PipeChat Digest #72 - Monday, September 15, 1997
 
Being let go....
  by Morton Belcher III <flcg1018@fujens.fju.edu.tw>
Re: First Posting
  by Vernon Moeller <vernonm@ccsi.com>
Re: This is my first posting.. -Reply
  by bruce cornely <cremona84000@webtv.net>
Re: Hammond Organ model H
  by Richard B. Ahlvin <rahlvin@magnolia.net>
Re: This is my first posting.
  by <LACAIN@DAVIDSON.EDU>
Organ Concert Announcement
  by Shirley <pnst@itw.com>
Re: Concert Announcement
  by <MWORGLBAU@aol.com>
Re: Hymn Festival
  by <SCoonrod@aol.com>
A reminder that #Pipechat IRC is on tonight.
  by Bob Conway <conwayb@post.queensu.ca>
Re: Being let go....
  by Robert Rusczyk <rusczyk@ix.netcom.com>
Re: This is my first posting.. (Beginning Organist)
  by Jim Zimmerman <zimmerman@chem.purdue.edu>
Practical Jokes, Pt 2
  by Vernon Moeller <vernonm@ccsi.com>
The Elec Organist's Lament
  by Vernon Moeller <vernonm@ccsi.com>
 


(back) Subject: Being let go.... From: Morton Belcher III <flcg1018@fujens.fju.edu.tw> Date: Mon, 15 Sep 1997 12:52:30 +0800 (TAIST)   Scenario I   You have a contract with your church as their org./chm ... it provides for a minimum of thirty days notice of termination by either party...     Question: If the church wants to terminate you, what is the best way (least painful) for them to do so? What, if anything, would you like to be told?     Scenario II You have been working for a church for a few years as their org./chm ..... for some reason, the church "never got around" to issuing you a contract... It was a bit difficult for you to insist on the contract before beginning employment, because you needed this source of regular income.   The minister asks you two months in succession for you to resign. You refuse to resign. As you hold one of the AGO certificates, presumably you are competent as a player. Thus if there is a problem, the problem would be either selection of music or various interpersonal relations... At any rate, you come to the church one day in the third month and find a letter from the minister giving notice of termination.   Question: If the church wants to terminate you, what would be the best way (least painful) for them to do so? How would you like to be terminated, if this was going to be done? What if anything, would you like to be told?     If you do not care to post to the list, feel free to e-mail me directly...     Best wishes to all.     Morton Belcher  
(back) Subject: Re: First Posting From: Vernon Moeller <vernonm@ccsi.com> Date: Mon, 15 Sep 1997 09:09:17   Rick:   Well, to start off, I would recommend that you look for other opportunities to play. Play those hymns as often as you can. Does your church have fellowship suppers? If so, maybe they want a couple of hymns sung before hand - be sure you're there to play. How about Sunday School? Is there a brief hymn-sing during that time? Be sure to play for them, too.   Look back through the past several months' worth of Sunday order of worship bulletins and make a list of which hymns were sung. No doubt you'll find several of them repeated, so be sure you know how to play those well.   How good is your sight-reading? I found early on that playing through the hymnal is pretty good SR-training. Start off with the first 10 hymns on the first day, and just play them through once each. If you find one that you've heard sung in church now and then, spend some time with it after you finish the rest of the 10. Do 10 or more each day, and you'll be surprised just how quickly you can work your way through the hymnal. Plus, many of the hymns will come to you automatically after a while, and you can let your mind wander a bit when you're playing at church - we all do.   Finally, I strongly suggest that you join your local chapter of the American Guild of Organists. I think the annual dues are $68 or so, which includes the monthly magazine. Best of all, you'll be able to visit with and listen to other organists in your community, which will greatly expand your horizons.   I get very nervous before I play, but I try to remember that there's nothing I can't do if I have done it before during rehearsal and if I take it just one step at a time. Concentrate on successful playing, and you'll reap successful playing. When you're sitting in traffic, or at other times when you're alone in a quiet environment, picture yourself playing a hymn - hum the melody, imagine how it feels to press your fingers on the keys, and push your feet down on the pedals. Imagine that every note you hit is perfect, and above all, imagine how good you feel when you finish playing. Who knows - maybe just the way you played something caused somebody else in the church to have a 'religious moment'? That's the kind of thing I strive for. Do this often enough, and your nervousness will fade away, because you've built up your 'castle of confidence.'   Good Luck and Have Fun,   \/\/\  
