Pipe Up! Let It Resound! an Introduction to the Pipe Organ for Pre-School Through Grade 5
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Hammond XK-1C Owner's Manual
*#1 Model: Th ank you, and congratulations on your choice of the Hammond Draw- bar Keyboard XK-1C. Please take the time to read this manual completely to take full advantage of the many features of your XK-1C; and please retain it for future refer- ence. MENU / EXIT VA L U E VOLUME AMOUNT RECORD ENTER 1 23 4 5 6 7 8 MANUAL Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. Refer all servicing to your retailer, the nearest Ham- when: mond Dealer, or an authorized Hammond distributor, Th e AC adaptor, the power-supply cord, or the as listed on the “Service” page. -
Buzard Pipe Organ Builders, Opus 41 Trinity Lutheran Church, Sheboygan, Wisconsin
Cover feature The console Winding system showing stop action trundles above Buzard Pipe Organ Builders, a synthesis of these colors into the well- Trinity Lutheran Church’s director of we draw upon an intimate knowledge Champaign, Illinois precedented framework of classic organ- music, Brian Heinlein. We were asked of many styles and schools of voicing, as Opus 41, Trinity Lutheran Church, building, not from a rejection of the to create the quintessential “Lutheran well as aspects of tonal design, for the Sheboygan, Wisconsin lessons the Organ Reform Movement organ” for Trinity parish’s expansive and particular musical contexts at hand. Add taught. An organ for Lutheran worship impressive music program, combining to that sensitivity for one’s individual From the artistic director must be classically conceived, with a the overall effect of our own “house style and you have the making of art. Sometimes great new organs result hierarchical ordering of the divisions style” with the specific items that dif- Ours is one of few modern commercial when materials from older instruments and the choruses within those divisions. ferentiate the two. The result of the full organbuilding firms that dares to believe are recrafted and repurposed. Many (Oh . but that’s also how we go about organ, and the ability to make seamless it can create a unique place in the pro- of the best builders throughout history designing an Anglican organ as well . .) crescendos and diminuendos, is that fession and its history by developing an have reused former instruments to vary- The greatest artists throughout his- of a Buzard organ—one simply gets to individual artistic style. -
The Fabulous 'Beer Can' Organ
Now the organist could practice his BOMBARDENostalgia selections for the morrow and the organ committee members need never know that a lowly beer can was making THE FABULOUS it possible. The incident got Art Stopes to think ing about beer cans and organs. Per 'BEER CAN' ORGAN haps these beer cans had special quali ties which merited further investigation. Story by Stu Green Photo Copying by Bill Lamb He wondered how the plated ferrous metal from which they are stamped Art Stopes has led a colorful life, But if one were to ask Art about the would compare with pipe metal tonally. by any man's standards, and especially adventure which stands out in bold Tone from beer cans? You've gotta be those of organ enthusiasts. His entire relief as the most memorable, he'll an out of your skull, Art Stopes! life, since the age of 15 has been domi swer without hesitation, "my beer can The idea not only persisted but de nated by pipe organs - and he's still organ!" veloped. Soon Art knew that he was going strong. The year was 1942 and Art was in going to build some sort of a wind Art got his "baptism of fire" when stalling an organ in a Philadelphia church. It had to be ready for a dedi blown instrument, and the music would he was apprenticed to the Aeolian come from beer cans! Organ Co., in Garwood, New Jersey, cation concert the next day and time Being a craftsman, Art Stopes first just after his 15th birthday. -
2017 Pipe Organ Report
ORGAN REPORT 2604 N. Swan Blvd., Wauwatosa, WI 53226 JUNE 1, 2017 “Beauty evangelizes, and a new organ will strengthen the Christ King mission to proclaim Christ and make disciples in the world.” Table of Contents A Letter From the Organ Committee.................Pg. 2 The Organ Committee Process..........................Pg. 3 Addendum 1 of 2: Riedel Organ Condition Report..................Pg. 4-15 Addendum 2 of 2: Type of Organs.............................................Pg.16-20 From theTHE Committee... PIPE ORGAN AT CHRIST KING PARISH The Organ Committee at Christ King Parish was formed in 2015 at the request of the Pastoral Council and the Worship Committee to evaluate the condition of our current organ, plus its present and future role in our community. This report will provide details on the failing condition of our organ, the cost for refurbishment vs the cost of replacing the instrument and the vetting of organ building companies. In 2007, the United States Conference of Catholic Bishops (USCCB) issued a document entitled, “Sing to the Lord: Music in Divine Worship”. Drawing from several centuries of organ use in the Catholic Church the Bishops stated the following about organs: 87. Among all other instruments which are suitable for divine worship, the organ is “accorded pride of place” because of its capacity to sustain the singing of a large gathered assembly, due to both its size and its ability to give “resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation.” Likewise,” the manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God” 88. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 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]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
About the RPT Exams
