must be downloaded and/or printed separately. Please check the CODE version of the software installed within the organ to determine which version of the GeniSys™ Controller Guide is required. The CODE version is briefly displayed within the GeniSys™ Controller’s LCD display when the organ starts up. Copyright © 2016 Allen Organ Company All Rights Reserved AOC P/N 033-00221-1 Revised 10/2016 ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs-- Allen Organ Company has built the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone generators for this instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs ever designed. Only a radical technological breakthrough could improve upon the performance of Allen’s oscillator organs. Such a breakthrough came in conjunction with the United States Space Program in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold the world’s first musical instrument utilizing digitally sampled voices! Your organ is significantly advanced since the first generation Allen digital instrument. -
The Rodgers 579Is the Most Full-Featured 2 Manual Organ You'll
The Rodgers 579 is the most full-featured 2 manual organ you’ll find in its class, built with the same high-quality cabinet and extra features that come in larger models, including double expression, crescendo pedal, 10 toe pistons, expanded voicing capability and powerful tone generation system. Organists will appreciate the useful Organ Type piston that instantly calls up any of four sets of stops, while still allowing the selection of any desired alternative from Voice Palette™ or User Voices. Manual I (Great) Couplers: II/I (SW to GT) Specifications Tablet VP1 VP2 VP3 29 stops / 241 total voices Bourdon 16’ Violone 16’ Principal 16’ Quintaton 16’ 29 primary voices Principal 8’ Open Diapason 8’ Montre 8’ Prinzipal 8’ 87 Voice Palette™ voices Gemshorn 8’ 2nd Diapason 8’ Voce Umana II 8’ Aeoline 8’ 92 User pipe organ voices Gedackt 8’ Clarabella 8’ Flûte Harmonique 8’ Bourdon 8’ 32 User orchestral voices Octava 4’ Principal 4’ Flûte à Bec 4’ Fugara 4’ Chimes Rohrflöte 4’ Open Flute 4’ Lieblichflöte 4’ Kleine Gedackt 4’ General Pistons: 10 Quinte 2-2/3’ Twelfth 2-2/3’ Nazard 2-2/3’ Quintaden 8’ Divisional Pistons: 5 Great, 5 Swell Superoctav 2’ Fifteenth 2’ Doublette 2’ Piccolo 2’ Toe Pistons: 10 configurable Mixtur IV Tierce Mixture V Cornet V Rauschquint IV Couplers: 3 plus 6 User/MIDI Controls Trumpet 8’ Waldhorn 8’ Trompette 8’ Cromorne 8’ Bass and Melody Couplers Chimes Tremulant: 2 Tremulant Shoes: 2 Expression, Crescendo Manual II (Swell) Memory: 20 levels x 20 pistons (400) Tablet VP1 VP2 VP3 Console dimensions: Spitz Geigen 8’ -
Catgut Acoustical Society Journal
http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s. -
The Mormon Tabernacle Organ
The Church of Jesus Christ of Latter-day Saints Salt Lake City Tabernacle Salt lake City, Utah, United States of America Organ Built by: Aeolian Skinner Company Boston, Mass, United States of America Renovated by: Schoenstein & Co. San Francisco, California 5 Manuals, 147 Voices – 206 Ranks The Mormon Tabernacle Organ The Church of Jesus Christ of Latter-day Saints Æolian-Skinner Organ CO., Boston, Massachusetts – Renovated by Schoenstein & Co., San Francisco, California ~ 147 Voices-206 Ranks, 11, 623 Pipes Feet Stop name ............................... # of Pipes Choir I (Enclosed) 4 3/4” wind, 1536 pipes Great II (Unenclosed) 3 1/2”, 3 10/12”, 4 16’ Gamba ..................................................... 68 3/4”, 4 10/12” winds, 2564 pipes 8’ Principal ............................................... 68 16’ Subprincipal ........................................ 61 8’ Concert Flute .................................... 68 16’ Quintation ........................................... 61 8’ Viola ....................................................... 68 8’ Principal ............................................... 61 8’ Viola Celeste ...................................... 68 8’ Diapason ............................................... 61 8’ Dulcet II ................................................ 68 8’ Montre .................................................. 61 8’ Klein Erzähler II ................................. 68 8’ Bourdon ............................................... 61 4’ Prestant ..............................................