Leco1ne a re8J,.-trat•on• • aour,net by AllenMiller

To a great majority of those who sounds out of the theatre organ, and couple organists even approach this play the theatre organ, particularly continues to do so. He has had a long type of ability with two hands ... those who only have occasional appreciation of orchestral music, the rest of us must be content to access to a theatre organ, selecting and knowledge of the tonal aspects compromise. the right stop combinations is a real of pipes, and in which ranges or Although the theatre organ can problem. This is obvious not only octaves certain stops sound best for imitate many sounds of orchestral during chapter open console ses­ certain uses. He will try to convey in instruments, the orchestra has the sions, but also during programs, tangible terms, several pointers to advantage of being able to make and even in some cases, during con­ assist you in learning how to register, individual instruments or even a certs. The problem of selecting and will set out certain specific stop given note in a chord louder or softer proper registration does not take combinations as examples which independently of the overall loud­ care of itself in time, but rather, you may try for yourself, and use as ness. The theatre organist also has tends to be compounded with time stepping-stones to further com­ no control over the depth and speed for several reasons. Hearing poor binations. of tremulant on each note, as do registration sets a bad example and First of all, we should consider orchestral instrumentalists. Such does not tend to instill a sense of the theatre organ as an orchestral factors will influence an attempt to proper registration in the listener. instrument. After all, it was orig­ register orchestrally. Asking someone else to register for inally supposed to take the place To be able to register properly, you may result in satisfactorysounds, of a small orchestra. Robert Hope­ one must first have a musical sense but will not result in appropriate Jones, inventor of the theatre organ, of sounds ... a sort of musical taste choice of stops unless the person originally built his organs in sec­ to know which sounds are good and selecting the stops is familiar with tions like those of an orchestra ... bad. Organ stops are like foods. the EXACT arrangement you are Strings, Woodwinds, Brass, Per­ There are the staples, the bland going to play. It does nothing to help cussion, and Foundation (which and rich stops, sweet and sour stops, you learn unless you find you like included more traditional pipe organ and condiments. Within stop fam­ what you are hearing, and take note sounds like the Diapason). Hope­ ilies and even specific names, we of which stops are on so you can Jones envisioned playing the organ may have different flavors according duplicate the sound the next time like an orchestra, but this is not to the whim of the organ builder. you play. practical, even with second touch, A good cook can build a fine meal The writer doesn't pretend to unless you have several hands and by selecting the main foods accord­ know the last word on registration, a brain capable of keeping multiple ing to type and color, combine and but has spent the past 15 years try­ lines of music going in different prepare them in the proportions and ing to find out how to get the right directions at the same time. Only a order that will make each com-

OCTOBER - NOVEMBER, 1975 THEATRE ORGAN 37 pliment the other, and serve them at and get a seat where you can see the ones still sound musical after lis­ just the right time. A good organist instruments ... close enough so tening to a real orchestra? Which will use his registration in exactly the you can get an idea of which instru­ ones sound almost like the real same manner. If you really think ment is making which sound. This thing? Listen to John Seng's ar­ about it, you can draw many par­ can be general. You must be able rangement of Porgy and Bess, then allels between food and stops ... to identify the following instruments listen to an orchestra playing the something to keep in mind as you by sound: Strings ... violins, violas, same selections. study registration. violoncellos, bass; Woodwinds ... Now, just when you think you're There are as many variations in flute and piccolo, clarinet, oboe, getting somewhere, you run into the musical taste as there are in taste for bassoon; Reeds ... Trumpet, Trom­ real problem. OK, so you know what foods. We are entitled to our own bone, French horn, Tuba. The per­ the music should sound like, but opinions, but there are certain cussion instruments are known to what the heck stops are making sensible guidelines. We all know most of us, and you can see what that sound!? when food is over or undercooked, they are when they are played. There is only one way to find that over or under seasoned, or plainly Take particular note of what part out. Become familiar with the stops unbalanced, allowing for slight of the music each instrument