DOCSLIB.ORG

Owner's Manual Rodgers Classic Series 200/205

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Owner's Manual Rodgers Classic Series 200/205 OWNER'S MANUAL RODGERS CLASSIC SERIES 200/205 ovJNER' s MANUAL FOR RODGERS CLASSIC SERIES 200/205 RODGERS ORGAN Marketing Offices 100 Wilmot Road · Deerfield, Illinois 60015 A Member of CBS Musical Instruments, A Division of CBS, Inca CONTENTS In traduction ............................................... 1 The Musical Resources of the Rodgers Classic Series 200/205 ...... 2 The Principal (or Diapason) Family. 3 The Flute Family .......... 3 The String Family and Celestes .. 4 The Reed Family ............... 5 Specification List ............................................... 6 Special Features. • . 7 Couplers ........... 7 Combination Action. 7 Flute Chiff. 8 Tremulant .... 8 Expression Pedal .. 9 • Stops Enclosed .. 9 Tuning Control ........ 9 Stop Lamps Control .....••. 9 Organ Case ........ ..10 Completely Solid-State. 10 Care and Maintenance .........................•..........•....•... 10 Console and Pedalboard ... ... .. .11 Keyboards and Stop Tabs .. 11 Pipes ................ ..11 Five-Year Limited Warranty ......••..........••...........••••.... 12 Registration Suggestions. ••••••••••••••-•••••••,••••e•. .. ••••P.•• .•. 12 Manual I .. .• 13 Manual II.. 14 Pedal Organ. ..15 Suggested Memory Settings ... ..................... 16 Rodgers Classic Series 200/205 Memory I ..................... l7 _______I~l~l.L.-us _tr.ati .o. n-.-----·-----.-.-.-.-.--.-.-.-.-.-.-.-.-.-. ..... ............. 2-Q----- RODGERS CLASSIC SERIES 200/205 The RODGERS CLASSIC SERIES 200/205 combines the finest pipe organ tradition and classical tonal schemes with current electronic technology to give the organist and the listener the finest organ sound. The design of this organ began with the development of a specific­ ation which allows music of all periods and schools of performance to be played as accurately to each tradition as possible. The RODGERS CLASSIC SERIES 200/205 is manufactured to console specifications set forth by the American Guild of Organists. These specifications create a uniformity as to compass of keyboards (61 notes) and pedalboard (32 pedals), and the placement of keyboards in relation to the pedalboard. The latter requirement allows people of various sizes to comfortably play an organ. There are also specifications for the placement of drawknobs and couplers. Rodgers has always adhered to these specifications in its Classic organs to provide comfortable organs for all to play. This two manual and pedal organ contains the following divisions: Manual I, Manual II, and the Pedal Organ. Each division has its own function in the total scheme of the organ. MANUAL I (most like the Great Organ) has the boldest Principal (Diapason) Ensemble and a solid Flute Ensemble to support the Principals. An appropriate word for Ensemble is Chorus which generally means that two or more pitch levels (8', 4', 2', etc.) of a tonal family are sounding simultaneously. They are softer, accompanimental stops which provide a subtle texture to support the solo stops of Manual II. -1- Rodgers Classic Series 200/205 (Continued) MANUAL II (most like the Positive Organ) is a contrasting or "relief" manual. Its stops present a fine variation or contrast to the stops on Manual I. It is a very useful manual in contrapuntal music of the baroque period where terraced dynamics are often accomplished by changing manuals as well as by the number of stops drawn. Manual II has Principals at the 4', 2', and 1' pitches, crowned by a mixture. There is also a complete Flute Ensemble including the mutations of 2-2/3' and 1 3/5'. Celeste and Reed voices round out the specification and give the manual great tonal flexibility. The PEDAL ORGAN is so named because its keys are played by the feet. The RODGERS CLASSIC SERIES 200/205 has a complete Pedal Organ which will provide a suitable foundation for any manual registration. THE MUSICAL RESOURCES OF THE RODGERS CLASSIC SERIES 200/205 There are two major catagories of organ tone: FOUNDATION: This catagory includes Principals (Diapasons), Flutes, and Strings. These voices are produced by similarly constructed pipes called flue pipes. The pipe emits sound when air enters the bottom of the pipe (toe piece), then is channeled through a thin opening, directing the air column upwards against a lip. The result is air