About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice. -
Roland AX-Edge Parameter Guide
Parameter Guide AX-Edge Editor To edit the tone parameters of the AX-Edge, you’ll use the “AX-Edge Editor” smartphone app. You can download the app from the App Store if you’re using an iOS device, or from Google Play if you’re using an Android device. AX-Edge Editor lets you edit all the parameters except system parameters of the AX-Edge. © 2018 Roland Corporation 02 List of Shortcut Keys “[A]+[B]” indicates the operation of “holding down the [A] button and pressing the [B] button.” Shortcut Explanation To change the value rapidly, hold down one of the Value [-] + [+] buttons and press the other button. In the top screen, jumps between program categories. [SHIFT] In a parameter edit screen, changes the value in steps + Value [-] [+] of 10. [SHIFT] Jumps to the Arpeggio Edit screen. + ARPEGGIO [ON] [SHIFT] Raises or lowers the notes of the keyboard in semitone + Octave [-] [+] units. [SHIFT] Shows the Battery Info screen. + Favorite [Bank] Jumps between parameter categories (such as [SHIFT] + [ ] [ ] K J COMMON or SWITCH). When entering a name Shortcut Explanation [SHIFT] Cycles between lowercase characters, uppercase + Value [-] [+] characters, and numerals. 2 Contents List of Shortcut Keys .............................. 2 Tone Parameters ................................... 19 COMMON (Overall Settings) ............................. 19 How the AX-Edge Is Organized................ 5 SWITCH .............................................. 20 : Overview of the AX-Edge......................... 5 MFX ................................................. -
Hammond SK1/SK2 Owner's Manual
*#1 Model: / STAGE KEYBOARD Th ank you, and congratulations on your choice of the Hammond Stage Keyboard SK1/SK2. Th e SK1 and SK2 are the fi rst ever Stage Keyboards from Hammond to feature both traditional Hammond Organ Voices and the basic keyboard sounds every performer desires. Please take the time to read this manual completely to take full advantage of the many features of your SK1/SK2; and please retain it for future refer- ence. DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E ORGAN TYPE PLAY NUMBER NAME PATCH ENTER DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E Bourdon OpenDiap Gedeckt VoixClst Octave Flute Dolce Flute Mixture Hautbois ORGAN TYPE 16' 8' 8' II 4' 4' 2' III 8' PLAY NUMBER NAME PATCH ENTER Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. -
@ß Muënmumumm , ¿Mam/Fa @Waff/Wa .Ym/244C? ¿Aßëffä INVENTOR
Sept. 23, 1969 c. e. G. BARRETO 3,468,209 APPARATUS FOR FACILITATING THE PLAYING OF MUSICAL ÍNSTRUMENTS l' ZZA @ß muënmumumm , _ ¿Mam/fa @waff/wa .ym/244C? ¿Aßëffä INVENTOR. BY ,f/j n Sept. 23, 1969 c. G. G. BARRET@ 3,468,209 APFARATUS FOR FACILITATING THE PLAYING OF' MUSICAL INSTRUMENTS Filed Feb. 14, 1956 ' 3 Shee‘bS--Shee'Cl f3 44 ¿i d5 5f 5a /74 g4 54 5f 5/ @à 5f @Ö ¿l /1/ ¿,4 ¿E / /04 ¿0 60 ¿g ./‘762 4f ¿ß 5A 55 'Y di / 5/ ¿A 54 ¿f ¿i Sept. 23, 1969 c. G. G. BARRETo 3,468,209 APPARATUS FOR FACILITATING THE PLAYING OI“ MUSICAL XNSTRUMENTS Filed Feb. 14, 1956 3 Sheets-Sheet £5 AA E30@C) O @QGQOQOGGQG OGGGQQGC) @5 GOOOOGCDOPd f7@ 5. 5 @wêêê @0G00 f7@ 7a).v 3,468,209 United States Patent O ” Patented Sept. 23, 1969 1 2 spond to the sounds C, D, E naturals, F sharp, G sharp 3,468,209 and A sharp, respectively. That is to say, this row is formed APPARATUS FOR FACILITATING THE PLAYING by the keys that correspond to a scale of six sounds which OF MUSICAL INSTRUMENTS are between themselves at equal ascendant intervals of Clodoveo Guillermo Gonzalez Barreto, Caldas 484, one tone, from left to right, starting with key 10, which Quito, Ecuador is for the sound C natural. It is understood that key 13 Filed Feb. 14, 1966, Ser. No. 527,198 or F sharp can be considered enharmonically like G flat; Int. Cl. G10c 3/12; G10d 11/00 p key 14 or G sharp like A flat; and key 15 or A sharp like U.S. -
From Basement to Barcheston Paul Hale
something old, something new FROM BASEMENT TO BARCHESTON Paul Hale This is the story of the organ now to be found in the delightful Warwickshire church at Barcheston. It begins in 1973, when Longstaff & Jones (Telford-based organ-builders and maintainers) advertised in the organ press that they would like to build a new, small pipe organ. Geoffrey Holroyde had yearned for some time for a small house organ for regular practice, so Longstaff & Jones were soon engaged to build for him a compact instrument, using direct-electric action. The successful design consisted of four ranks of pipes (and a quiet electronic pedal Bourdon) providing two manuals and pedals, with no couplers thereby avoiding too much extension with its attendant ‘missing notes’. Tickell case design for Barcheston The carefully chosen vintage ranks of pipes were: A Wooden stopped Gedackt 8ft extended to 4ft 68 pipes B Open metal (stopped from TC down) 8ft 56 pipes C Smaller scale open metal 4ft extended to 2ft 68 pipes D Oboe (for the Pedal Organ) 8ft 30 pipes Specification: Lower manual B8ft A8ft C4ft A4ft C2ft Upper manual C8ft (bottom octave from B) A8ft C4ft A4ft Barcheston Church looking East Pedal 16ft D8ft B8ft A8ft B4ft A4ft C2ft 48 • March 2020 something old, something new The opening recital in Geoffrey’s house was given by the youthful Edward Higginbottom, who before Cambridge had played for Geoffrey’s flourishing choir at St Mary’s Collegiate Church, Warwick. In 1979, Geoffrey and his, by then, large family moved to a spacious Victorian four-storey house. -
Cathedral Chimestm
32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance. -
A New History of the Carillon
A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars.