Owner.,s Manual
for RODGE:RS
RODGE:RS ORGf\N CON\Pf\NY. HILLSBORO. OREGON U.S.A. CONTENTS
Prologue .. 1
The Rodgers Console . 2
Solo Manual .. 2 Great Manual . . . . . 3 Accompaniment Manual ...... 3 Pedalboard . . ~ ...... 4
Speaking Stop Tabs and Voice Families . 5
Tibias (Flutes) .... 7 Diapasons (Principals) 7 Strings .... . 7 Reeds .... . 8 Tuned Percussions. 9
Specification List. . . follows 10
Non-Speaking Stop Tabs and Special Features 11
Voicing and Sustain Controls ...... 11 Tremulants ...... 12 Combination Action . . . . . 13 Expression Pedal . . . 14 Reverberation...... 14 Headphone Jack . . 14 Auxiliary Speakers . 15 Rhythmaker & Traps . 15
Care and Maintenance .... 17
Console and Pedalboard . . 17 Keyboards and Stop Tabs. 18 Leveling Glides .... 18
Five-Year Limited Warranty .. 19
The Art of Organ Registration . 20
Registration Suggestions. 22
Suggested Memory Settings 28 PROLOGUE
Welcome to the Rodgers Organ Family. As the new owner of a TRIO, a future full of musical pleasure and delight is in store for you, every time you play.
This owner's guide will give some insight as to the musical design of your TRIO. It will also teach you how to registrate some of the most beautiful sounds ever heard from a self-contained organ.
-1- CONSOLE
The Rodgers TRIO has three 61-note keyboards and a full
32-note pedalboard. The tones of this organ range in pitch from a bass note lower than the lowest tones of the Tuba to a treble note beyond the highest tone of the orchestral Piccolo.
The TRIO ranges in pitch from three octaves below Middle C to five octaves above Middle c. A total range of eight octaves!
You will never find a note of music written for the organ that cannot be played on your Rodgers TRIO.
The TRIO is an Entertainment Organ designed for the horne.
Entertainment Organs, as Classic Organs, have keyboards (manuals) with a specific name relating to a musical function:
MANUAL ENTERTAINMENT ORGAN CLASSIC ORGAN
Upper Manual Solo Swell
Middle Manual Great Great
Lower Manual Accompaniment Choir
SOLO MANUAL
This manual is generally used for single-note melodies, because it provides voices which contrast the sounds of the
Accompaniment and Great. All four tone families are represented on the Solo Manual. Pitches range from the 16' Tibia Clausa to the 4' Piccolo.
-2- The real metal-bar Glockenspiel, mounted under the lid of the TRIO, is played from the Solo Manual. The Glockenspiel plays independently from the TRIO voicing controls (tremulants, sustains, etc.)
GREAT MANUAL
This manual is characterized by its large number of voices and pitches, special effects, and the big, full sounds reminis cent of the traditional Theatre Organ. In addition to all voice families at the 8' pitch, the Great Manual contains: four 16' stops (Post Horn, Tuba, Tibia Clausa and Vox Humana); three mutation stops (5 1/3' Tibia Quint, 2 2/3' Tibia Twelfth and
1 3/5' Tibia Tierce); and unison Tibias at 4', 2' and 1' pitches.
The Great Manual also contains four Tuned-Percussion stops
(Harp, Chimes, Harpsichord and Piano). The Harpsichord and
Piano may be used in combination with any other voice on the organ. The Piano ff tab increases the volume of both the Harpsi chord and Piano.
ACCOMPANIMENT MANUAL
This manual, is its name implies, is most often used for background accompaniment while the melody is played on the Solo or Great Manual. The Accompaniment voices are softer than those of the upper two manuals, providing a soft, yet full background for more subtle combinations used in the melody. The Accompani ment Manual contains each tone family at 8' pitch, plus a 4'
-3- Piccolo, a 4' Viol and four Traps (Snare Drum, Tambourine,
Chinese Block and Cymbal). For additional loudness, there is an Accompaniment ff stop tab which increases the volume of all
Accompaniment speaking voices (except the Traps).
PEDAL BOARD
Because the Rodgers TRIO Pedalboard is concave and radiating, a relaxed and natural swing of the legs brings your feet within easy reach of all 32 pedals. The TRIO Pedal provides a wide range of pitch and tonal color, including three Traps (Bass
Drum, Wood Block and Cymbal) . A separate Pedal Sustain tab controls the sustain of the pedal voices. The Pedal ff tab increases the volume of all Pedal voices (except the Cello and the three Traps) .