(back) Subject: Re: This is my first posting.. -Reply From: cremona84000@webtv.net (bruce cornely) Date: Sun, 14 Sep 1997 17:08:07 -0400   Rick, what kind of problems is your Wicks having. As you see below, I have one too. I do most of the repairs myself and will be happy to share any with you that mght be useful (and join AGO today!). Wicks are really very simple machines. How old, how large, ? stoplist. I am presently doing some tonal adjustment to our Wicks. If you are interested, I'll fill you in. Best,   bruce   Bruce Cornely, organist (OHS & AGO) University United Methodist Church and Student Center Wicks ('56) 3/16r Gainesville Florida Dean, Gainesville Chapter AGO  
(back) Subject: Re: Hammond Organ model H From: "Richard B. Ahlvin" <rahlvin@magnolia.net> Date: Mon, 15 Sep 1997 10:32:30 -0500   james turner wrote: > > Hello fellow Hammond organ friends, > > I am new to the group and my name is Jim Turner. A while back I bought > a Hammond organ model H. It is a full size console with two sets of > drawbars and 25 pedals. It is also self contained and has tubes. > > It does have some problems, but I was just wondering from the rest of > the group if this is a good model or if I should look for another model. > I would appreciate any comments. > > Thanks, > > Jim Turner, Indiana > > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org   Historicaly, the model H is the most troblesome model of tone-wheel organ that Hammond made. The vibrato scanner (special two-channel unit) gave problems and Hammond provided a retro-fit which consisted of a separate scanner and moter unit that mounted under the tone generator shelf. The bass pedal sustain was always a source of problems too. In order to sustain a Hammond, the contacts have to remain closed in order to provide the tone since the audio signals themselves are switched. The H uses a solenoid for each pedal contact that holds the contact closed after a pedal is hit. There is a constant current supply that has just enough power to keep one solenoid on so when another pedal is hit the first releases and the current pedal is held. With all of these problems, I owned an H-112 and played it semi-professionaly for several years and had absolutely NO problems including the vibrato scanner. It was one of my favorite tone-wheel Hammonds. It is similar to the X-77 except the X-77 does not have the 2-channel vibrato scenner (all of its animation is in the special Leslie built tone cabinet.) The H played through a 10-12 tone cabinet sounds great. No, you don't get the classic screaming Leslie sound but you do get many other animated sounds in stereo that are unavailable on any other model. (I think the X-66 uses a similar arrangement but I'm not that familar with that model.) I hope you have few problems because the H may be the best (feature-wise) Hammond tone-wheel organ. It has more tonewheels (they go up to higher harmonics) than the A,B,C,E,RT etc. organs. -- Richard B. Ahlvin e-mail: rahlvin@magnolia.net  
(back) Subject: Re: This is my first posting. From: LACAIN@DAVIDSON.EDU Date: Sun, 14 Sep 1997 22:14:14 -0500 (EST)   I remember the first church service I ever played, at about 15. I played my prelude and the service didn't start. I was behind a screen, back to back with the minister, and couldn't see him or anything going on. What to do? I had only 3 pieces prepared, prelude, offertory and postlude. So, I played my offertory, and later, of course, had to play it again. My mother reported afterward that the minister had been standing silently in the pulpit, waiting for latecomers to seat themselves. I was a nervous wreck. I'll never forget it. Anyone else have memorable first services? Jane Cain Davidson, NC  
(back) Subject: Organ Concert Announcement From: Shirley <pnst@itw.com> Date: Sun, 14 Sep 1997 20:22:30   GLENN MILLER, Organist Friday, October 3, 1997, 8:00 PM Abington Presbyterian Church, Abington, PA 3/58 Moller   Program:   Variations de Concert, Op. 1 - Joseph Bonnet   From the Schubler Chorales - Johann Sebastian Bach 1. Wachet auf, ruft uns die Stimme 2. Meine Seele erhebet den Herrn 3. Kommst du nun, Jesu, vom Himmel herunter   Postlude pour l'Office de Complies - Jehan Alain   Praeludium et Fuga in D, BWV 532 - Johann Sebastian Bach   Scherzo - Maurice Durufle   Sonata No. 1 in D minor, op. 2 - Alexandre Guilmant 1. Introduction and allegro 2. Pastorale 3. Final     This is going to be an exciting, well-played, musical concert. Not one to be missed if you're in the Philadelphia, PA, USA, area.   Hope to see you there.   --Shirley                    