being excited and causing vibrations to create the musical tone. REED: Reeds are pipework whose sound is generated by a metal tongue vibrating against a metal block, with a cutout portion of the block facing the tongue. These portions are contained in the "boot" of the pipe with the resonator (uppermost tubular section) affecting the timbre (color) and pitch of the particular pipe. Such voices as the Trumpet, Trompette, Oboe, Dulzian, Krummhorn, Fagot, Bombarde, and Vox Hurnana are members of the Reed Family. -2- Rodgers Classic Series 200/205 (Continued) The Principal (or Diapason) Family The Principals are the tonal family that is unique to the organ. There is no orchestral counterpart to the Principal nor can it be duplicated by any orchestral instrument. When played as a Chorus, such as the 8' Prestant, 4' Octave, and 2' Fifteenth on Manual I, the resulting sound provides body, clarity and the base to which the other tone families of the organ must relate and blend. The Mixture is composed of compound pitches of high-pitched Principal pipes. The pitches used augment the natural harmonic overtone series. The prime function of the Mixture is to add sparkle to the foundation tone of the organ. The Roman numerals on the stop tab indicate the number of pitches sounding when a single note is depressed, e.g. Mixture III-IV (three to four pitches, depending on where one is playing on the manual). When used sparingly with suitable foundation stops and/or reeds, the Mixture provides the roof or cap of the tonal house. When used in combinations for hymn playing, Mixtures give pitch clarity to the ear which results in better congregational singing. The Flute Family The Flute family has a dual role in good organ design. The Flutes must support the Principals and provide another plane of tone color for solo voices. The Flutes are unique since the mixing of unison and non-unison pitches (mutations) gives synthesized solo voices. On the RODGERS CLASSIC SERIES 200/205 you can make the Classic French Cornet on Manual II by registering the 8' Gedacktflote, 4' Nachthorn, 2-2/3' Nasat, 2' Waldflote, and l-3/5' Terz. This combination has a reed quality, particularly in the upper part of ,the keyboard. -3- Rodgers Classic Series 200/205 (Continued) The combination and proper balance of unison and non-unison pitches which comprise the Cornet is a standard practice of organ design dating back hundreds of years. The 1-1/3' Quint on Manual I is useful for adding a subtle sparkle to any base combination. It is most commonly used with the 8' and 4' Gedacktflotes to give a very colorful, quaint sound useful for contrapuntal literature. The String Family and Celestes String-toned stops, such as Gambe, Viola, and Salicional, have a high harmonic development. This causes the sound to be thin and cutting. The String pipes are actually small scaled (reduced diameter) Principals that decrease in volume and develop brighter timbre. Because of their small scale they articulate, or speak, with difficulty. This characteristic causes them to be unsuitable for rapid passages, so often found in contrapuntal music. The Strings were not fully developed as organ stops until the 19th century. Because the design of the RODGERS CLASSIC SERIES 200/205 harkens back to the baroque era, stops from the Gemshorn family have been selected for your specification. The Gemshorn has somewhat of a String as well as a horn-like tone, although not as keen as a String. This delightfully blending sound is ideal for accompaniment and complementary to all other stops on the organ. You will find this useful stop on both Manual I and Manual II on the RODGERS CLASSIC SERIES 200/205. The basic Gemshorn tone is augmented with a Celeste rank on your organ. The Gemshorn Celeste rank is another Gemshorn tone derived from independent pitch sources purposely tuned slightly sharp. When the two pitch sources are played together, a pleasant undulation results (like a slow tremolo). Creating a tremolo in this manner was already known in Italy in the 16th century and is found in Germany at the beginning of the 18th century. -4- Rodgers Classic Series 200/205 (Continued) The Reed Family The Reed family is the most colorful of all the organ families, and is subdivided into three divisions: Chorus Reeds, Semichorus Reeds, and Solo Reeds. Chorus reeds belong primarily to the trumpet family: Posaune, Fagot, Trompette, and Clairon are in this