-4- SPEAKING STOP TABS AND VOICE FAMILIES
The speaking stop tabs are grouped on the stop rail as in a traditional Theatre Organ console. On the extreme left are the Pedal stop tabs, the Accompaniment stop tabs next; then the Great stop tabs and finally, on the extreme right, the Solo stop tabs.
Each speaking stop tab is engraved with the full name of the stop in italics at the top, the pitch designation (8', 4' etc.) in the middle and the abbreviation of the stop name in capital letters at the bottom.
The color of each stop tab indicates the voice family to which the stop belongs: White for Tibias, Flutes and Diapasons;
Amber for Strings; Red for Reeds; Gray for Percussions and Black for accent tabs (ff).
The footage designation of pitch on the stop tabs is from the system used in the building of pipe organs. An open pipe eight feet long produces the lowest tone (bottom C on the manual) of an 8' stop. The 8' stops are called the "Unison
Pitch 11 of the organ. That is, Middle C played with an 8' stop has the same pitch as Middle C on a piano. A 16' stop sounds an octave below the Unison Pitch; a 4' stop sounds an octave above; a 2' stop sounds two octaves above and a 1' stop sounds three octaves above the Unison Pitch.
-5- In addition to the octave sounding stops, there are the
"Mutation" stops:
5 1/3' Tibia Quint (sounds a fifth above Unison Pitch)
2 2/3' Tibia Twelfth (sounds an octave and a fifth above Unison Pitch)
1 3/5' Tibia Tierce (sounds two octaves and a third above Unison Pitch)
For example:
By playing Middle C on the Great with the 5 1/3' Tibia Quint on, the G above Middle C will sound. The 5 1/3' Tibia Quint, the 2 2/3' Tibia Twelfth and the 1 3/5' Tibia Tierce should never be played alone. The Tibia Tierce should only be used in combination with the 5 1/3' Quint or 2 2/3' Tibia Twelfth.
Mutations should be used with much discretion, and sparingly, unless a special effect is desired. Their function is to provide tonal color and shading.
VOICE FAMILIES
There are four families of organ tone: Tibias (Flutes),
Diapasons (Principals), Strings and Reeds. Each family has its own characteristics and purpose in the organ's tonal spectrum.
In addition, the TRIO includes both Tuned and Non-tuned Percus- sions, typical of fine Theatre Organs.
-6- TIBIAS (Flutes)
The powerful Tibia voices are the foundation tones of the
Theatre Organ. Traditionally, the Tibia voices attain their
unique character by a deep and fairly rapid Tremulant.
The Tibia is adaptable to a variety of uses:
As a single solo voice for a melody line;
As accompaniment for solo Strings and Reeds;
As the foundation tone in a full ensemble.
To take advantage of the versatility of Tibias, the TRIO
has Tibia voices at eight different pitches supplied by independent
and individually-tuned tone sources (oscillators).
DIAPASONS (Principals)
Just as the Tibias are the foundation tones of the Theatre
Organ, the Diapasons are the foundation tones of a Classic or
Church Organ. They are available on the TRIO at the 8' pitch
on all three manuals, and at the 16' and 8' pitches on the
pedal. For a characteristic Church Organ effect, use both the
4' Piccolo and the 8' Diapason with the Tremulants off. For a
richer sound, depress both the Main and Tibia Chorale stop tabs
and play.
STRINGS
Organ Strings resemble the sound of the String section in
a symphony orchestra. The tone contrasts the Tibia: It is thin,
keen, has many overtones, and has a limited fundamental tone.
-7- The Strings add "edge" to the organ ensemble, and "sing" when played alone.
The Solo String voice on the Solo Manual provides a beautiful Violin-like color in its upper register and a rich
Cello quality in the lower register.
Use of the Main Chorale stop tab gives the Strings the typical swaying motion or character of a large section of violins.
REEDS
The Oboe voice (often suggested for ballads in Theatre
Organ registrations) is plaintive, sombre, sweet--even haunting.
It is best used in combinations with the Tibias and Vox Hurnanas.
The Tuba is available at the 16' pitch on the Pedal, at the 8' pitch on the Solo and Accompaniment Manuals, and at 16' and 8' on the Great. It is one of the most colorful solo voices on the TRIO. The 16' Tuba with the Tibia at 16', 8' and 4' is an exceptionally pleasing and adaptable combination for melody lines, both single-note and in chords. In an ensemble, the Tuba at 16' and 8' pitches adds strength and solidity to the Tibias,
Diapasons and Strings.