(back) Subject: Re: Concert Announcement From: MWORGLBAU@aol.com Date: Mon, 15 Sep 1997 02:38:58 -0400 (EDT)   Dear List Members,   The Organ Institute of America and Hollywood United Methodist Church present in concert, organist Philip Allen Smith On September 21, 1997 at 4:00 P.M. at the Hollywood United Methodist Church, 6817 Franklin Ave. Hollywood Ca.,90028 (at the corner of Highland and Franklin).   Mr. Smith's Programme will consist of:   Prelude and Fugue in G minor Dietrich Buxtehude   Offertoire sur le Grand jeux (Messe pour les Paroisses) Francois Couperin   Three Pieces, Op. 19 Pastoralle Cesar Franck   Chant de joie Jean Langlais   First Suite (1977) II. Antiphon III. Toccata   Come Autumn Time Leo Sowerby   Symphony No. 2, Op. 13 (1901) I. Praeludium Circular II. Pastorale IV. Adagio V. Final Charles-Marie Widor   Suggested Donation $8.00     Michael R. Williamson Williamson-Warne & Associates Hollywood Ca.  
(back) Subject: Re: Hymn Festival From: SCoonrod@aol.com Date: Mon, 15 Sep 1997 07:48:13 -0400 (EDT)   I do not have a hymn festival for advent, but I do have an excellent one based on the Nicene Creed which has alot of advent motives in it.   If anybody is interested I will have to send it snailmail.  
(back) Subject: A reminder that #Pipechat IRC is on tonight. From: Bob Conway <conwayb@post.queensu.ca> Date: Mon, 15 Sep 1997 14:23:59 -0400   To all Pipechat-L members:   #Pipechat IRC will be on again this evening.   On Anothernet at 9.00 pm EDT on the following Servers:   together.vt.us.another.net neato.ca.us.another.net   Or, you can try: irc.another.net. That will randomly choose an open server for you.   Hope to see you there this evening.       Bob ...   Life is based on the theory that when a man discovers a brand of beer exactly to his taste he should at once throw up his job and go to work in the brewery.' George Jean Nathan (1882-1958)            
(back) Subject: Re: Being let go.... From: rusczyk@ix.netcom.com (Robert Rusczyk) Date: Mon, 15 Sep 1997 13:39:17 -0500 (CDT)   Some basic "employment law" facts:   First, each state has its own rules for "employment", but MOST state operate under the current "Employment at Will" scenario. Simply, either party at any time, without cause, reason, or notice may severe the "employment agreement", written, verbal or otherwise.   Even in the case of a contract, if the state supports "employment at will", the contract is not worth the paper it is printed on.   In some states there are requirements for severence, notice, and partial contract payment, but if cause is given the most that can be expected is a couple weeks pay. In fact "cause" can be defined as "our worship style has changed and we wish to explore other talents". You "AGO" document means nothing in the legal sense of employment. In fact employers may change requirements at will, thus eliminating the current person from qualifying.   Fact is most organist positions are viewed as "casual" positions and are expendible in the eyes of the current laws. Only if you can sight "specific" discrimination (very hard to do) based on age (over 40), race, religion, handicap, etc., are there measure to protect you. In most cases, churches are viewed as "small employers" and those issues are hard to prove due to small employee numbers. In most cases these issues end up in civil court and the only winners are the lawyers.....   I am sure this is not what you were looking for, but I deal with employment issues in many states and this is the way it is.   If you can tell me what state in particular, I may be able to be more specific. Also, you may wish to contact your state's department of labor for more info.   Bob Rusczyk......in Vancouver USA.....         