DOCSLIB.ORG

THEATRE VOICES CLASSICAL VOICES PEDAL • 32 Contra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THEATRE VOICES CLASSICAL VOICES PEDAL • 32 Contra THEATRE VOICES CLASSICAL VOICES • Alternate Traps PEDAL • Traps to 2nd T • 32 Contra Violone Contra Violone • GeniSys Voice 3 • 16 Ophicleide Posaune • GeniSys Voice 4 • 16 Diaphone Diapason • 16 Violone Violone GREAT • 16 Bourdon Bourdon • 16 English Post Horn French Trompette • 8 English Post Horn French Trompette • 16 Brass Trumpet (ten c) Trompete • 8 Trumpet Tromba • 16 Bombarde Tromba • 8 Open Diapason Octave • 16 Diaphone Diapason • 8 Solo Tibia Clausa • 16 Solo Tibia Clausa (ten c) Bourdon • 8 Tibia Clausa (Pizz.) Gedackt • 16 Tibia Clausa (ten c) Gedackt • 8 Clarinet Cromorne • 16 Clarinet Cromorne • 8 Flute Harmonic Flute • 16 Krumet (ten c) Krumet • 16 Piano Choralbass 4 • 16 Orchestral Oboe (ten c) Basson • 8 Piano Mixture III • 16 Saxophone (ten c) English Horn • Accomp to Pedal • 16 Violins 3 Rks (ten c) Violas III • Bass Drum Great to Pedal • 16 Vox Humana (ten c) Vox Humana • Tap Cymbal (Brush) • 8 English Post Horn French Trompette • GeniSys Voice 1 • 8 Brass Trumpet Trompete • GeniSys Voice 2 • 8 Tuba Mirabilis Tromba • 8 Trumpet Trumpet ACCOMP • 8 Open Diapason Principal • 8 English Post Horn French Trompette • 8 Solo Tibia Clausa Bourdon • 8 Brass Trumpet Trompete • 8 Tibia Clausa Gedackt • 8 Tuba Mirabilis Tromba • 8 Clarinet Cromorne • 8 Trumpet Trumpet • 8 Krumet Krumet • 8 Open Diapason Principal • 8 Orchestral Oboe Hautbois • 8 Tibia Clausa (m) Gedackt • 8 Saxophone English Horn • 8 Clarinet Cromorne • 8 Violins 3 Rks Violas III • 8 Violins 3 rks Violas III • 8 Quintadena Quintadena • 8 Oboe Horn Oboe Horn • 8 Concert Flute Harmonic Flute • 8 Quintadena Quintadena • 8 Vox Humana Vox Humana • 8 Concert Flute Harmonic Flute • 5-1/3 Fifth (Tibia) Quintflöte • 8 Vox Humana Vox Humana • 4 Octave Octave • 4 Octave Octave • 4 Solo Piccolo Bourdon • 4 Piccolo (m) Gedackt • 4 Piccolo Gedackt • 4 Concert Flute Harmonic Flute • 4 Violins 3 Rks Violas III • Acc Violins>Dolces • 4 Flute Harmonic Flute • Octave • 2-2/3 Twelfth Twelfth • 8 Piano Mixture IV • 2 Solo Piccolo Piccolo • Harp Sub • 2 Piccolo Piccolo • Harp • 2 Fifteenth Fifteenth (Prin) • Chrysoglott • 1 Fife (Flute) Fife • Snare Drum • Xylophone Mixture IV • Tom-Tom (Castanets) • Glockenspiel Mixture III • Hi-Hat (Tambourine) • Sub Octave • Tap Cymbal (Brush) • Octave • Solo Sub Great GREAT 2nd TOUCH • Solo to Great • 16-8 English Post Horn French Trompette • GeniSys Voice 5 • Solo to Great • GeniSys Voice 6 • Solo to Great-Pizz • GeniSys Voice 11 SOLO • GeniSys Voice 12 • 8 English Post Horn French Trompette • 8 Brass Trumpet Trompete TREMULANTS • 8 Tuba Mirabilis Tromba • Main • 8 Trumpet Trumpet • Clarinet • 8 Open Diapason Principal • Solo • 8 Solo Tibia Clausa Bourdon • Tibia/Vox • 8 Tibia Clausa Gedackt • 8 Clarinet Cromorne STOP PISTONS • 8 Krumet Krumet • Solo Violin Off • 8 Orchestral Oboe Hautbois • Solo Chimes • 8 Saxophone English Horn • Percussion Unexpressed • 8 Violins 3 rks Violas III • Master Expression • 8 Concert Flute Harmonic Flute • Harp Re-it • 8 Vox Humana Vox Humana • MIDI on Pedal • 4 Solo Piccolo Bourdon • Vibe Motors On • 4 Piccolo Gedackt • MIDI on Solo • 2-2/3 Twelfth Nasard • MIDI on Great 2nd • 2 Solo Piccolo Piccolo • MIDI on Great • 1-3/5 Tierce Tierce • MIDI on Acc 2nd • Sub Octave • MIDI on Acc • 8 Piano • Harp Sub TOE PISTONS • Chrysoglott • Persian Cymbal • Vibraphone • Crash Cymbal • Xylophone Mixture IV • Storm • Glockenspiel Mixture III • Siren • GeniSys Voice 7 • Horn • GeniSys Voice 8 • Bird • Wind Chimes ACC 2nd TOUCH • Train Whistle • 8 English Post Horn French Trompette • 8 Brass Trumpet Trompete • 8 Tuba Mirabilis Tromba • 8 Trumpet Trumpet • 8 Solo Tibia Clausa Bourdon • 8 Clarinet Cromorne • Great Octave Acc • Solo to Acc • Perc on 2nd • GeniSys Voice 9 • GeniSys Voice 10 .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 •
    [Show full text]
  • Pedal 32 Contra Diaphone C. Bomb 32 Contra Tibia
    PEDAL 8 VOX HUMANA (S) 8 TRUMPET 32 CONTRA DIAPHONE C. BOMB 8 VOX HUMANA 8 STYLE D TRUMPET 32 CONTRA TIBIA CLAUSA 4 OCTAVE 8 TUBA HORN 16 BOMBARDE 4 OCTAVE HORN 8 OPEN DIAPASON 16 DOUBLE ENGLISH HORN 4 PICCOLO 8 HORN DIAPASON 16 OPHICLEIDE 4 SOLO STRING 2 RKS 8 SOLO TIBIA CLAUSA 16 DIAPHONE 4 VIOL 2 RKS 8 TIBIA CLAUSA 16 DIAPHONIC HORN 4 GAMBETTE 2 RKS 8 CLARINET 16 SOLO TIBIA CLAUSA 4 LIEBLICH FLUTE 8 KINURA CLARION 4 16 BASS CLARINET 4 CONCERT FLUTE 8 ORCHESTRAL OBOE 16 CONTRA GAMBA 2 RKS 4 VOX HUMANA (M) 8 MUSETTE FRENCH HORN 16 OBOE HORN 2 2/3 TWELFTH 8 KRUMET 16 BOURDON 2 PICCOLO 8 SAXOPHONE 16 GEMSHORN 2 RKS OCTAVE 8 SOLO STRING 2 RKS 8 TUBA MIRABILIS SOLO ON ACCOMP. 8 VIOLIN 2 RKS 8 ENGLISH HORN BOMBARDE 8 GAMBA 2 RKS 8 TUBA HORN MIDI ON ACCOMP. 8 QUINTADENA 8 OPEN DIAPASON 8 PIANO OPEN DIAP. 8 LIEBLICH FLUTE 8 HORN DIAPASON HARP SUB MIXTURE IV 8 VOX HUMANA (S) 8 SOLO TIBIA CLAUSA HARP SCHARF IV 8 VOX HUMANA 8 TIBIA CLAUSA SOLO CHRYSOGLOTT 4 SOLO PICCOLO 8 TIBIA CLAUSA PIZZ. CHRYSOGLOTT MIXTURE III 4 PICCOLO 8 CLARINET SNARE DRUM 2 2/3 SOLO TWELFTH 8 CELLO 2 RKS CASTANETS 2 SOLO PICCOLO 8 FLUTE TAMBOURINE 2 PICCOLO ACCOMP. TO PEDAL WOOD BLOCK 1 3/5 SOLO TIERCE GREAT TO PEDAL TOM-TOM 1 1/3 SOLO LARIGOT SOLO TO PEDAL CHOKE CYMBAL SUB OCTAVE MIDI ON PEDAL TAP CYMBAL UNISON OFF 16 PIANO OPEN DIAP.