category. Although their names suggest orchestral tones, they differ in quality considerably. They are purely organ voices and are used to add power and vigor to the Chorus. Semichorus reeds come largely from the baroque period. Dulzian and Krurnrnhorn are typical examples. The term "semichorus" is used because these stops may function as chorus reeds or solo stops. The Solo reeds, such as English Horn, Clarinet, or Oboe are imitative of their orchestral counterparts and are used largely as solo stops. The chart on the following page shows the RODGERS CLASSIC SERIES 200/205 stop list. -5- RODGERS CLASSIC SERIES 200/205 Manual I Manual II Pedal Principals 8 I Prestant 4 I Principal 8 I Principal 4 I Octave 2 I Octave 4 I Choralbass 2 I Fifteenth 11 Sifflet Mixture IV Mixture III-IV Scharf II- III Cyrnbel I Flutes 8 I Gedacktflote 8 I Gedacktflote 16 1 Subbass 8 I Stillgedackt 8 I Rohrgedackt 16 I Lieblich 8 I Flute Celeste II 4 I Nachthorn Gedackt 4 I Gedacktflote 2-2/3 1 Nasat 8 I Gedackt 2 I Blockflote 21 Waldflote 4 I Gedacktflote 1-1/3 I Quint 1-3/5 1 Terz 2 I Blockflote Gems horn (Strings) 8 I Gems horn 8 I Gems horn 8 I Gem shorn Celeste 1 Reeds 16 Dulzian 16 I Fagot 16 I Posaune 8 I Krummhorn 8 I Trornpette 4 I Clairon Couplers Manual II to Manual I Manual I to Pedal Special Controls • Stops Enclosed Tremulant -6- SPECIAL FEATURES There are two couplers on the RODGERS CLASSIC SERIES 200/205: MANUAL II TO MANUAL I and MANUAL I TO PEDAL.
Load more

Recommended publications
  • Digital Console Short Manual.Pages
    THE DIGITAL CONSOLE AT THE ORGELPARK The digital console at the Orgelpark controls two organs: the Sauer organ (1922) and the Utopa Baroque Organ (2018). This manual covers only its basic functions. Please read the extended manual to learn more. Step 1: turning the console on Hold the RFID-tag over the right cheek of the upper keyboard. The procedure will take circa 1 minute. The console is ready when the touchscreen shows 16 boxes in four rows, named III.1, III.2, etc. The upper keyboard is keyboard III, the middle one keyboard II, the lower keyboard I. Step 2: the buttons in the cheeks You can have several registrations sound at the same time on each keyboard; we say that these registrations lay in ‘layers’ one over another. Each layer has its specific name. On keyboard III, for example, the names are layer III.1, layer III.2, etc. Each layer can be ‘opened’ by using the buttons marked with these names in the keyboard cheeks. Each of these layer button is joined by two other buttons: MUTE and ∞. • The button MUTE allows you to quickly turn on and off the respective registration layer • The button ∞ sustains notes until you strike a next key hard; striking next keys gently adds the respective notes to the sustained sound Step 3: opening layers Opening a layer, by pushing the corresponding layer button (the button starts blinking), makes the control panel over the upper keyboard show the registration contained in that layer. • If no registration has been made yet in that layer, all tabs and buttons will show their 0-position; you can now
    [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]
  • Theatre Owner's Manual
    TH-202/TH-302 Theatre Models IMPORTANT! Organs which contain GeniSys™ technology no longer include the GeniSys™ Controller Guide within the model specific Owner’s Manual. The correct GeniSys™ Controller Guide must be downloaded and/or printed separately. Please check the CODE version of the software installed within the organ to determine which version of the GeniSys™ Controller Guide is required. The CODE version is briefly displayed within the GeniSys™ Controller’s LCD display when the organ starts up. Copyright © 2016 Allen Organ Company All Rights Reserved AOC P/N 033-00221-1 Revised 10/2016 ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs-- Allen Organ Company has built the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone generators for this instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs ever designed. Only a radical technological breakthrough could improve upon the performance of Allen’s oscillator organs. Such a breakthrough came in conjunction with the United States Space Program in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold the world’s first musical instrument utilizing digitally sampled voices! Your organ is significantly advanced since the first generation Allen digital instrument.