You wrote: > >Scenario I > > You have a contract with your church as their org./chm ... it provides > for a minimum of thirty days notice of termination by either > party... > > > Question: If the church wants to terminate you, what is the best > way (least painful) for them to do so? What, if > anything, would you like to be told? > > >Scenario II > > You have been working for a church for a few years as their org./chm > ..... for some reason, the church "never got around" to > issuing you a contract... It was a bit difficult for you to > insist on the contract before beginning employment, because > you needed this source of regular income. > > The minister asks you two months in succession for you to > resign. You refuse to resign. As you hold one of the > AGO certificates, presumably you are competent as a player. > Thus if there is a problem, the problem would be either > selection of music or various interpersonal relations... > > At any rate, you come to the church one day in the third month and > find a letter from the minister giving notice of termination. > > Question: If the church wants to terminate you, what would be > the best way (least painful) for them to do so? How would > you like to be terminated, if this was going to be done? > What if anything, would you like to be told? > > >If you do not care to post to the list, feel free to e-mail me directly... > > >Best wishes to all. > > >Morton Belcher > >"Pipe Up and Be Heard!" >PipeChat: A discussion List for pipe/digital organs & related topics >HOMEPAGE : http://www.pipechat.org >List: mailto:pipechat@pipechat.org >Administration: mailto:admin@pipechat.org >Subscribe/Unsubscribe: mailto:requests@pipechat.org > >    
(back) Subject: Re: This is my first posting.. (Beginning Organist) From: Jim Zimmerman <zimmerman@chem.purdue.edu> Date: Mon, 15 Sep 1997 11:07:51 -0500   >n a message dated 97-09-12 14:59:04 EDT, Rick Williams wrote: > ><< > Hello. I'm wondering if any of you have words of encouragement, wisdom etc. >for a beginning organist.   Welcome to the club, Rick! I am also a novice and asked the same questions a few months ago before I subbed for the first time (for my own church). Two weeks ago, I subbed for the second time. It does get a little easier each time. I broke myself in gradually. Fortunately, I was given a lot of notice before my first service playing experience. I started conditioning myself by playing something after our regular organist finished the postlude. The first time I played, my hands and feet shook so badly that I didn't need a tremolo! After doing that a few times, I worked myself up to playing the closing hymn and the postlude. Then, I played the prelude for an evening service. By working into it gradually, my first service playing experience went exceptionally well. As for the cotton mouth, I keep a cup of water at the console. It works for me. I also grab a wad of paper towels from the restroom to cope with sweaty hands. As others have stated, lots of preparation and practicing everything exactly as it occurs in the service is really helpful. Keeping a bulletin handy marked with when you play is also very helpful.   I also learned the hard way when I subbed two weeks ago to NEVER take an antihistamine before playing. The result was disastrous. I went brain-dead at the console and every note was a struggle at the early service. I was so well prepared, yet I played miserably until the drug effects wore off. I would have been better off sneezing. BTW, as a hay fever sufferer, I've always wondered what the rest of you do if you feel a sneeze coming on while you're playing? Do you just cut loose all over the console? <BG>   Shirley also made the point:   >2) The other point someone made is that a church congregation is >supportive. I used to think it was ignorance on their part, that they can >compliment me on what they perceived as a job well done, when I knew >better; but at this mature time in my life (ahem!), I can see that they are >really saying, "Hey, it's ok... so you made a couple of goofs... so >what.... your music was inspiring, and we were brought into God's presence >through it." That's all that matters.   This is so true. Even with all my drug induced goofs two weeks ago, the little old ladies were still cheering me on. Sure, they noticed the bloopers. But they still love me. We're all human and we're all going to make mistakes. There is only One who is perfect.   Take care Rick, and let us know how you do.     ** Jim Zimmerman zimmerman@chem.purdue.edu **    
