Download the Organ Specification

Total Page:16

File Type:pdf, Size:1020Kb

Download the Organ Specification Westminster Abbey Organ Harrison and Harrison 1937/1982/1987 GREAT ORGAN SWELL ORGAN PEDAL ORGAN Double Geigen 16’ Quintaton 16’ On the Screen Bourdon 16’ Open Diapason 8’ Open Diapason 16’ Open Diapason I 8’ Viole d’Amour 8’ Geigen (from Great) 16’ Open Diapason II 8’ Salicional 8’ Bourdon (from Great) 16’ Geigen 8’ Vox Angelica 8’ Principal 8’ Hohl Flute 8’ Lieblich Gedeckt 8’ Octave Geigen (from Geigen) 8’ Stopped Diapason 8’ Principal 4’ Bass Flute (from Bourdon) 8’ Octave 4’ Lieblich Flute 4’ Fifteenth 4’ Geigen Principal 4’ Harmonic Flute 4’ Rohr Flute 4’ Wald Flute 4’ Twelfth 2 2/3’ Open Flute 2’ Octave Quint 2 2/3’ Fifteenth 2’ Mixture 19.22.26.29 IV Super Octave 2’ Mixture 15.19.22.26.29 V Contra Posaune (from Great) 16’ Mixture 15.19.22.26.29 V Contra Oboe 16’ Posaune (from Great) 8’ Harmonics 17.19.21.22 IV Oboe 8’ Octave Posaune (from Great) 4’ Sharp Mixture 29.33.36 III Vox Humana 8’ Contra Posaune 16’ Tremulant In the Triforium Posaune 8’ Double Trumpet 16’ Double Open Wood*^ 32’ Octave Posaune 4’ Trumpet 8’ Open Wood I 16’ Clarion 4’ Open Wood II (from 32’) 16’ Choir to Great* Violone (from Bombarde) 16’ Swell to Great*^ Octave Viole (from Solo) 16’ Solo to Great* Unison Off Double Ophicleide*^ 32’ Bombarde to Great* Sub Octave Ophicleide (from 32’) 16’ Solo to Swell Tuba (from Solo) 16’ CHOIR ORGAN Clarinet (from Solo) 16’ SOLO ORGAN Trumpet 8’ Upper Choir (enclosed) Clarion (from Trumpet) 4’ Claribel Flute 8’ Contre Viole 16’ Stopped Flute (tuned sharp) 8’ Viole d’Orchestre 8’ Choir to Pedal* Viola da Gamba 8’ Viole Céleste 8’ Choir Octave to Pedal Gemshorn 4’ Viole Octaviante 4’ Great to Pedal*^ Flauto Traverso 4’ Cornet de Violes 10.12.15 III Swell to Pedal* Nason (tuned sharp) 4’ Harmonic Flute 8’ Solo to Pedal* Gemshorn Fifteenth 2’ Concert Flute 4’ Bombarde to Pedal* Mixture 19.22 II Harmonic Piccolo 2’ Cornopean 8’ Double Clarinet 16’ Clarinet (from 16’) 8’ BOMBARDE ORGAN Upper Choir on Swell ## Cor Anglais 8’ Upper Choir Shutters on Swell # Orchestral Hautboy 8’ Violone 16’ Tremulant Open Diapason 8’ Lower Choir French Horn 8’ Principal 4’ Bourdon (prepared for) 16’ Orchestral Trumpet 8’ Fifteenth 2’ Open Diapason 8’ Contra Tuba 16’ Mixture 19.22.26.29 IV–VI Rohr Flute 8’ Tuba (from 16’) 8’ Grand Cornet 1.8.12.15.17 IV–V Principal 4’ Tuba Mirabilis (unenclosed) 8’ Bombarde 16’ Open Flute 4’ Trumpet 8’ Nazard 2 2/3’ Octave Clarion 4’ Fifteenth 2’ Unison Off Contra Posaune (from Great) 16’ Blockflute 2’ Sub Octave Posaune (from Great) 8’ Tierce 1 3/5’ Bombarde to Solo Octave Posaune (from Great) 4’ Mixture 22.26.29.33 IV Tuba Mirabilis (from Solo) 8’ Cremona 8’ Tremulant Bombarde Chorus on Great Swell to Choir* Solo to Choir* Bombarde to Choir ACCESSORIES COMPASS Lower Choir on Solo ## 10 toe pistons to Pedal Organ Manual: CC – c (61 notes) Lower Choir on Great ## 10 thumb pistons to Pedal: CCC – g (32 notes) Manuals I & II exchange ## Choir, Great, Swell and Solo Organs 10 toe pistons to the Swell Organ KEY 6 thumb pistons to the Bombarde Organ COMBINATION COUPLERS Reversible thumb piston to * 10 General thumb pistons with stepper Reversible toe piston to ^ Next and Previous thumb & toe pistons Great and Pedal combinations coupled # Rocking tablet to # 512 memory levels for General Pistons Generals on Swell Foot Pistons # Motorised, settable rocking tablet to ## 16 memory levels for Divisional Pistons Pedal to Swell Pistons # .
