The Longwood Organ Aeolian (Opus 1726) 1929-1930, Rebuilt 1957-1959, 2004-2013 (Console 2000-2001)

Total Page:16

File Type:pdf, Size:1020Kb

The Longwood Organ Aeolian (Opus 1726) 1929-1930, Rebuilt 1957-1959, 2004-2013 (Console 2000-2001) The Longwood Organ Aeolian (Opus 1726) 1929-1930, rebuilt 1957-1959, 2004-2013 (Console 2000-2001) GREAT- Manual II SWELL - III SOLO - IV FANFARE (IV and 16' Double Diapason 16' Viola Diapason 8' Open Diapason floating) 16' Bourdon 16' Melodia 8' Stentorphone 8' Trumpet Harmonique 8' First Diapason 8' Open Diapason 8' Tibia Plena 8' Trumpet Militaire 8' Second Diapason 8' Phonon Diapason 8' Doppel Flute 8' Post Horn 8' Third Diapason 8' Horn Diapason 8' Philomela 4' Trumpet 8' Fourth Diapason 8' Geigen Diapason 8' Gross Gamba Tremolo 8' Tibia Clausa 8' Viola di Gamba 8' Gamba Celeste 8' Gamba 8' Viole d'Orchestre 4' Orchestral Flute 8' Gemshorn 8' Gamba Celeste 4' Octave PERCUSSION (floating) 8' Major Flute 8' Viole Celeste Mixture V 8' Harp I (unenclosed) 8' Melodia 8' Salicional 2 2/3' Twelfth (V) 8’ Harp II (unenclosed) 4' First Octave 8' Voix Celeste 2' Fifteenth (V) 4' Harp I (unenclosed) 4' Second Octave 8' Claribel Flute 1 1/3' Nineteenth (V) 4’ Harp II (unenclosed) 4' Flute Harmonique 8' Rohr Flute 1' Twenty-second (V) 8' Xylophone 3 1/5' Tenth 8' Flauto Dolce 2/3' Twenty-sixth (V) 4' Xylophone 2 2/3' Twelfth 8' Flute Celeste 16' Tuba Profunda 8' Celestial Harp 2' Fifteenth 4' Octave 8' Tuba Mirabilis 8' Harp Vibrato Mixture V 4' Transverse Flute 8' Tuba Sonora 8' Glockenspiel (single) 16' Double Trumpet 4' Violina 8' French Horn 8' Glockenspiel (repeat) 8' Trumpet Harmonique 2' Flautino 8' English Horn Chimes 4' Clarion Grand Mixture V 8' Bell Clarinet Celesta Tremolo 4' Octave (V) 8' Orchestral Oboe Triangle 2 2/3' Twelfth (V) 8' Kinura Tambourine 2' Fifteenth (V) 8' Solo Vox Humana Castanets CHOIR - I 1 1/3' Nineteenth (V) 4' Tuba Clarion Tom Tom 16' Contra Gamba 1' Twenty-second (V) Tremolo Snare Drum (tap) 8' Open Diapason Dolce Cornet IV Snare Drum (roll) 8' English Diapason 16' Posaune Cymbals 8' Geigen Diapason 16' Vox Humana STRING (floating) Tympany (tap) 8' Viola 8' Vox Humana (P) 16' Contrabasse Tympany (roll) 8' Dulciana 8' Vox Humana (F) 16' Contra Salicional Bass Drum 8' Hohlflöte 8' Corno di Bassetto 8' Viole d'Orchestre Oriental Gong (crash or 8' Spitzflöte 8' Cornopean 8' Viole Celeste roll) 8' Nachthorn 8' French Trumpet 8' Violoncello Zimbelstern (unenclosed) 8' Quintadena 8' Oboe 8' Violoncello Celeste Glockenstein 4' Principal 4' Clarion 8' Viola d'Amore (unenclosed) 4' Flute Triangular Tremolo 8' Viola Celeste Nightingale Mixture III 8' Violino Sordo Tuned Sleighbells (single) 2 2/3' Nazard (III) 8' Violino Celeste Tuned Sleighbells (repeat) 2' Piccolo (III) 8' Salicional (sleighbells unenclosed) 1 3/5' Tierce (III) 8' Voix Celeste 1 1/7' Septieme 8' Viola di Gamba 16' Fagotto 8' Viola Celeste 8' Orchestral Trumpet 8' Viola Sorda 8' Musette 8' Viola Celeste 8’ Saxophone 4' Violina 8’ Clarinet 4' Salicet 8’ Corno d’Amore 4' Gambetta 8' Oboe d’Amore 8' Vox Humana Tremolo 16' Piano 8' Piano 4' Piano Tremolo The Longwood Organ Aeolian (Opus 1726) 1929-1930, rebuilt 1957-1959, 2004-2013 (Console 2000-2001) PEDAL (unenclosed) 80 COUPLERS INCLUDE… FOOT CONTROLS 64' Gravissima (resultant) The usual 16, 8, 4, unison off Toe Studs: 32' Double Diapason couplers Next: 1 32' Contra Bourdon All Swells to IV, V; Great, Choir, Previous: 1 32' Contra Violone Swell Thumb Slides Pedal: 8 16' First Diapason Pedal