or in a theatre organ. You have to try differences in taste. I know someone family takes. Does the Xylophone or them yourself, listen to the sounds, who puts catsup on everything he Glockenspiel play harmony or ac­ and try to visualize an orchestra, eats. The organist who puts the companiment, as we call it? How perhaps. Does a certain stop sound Xylophone on with every combi­ like part of the string, woodwind or nation has the same kind of hangup. brass section? Could it depend upon The first basic rule is not to over­ whether you play single notes or a do anything, whether a single stop, chord? or a whole combination. Too much Identifying some of the sounds of the same thing is just plain tiring. you will hear on the suggested rec­ Too much also depends upon ords will not be easy, and for a very WHAT. A very little salt or pepper good reason. The organs recorded can be way too much. More than a are essentially large Wurlitzers, hint of garlic can be pure murder! either built or modified after W ur­ Learn which stops are the spices and litzer was influenced by Jesse Craw­ condiments and use them for flavor ford's ideas on registration, typically only. W urlitzers built later than 1927. Then learn which sounds go to­ Crawford's playing influenced Wur­ gether, and in what proportions, and litzer to the extent that they modified what effect they create in the mind their tonal scheme to suit his type of of the listener. I recall an ad used playing, and most early Wurlitzers extensively by an organ manufac­ are the strings used, and in what will not produce the sounds Craw­ turer several years ago, proclaiming pitch ranges? What part does the ford so often used ... the same that, "Over 10,000 combinations trumpet and trombone section play? sounds used extensively by George are possible!" Maybe so, but are The French horns? Listen for the Wright, Lyn Larsen, Buddy Cole, they all good? clarinet and oboe and flutes. When etc. As already stated, first you must do they play the melody, and what Many of the registrations you learn what sounds good. Like foods, else is playing at the same time? hear on the larger Wurlitzers simply there are some sounds we may like al­ How do the woodwinds fit into the cannot be duplicated on smaller most instinctively, but real taste is harmony? instruments or on other brands. learned or acquired through ex­ Not only will this give you some­ Many of the solo combinations used posure. The obvious method is to thing to do during a symphony con­ by the aforementioned organists listen. Listen to organ records by the cert, but it will certainly give you are typified by the inclusion of the organists who have gained out­ insight into the use of these same Saxophone, Krumet, Musette, and standing reputation for their reg­ sounds in a theatre organ. other "rare" stops. In the case of the istrational ability. Specifically, You may note that trumpets DO Saxophone, some of those which records by George Wright, Buddy sometimes play the accompaniment. have been recorded extensively have Cole, Lyn Larsen, Ashley Miller, When they do, which instruments been modified to produce a lusher Lee Erwin, and Tom Hazleton will are carrying the melody, and how sound, and bear no resemblance to get you started on the right track. loud are the trumpets playing? It either original Wurlitzer sets, or the Also listen carefully to orchestras, will be a great help to take notes on real instrument. It would be beyond especially the ones which at times which instruments are taking which the scope of this article to cover the sound like a theatre organ. Henry part at the same time, and what myriad possible combinations avail­ Mancini, Ray Conniff, Percy Faith, effect it makes upon the music. Re­ able on a large organ. However, The Boston Pops and even some late this to the type of music. Are many of the principles set forth in Mantovani records are good ref­ ballads treated the same as marches the description of stops can be ap­ erences. Listen to any symphony by the orchestra? plied to other stops in the same orchestra. If you are really serious, Go back and listen to those the­ family. go to live orchestra performances atre organ records again. Which We will, concentrate on the basic

38 THEATRE ORGAN OCTOBER - NOVEMBER, 1975 orchestral combinations within the DIAPASON: The basic tone of CLARINET: The organ stop most limits of the smaller instruments the church organ, not found in the closely resembling the orchestral we have at our disposal. I will at­ orchestra. This stop covers the instrument it is supposed to imitate. tempt to identify some of the more greatest range of any instrument The range is from tenor E-flat to the common stops with types of food to ... 32'C to the top note of the man­ top manual note at 2' pitch, al­ help clarify their useage as far as ual at 2' pitch, and has been known though both the instrument and the weight and balance are concerned, to go even higher. In some cases it organ stop begin to sound flute­ and then will build up some groups can be used in the manner of a like above middle G. Usually the of combinations which you may try French horn on the theatre organ. tenor and lower-middle octave have for yourself. Think of this stop as you would the most character, and are usually As you play, think as if you are potato. most realistic when used without conducting your own orchestra, TIBIA CLAUSA: The basic flute tremulant. Think of this stop as and listen to what you are playing. tone of the theatre organ, not found gravy. Beware of the tendency to try to in the orchestra. This stop can cover ORCHESTRAL OBOE: A solo make the theatre organ sound like the range from 32'C to the top man­ and "color" reed actually classed as the electronic you practice on at ual note at 2' pitch. Having a char­ a Woodwind along with the Clarinet home ... it can't (thank God!) I acteristic mellow sobbing effect, and Flute-Piccolo. The normal often find I can tell what kind of this stop can be treated as if it were a range is middle D to the top man­ organ a player is used to by the way ual G at 4' pitch, although the Bas­ he registers the pipe organ. Ham­ soon carries the same tone quality mond owners always tend to use down to B-flat below the lowest man­ gobs of Flute and Tibia, often at ual C at 8' pitch. The organ stop is all available pitches, to the point most useful in the middle two oc­ where those stops have so many taves starting at middle C. Think of pipes playing at once that they this stop as a fruit. literally gasp or even run out of air! Owners of organs in which the stops FLUTE-PICCOLO: Both a solo act as filters and typically sound and accompanimental or foun­ strident and reedy tend to overuse dational instrument covering the strings and reeds, and tend to use range from middle D to the top man­ too many stops at a time. Then there ual note at 2' pitch. The Concert is the tendency we all have to be Flute can often sound like the real overwhelmed by the sheer power thing, but as found in the theatre at our disposal, and pour it all on. organ, is usually much softer than a How often does the entire orchestra real flute. The Piccolo derived from play at the same time? How often the Tibia may sound very much like could you stand a Thanksgiving human singing voice, and is most the real thing when played fast, or dinner? useful from 4' Cup. The lower part in trilled notes without tremulant, Also bear in mind that the instru­ of the Tibia is often used to give but is usually not used in this man­ ments in the orchestra and those solidity to the Pedal, and used at ner on the theatre organ except named on organ stops don't neces­ 8' pitch in the Pedal, can sometimes perhaps as a solo obligato to a sarily sound alike, and that a stop of sound like a plucked string bass. march. Think of this stop as a a different name may create the ef­ Think of this stop as meat. bread or pastry. fect of a certain orchestral sound TRUMPET: A brass instrument KINURA: A stop peculiar to the when played in a given manner. used for solos, chorus effects and theatre organ, although its sound is As you learn how to select and to loud or snappy accompaniment. very similar to the Regal family of balance stop combinations to create Ranges from tenor E-flat to the top stops found on baroque organs. This specific sounds, you will find that note on the manual at 8' pitch. Ex­ is a reed having very little funda­ through listening, you will also have cept for lack of variations in tremolo, mental tone, and gives a splash of acquired a sense of when to use this organ stop sometimes sounds firey color to the full ensemble, certain sounds. No matter how ac­ like the real thing. Think of this adding brilliance much as the Mix­ curately you press the keys, the reg­ stop as you would salad. (It can ture stops add brilliance in a church istration you choose will either make either blend in with the rest of the organ. As a solo stop, the Kinura or break your arrangement. food or stand by itself.) is hardly ever used by itself except Let's examine some of the basic TUBA: This stop in the organ is for comic effect because its lack of theatre organ stops and their or­ usually not as bright as a real tuba, fundamental tone makes the pitch chestral counterparts. although in some cases, it may of the note difficult to recognize. STRINGS: The basic instrument sound more like a trumpet or trom­ When used in combination with the of the orchestra, which covers the bone. The orchestral instrument Tibia, the extreme contrast makes normal range of hearing from the covers the range from 16' F to about a delightful novelty effect. The best lowest to the highest pitch ... 16' C middle E-flat. The Tuba Horn often range is the middle three octaves to the top note of the manual at 4' has a muted sound more like the at 8' pitch. Most emphatically a pitch. Think of the strings as green French horn. Think of this stop as condiment, and should be treated vegetables. you would a rich, fancy bread. like garlic.

OCTOBER - NOVEMBER, 1975 THEATRE ORGAN 39 POST HORN: The organ coun­ play a note other than an octave cannot get the desired sound from terpart of "English Post Horns" interval of the key pressed. The the available stops. Use the 4' or festival trumpets used for fan­ 2-2/ 3, for example, is the closest note coupler when you cannot get enough fares. Typically labelled "ENGLISH on the keyboard to the twelfth har­ brilliance using the 4' and 2' stops. HORN", it is not at all like a real monic of the 8' C, and is G two Avoid playing in the top two octaves English horn, which is a Wood­ octaves above 8' C. The note actually when you use the 4' coupler. Use the wind sounding much like an Oboe. played when a mutation is used on 16' coupler for a full ensemble ef­ The Post Horn is used for Brass a theatre organ is slightly out of tune fect when you are playing in the top Chorus effects or "riffs" and in with the natural harmonic, and may octaves. Never play below middle C isolated cases, may carry a short sound harsh. This is overcome in with the 16' coupler on, and never countermelody. It should NEVER the church organ by using separate register BOTH 16' stops and the 16' be used with tremulant, and should ranks of pipes for the mutations, and coupler unless you intend to play in always be used sparringly. Think of tuning them to the harmonics of the the top octave and a half. this stop as pepper. 8' and 4' stops. LOCATION OF STOPS: There is OBOE HORN: A solo voice hav­ The pitch of the pedalboard is an no universal rule governing the lo­ ing a quality more like a real English octave lower than the manuals, so cation of stops on a theatre organ, horn usually soft enough to be that bottom C is designated as 16' although in some cases, stop order used as a foundation stop, useful in pitch. may vaguely follow the pitch-power accompaniment. The bass is more COUPLERS: These are devices rule common to church organs. The like the Bassoon than the bass pitch-power order merely places of the Orchestral Oboe, and is a the stops of a given pitch in order very good Pedal stop, especially at according to loudness, with the 16' pitch. The normal range is 16' C pitches arranged from lowest to to the top manual note at 8' pitch. highest. This rule is often modified Think of this stop as meat. to place stops, which are often used VOX HUMANA: Translated, together, adjacent when possible. "Human Voice," this stop can have Sometimes stops of a family are the same effect as a humming hu­ placed together. man voice (not a singing voice), Wurlitzer used a stop arrange­ and is most effective from tenor C, ment which seems to fall into none to C above middle C, above which it of these categories, yet, as it turns begins to take on a nondescript out, it is a type of pitch-power ar­ "falsetto" quality. When played in rangement. With only a few ex­ chords by itself with the swell shades ceptions, Wurlitzer grouped the closed, it takes on an angelic quality. stops so that if all stops of a given Treat as a sweet relish. pitch were on, removing those at PITCH: Since the unification in which enable you to play the stops the left of the group make the a theatre organ enables the organist registered on the manual from greatest difference, and removing to combine the different voices at another, either at the same pitch, or those at the right of the group make several pitches, you should know at other pitches. Couplers can also be the least difference. While I have what the pitch numbers mean. On used to duplicate the registration on never grasped the complete logic the organ, the pitch of a stop a given manual an octave higher or behind this arrangement, I have sounded from middle C on the key­ lower. If the Solo to Accompaniment tested this theory on several in - board will match middle C on the 8' coupler is on, all stops registered struments, and on a well-balanced piano when the natural open length on the Solo will play at the same Wurlitzer, the system seems to work. of the bottom manual -C pipe of that pitch on the Accompaniment as if The only point of assistance here stop is 8' long. Such a stop is thus the two keyboards were physically is that if you are playing an un­ designated 8' pitch. In otherwords, "coupled" together. This coupler familiar Wurlitzer, and find that a the bottom manual pipe of any stop will not make Accompaniment stops particular combination is too loud, will have a "speaking length" at play on the Solo, however. A 16' try taking off stops at the left of the about the footage given with the coupler plays ALL STOPS registered pitch group first ... otherwise you stop. The actual length of stoppered an octave lower; the 4' an octave will remove all the soft stops, and pipes is about half the "speaking higher. when you finally get to the loud stop length" and certain reed pipes may Use the couplers with care be­ there may be nothing left on at all. have lengths much shorter and not cause they affect every stop at every PERCUSSIONS AND TRAPS: at all related to pitch. Each halving pitch. If, for example, you registered These stops can easily become the of the length produces a note sound­ the Tibia at 16' and 4', and the Vox most misused in the organ, especially ing an octave higher. Thus a 16' at 8', you would· have a pretty solo when there is an attempt to create stop sounds an octave lower than an combination. Adding the 16' coupler a "band organ" effect. Use the 8' stop ... a 4' twice as high or an would cause the Tibia to play at 32', Xylophone and Glockenspiel on octave higher than the 8', and so on. 16', 8', and 4', and the Vox would single-stroke only, avoiding big Fractional pitches, such as 2-2/3' play at 16' and 8' ... an instant chords or couplers. Never use the are called "mutations" (not mix­ transformation to "pretty ugly!" Orchestra Bells or Sleigh Bells with tures) and in a unit organ, actually Only use the couplers when you chords unless you want your audi-

40 THEATRE ORGAN OCTOBER - NOVEMBER, 1975 ence to quickly depart! Play only add the Flute 4' or strings at 4', or a of the nicest solo combinations, yet melody or short countermelody on Woodwind reed at 8", such as the there are "concert" artists who any of these percussions ... NEVER Oboe horn or clarinet. The Diapason haven't discovered this yet, judging accompaniment! Save the Chryso­ 8' will add solidity, but be aware by their programs and recordings. glott, Marimba Harp or Piano for that the accompaniment may also Having selected a reed for solo, the accompaniment. become heavy or "woofy" with some say you want more reed sound ... Be careful using traps, especially Diapasons. Avoid using the Tibia for instance, something between the if they reiterate. You MUST keep 8' as an accompanimental stop, as it Oboe and Trumpet in loudness. the rhythm going as long as these will create a bloated sound lacking Add the 2-2/3'. The "twelfth" will effects are used. As soon as you at­ clarity. Never use the Tibia in the left reinforce the reed harmonics notice­ tempt holding even one legato note hand when you are playing a rhyth­ ably. For variety or buildup, try in your left hand, the shakers and mical accompaniment as the wide adding a.string a 8' or 4', or the Vox rattlers will jangle incessantly and excursion of the Tibia tremulant Humana 8' or even 16'. immediately wipe out any effect will create a gasping laugh effect. When playing block chords, base you may have created by using them Instead, try adding a reed such as your registration on strings, Flute in the first place. Personally, I view the Trumpet or Tuba. If you do, and Tibia at 8' and 4' (any com­ all reiterating percussions and traps don't suddenly insert a series of bination of these) and Vox Humana as un-musical, and would prefer to legato chords, as the left hand will 8' or Oboe 8' and 4'. To build on this see all such instruments connected then completely take over. The Tibia base, add higher pitches of Flutes to strike once each time the key and lower pitches of strings and were struck. Then if the organist reeds. Avoid using the Tibia at wants repeated notes, he can very several adjacent pitches as this will well play them that way, as would a create a muddy sound. Instead try real percussionist. "open" pitch intervals such as 16' Use the percussions and traps with and 4', 16' and 2', 8' and 2-½', etc. a bit of judgement. Here again, let When registering "Full Organ", the orchestra be your example. DON'T! Leave the Vox Humana out of the ensemble when you reg­ COMMON SENSE RECIPES: ister "brass". Leave the Kinura or Every good chef or gourmet cook Post Horn off until you have set up works from recipes of some sort. a good orchestral ensemble. If you Th.ey may be only a bare outline, but need a bit of "sass" or· color, add are never taken lightly. Just as one these stops at the lowest pitch