    [Show full text]
  • The Rodgers 579Is the Most Full-Featured 2 Manual Organ You'll
    The Rodgers 579 is the most full-featured 2 manual organ you’ll find in its class, built with the same high-quality cabinet and extra features that come in larger models, including double expression, crescendo pedal, 10 toe pistons, expanded voicing capability and powerful tone generation system. Organists will appreciate the useful Organ Type piston that instantly calls up any of four sets of stops, while still allowing the selection of any desired alternative from Voice Palette™ or User Voices. Manual I (Great) Couplers: II/I (SW to GT) Specifications Tablet VP1 VP2 VP3 29 stops / 241 total voices Bourdon 16’ Violone 16’ Principal 16’ Quintaton 16’ 29 primary voices Principal 8’ Open Diapason 8’ Montre 8’ Prinzipal 8’ 87 Voice Palette™ voices Gemshorn 8’ 2nd Diapason 8’ Voce Umana II 8’ Aeoline 8’ 92 User pipe organ voices Gedackt 8’ Clarabella 8’ Flûte Harmonique 8’ Bourdon 8’ 32 User orchestral voices Octava 4’ Principal 4’ Flûte à Bec 4’ Fugara 4’ Chimes Rohrflöte 4’ Open Flute 4’ Lieblichflöte 4’ Kleine Gedackt 4’ General Pistons: 10 Quinte 2-2/3’ Twelfth 2-2/3’ Nazard 2-2/3’ Quintaden 8’ Divisional Pistons: 5 Great, 5 Swell Superoctav 2’ Fifteenth 2’ Doublette 2’ Piccolo 2’ Toe Pistons: 10 configurable Mixtur IV Tierce Mixture V Cornet V Rauschquint IV Couplers: 3 plus 6 User/MIDI Controls Trumpet 8’ Waldhorn 8’ Trompette 8’ Cromorne 8’ Bass and Melody Couplers Chimes Tremulant: 2 Tremulant Shoes: 2 Expression, Crescendo Manual II (Swell) Memory: 20 levels x 20 pistons (400) Tablet VP1 VP2 VP3 Console dimensions: Spitz Geigen 8’
    [Show full text]
  • Stop List for the Cathedral Organ
    The Organ of Durham Cathedral Henry Willis, 1876; Harrison & Harrison, 1905, 1934 and 1970 Pedal Organ (north and south sides) Oboe 8 Double Open Wood 32 Vox Humana 8 Open Diapason 16 Tremulant Open Wood I 16 Double Trumpet 16 Open Wood II 16 Trumpet 8 Violone 16 Clarion 4 Dulciana 16 Solo to Swell Contra Viola (Solo) 16 Bourdon 16 Choir Organ (south side, west, enclosed) Principal 8 Bourdon 16 Octave Wood 8 Viole d’Amour 8 Cello 8 Flauto Traverso 8 Dulciana 8 Gedeckt 8 Flute 8 Gemshorn 4 1 Twelfth 5 /3 Flauto Traverso 4 Fifteenth 4 Stopped Flute 4 2 Super Octave Wood 4 Nazard 2 /3 Twenty Second 2 Piccolo 2 3 Mixture IV Tierce 1 /5 Double Ophicleide* 32 Dulciana Mixture III Double Trombone 32 Clarinet 8 Ophicleide* 16 Tremulant Trombone 16 Swell to Choir Cor Anglais (Solo) 16 Solo to Choir Tromba 8 Bombarde Tubas on Choir Cornett 4 Great to Pedal Positive Organ (south side, above Choir) Swell to Pedal (on Choir keys) Choir to Pedal Flûte à Cheminée 8 Solo to Pedal Quintade 8 Prestant 4 Great Organ (south side) Flûte Ouverte 4 Double Open Diapason 16 Doublette 2 Contra Clarabella 16 Sesquialtera II 1 Open Diapason I 8 Larigot 1 /3 Open Diapason II 8 Octavin 1 4 Open Diapason III 8 Octave Tierce /5 Open Diapason IV 8 Cymbale III Claribel Flute 8 Dulzian 16 Gamba 8 Trompette 8 Stopped Diapason 8 Positive on Great Octave 4 Positive on Solo Principal 4 Harmonic Flute 4 Solo Organ (enclosed; north triforium) 2 Octave Quint 2 /3 Contra Viola 16 Super Octave 2 Viole d’Orchestre 8 Mixture IV Viole Céleste 8 Scharf III Viole Octaviante 4 Contra
    [Show full text]
  • Gottfried Silbermann
    HAUPTWERK USER GUIDE GOTTFRIED SILBERMANN St. Georgenkirche milandigitalaudio.com © Copyright 2020 Milan Digital Audio. All Rights Reserved. Silbermann St. Georgenkirche User Guide Installation - The Gottfried Silbermann St. Georgenkirche organ for Hauptwerk 2 was created to give organists the utmost realism in performing on this fantastic historic instrument located in Rötha, Germany not too far from the major city of Leipzig. On the DVD-Rom you will find the files needed to install this sample library to your computer. You will need to treat the organ definition file, sample files and temperament files as 3 separate installations. To install this sample library open Hauptwerk 2 then click File | Install organ, sample set, temperament, or impulse response. Navigate to your DVD-Rom drive then find the folders - files | installation_ files. You will find the files here called Silbermann-St-Georgenkirche-Samples.CompPkg.Hauptwerk, and Silbermann-St-Georgenkirche-OrganDefinitionFile.CompPkg.Hauptwerk. Users will also find a third file on the DVD-Rom called Silbermann-St- Georgenkirche-Temperaments.CompPkg.Hauptwerk which contains several temperament files for use with the organs tuning one semi-tone higher than A=440. Use the Hauptwerk installer to install each of these three files separately. Note that the sample files will take much longer to install due to the large file sizes. Due to this please allow your computer to run uninterrupted as it may take up to 10 minutes to complete the installation. Loading the Organ - Once all of the files have been installed you are now ready to load the organ into Hauptwerk 2. Due to the sample sets encryption you must have your Hauptwerk 2 dongle installed (USB key) with a valid license for this sample set for the organ to load.
    [Show full text]
  • Kawai ES8 Owner's Manual
    Introduction Playing the Piano Rhythm Section ES8 Owner’s Manual Recorder USB Functions Settings Appendix Thank you for purchasing this Kawai ES8 digital piano. This owner’s manual contains important information regarding the usage and operation of the ES8 digital piano. Please read all sections carefully, keeping this manual handy for future reference. About this Owner’s Manual Before attempting to play the ES8 digital piano, please read the Introduction chapter from page 10 of this owner’s manual. This chapter explains the name and function of each part, how to set-up the instrument, and how to perform basic operations. The Playing the Piano chapter (page 16) provides an overview of the instrument’s most commonly used functions, such as selecting and combining sounds, and splitting the keyboard into separate sections. This chapter also explains how to apply reverb and effects to sounds, transpose the pitch of the keyboard, and how to use the metronome feature. The Rhythm Section chapter (page 36) explains how performances can be enhanced with backing accompaniments, while the Recorder section (page 48) provides instructions on how to record and play back pieces stored in the instrument’s internal memory, and MP3/WAV audio files saved to a USB memory device. Additional functions to load and save songs and registration memories from/to USB devices are further explained in the USB Functions chapter (page 67). The Settings section (page 76) details the various options and settings that can be used to adjust the sound and operation of the ES8 digital piano, in addition to explaining the instrument’s useful MIDI capabilities.