Divide General 17-32 16' Second Diapason Fanfare to Great SFZ 3 Reversibles (can be set) 16' Phonon Diapason (momentary via toe stud) Percussion to Pedal 16' First Bourdon Solo to Great SFZ Ventil I, II 16' Second Bourdon (momentary via toe stud) SFZ (while depressed, from 16' Violone Melodic Bass (Solo) Solo or Fanfare) 16' Diapason (Great) Solo Melody to Great Piano Damper Pedal (controlled 16' Viola Diapason (Swell) Great/Choir Transfer from button on Expression 16’ Contrabasse (String) Pedal I) 16' Melodia (Swell) 16' Gamba (Choir) 97 PISTONS Toe Spoons 16' Salicional (String) INCLUDE… Harp Damper 10 2/3 Quint Next: 8 pistons Chime Damper 8' Octave Previous: 1 All Swells 8' Flute General: 16 1 Reversible (can be set) 8' Gedeckt Choir: 8 Great to Pedal 8' Cello Great: 8 Gong 4' Super Octave Swell: 8 Tutti I, II Mixture V Solo/Fanfare: 8 32' Contra Bombarde String: 4 32' Contra Fagotto (Choir) Pedal: 4 16' Bombarde Ventil I, II SELECTIVE EXPRESSION 16' Tuba Profunda (Solo) Str Pistons 1-8 on Sw 1-8 CONTROLS 16' Double Trumpet (Great) Str Pistons 1-8 on Gt 1-8 63 buttons assign any division 16' Posaune (Swell) Str Pistons 1-8 on Ch 1-8 except Pedal on any of 5 16' Fagotto (Choir) Pecussion to Pedal Expression Pedals, Crescendo 8' Tromba Percussion to Toe Stud Pedal, and Choir/Great/Swell 4' Clarion 4 Reversibles: Ch, Gt, Sw, Solo Thumb Slides to Pedal 4 Reversibles (can be set) Expression Pedals: 5 All Swells Crescendo Pedal: 1 Crescendo I, II, II, IV Tutti I, II TREMOLOS Some have variable speed and depth, assignable by 9 buttons to any of 5 Expression Pedals, Crescendo Pedal, and Choir/Great/Swell Thumb Slides .
Recommended publications
  • The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
    The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely.
    [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 Lost Harmonic Law of the Bible
    The Lost Harmonic Law of the Bible Jay Kappraff New Jersey Institute of Technology Newark, NJ 07102 Email: [email protected] Abstract The ethnomusicologist Ernest McClain has shown that metaphors based on the musical scale appear throughout the great sacred and philosophical works of the ancient world. This paper will present an introduction to McClain’s harmonic system and how it sheds light on the Old Testament. 1. Introduction Forty years ago the ethnomusicologist Ernest McClain began to study musical metaphors that appeared in the great sacred and philosophical works of the ancient world. These included the Rg Veda, the dialogues of Plato, and most recently, the Old and New Testaments. I have described his harmonic system and referred to many of his papers and books in my book, Beyond Measure (World Scientific; 2001). Apart from its value in providing new meaning to ancient texts, McClain’s harmonic analysis provides valuable insight into musical theory and mathematics both ancient and modern. 2. Musical Fundamentals Figure 1. Tone circle as a Single-wheeled Chariot of the Sun (Rg Veda) Figure 2. The piano has 88 keys spanning seven octaves and twelve musical fifths. The chromatic musical scale has twelve tones, or semitone intervals, which may be pictured on the face of a clock or along the zodiac referred to in the Rg Veda as the “Single-wheeled Chariot of the Sun.” shown in Fig. 1, with the fundamental tone placed atop the tone circle and associated in ancient sacred texts with “Deity.” The tones are denoted by the first seven letters of the alphabet augmented and diminished by and sharps ( ) and flats (b).