    [Show full text]
  • THE CHANCEL ORGAN AUSTIN ORGAN, OPUS 2290, 1959 and 1989 CORNEL ZIMMER ORGAN BUILDERS, OPUS 137, 2015 4 Divisions 91 Ranks
    THE CHANCEL ORGAN AUSTIN ORGAN, OPUS 2290, 1959 and 1989 CORNEL ZIMMER ORGAN BUILDERS, OPUS 137, 2015 4 Divisions 91 Ranks GREAT Unenclosed Manual II Violone 16' Spitzflute 16' Principal 8' Violone 8' Harmonic Flute 8' Doppel Flute 8’ Bourdon 8' Spitzflute 8' Octave 4' Nachthorn 4' Twelfth 2 2/3' Fifteenth 2' Cornet III Mixture III Sharp Mixture III Trumpet 8' Chimes Great to Great 16' Great Unison Off Great to Great 4' Festival Trumpet (Ant) 16' Tuba Mirabilis (Ch) 16' Festival Trumpet (Ant) 8' Tuba Mirabilis (Ch) 8' SWELL Expressive Manual III Gedeckt 16' English Diapason 8' Hohl Flute 8' Gedeckt 8' Viola 8' Viola Celeste 8' Salicional 8' Voix Celeste 8' Flute Celeste II 8' Principal 4' Wald Flute 4' Flute Celeste II 4' Nazard 2 2/3' Flautino 2' Mixture III Double Trumpet 16' Fagotto 16' Trumpet 8' Oboe 8' Vox Humana 8' Clarion 4' Vox Humana Tremulant Tremulant Swell to Swell 16' Swell Unison Off Swell to Swell 4' CHOIR Expressive Manual I Gamba 16' Spitz Principal 8' Concert Flute 8' Nason Gedeckt 8' Gamba 8' Gamba Celeste 8' Dolce 8' Dolce Celeste 8' Prestant 4' Koppel Flute 4' Nazard 2 2/3' Block Flute 2' Tierce 1 3/5' Larigot 1 1/3' Sifflute 1' French Horn 8' English Horn 8' Clarinet 8' Tremulant Harp 8' Celesta 4' Choir to Choir 16' Choir to Choir 4' Festival Trumpet (Ant) 16' Tuba Mirabilis 16' Extension of Tuba Mirabilis 8' Festival Trumpet (Ant) 8' Tuba Mirabilis 8' Bombarde (Ped) 8' ANTIPHONAL Expressive Floating Diapason 8' Lieblich Flute 8' Echo Salicional 8' Voix Celeste 8' Kleine Erzhalers II 8' Principal 4' Harmonic Flute
    [Show full text]
  • M. P. Möller – 3-Manual Organ, 1951 the Robert Turner – 5-Manual Console, 1998 Robert Walker – Digital Sounds, 1998
    ORGAN M. P. Möller – 3-Manual Organ, 1951 The Robert Turner – 5-Manual Console, 1998 Robert Walker – Digital Sounds, 1998 Great Choir Swell Solo Organ Organ Organ Organ Gemshorn 16′ Erzähler 16′ Rohrbourdon 16′ Contra Gamba 16′ Bourdon 16′ Principal 8′ Geigen Diapason 8′ Flauto Mirabilis 8′ Montre 8′ Gedeckt 8′ Rohrflöte 8′ Gamba 8′ Principal 8′ Viola 8′ Viole de gambe 8′ Gamba Celeste 8′ Bourdon 8′ Viola Celeste 8′ Voix céleste 8′ Orchestral Flute 4′ Flûte harmonique 8′ Dulciana 8′ Muted Viols II 8′ Posaune 16′ Gemshorn 8′ Unda Maris 8′ Flute Celeste II 8′ Double English Octave 4′ Prestant 4′ Muted Flute Celeste Horn 16′ Flûte octaviante 4′ Koppelflöte 4′ II Orchestral Oboe 8′ Quinte 2 2/3′ Nazard 2 2/3′ Principal 4′ English Horn 8′ Superoctave 2′ Principal 2′ Flûte 4′ Corno di Bassetto 8′ Waldflöte 2′ Tièrce 