The Vox Hurnana stop was originally designed to imitate the human voice. It is useful for solo playing when a soft, melancholy effect is desired. The Vox Hurnana blends well with both Tibias and Strings for solo and accompaniment playing.
It is available at 16' on the Great Manual and at 8' on the
-8- Accompaniment Manual. This stop is affected by the Tibia
Tremulant and Chorale stop tabs.
The Clarinet voice, closely resembling its orchestral counterpart, is often used as a solo stop as well as in ensemble registrations. The Clarinet should not dominate the tonal ensemble, as the Clarinet in an orchestra does not dominate the orchestral ensemble.
The Post Horn is the most brilliant of the Reed voices, with the piercing tone quality of an exceptionally bright
Trumpet. The Post Horn is not affected by any Tremulant. It plays at the 16' pitch on the Great Manual and the 8' pitch on the Solo Manual.
TUNED PERCUSSIONS
The Rodgers TRIO includes a fine Piano at unison pitch
(8') on the Great Manual. The Piano may be played by itself or in a combination with other stops. The Piano Sustain switch, located on the left side of the Expression Pedal, causes the
Piano sound to sustain. This feature is useful when you want the Piano to play a smooth melody. Without sustain, the Piano has a bright, crisp sound, which may be emphasized with the
Piano ff tab.
The Harpsichord is a delightful voice with an amazing resemblance to its mechanical cousin. Like the TRIO Piano, the Harpsichord is a complete musical instrument in itself.
The TRIO Chimes should be played one note at a time.
-9- When playing the Harp, you can create authentic Harp effects with rolling chords (arpeggios). Using the Harp and
Chimes automatically turns off the Tibia Tremulant and Chorale
Stops .
On the following page is the stop list of the TRIO.
-10- RODGERS TRIO
Voice Family Pedal Accanpaniment Great Solo
Diapason 16 1 Diaphone 8 1 Open Diapason 8 1 Open Diapason 8 1 Open Diapason 8 1 Open Diapason
String 8 1 Cello 8 1 Viol d 1 Orchestra 8 1 Viol d 1 Orchestra 8 1 Solo String 8 1 Salicional 4 1 Viol
Flute 16 1 Tibia Clausa 8 1 Tibia Clausa 16 1 Tibia Clausa (TC) 16 1 Tibia Clausa (TC) 16 1 Bourdon 4 1 Piccolo 8 1 Tibia Clausa 8 1 Tibia Clausa 8 1 Flute 5 1/3 1 Tibia Quint 4 1 Piccolo 4 1 Piccolo 2 2/3 1 Tibia Twelfth 2 1 Tibia Piccolo 1 3/5 1 Tibia Tierce 1 1 Tibia Fife
Reed 16 1 Tuba 8 1 Tuba 16 1 Post Horn 8 1 Post Horn 8 1 Vox Humana 16 1 Tuba 8 1 Tuba 16 1 Vox Humana 8 1 Ol:x:>e 8 1 Tuba 8 1 Clarinet 8 1 Oboe
Tuned Harp Glockenspiel Percussion Chimes Harpsichord Piano
Non-tuned &l.ssDrum Snare Drun Percussion Vb:x1 Block Ta:ml:x>urine (Traps) Cymbal Chinese Block Cymbal NON-SPEAKING STOP TABS AND SPECIAL FEATURES
VOICING AND SUSTAIN CONTROLS
Voicing Tabs, used for shading and general tonal balance, yield a flexibility that was not possible on traditional
Theatre Organs. When used, ff tabs increase the volume level of the specified voices. For example, hold a chord on the
Great Manual with the 8' Tibia Clausa, 4' Piccolo, 8' Oboe and 8' Diapason stops down. Now depress the Tibia ff tab and notice the proportional increase in Tibia loudness. The Main ff voicing tab emphasizes the Diapasons, Strings and Reeds ~ The
Pedal ff tab affects all voices in the Pedal Division (except the Cello and Traps). The Accompaniment ff tab affects all voices on the Accompaniment Manual (except the Traps).
The Tibia Bright tab accentuates the upper range of the
Tibias without increasing the loudness of the Tibias in the lower range, producing a brighter Tibia sound.
The Tibia Sustain tab causes the Tibia voices on the Great
Manual to sustain (take longer to fade after the key is ·released).