    [Show full text]
  • GREAT ORGAN Technical Details Feet Pipes 1 Double Diapason
    GREAT ORGAN Technical Details Feet Pipes 1 Double Diapason & Bourdon 16 56 2 Large Open Diapason 8 56 3 Small Open Diapason 8 56 4 Stopped Diapason 8 56 5 Harmonic Flute 4 56 6 Principal 4 56 7 Twelfth 2 2/3 56 8 Fifteenth 2 56 9 Mixture, 4 ranks 224 10 Posaune 8 56 SWELL ORGAN 11 Bourdon 16 56 12 Open Diapason 8 56 13 Stopped Diapason 8 56 14 Salicional 8 56 15 Suabe Flute 4 56 16 Principal 4 56 17 Twelfth 2 2/3 56 18 Fifteenth 2 56 19 Mixture, 2 ranks 112 20 Cornopean 8 56 21 Oboe 8 56 22 Clarion 4 56 CHOIR ORGAN 23 Open Diapason 8 56 24 Stopped Diapason 8 56 25 Cone Gamba 8 56 26 Dulciana 8 56 27 Wald Flute 4 56 28 Principal 4 56 29 Flautina 2 56 30 Clarionet 8 56 PEDAL ORGAN 31 Sub-Bourdon 32 30 32 Open Diapason wood 16 30 33 Open Diapason, metal 16 30 34 Bourdon 16 30 35 Violone 8 30 36 Fifteenth 4 30 37 Trombone 16 30 COUPLERS Great to Pedal Swell to Pedal Choir to Pedal Swell to Great Swell to Choir Total number of pipes 2,114 COMPOSITION PEDALS 3 to Great Organ 2 to Swell Organ The Harrison & Harrison Organ The next organ was completed for Dedication by the Vicar, then Canon Gillson, M.A., at Evensong on 24th March, 1924. The gift of Dame Monica Wills, in memory of her husband, this organ had been designed in consultation with the organist, Mr.
    [Show full text]
  • Organ Registration: the Organist’S Palette—An Orchestra at Your Fingertips by Dr
    Organ Registration: The Organist’s Palette—An Orchestra at Your Fingertips By Dr. Bradley Hunter Welch I. Basic Review of Organ Tone (see www.organstops.org for reference) A. Two types of tone—flue & reed 1. Flue a. Principals (“Principal, Diapason, Montre, Octave, Super Octave, Fifteenth”) & Mixtures b. Flutes (any name containing “flute” or “flöte” or “flauto” as well as “Bourdon, Gedeckt, Nachthorn, Quintaton”) c. Strings (“Viole de Gambe, Viole Celeste, Voix Celeste, Violone, Gamba”) 2. Reed (“Trompette, Hautbois [Oboe], Clarion, Fagotto [Basson], Bombarde, Posaune [Trombone], English Horn, Krummhorn, Clarinet”, etc.) a. Conical reeds i. “Chorus” reeds—Trompette, Bombarde, Clarion, Hautbois ii. Orchestral, “imitative” reeds—English Horn, French Horn b. Cylindrical reeds (very prominent even-numbered overtones) i. Baroque, “color” reeds— Cromorne, Dulzian, some ex. of Schalmei (can also be conical) ii. Orchestral, “imitative” reeds—Clarinet (or Cor di Bassetto or Basset Horn) Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Cromorne 8' (overtone at 2 2/3' pitch); then hear 4th overtone (at 1 3/5'). B. Pitch name on stop indicates “speaking” length of the pipe played by low C on that rank II. Scaling A. Differences in scale among families of organ tone 1. Flutes are broadest scale (similar to “oo” or “oh” vowel) 2. Principals are in the middle—narrower than flutes (similar to “ah” vowel) 3. Strings are narrowest scale (similar to “ee” vowel) B. Differences in scale according to era of organ construction 1. In general, organs built in early 20th century (1920s-1940s): principals and flutes are broad in scale (darker, fuller sound), and strings tend to be very thin, keen.