1 3/5′ Blockflöte 2′ French Horn 8′ Tièrce 1 3/5′ Larigot 1 1/3′ Plein Jeu III- Tuba Mirabilis 8′ Mixture III-IV Sifflöte 1′ IVCymbel III-IV Jubilate Deo (Great) Scharf II-IV Zimbel III-IV Contre Bassoon 16′ Tuba Clarion 4′ Contra Trompete 16′ Cor Anglais 16′ Trompette 8′ Tremolo Trompete 8′ Clarinet 8′ Bassoon 8′ Chimes (Choir) Clarion 4′ Krummhorn 8′ Vox Humana 8′ Harp (Choir) Jubilate Deo 8′ Trompette Clairon 4′ Celesta (Choir) Chimes (Choir) harmonique 8′ Jubilate Deo (Great) Midi Midi Jubilate Deo (Great) Tremolo Solo Sub Great Sub Regal 4′ Midi Solo Unison Off Great Unison Off Chimes Swell Sub Solo Super Great Super Tremolo Swell Unison Off Harp Swell Super Celesta Harp Damper Zimbelstern Choir Sub Choir Unison Off Choir Super Antiphonal Pedal Console Mechanicals The remote style multi level combination Organ Organ system has 32 levels of memory, four ad- Montre 8′ Contre Bourdon 32′ jutable crescendi with a 60 step digital Cor de Nuit 8′ Contre Violone 32′ readout display.
    [Show full text]
  • Wurlitzer's Style 216 Was His Creation
    Style 216 Wurlitzer in the Rialto Th eatre, Pasadena. B 'henct & Kaufmann Archn-es The Rare Breed by Tom Delay The late summer of 1925 saw the first gans, often with only an 8' manual Tibia In addition to keeping the same basic shipment of a scarce two-manual, ten-rank Clausa. As late as 1928, Wurlitzer pro­ list of ranks , he specified the ubiquitou s style of Wurlitzer theatre pipe organ. ducecl a style 210 2/9 with only an 8' Tibia English (post) Hom added to the Solo, and Much has been said over the years about - no 4' Piccolo , let alone Tibia Twelfth moved the Orchestral Oboe to the Solo the style 216 Wurlitzer, but not since the or Piccolo 2'. As an organist for Fox West from the Main . early 1960s has much been seen in print Coast Theatres he carried some degree of For an organ designed in 1928, it had a about what makes a style 216 such a dif­ weight and persuaded the Wurlitzer Com­ swprisingly modem stop layout. However , ferent breed. At that time, Gordon Kibbee pany to respecify their style 210: by today 's concert standards the Tibia included the 216 in his excellent series on MAIN SOLO Clausa 's appearance at only 8'-4' might Wurlitzer style specifications. (THEATRE Flute 16-2 Vox Humana 8 seem unthinkable , it was a major improve­ ORGAN, Fall 1960, page 9) Viol 'd Orchestre 8-2 Tuba Hom 16-4 ment towards the present day expectations Unknown, except by reputation , outside Open Diapason 16-4 Tibia Clausa 8 of a theatre organ.
    [Show full text]
  • The Influence of Plainchant on French Organ Music After the Revolution
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.