The Tibias on the Accompaniment Manual will also sustain if the
Accompaniment ff tab is depressed. Sustain adds a smooth, flowing effect to the Tibias. (The Tibia Sustain tab does not affect the Tibia voices on the Solo Manual.)
Depressing the Pedal Sustain tab increases the decay time
-11- of Pedal voices after the pedal key is released.
Summary
Main ff Increases volume of manual and pedal Strings Increases volume of manual Diapasons and Reeds
Tibia ff Increases volume of all Tibia voices
Tibia Bright Increases brightness of the Tibia voices in the upper range
Pedal ff Increases volume of pedal voices (except Cello and Traps)
Accompaniment ff Increases volume of accompaniment voices (except Traps) When used with Tibia Sustain will cause Tibias on Accompaniment Manual to sustain
Piano ff Increases volume of both Harpsichord and Piano
TREMULANTS
Tibia Chorale Slow, undulating motion affecting Tibias and Vox Human as
Tibia Tremulant Fast and deep vibrato affecting both Tibias and Vox Human as
Main Chorale Slow, undulating motion affecting Diapasons, Strings and Reeds except Post Horn and pedal 16' Tuba
Main Tremulant Fast and deep vibrato affecting Diapasons, Strings and Reeds except Post Horn and pedal 16' Tuba
-12- COMBINATION ACTION
One of the exciting features of the TRIO is a combination
action that is adjustable from the console. This enables the
organist to select favorite registrations and to make rapid
changes of tone color.
The Rodgers TRIO uses a system of Programmable Presets.
There are eight General Preset Pistons that control the stop
tabs on the organ. These pistons are duplicated by eight Toe
Studs. The stops will not physically move when Pistons 1
through 8 are depressed, but the sound will change according
to what stops are selected. The lighted pistons make it easy
for the organist to see which piston(s) are engaged. These
pistons are also Double Touch. When lightly pressed each
piston will add to any other piston(s) already selected. When
fully depressed, each piston will engage only itself.
NOTE: For the stop tabs to function the Stop Rail piston
must be illuminated. To activate the Stop Rail, simply press
the Stop Rail piston.
How to set the presets:
1. Firmly push the Stop Rail piston.
2. Select your registration and put the stop tabs down.
3. Push the Set piston and hold.
4. While pushing the Set piston, push the desired piston
(1-8) and then release both pistons simultaneously.
Stops can be added to your preset combination while playing by
simply lightly pressing the Stop Rail piston and putting down
-13- the stop tabs you want to add.
On the Great Manual piston rail there is a General Cancel piston which will cancel all stops on the organ. For the organ to play again you must push the Stop Rail piston or any of the
Programmable Preset Pistons.
EXPRESSION PEDAL
The Expression Pedal controls the over~all volume or loudness of your TRIO. It is used to give variety of expression to the music played. Pressing the pedal forward increases the volume. Drawing back on the pedal decreases the volume. The
Expression Pedal affects all stops on the organ, except the
Glockenspiel.
The Piano Sustain switch is located on the left side of the Expression Pedal. Pushing it to the left, with your foot, causes the Piano sound to sustain.
REVERBERATION
The Rodgers TRIO is equipped with Reverberation. The control for the amount of reverberation is conveniently located at the right end of the Great Manual. Careful use of this feature will compensate for poor acoustical conditions.
HEADPHONE JACK
The Headphone Jack is located under the keydesk to the right of your right knee when seated at the console. When the
-14- headphones are connected, the internal speaker system will be automatically turned off.
AUXILIARY SPEAKERS
Additional speakers can be plu~ged into your TRIO. See your authorized Rodgers dealer for recommendations and assistance.
RHYTHMAKER & TRAPS
The exclusive Rhythmaker is a very musically useful auto matic rhythm unit. It provides rhythm patterns in the same manner as a live percussionist by providing a complete four measure pattern and is the first unit available to do so without complicated mechanical functions .
The eight Rhythmaker pistons are on the Solo Manual piston rail. To activate the unit either depress the "Rhythm" piston or depress the "Ready" piston and play on the Accompaniment Manual. or Pedalboard. To stop the Rhythmaker simply depress the "Rhythm" piston or the "Ready" piston. Depressing the "Rhythm" piston will cause the automatic rhythm to begin immediately. Depres
sing the "Ready" piston will delay the automatic rhythm's beginning until a Pedal note is played or notes are played on the Accompaniment Manual.