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]
  • THEATRE VOICES PEDAL • 32 Contra Violone • 16 Ophicleide • 16
    THEATRE VOICES CLASSICAL VOICES GREAT PEDAL • 16 English Post Horn French Trompette • 32 Contra Violone Contra Violone • 16 Brass Trumpet (ten c) Trompete • 16 Ophicleide Posaune • 16 Bombarde Tromba • 16 Diaphone Diapason • 16 Diaphone Diapason • 16 Violone Violone • 16 Solo Tibia Clausa (ten c) Bourdon • 16 Bourdon Bourdon • 16 Tibia Clausa (ten c) Gedackt • 8 English Post Horn French Trompette • 16 Clarinet Cromorne • 8 Trumpet Tromba • 16 Krumet (ten c) Krumet • 8 Open Diapason Octave • 16 Orchestral Oboe (ten c) Basson • 8 Solo Tibia Clausa Gedackt • 16 Saxophone (ten c) English Horn • 8 Tibia Clausa (Pizz.) • 16 Violins 3 Rks (ten c) Violas III • 8 Clarinet Cromorne • 16 Vox Humana (ten c) Vox Humana • 8 Flute Harmonic Flute • 8 English Post Horn French Trompette • 16 Piano Choralbass 4 • 8 Brass Trumpet Trompete • 8 Piano Mixture III • 8 Tuba Mirabilis Tromba • Accomp to Pedal • 8 Trumpet Trumpet • Bass Drum Great to Pedal • 8 Open Diapason Principal • Tap Cymbal (Brush) • 8 Solo Tibia Clausa Bourdon • 8 Tibia Clausa Gedackt ACCOMP • 8 Clarinet Cromorne • 8 English Post Horn French Trompette • 8 Krumet Krumet • 8 Brass Trumpet Trompete • 8 Orchestral Oboe Hautbois • 8 Tuba Mirabilis Tromba • 8 Saxophone English Horn • 8 Trumpet Trumpet • 8 Violins 3 Rks Violas III • 8 Open Diapason Principal • 8 Quintadena Quintadena • 8 Tibia Clausa (m) Gedackt • 8 Concert Flute Harmonic Flute • 8 Clarinet Cromorne • 8 Vox Humana Vox Humana • 8 Violins 3 rks Violas III • 5-1/3 Fifth (Tibia) Quintflöte • 8 Oboe Horn Oboe Horn • 4 Octave Octave •
    [Show full text]
  • Pedal 32 Contra Diaphone C. Bomb 32 Contra Tibia
    PEDAL 8 VOX HUMANA (S) 8 TRUMPET 32 CONTRA DIAPHONE C. BOMB 8 VOX HUMANA 8 STYLE D TRUMPET 32 CONTRA TIBIA CLAUSA 4 OCTAVE 8 TUBA HORN 16 BOMBARDE 4 OCTAVE HORN 8 OPEN DIAPASON 16 DOUBLE ENGLISH HORN 4 PICCOLO 8 HORN DIAPASON 16 OPHICLEIDE 4 SOLO STRING 2 RKS 8 SOLO TIBIA CLAUSA 16 DIAPHONE 4 VIOL 2 RKS 8 TIBIA CLAUSA 16 DIAPHONIC HORN 4 GAMBETTE 2 RKS 8 CLARINET 16 SOLO TIBIA CLAUSA 4 LIEBLICH FLUTE 8 KINURA CLARION 4 16 BASS CLARINET 4 CONCERT FLUTE 8 ORCHESTRAL OBOE 16 CONTRA GAMBA 2 RKS 4 VOX HUMANA (M) 8 MUSETTE FRENCH HORN 16 OBOE HORN 2 2/3 TWELFTH 8 KRUMET 16 BOURDON 2 PICCOLO 8 SAXOPHONE 16 GEMSHORN 2 RKS OCTAVE 8 SOLO STRING 2 RKS 8 TUBA MIRABILIS SOLO ON ACCOMP. 8 VIOLIN 2 RKS 8 ENGLISH HORN BOMBARDE 8 GAMBA 2 RKS 8 TUBA HORN MIDI ON ACCOMP. 8 QUINTADENA 8 OPEN DIAPASON 8 PIANO OPEN DIAP. 8 LIEBLICH FLUTE 8 HORN DIAPASON HARP SUB MIXTURE IV 8 VOX HUMANA (S) 8 SOLO TIBIA CLAUSA HARP SCHARF IV 8 VOX HUMANA 8 TIBIA CLAUSA SOLO CHRYSOGLOTT 4 SOLO PICCOLO 8 TIBIA CLAUSA PIZZ. CHRYSOGLOTT MIXTURE III 4 PICCOLO 8 CLARINET SNARE DRUM 2 2/3 SOLO TWELFTH 8 CELLO 2 RKS CASTANETS 2 SOLO PICCOLO 8 FLUTE TAMBOURINE 2 PICCOLO ACCOMP. TO PEDAL WOOD BLOCK 1 3/5 SOLO TIERCE GREAT TO PEDAL TOM-TOM 1 1/3 SOLO LARIGOT SOLO TO PEDAL CHOKE CYMBAL SUB OCTAVE MIDI ON PEDAL TAP CYMBAL UNISON OFF 16 PIANO OPEN DIAP.