    [Show full text]
  • Chambonnières As Inspirer of the French Baroque Organ Style
    University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 1977 The decisive turn : Chambonnières as inspirer of the French baroque organ style Rodney Craig Atkinson University of the Pacific Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Music Commons Recommended Citation Atkinson, Rodney Craig. (1977). The decisive turn : Chambonnières as inspirer of the French baroque organ style. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/1928 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. - ;=;----------- THE DECISIVE TURN: CHAMBONNIERES' AS INSPIRER OF THE FRENCH BAROQUE ORGAN STYLE A Thesis Presented to the Graduate Faculty of the University of the Pacific r -- rc·-t:::---'--=-=----- ___:__:::_ !'~ ', ~- In Partial Fulfillment ' of the Requirements for the Degree Master· of Arts ,' by Rodney Craig Atkinson May 1977 --------=- - ' This thesis, written and submitted by is approved for recommendation to the Committee on Graduate Studies, University of the Pacific. Department Chairman or Dean: ~4_,ZiL Chairman ~> I Dated C?id:ctfjl:?~ /7 77 v (( =--~~----= ~-- p - ~-- ACKNOWLEDGMENTS Appreciation is extended to Dr. David S. Goedecke for his guidance and suggestions. Loving appreciation goes to my parents, Dr. and Mrs. Herbert Atkinson, whose encouragement and support were responsible for the com­ pletion of this thesis. i i TABLE OF CONTENTS ::,:;; __ Page AC KNOW LED G~1 ENT S it LIST OF EXAMPLES v Chapter 1.
    [Show full text]
  • Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010)
    Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010) . portions used for ALCM Conference workshop, “This, That, Neither, or Both,” June 2012, Bethlehem, PA, So, this all started when a student asked me questions about Spanish music about which I had not a clue . just think what would happen if they asked me about something really complicated!! _________________ 12 th century Theophilus, a monk, documented an organ that contained an ensemble of pipes speaking in octaves and fifths known as a Blockwerk , literally a ‘block of sound’ from which individual ranks could not be separated. 14 th and 15 th centuries – Late Medieval Organs Multiple manuals and split-chest systems enabled separating the Principal ranks from the higher Mixture sounds. By the 14 th century, there were pedals, fully chromatic keyboards, and tripartite façade arrangements accommodating large ‘bourdon’ or ‘tenor’ pipes. By the 2 nd half of the 14 th century, there was the addition of secondary manual and pedals on separate actions and wind chests. For organs built c. 1350-1400 (which can be translated to modern organs): >simple organ would be a Blockwerk of Mixtures, probably based on 4-foot pitch >double organ would add an octave lower at 8-foot pitch >RH would probably feature a decorative treble voice on the Blockwerk sound, while the LH on the ten lowest keys would sound the tenor on sustained Principals >the organ could be played so that only the ten tenor keys of the main manual were doubled an octave lower >4-foot Principal stops on a separate manual is an option >8-foot plenum for the tenor on one keyboard with other voices on the 4’ plenum Organ built in 1361, renovated in 1498, described by Praetorius: >two upper manuals were called Diskant with 22-note chromatic compass >third manual or Bassklavier had 12 keys from B to b >pedal had the same one-octave compass The Principal chorus of inseparable registers is the most heavily documented type of late- medieval organ.
    [Show full text]
  • Digital Harpsichord Classic Organ Classic Keyboard Classic Organ
    C-30 C-200 C-230 C-330 C-380 Digital Harpsichord Classic Organ Classic Keyboard Classic Organ Classic Organ State-of-the-Art Technology Brings Classical Instruments of the Renaissance and Baroque Eras Back to Life. Th ese include pipe organs that fi lled cathedrals with stately sound, harpsichords that were a staple in court music, positive organs that allured the audience in theaters and salons, and fortepiano for which many masterpieces were composed. A world leader in cutting-edge technology, Roland has captured and refi ned these classical instruments, bringing them to the modern age in the form of instruments that are a true joy to play. Travel back through the centuries and enjoy classic, elegant, and timeless sound. Enjoy unsurpassed luxury with the Roland Classic Series. ROLAND CLASSIC SERIES LINEUP http://www.roland.com/classic/ Digital Harpsichord Classic Organ Classic Keyboard C-30 C-200 C-230 Enjoy the beautiful sounds of Carry the timeless beauty of Experience a variety of classical the Baroque era. classical organ sound wherever instruments in one compact you wish. package. Classic Organ Classic Organ C-330 C-380 Bring the grandeur of a pipe Savor the look and sound organ to your home. of an authentic pipe organ. Simple and beautiful design is a perfect match Easily switch between pitches and classical temperaments for the modern home interior. that are characteristic of classical instruments. Th e C-30 was modeled after a square-type of harpsichord called a virginal, and Th e C-30 supports pitches that are characteristic of classical takes up little space.
    [Show full text]