There is a control for the tempo of the Rhythmaker at the
left end of the Great Manual. You will find a control for the volume at the left end of the Accompaniment Manual.
As the Rhythmaker proceeds through its patterns, you are
-15- aware what beat is sounding at all times because a digital counter on the stop rail automatically indicates the beat together with a flashing "downbeat indicator."
The Rodgers TRIO has a complete set of Traps (Non-tuned
Percussion) which are playable on the Pedal and Accompaniment
Manual. These include the Bass Drum, Wood Block, Cymbal,
Snare Drum, Tambourine and Chinese Block.
-16- CARE AND MAINTENANCE OF YOUR RODGERS TRIO
As with any fine musical instrument, reasonable care is necessary to protect your investment in your Rodgers TRIO.
Normally, you should experience no difficulties, because your
organ has been carefully designed, and only the finest component
parts are used in its manufacture. Even the finest equipment,
however, is subject to occasional service. Your Rodgers
Representative is fully equipped and qualified to handle any
service problems which may arise.
Your new Rodgers TRIO is not only a fine musical instrument,
but also a fine piece of custom made furniture, finished to
hold its attractiveness through generations of use. Only the
best woods are used, carefully checked for uniformity of grain
and intensity of figure and carefully hand assembled. As
each finish coat is applied, it is thoroughly dried and hand
rubbed before the next coat is applied. This hand rubbing
results in a finish that is lasting and easy to keep looking
beautiful. Following are a few tips on caring for your Rodgers
TRIO.
CONSOLE AND PEDALBOARD
A frequent dusting with a soft, clean cloth is usually all
that is required. For a lacquered finish, a small amount of
-17- Guardsman's Polish on the cloth will keep the organ smudge free and help remove fingerprints. Waxes, oils, or silicone base polishes should not be used. Always wipe the surfaces with the grain, using straight, even strokes.
KEYBOARDS AND STOP TABS
Keyboards and stop tabs should be cleaned with a soft cloth dampened with water and a mild soap. DO NOT USE SOLVENTS
(alcohol, gasoline, carbon tetrachloride, etc.)
Since extreme cold, heat or exposure to sunlight may injure the finish of any fine piece of furniture, neither the console nor finished speaker cabinets should be placed over a heat register or near an open window.
LEVELING GLIDES
To assure optimum performance and life of the moving parts of the console, it should always be level. Uneven floors tend to distort the case over a period of time, and extreme stresses will damage the casework and equipment. The leveling glides are under each corner of the console and bench and are mounted on heavy threaded pins. These may be adjusted as much as 1 1/2 inches to compensate for irregularities in the floor. A simple spirit level can assure the most accurate settings.
-18- RODGERS FIVE-YEAR LIMITED WARRANTY
The Rodgers Organ Company warrants every part of your Rodgers console against defective materials or workmanship for a period of five years beginning on the date of purchase. IT IS IMPORTANT
THAT YOU COMPLETE THE WARRANTY REGISTRATION CARD ATTACHED TO THIS
MANUAL AND RETURN IT TO US TO VALIDATE YOUR WARRANTY.
Rodgers' Limited Warranty provides any needed replacement parts during its five-year term. tabor in connection with the replacement of parts is not covered by the factory warranty.
Contact your authorized Rodgers dealer for details on his labor warranty.
Complete factory warranty terms are spelled out in the
Rodgers Limited Warranty certificate available at your Rodgers dealer or mailed to you upon receipt of your Warranty Registration
Card.
-19- THE ART OF ORGAN REGISTRATION
Masters of the organ thrill audiences with their technical ability at the keyboards and their own unique style of playing.
You can share some of this magic from the very first day the
TRIO comes into your life.
While no musical instrument can turn a non-musical person into a virtuoso, this much we do promise: If you play the piano or organ and enjoy playing (how well you play is of little importance), the Rodgers TRIO will give you more pleasure, more fun, and more music from the very first time you sample its sounds. Ease of playing is designed into the organ. A few hints on Registration will help you get the most from it.
Registration is the selection of stop combinations.
Experimentation and imagination will develop your ability to find the most pleasing registrations for the music you are playing. In developing interesting registrations, always try to find tone qualities that identify individual voices. Listen and compare different stops and their characteristic qualities when played in chords as well as single-note melodies. Play, listen and compare until you can identify any voice you hear without looking to see which stop tab is down.