    [Show full text]
  • The 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]
  • Intervals and Transposition
    CHAPTER 3 Intervals and Transposition Interval Augmented and Simple Intervals TOPICS Octave Diminished Intervals Tuning Systems Unison Enharmonic Intervals Melodic Intervals Perfect, Major, and Minor Tritone Harmonic Intervals Intervals Inversion of Intervals Transposition Consonance and Dissonance Compound Intervals IMPORTANT Tone combinations are classifi ed in music with names that identify the pitch relationships. CONCEPTS Learning to recognize these combinations by both eye and ear is a skill fundamental to basic musicianship. Although many different tone combinations occur in music, the most basic pairing of pitches is the interval. An interval is the relationship in pitch between two tones. Intervals are named by the Intervals number of diatonic notes (notes with different letter names) that can be contained within them. For example, the whole step G to A contains only two diatonic notes (G and A) and is called a second. Figure 3.1 & ww w w Second 1 – 2 The following fi gure shows all the numbers within an octave used to identify intervals: Figure 3.2 w w & w w w w 1ww w2w w3 w4 w5 w6 w7 w8 Notice that the interval numbers shown in Figure 3.2 correspond to the scale degree numbers for the major scale. 55 3711_ben01877_Ch03pp55-72.indd 55 4/10/08 3:57:29 PM The term octave refers to the number 8, its interval number. Figure 3.3 w œ œ w & œ œ œ œ Octavew =2345678=œ1 œ w8 The interval numbered “1” (two notes of the same pitch) is called a unison. Figure 3.4 & 1 =w Unisonw The intervals that include the tonic (keynote) and the fourth and fi fth scale degrees of a Perfect, Major, and major scale are called perfect.
    [Show full text]
  • M. P. Möller – 3-Manual Organ, 1951 the Robert Turner – 5-Manual Console, 1998 Robert Walker – Digital Sounds, 1998
    ORGAN M. P. Möller – 3-Manual Organ, 1951 The Robert Turner – 5-Manual Console, 1998 Robert Walker – Digital Sounds, 1998 Great Choir Swell Solo Organ Organ Organ Organ Gemshorn 16′ Erzähler 16′ Rohrbourdon 16′ Contra Gamba 16′ Bourdon 16′ Principal 8′ Geigen Diapason 8′ Flauto Mirabilis 8′ Montre 8′ Gedeckt 8′ Rohrflöte 8′ Gamba 8′ Principal 8′ Viola 8′ Viole de gambe 8′ Gamba Celeste 8′ Bourdon 8′ Viola Celeste 8′ Voix céleste 8′ Orchestral Flute 4′ Flûte harmonique 8′ Dulciana 8′ Muted Viols II 8′ Posaune 16′ Gemshorn 8′ Unda Maris 8′ Flute Celeste II 8′ Double English Octave 4′ Prestant 4′ Muted Flute Celeste Horn 16′ Flûte octaviante 4′ Koppelflöte 4′ II Orchestral Oboe 8′ Quinte 2 2/3′ Nazard 2 2/3′ Principal 4′ English Horn 8′ Superoctave 2′ Principal 2′ Flûte 4′ Corno di Bassetto 8′ Waldflöte 2′ Tièrce 1 3/5′ Blockflöte 2′ French Horn 8′ Tièrce 1 3/5′ Larigot 1 1/3′ Plein Jeu III- Tuba Mirabilis 8′ Mixture III-IV Sifflöte 1′ IVCymbel III-IV Jubilate Deo (Great) Scharf II-IV Zimbel III-IV Contre Bassoon 16′ Tuba Clarion 4′ Contra Trompete 16′ Cor Anglais 16′ Trompette 8′ Tremolo Trompete 8′ Clarinet 8′ Bassoon 8′ Chimes (Choir) Clarion 4′ Krummhorn 8′ Vox Humana 8′ Harp (Choir) Jubilate Deo 8′ Trompette Clairon 4′ Celesta (Choir) Chimes (Choir) harmonique 8′ Jubilate Deo (Great) Midi Midi Jubilate Deo (Great) Tremolo Solo Sub Great Sub Regal 4′ Midi Solo Unison Off Great Unison Off Chimes Swell Sub Solo Super Great Super Tremolo Swell Unison Off Harp Swell Super Celesta Harp Damper Zimbelstern Choir Sub Choir Unison Off Choir Super Antiphonal Pedal Console Mechanicals The remote style multi level combination Organ Organ system has 32 levels of memory, four ad- Montre 8′ Contre Bourdon 32′ jutable crescendi with a 60 step digital Cor de Nuit 8′ Contre Violone 32′ readout display.
