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Owner's Manual Rodgers Classic Series 200/205

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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.
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