Next, become familiar with the effects resulting from combinations of various voices at various pitches. You will
-20- soon know which stops work well together and which do not. When you have become familiar with the sounds of your Rodgers TRIO, registration will become one more source of pleasure and satisfaction.
To help you get started, look at and play with the registration suggestions starting on the next page. Take your time, relax and, most of all, have fun!
-21- REGISTRATION SUGGEsriONS
MARCHES Marching Band ensemble played on Great and Accarpaniment Manuals with Piccolo and Glockenspiel solo on Solo Manual.
Pedal Acoorrpaniment Great Solo
16 1 Diaphone 8 1 Open Diapason 16 1 Tuba 4 1 Piccolo 16 1 Tibia Clausa 8 1 Tibia Clausa 16 1 Tibia Clausa Glockenspiel 8 1 Open Diapason 8 1 Viol d 1 Orchestra 8 1 Open Diapason 8 1 Flute 4 1 Viol d 1 Orchestra 8 1 Tibia Clausa 8 1 Olx>e 8 1 Viol d 1 Orchestra 4 1 Piccolo 2 1 Tibia Piccolo
Tibia Tremulant ON
Keeping the Main Tremulant off gives additional crispness and clarity. For passages where notes are held for a fairly long duration, add the Main Tremulant.
SHOWI'UNES
Pedal Great Solo
16 1 Diaphone 8 1 Tuba 16 1 Tuba 8 1 Tuba 16 1 Bourdon 8 1 Open Diapason 16 1 Tibia Clausa 8 1 Open Diapason 8 1 Open Diapason 8 1 Tibia Clausa 8 1 Open Diapason 4 1 Piccolo 8 1 Flute 4 1 Piccolo 8 1 Tibia Clausa 8 1 Cello 8 1 Clarinet 8 1 Viol d 1 Orchestra 5 l/3 1 Tibia Quint 4 1 Piccolo 2 1 Tibia Piccolo 1 1 Tibia Fife
All Tremulants ON
Play melody on upper half of the Great Manual and contrast this tonal color by alternating on lower half of the Solo Manual.
-22- ROCK OR POP ORGAN
Pedal Accarpaniment Great Solo
16 1 Tibia Clausa 8 1 Tibia Clausa 16 1 Tibia Clausa 8 1 Oboe 8 1 Open Diapason 5 1/3 1 Tibia Quint 8 1 Solo String 8 1 Flute 4 1 Piccolo Pedal Sustain 2 1 Tibia Piccolo 1 3/5 1 Tibia Tierce 1 1 Tibia Fife
Tibia Chorale ON
Use for fast jazzy tunes. The familiar rich flute mutation sound is on th= Great with a contrasting solo registration on the Solo Manual. This is not recatmended for any tune with long note values.
BRIGHI' SYNTHESIZER SOJNDS
Pedal Accarpaniroent Great Solo
16 1 Tuba 8 1 Viol d 1 0rchestra 16 1 Vox Humana 8 1 Solo String 8 1 Cello 8' Salicional 8 1 Viol d 1 Orchestra 4 1 Piccolo Pedal Sustain 4 1 Viol 4 1 Piccolo Accanpan:iJrent ff 1 1 Tibia Fife 8 1 Harpsichord Piano ff
No Tremulants Tibia Sustain ON
NOVELTY TUNES
The outstanding characteristic that will add spice to any novelty trme is the subtle use of orchestral colors as solo voices. Keep in mind that instruments such as the Oboe and Clarinet are capable of sounding only one note at a time. So unless a Clarinet trio is desired, play only one note at a time for the nost realistic llnitation.