    [Show full text]
  • The 1930 Skinner Organ 8 September 2006 — Page 
    JEFF WEILER PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS PLANNING & PROJECT MANAGEMENT VOICING & TONAL FINISHING 1845 SOUTH MICHIGAN AVENUE #1905 CHICAGO, ILLINOIS 60616 312.842.7475 [email protected] jlweilerpipeorgans.com t h e 1930 Skinner Organ i n Sinclair Auditorium, Coe College cedar rapids, iowa Site survey and visits: 7-11 august 2006 Report submitted: 8 september 2006 Sinclair Auditorium, Coe College — the 1930 Skinner Organ 8 September 2006 — page 2 INTRODUCTION This report comes at the request of Dr. Brett Wolgast. It comprises an historic overview, a survey the organ, a report of existing conditions, and recommendations for the immediate care and ultimate restoration of the Sinclair Auditorium organ. To prepare this document, Jeff Weiler and Jonathan Ambrosino spent August 6 to August 10, and the morning of August 11: • playing the organ, inspecting the pipework, surveying mechanism and photo- The organ contains thousands of pipes, most of metal but documenting conditions; some of wood. These are in the Swell organ. • opening up windchests to determine the state of the internal leather; • creating an inventory of pipes stored in the basement; • removing the non-original Great Trumpet and reinstating the original First Open Diapason, formerly stored in the basement (the Trumpet stop was put into a storage box and arrayed in the basement storage area); • through-tuning all 57 ranks; • meeting with Brett Wolgast, Bill Carson and Dick Harmon to discuss the organ’s history, present and future. This document is a prolonged snapshot of the organ over a week’s visit. Our impressions here blend with experience from other Skinner organs to appreciate and describe its present condition.
    [Show full text]
  • Instruments of the Orchestra
    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
    [Show full text]
  • Preliminary Results Clarinet, Flute, Horn, Soprano Singer, Trumpet
    Performing Arts Aerosol Study Round one preliminary results Clarinet, Flute, Horn, Soprano Singer, Trumpet Study Chairs James Weaver - NFHS Director of Mark Spede – CBDNA President, Performing Arts and Sports Director of Bands, Clemson University Lead Funders Contributing Organizations Supporting Organizations American School Band Directors Association (ASBDA) International Music Council American String Teachers Association (ASTA) International Society for Music Education Arts Education in Maryland Schools (AEMS) League of American Orchestras Association Européenne des Conservatoires/Académies de Louisiana Music Educators Association Musique et Musikhochschulen (AEC) (LMEA) Buffet et Crampon MidWest Clinic Bundesverband der deutschen Minority Band Directors National Association Musikinstrumentenhersteller e.V Music Industries Association Chicago Children's Choir Musical America Worldwide Children's Chorus of Washington National Dance Education Organization Chorus America (NDEO) Confederation of European Music Industries (CAFIM) National Flute Association (NFA) Drum Corps International (DCI) National Guild for Community Arts Education Educational Theatre Association (EdTA) National Music Council of the US European Choral Association - Europa Cantat Percussive Arts Society (PAS) HBCU National Band Directors' Consortium Save the Music Foundation High School Directors National Association (HSBDNA) WGI Sport of the Arts International Conductors Guild Lead Researchers Dr. Shelly Miller Dr. Jelena Srebric University of Colorado Boulder University
    [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]