you can learn to cook by following rec­ have included in the registration. If ipes, one can learn a great deal about you must use the 4' coupler, DON'T registration by following suggested register any reeds at 4' ! combinations. Unfortunately, we 4' can often fill in a legato accom­ The Tibia is most effective when see few recipes for good theatre or­ paniment without being muddy. used at two, or at the most, three gan registration. The average sheet In general, you should select Pedal pitches ... no more. One "typical" music or collection gives vague com­ stops from the same families you Crawford combination combines binations which may fit a certain have chosen for the accompaniment, Tibia 16' and 4' with Vox Humana brand of electronic organ. Sug­ remembering that 16' is the basic 16' and 8' . Play a single note melody gested registration for pipe organ, pitch. If you are playing a ballad, in the octave just above middle C. however, often looks like a collection stick with a soft 16' stop such as the Note the open Tibia interval with of names read off the local church Bourdon or String (if there is one at the V ox in the bass line and filling organ, and is of no real assistance. 16') and the Flute or Cello at 8'. The in the hole in the middle. Try 16' Let's look at some basic com­ 8' Diapason and Tibia will add force Vox and 8' Tibia alone, or register binations. For accompaniment, start to the Pedal, and make the pitch of 8' Vox and 4' Tibia and play an with the Concert Flute or Strings the bass line easier to follow, espe­ octave lower than usual. Tibia, Flute (Viole d'Orchestre, Celeste, Sal­ cially on fast pieces. Remember and Vox 8' with Flute 4' is effective. icional) at 8'. For a warmer sound, that the Diaphone and Ophecleide Add Tibia 4', then Vox 16' or 4'. lean towards the flute and less 16' will "speak" faster than the For the lush string sound, play strings. To make the flute sound Bourdon or Tibia 16', and use them both hands on strings and V ox at all warmer or lusher, add the Vox on fast pieces when you need more available pitches. Humana 8' or a flute celeste (if there "oomph" in the Pedal. When playing anything fast, reg­ is one). Curiously enough, adding When registering for a single note ister reeds or a percussion to carry the Vox Humana 8' to strings will solo, think back to the orchestra. the melody and avoid the Tibia. create a bigger, more shimmering Keep the registration simple. In­ The excursion of the Tibia tremulant string sound, or an effect much like dividual' solo reeds are a safe bet is such that the pitch of a given Tibia a string section backing a humming at 8'. If you want a fuller sound, add note may vary up and down a quarter chorus (Ray Conniff effect). Com­ the Diapason or Tibia at 8'. If you tone. A succession of short notes bining the Flute 8' and string at 8' want a more colorful sound, add the may catch one Tibia note all the gives a broader, fuller effect. If you Flute or Tibia at 4'. An Oboe, Trum­ way flat, and the next all the way need to build the accompaniment, pet or Tuba at 8' and Tibia 4' is one sharp. The result is confusing and

OCTOBER - NOVEMBER, 1975 THEATRE ORGAN 41 sounds like a schoolgirl with the giggles. As any good cook must ultimately Carter Wurlitzer rely upon taste to determine the success of his meal, so must the or­ ganist rely upon taste to determine the success of his registration. In Finds New Home the latter case, "taste" must be the judgement gained by listening to by Grant Whitcomb good examples. "Good" examples of theatre organ registration have be­ It is heartening to report that the formed the Cinnaminson Arts Coun­ come rare enough to warrant digging 3/19 Wurlitzer installed in the home cil with appropriate long-range ob­ out the records made by the real of the late James 0. Carter of Cin­ jectives. The primary and immediate masters of the instrument or turning niminson, New Jersey, will ultimately goal, of course, is to get the organ in­ to the sounds created by popular and benefit this community where he stalled in the high school auditorium. movie orchestras as guidelines. lived for many years. For the future, it is anticipated that When you are about to play a Jim Carter, who died quite sud­ this installation can be the basis for selection, don't just sit down and denly last December, was as meticu­ development of all related arts. The play the notes. Think about the over­ lous in his plans for the future of his Arts Council format will therefore all effect you want to convey. Ask beloved instrument as he had been in embrace a wide area of community yourself how a certain orchestra its reconstruction in his home. It was interest and participation. might play the piece. Think in terms always Jim's intention to leave the Effective action has already been of an arrangement ... a sort of organ and its ultimate disposition to taken to raise initial funds to finance musical meal. Then come up with a his close friend, Larry Ferrari. He the costs of communications and the recipe for that meal. Try cooking felt that Philadelphia's "Mr. Music" formation of a non-profit tax exempt and serving the foods in different would find a way to locate this in­ corporation by the sale of Charter manners and proportions. Ask which strument so that it would be seen, Memberships in the Cinnaminson menu best serves the music as you heard, and enjoyed. Arts Council at $5.00. The initial re­ feel it. If you find a recipe you like, Since Larry is also a longtime resi­ sponse indicates a very healthy com­ stick to it. After awhile you will know dent of Cinnaminson, it was logical munity interest. Members of the it well enough to make slight vari­ that the instrument should remain in council and the Board of Education ations without ruining the meal. this area if a suitable location could have paid a visit to the John Dickin­ Develop some sort of plan or rec­ be found. The Cinnaminson High son High School installation to ob­ ipe for each piece you play. These School complex includes the Richard serve first hand how well such a pro­ recipes will become a file upon which Serfling Memorial Auditorium - a ject can be handled. you will draw for ideas on regis­ 900-seat hall where space availability Under the leadership of William tration for future pieces. Like an and accoustics would be adaptable G. Hemphill, chairperson for the accomplished chef, you may some­ to a theatre organ installation. With council, and with the help of Bob day be able to serve a musical meal many years of experience performing Fischer, an experienced publicist with registrations fit for a gourmet. in auditoriums, Larry was in a good and member of ATOS, there is every position to evaluate this potential. In expectation that growth of interest • addition, the local effective trans­ and enthusiasm will continue at a plant of a theatre organ to the audi­ rapid pace. Friends of Larry Ferrari, torium of the John Dickinson High members of the New Jersey and Dela­ ORGAN CATALOG School in suburban Wilmington, ware Valley Chapters of ATOS and Delaware, has been most successful the John Dickinson Theatre Organ FREE! from both a technical and musical Society will offer their support and The Organ Literature Foundation point of view. help in this project. has just released their latest catalog This proposal was enthusiastically It will not be long before the Car­ of books, music, pamphlets and received by the Cinnaminson Town­ ter Wurlitzer will again be heard. It recordings dealing exclusively in ship Board of Education which has is fitting that Jim Carter, who de­ organ oriented subjects. passed a resolution expressing voted so much of his life to the fur­ It is a fascinating booklet and " ... its intentions to accept the gift therance of theatre organ activities, contains many items that can be of the organ with thanks to the estate should leave us the legacy of a living obtained from no other source. More of Mr. James Carter and to Mr. musical memorial for the benefit of than five hundred separate listings Larry Ferrari for their interest in the all for countless years to come. D are given. Township." Larry has specified that Any member of ATOS can receive this installation will be known as The ...-----SORRY------. a free copy by writing and asking for James 0. Carter Memorial Organ. We regret that Bill Rieger 's Catalog H. In order to properly organize this name was inadvertantly omitted Direct your correspondence to effort and raise the necessary funds from the caption of the Board of Henry Karl Baker, Organ Literature required for construction of cham­ Directors' picture on page 22 of Foundation, Braintree, Mass. 02184. bers, moving, and reinstallation of the August - September, 1975 is­ • the organ, community leaders have sue of THEATRE ORGAN. 42 THEATRE ORGAN OCTOBER - NOVEMBER, 1975