    [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]
  • Introduction to GNU Octave
    Introduction to GNU Octave Hubert Selhofer, revised by Marcel Oliver updated to current Octave version by Thomas L. Scofield 2008/08/16 line 1 1 0.8 0.6 0.4 0.2 0 -0.2 -0.4 8 6 4 2 -8 -6 0 -4 -2 -2 0 -4 2 4 -6 6 8 -8 Contents 1 Basics 2 1.1 What is Octave? ........................... 2 1.2 Help! . 2 1.3 Input conventions . 3 1.4 Variables and standard operations . 3 2 Vector and matrix operations 4 2.1 Vectors . 4 2.2 Matrices . 4 1 2.3 Basic matrix arithmetic . 5 2.4 Element-wise operations . 5 2.5 Indexing and slicing . 6 2.6 Solving linear systems of equations . 7 2.7 Inverses, decompositions, eigenvalues . 7 2.8 Testing for zero elements . 8 3 Control structures 8 3.1 Functions . 8 3.2 Global variables . 9 3.3 Loops . 9 3.4 Branching . 9 3.5 Functions of functions . 10 3.6 Efficiency considerations . 10 3.7 Input and output . 11 4 Graphics 11 4.1 2D graphics . 11 4.2 3D graphics: . 12 4.3 Commands for 2D and 3D graphics . 13 5 Exercises 13 5.1 Linear algebra . 13 5.2 Timing . 14 5.3 Stability functions of BDF-integrators . 14 5.4 3D plot . 15 5.5 Hilbert matrix . 15 5.6 Least square fit of a straight line . 16 5.7 Trapezoidal rule . 16 1 Basics 1.1 What is Octave? Octave is an interactive programming language specifically suited for vectoriz- able numerical calculations.
    [Show full text]
  • The Development of Musical Notation Carolyn S
    Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2015 yS mposium Apr 1st, 2:20 PM - 2:40 PM Slashes, Dashes, Points, and Squares: The Development of Musical Notation Carolyn S. Gorog Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Composition Commons, and the Music Theory Commons Gorog, Carolyn S., "Slashes, Dashes, Points, and Squares: The eD velopment of Musical Notation" (2015). The Research and Scholarship Symposium. 5. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2015/podium_presentations/5 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Slashes, Dashes, Points, and Squares: The development of Musical Notation Slashes, Dashes, Points, and Squares: The Development of Musical Notation Music has been around for a long time; in almost every culture around the world we find evidence of music. Music throughout history started as mostly vocal music, it was transmitted orally with no written notation. During the early ninth and tenth century the written tradition started to be seen and developed. This marked the beginnings of music notation. Music notation has gone through many stages of development from neumes, square notes, and four-line staff, to modern notation. Although modern notation works very well, it is not necessarily superior to methods used in the Renaissance and Medieval periods. In Western music neumes are the name given to the first type of notation used.
    [Show full text]
  • One Hundred Fifteenth Congress of the United States of America
    H. R. 1892 One Hundred Fifteenth Congress of the United States of America AT THE SECOND SESSION Begun and held at the City of Washington on Wednesday, the third day of January, two thousand and eighteen An Act To amend title 4, United States Code, to provide for the flying of the flag at half-staff in the event of the death of a first responder in the line of duty. Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, SECTION 1. SHORT TITLE. This Act may be cited as the ‘‘Bipartisan Budget Act of 2018’’. DIVISION A—HONORING HOMETOWN HEROES ACT SECTION 10101. SHORT TITLE. This division may be cited as the ‘‘Honoring Hometown Heroes Act’’. SEC. 10102. PERMITTING THE FLAG TO BE FLOWN AT HALF-STAFF IN THE EVENT OF THE DEATH OF A FIRST RESPONDER SERVING IN THE LINE OF DUTY. (a) AMENDMENT.—The sixth sentence of section 7(m) of title 4, United States Code, is amended— (1) by striking ‘‘or’’ after ‘‘possession of the United States’’ and inserting a comma; (2) by inserting ‘‘or the death of a first responder working in any State, territory, or possession who dies while serving in the line of duty,’’ after ‘‘while serving on active duty,’’; (3) by striking ‘‘and’’ after ‘‘former officials of the District of Columbia’’ and inserting a comma; and (4) by inserting before the period the following: ‘‘, and first responders working in the District of Columbia’’. (b) FIRST RESPONDER DEFINED.—Such subsection is further amended— (1) in paragraph (2), by striking ‘‘, United States Code; and’’ and inserting a semicolon; (2) in paragraph (3), by striking the period at the end and inserting ‘‘; and’’; and (3) by adding at the end the following new paragraph: ‘‘(4) the term ‘first responder’ means a ‘public safety officer’ as defined in section 1204 of title I of the Omnibus Crime Control and Safe Streets Act of 1968 (34 U.S.C.
    [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]
  • Basic Organ Registration by Margot Ann Woolard
    Basic Organ Registration By Margot Ann Woolard Example 1 Introduction and Pitches Great: Spitzprincipal 8’ Swell: Rohrflöte 16’ & Great: Praestant 4’ Swell: Nazard 2-2/3’ & Swell: Blockflöte 2′ Swell: Tierce 1 – 3/5’ & Positiv: Larigot 1–1/3’ Positiv: Sifflöte 1′ Example 2 Principal (Diapason) Chord Progression and Scale Great: Spitzprincipal 8’ Praestant 4’ Spitzprincipal 8’ & Praestant 4’ Example 3 Flutes (open and stopped) Chord Progression and Scale Open Flute - Choir: Hohlflöte 8’ Stopped Flute – Swell: Rohrflöte 8’ Example 4 String Stops Chord Progression and Scale Swell: Viole de Gambe 8’ Example 5 Reed Stops Chord Progression and Scale Solo Reed – Choir: Cromorne 8’ Chorus Reed – Swell: Trompette 8’ Example 6 Principal Chorus Prelude in C Major (Eight Preludes and Fugues), J.S. Bach Great: Spitzprincipal 8’, Praestant 4’, Octave 2’ Pedal: Principal 16’, Octave 8’, Choral Bass 4’ Example 7 Stopped Flutes Number Six (Seven Pieces in E flat Major and E flat Minor, L’Organiste) Franck 1. Great : Bourdon 8’ 2. Swell: Viole de Gambe 8’ 3. Great: Bourdon 8’ Swell: Viole de Gambe 8’, Swell to Great coupler Example 8 Open Flutes Minuet (Musical Clocks), Haydn Positiv: Nachthorn 4’ Allein Gott in der höh sei Her, Zachau 1 Open Flute Chorus – Choir: Hohlflöte 8’, Positiv: Nachthorn 4’ Swell: Blockflöte 2’ Swell to Choir coupler Example 9 String Stops All Glory be to God on High (79 Chorales), Marcel Dupré Swell: Viole de Gambe 8’ (accompaniment) Great: Bourdon 8’ (melody) Pedal : Rohrflöte 16’. Rohrflöte 8’ (bass) Example 10 Voix Celeste
    [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]
  • Plainchant Tradition*
    Some Observations on the "Germanic" Plainchant Tradition* By Alexander Blachly Anyone examining the various notational systems according to which medieval scribes committed the plainchant repertory to written form must be impressed both by the obvious relatedness of the systems and by their differences. There are three main categories: the neumatic notations from the ninth, tenth, and eleventh centuries (written without a staff and incapable, therefore, of indicating precise pitches);1 the quadratic nota­ tion in use in Italy, Spain, France, and England-the "Romanic" lands­ from the twelfth century on (this is the "traditional" plainchant notation, written usually on a four-line staff and found also in most twentieth­ century printed books, e.g., Liber usualis, Antiphonale monasticum, Graduale Romanum); and the several types of Germanic notation that use a staff but retain many of the features of their neumatic ancestors. The second and third categories descended from the first. The staffless neumatic notations that transmit the Gregorian repertory in ninth-, tenth-, and eleventh-century sources, though unlike one another in some important respects, have long been recognized as transmitting the same corpus of melodies. Indeed, the high degree of concordance between manuscripts that are widely separated by time and place is one of the most remarkable aspects the plainchant tradition. As the oldest method of notating chant we know,2 neumatic notation compels detailed study; and the degree to which the neumatic manuscripts agree not only • I would like to thank Kenneth Levy, Alejandro Plan chart, and Norman Smith for reading this article prior to publication and for making useful suggestions for its improve­ ment.
    [Show full text]