PlAID SOLO with FLUI'E .A Pedal Accanpaniment Great Solo 16 1 Bourdon 8 1 Tibia Clausa 8 1 Piano 16 1 Tibia Clausa 8 1 Flute 4 1 Piccolo Piano ff 4 1 Piccolo Tibia Trernulant ON -23- PIANO ACCCMPANJMENI' and TIBIA VOX SOWS Pedal Accompaniment Great Solo 16 1 Bourdon 8 1 Tibia Clausa 8 1 Piano 16 1 Tibia Clausa 8 1 Flute 8 1 Vox Humana 8 1 Tibia Clausa 4 1 Piccolo 4 1 Piccolo Accanpaniment ff Tibia Trerrulant 00 Play the melody on the Acc:orrparriment Manual with the right hand and accanpany with the left hand on the Great Manual. VIOLIN SOW with HARP ACCG1PANIMENr Pedal Accornpanirrent Great Solo 1 1 1 16 Bourdon 8 Tibia Clausa 16 i Vox Humana 8 Solo String Pedal Sustain 4 1 Piccolo 8 1 Tibia Clausa Accarpanin'ent ff 2 1 Tibia Piccolo Tibia Sustain ON All Tremulants 00 Play the Harp accanpaniment on the Accanpaniment Manual. For maximt.:m effect arpeggiate and play notes of short duration (staccato) to contrast the legato melody lines. SMALL JAZZ C Pedal Accompaniment Great Solo (String Bass) (Accordion) (Piano) (Vibes) 8 1 Flute 8 1 Open Diapason 8 1 Piano 8 ' Tibia Clausa 8 1 Cello 8 1 Viol d 1 0rchestra Piano ff Glockenspiel Pedal Sustain Tibia Tremulant ON -24- SOLO VOICES Great Trumpet 81 Tuba 81 Oboe Clarinet 81 Clarinet Flute 4 I Piccolo 21 Tibia Piccolo 'Any accanpan.iment stops can be used with solo voices keeping in mind the solo voice will have :rrore distinction if the accanpaniment voices provide a subtle contrasting base. w::x:>DWIND COMBINATICN with ~KENSPIEL SOLO Pedal Accanpanilrent Great Solo 8 1 Flute 8 1 Open Diapason 8 1 Oboe 4 1 Piccolo 8 1 Cello 8' Clarinet Glockenspiel 4 1 Piccolo Tibia Trernulant ON .BALLADS Plaintive Tibia Vox melody line with contrasting solo voices on Solo Manual. Pedal Accarpan.iment Great Solo 16 1 Bourdon 8 1 Open Diapason 16 1 Tibia Clausa 8 1 Tuba 8 1 Flute 4 1 Piccolo 16 1 Vox Humana 4 1 Piccolo 4 1 Piccolo All Tremulants CN -25- BARITONE SOID on Great Manual with STRING CHORUS .Aeea-1PANIMENT Pedal Accanpaniment Great Solo 161 Bourdon 81 Viol d 10rchestra 161 Tuba 8 1 Tibia Clausa 81 Cello 81 Salicional 81 Open Diapason 41 Piccolo 81 Vox Humana 81 Tibia Clausa 41 Piccolo 41 Piccolo 41 Viol All Tranulants ON MUTATION SPEX.:IAL Pedal Accanpanim:mt Great Solo 16 1 Bourdon 8 1 Open Diapason 16 1 Vox Humana 16 1 Tibia Clausa 8 1 Flute 8 1 Tibia Clausa 8 1 Tibia Clausa 8 1 Tibia Clausa 8 .- Viol d 1 Orchestra 4 1 Piccolo 5 l/3 1 Tibia Quint 1 1 Tibia Fife All Trenulants ON Play single note melody in middle register of Great Manual. If chords are desired, play on the upper half of the Great Manual or in the same register of the Solo Manual. TENOR SOLO Pedal Acccmpanirrent Great Solo 16 1 Tibia Clausa 8 1 Open Diapason 8 1 Tuba 8 1 Oboe 8 1 Open Diapason 8 1 Salicional 8 1 Open Diapason 4 1 Piccolo 4 1 Piccolo 8 1 Tibia Clausa 8 1 Clarinet 4 1 Piccolo 2 2/3 1 Tibia Twelfth All Tremulants ON Play melody on the lower half of the Great Manual. -26- HYMN RffiiSTRATICNS GOSPEL SCNGS Pedal Aca:xrpaniment Great Solo 16 1 Diaphone 8 1 Open Diapason 16 1 Tuba 8 1 Tuba 16 1 Tibia Clausa 8 1 Tibia Clausa 16 1 Tibia Clausa 8 1 Open Diapason 8 1 Open Diapason 8 1 Viol d 1 0rchestra 8 1 Open Diapason 8 1 Tibia Clausa 8 1 Flute 4 1 Piccolo 8 1 Tibia Clausa 4 1 Piccolo 8 1 Clarinet 8 1 Viol d 1 Orchestra 4 1 Piccolo 2 1 Tibia Piccolo All Trenrulants ON CHURCH ORGAN Pedal Accanpanirnent Great Solo 16 1 Diaphone 8 1 Open Diapason 8 1 Open Diapason 8 1 Tuba 16 1 13ourdon 8 1 Viol d 1 Orchestra 8 1 Tibia Clausa 8 1 Solo String 8 1 Open Diapason 4 1 Piccolo 8 1 Viol d 1 0rchestra 8 1 Flute 4 1 Piccolo 2 1 Tibia Piccolo Tibia Chorale and Main Chorale ON The Acccmpaniroent and Great Manuals provide the essential Diapason-Flute ch:>rus. The Solo Manual is registered for a solo reed that is m::>st cc:moc>nly used for the melody only, played in the tenor register (octave below middle C) on the Solo Manual. CHIMES with STRING ACCCI1PAN1MENT Pedal Accanpa.niment Great Solo 16 1 Tibia Clausa 8 1 Viol d 1 Orchestra Chimes 16 1 Tibia Clausa 8 1 Open Diapason 8 1 Salicional 8 1 Tibia Clausa 4 1 Piccolo Main Chorale ON Tibia ff ON Tibia Bright ON -27- SUGGESTED MEMORY SETTINGS On the following pages are complete, suggested piston settings for the Rodgers TRIO. You will find these combinations useful for pieces requiring soft solos all the way up to full organ. These are only suggestions, however. You may set the pistons with any combinations you desire. See Page 13 for instructions. -28- RODGERS TRIO Generals Piston 1 Pedal: 16 1 Bourdon Piston 3 Great: 16 1 Tibia Clausa (cqnt 1 d) 16 1 Vox Humana Accanp: 8 1 Open Diapason 8 1 Tibia Clausa 8 1 Viol d 1 Orchestra Great: 16 1 Vox Humana 4 1 Piccolo 8 1 Viol d 1 Orchestra 2 1 Tibia Piccolo 4 1 Pica:>lo 2 1 Tibia Piccolo Solo: 8 1 Tuba 8 1 Open Diapason Solo: 16 1 Tibia Clausa 4 1 Piccolo 4 1 Piccolo Piston 4 Pedal: 16 1 Diaphone Pistcn 2 Pedal: 16 1 Bourdon 16 1 Tibia Clausa 8 1 Flute 8 1 Open Diapason 1 I 8 Flute N 1 1 1.0 Accx::mp: 8 Open Diapason 8 Cello I 8 1 Tibia Diapason Accanp: 8 1 Tuba Great: 16 1 Tibia Clausa 8 1 Open Diapason 16 1 Vox Humana 8 1 Tibia Clausa 4 1 Piccolo 8 1 Salicianal 4 1 Piccolo Solo: 8 1 Tibia Clausa 4 1 Viol 4 1 Piccolo Great: 16 1 Tuba 16 1 Tibia Clausa Piston 3 Peial: 16 1 Tibia Clausa 8 1 Tuba 8 1 Open Diapason 8 1 Open Diapason 8 1 Flute 0 8 1 Tibia Clausa 8 1 Oboe Accarp: 8 1 Open Diapason 8 1 Viol d 1 0rchestra 8 1 Tibia Clausa 4 1 Piccolo 8 1 Salicianal 2 1 Tibia Piccolo 4 1 Picoolo 1 1 Tibia Fife 4 1 Viol Solo: 8 1 Post Horn 8 1 Tuba 4 1 Piccolo RODGERS TRIO (cont 'd) Generals Piston 5 Pedal: 16 1 Tibia Clausa Piston 7 Solo: 4 1 Piccolo 16 1 Bourdon (cant 1d) Glockenspiel 8 1 Flute Accx:xnp: 8 1 Open Diapason Piston 8 Pedal: 16 1 Bourdon 8 1 Tibia Clausa 16 1 Tibia Clausa 8 1 Salicional Accanp: 8' Tibia Clausa Great: 8' Tuba 8 1 Salicional 8 1 Open Diapason 8' Open Diapason 8' Tibia Clausa 8' Clarinet Great: 8' Clarinet 4 1 Piccolo 8 1 Oboe 2 2/3 1 Tibia Twelfth 4 1 Piccolo 1 1 I Solo: 8 Open Diapason Solo: 8 Post Horn w 1 1 0 4 Piccolo 4 Piccolo I Pistcn 6 Pedal: 16 1 Bourdon Accarp: 8 1 Tibia Clausa Great: 16 1 Vox Humana 8 1 Tibia Clausa Solo: 8 1 Solo String Piston 7 Pedal: 16 1 Bourdon 8 1 Flute Pedal SUstain Accanp: 8 1 Open Diapason Great: 8 1 Piano