    [Show full text]
  • MX-200 Triune Music “Expanded” Module
    MX-200 Triune Music “Expanded” Module TONES Organ tones: 198 Orchestral tones: 148 GM2/GS tones: 386 Others: 512 ORGAN TONES (sampling) REEDS MIXTURES 16’ Chamade IV Grand Cornet 32’ ORGAN FLUES 16’ + 8’ Chamade VIII Gabler Mixture 16’ Montre 16’ + 8’ + 4’ Chamade VI Pedal Grand Mixture 16’ Boudon 16’ Royal Trumpet VI Plein Jeu 16’ Pommer 16’ Posthorn V Gabler Cornet 16’ Quintadena 16’ Heckelphone V Flute Cornet 16’ Dulciana 16’ Posaune V Grand French Mixture 8’ First Diapason 16’ Contre Trompette IV-VI Fourniture (SS) 8’ Second Diapason 16’ + 8’ Voxes IV-VIII Mixutre (HO) 8’ Montre 16’ + 4’ Voxes IV Fourniture 8’ Second Diapason (with Trem) 8’ Tuba Major FFF IV Scharf 8’ Bach Prinzipal 8’ State Trumpet FFF IV Grave Mixture 8’ Gross Flute 8’ Royal Trumpet IV Echo Mixture 8’ Gamba 8’ Royal Tuba IV Rauschquint 8’ Flute Harmonique 8’ Posthorn III Carillon (StE) 8’ Harmonic Flute 8’ Trumpet II Sesquialtera 8’ Harmonic Flute (with Trem) 8’ Trompette II Sesquialtera (with Trem) 8’ Holzgedackt 8’ Regal IV Cornet 4’ 8’ Quintadena 8’ Dulzian IV Cornet 4’ (with Trem) 8’ Quintadena (with Trem) 8’ Dulzian (with Trem) II Quartane 8’ Quintaden 8’ Kinura II Jeu de Clochette 8’ German Gemshorn 8’ Kinura (with Trem) 5-1/3’ Gross Quint 8’ Dulciana 8’ Clarinet 3-1/5’ Gross Terz 8’ & 4’ Bourdon 8’ French Clarinet 8/9’ None 8’ & 2-2/3’ Flute 8’ French Cromorne 8’ & 2’ Gedackt 8’ French Horn CELESTES 5-2/3’ Gross Flute 8’ French Horn (with Trem) 16’ 8’ 4’ + Vox Celestes VII 5-1/3’ Gross Tierce 8’ English Horn 16’ 8’ 4’ Celestes VI 2-2/3’ German Quinte 8’ English
    [Show full text]
  • RTOS Organ Specs As Built
    Rochester’s RKO Palace 4/21 Wurlitzer - Opus 1951 12/25/1928 Original specification by house organist Tom Grierson The instrument known today as the RTOS-GRIERSON 4/23 Wurlitzer began life as a 4-manual, 21-rank Special, Opus 1951. It was shipped from North Tonawanda on September 12, 1928 to the new 2916-seat Keith-Albee Palace Theatre (later renamed RKO Palace) on Clinton Avenue North at Mortimer Street in Rochester, NY. It was premiered on Christmas Day of that year by Rochester organist Tom Grierson who is said to have participated significantly in the specification of the instrument. Over the years Wurlitzer historians have often commented that Tom’s British roots are strongly reflected in its design. While Opus1951 is often said to be similar to a Publix #1, there were a number of differences. Besides having one more rank in the solo chamber and a 15 hp blower, other significant variations include: Main chamber: • The Tuba horn (16 ´ - 4 ´) was not placed in the main, but in the solo chamber instead. • The Dulciana and Solo String I ranks were not included in this instrument. • A 15” wp Gamba (16 ´ - 4 ´), Violin (8 ´ - 4 ´) and Violin Celeste (8 ´ - 4 ´ tc) were included. • The Diaphonic Diapason (16 ´ - 8 ´) is 73 notes and has no 4 ´ octave. Solo Chamber: • There was no Vox Humana in the solo. • There is a Horn Diapason (8 ´) in the solo • The Tuba Mirabilis is extended to 16 ´ (wood) Bombarde. • Piano, Sleigh Bells, Vibraphone mechanism and second Xylophone were not included. Console: • No “master” swell pedal.
    [Show full text]
  • 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.
    [Show full text]
  • 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’
    [Show full text]