(back) Subject: Practical Jokes, Pt 2 From: Vernon Moeller <vernonm@ccsi.com> Date: Mon, 15 Sep 1997 15:22:23   Well, this isn't really a practical joke. It was an accident. Honest.   At the end of each academic year at St Mary's, there would be a large graduation ceremony, usually held at the old Municipal Auditorium, which I believe burned down to the ground, taking an old Moller PO with it, but I'm not sure.   Anyway, I was in the band all four years at St Mary's, because at $38 per semester hour, it wasn't cheap going to college in those days, and I had a partial scholarship that helped out a lot. In exchange for the reduced cost of college that it offered, I also had to accompany the choir, which I enjoyed doing, plus most of the other instrumentalists' juries, plus I had to play in the percussion section of the band (which included marching in the Fiesta Flambeau Parade as well as the St Patrick's Day Parade). I played percussion utilities, which was loosely categorized as everything that didn't involve snare drum-like rolls and paradiddles and flam-a-diddles, and so on. I also stayed away from the tympani, 'cuz my rolls didn't. So, I was the guy behind the chimes, the glockenspiel, the xylophone, the maracas, tambourine, congas, triangle, etc.   Graduation ceremony music one year included a dynamite arrangement of Lecuona's immortal "Malaguena," arranged by our conductor, Leo R Green. It opened with the sound of a chime crescendo on one D chime: bong, bong, *bong*, BONG! answered by a lonely French horn on the main melody. This was then repeated, with the only difference being that this time, I played a C# chime. Then back again to the D chime, using the same pattern: 4 bongs and then the French horn came in again. This was ended by a sudden dissonant tutti from the whole band, followed by a wild chase using some kind of traditional Latin beat. The audience loved it. The band loved it. Leo loved it. Until one graduation Sunday evening....   The complete set of chimes plus their stand were far too heavy to transport in somebody's pickup from the bandhall to the Muni Auditorium, so we took only the 2 chimes we needed. We ran some really strong string through the tops of each chime, through the holes that were normally used to mount the chimes in their stand. John was one of our drummers, and he was fantastic on a trap set. However, *somebody* had to hold the chimes up while I whacked them with the wooden mallet, so he bravely volunteered. He looked just like a blond Charles Bronson, and each time he grabbed one of the chimes, by its string, his eyes would turn to slits (like just before Bronson wipes up the floor with the bad guys) and he'd hiss, "Hit the chime or die!" because his fingernails were facing me and the business end of the mallet.   So, everything went fine in our rehearsals. I'd hit the last chime, and as soon as its sound died out enough, I'd mute it by grabbing it and the other chime as well and turn them on their sides, and setting them down very, very, *very* gently and *very softly* on the orchestra pit floor, next to a wall. Oh, did I tell you that the pit floor was at an angle? Not very steep, but certainly steep enough, as you will see....   So there we were, John and I, waiting for Leo to give us the cue to start. John lifted up the first chime, did his little hiss routine, and I started up: bong, bong, *bong*, BONG! Ah, perfection! Leo smiled and began cuing in the French horn. John set the D chime down on his shoe to muffle it, and lifted up the C# chime with his other hand. Bong, bong, *bong*, BONG! Ah, perfection again! Leo was still smiling! I remember whispering to John, "Damn, we're great!" John just let out a little groan (the chimes were pretty heavy, y'know) and set down the C# chime on his other foot. Then he lifted the D chime again.   The next few moments are indelibly recorded in the audio section of my memory:   Bong, bong, *bong*... normal sounds   KA-THUNK! ... Oh, %*$%^&! I nailed John's 2d, 3d and 4th fingernails with the mallet!   EEEEEE-YOWWW! ... John bellowed out in pain - every ear in a square block around us heard him!   KA-LANG-KLANG!!!! ... First one chime, then the other hit the orchestra pit floor, on their ends, then   RONG-A-RONG-A-RONG-A-RONG-A-, etc ... The chimes started an accelerando, rolling down the pit floor (remember when I said it was slanted?)   THUD-KLANG-ANG-ANG-ang-ang!!! - The chimes hit the wall and bounced against each other a few times.   KARRR-ASHHHHHH!!! - In my haste to avoid two flying chimes, I jumped backwards into a small stand holding the Olympic-sized crash cymbals, which slid off the stand and hit the floor, separately, of course.   By this time, John was doubled over, and I was the only person the audience could see, and unfortunately, while I was a bit dazed by all the action, I saw the humor in the event, and I just kind of smiled and shrugged, in a Stan Laurel-ish sort of way, and that caused everybody else to break up, including half the band, the half that wasn't professional enough to continue playing. Leo? Well, he saw the humor in it, too, especially when the Dean of Arts and Sciences, Fr Langlinais, came up to him after the ceremony with a big smile and said something like, "An unscheduled salute to Spike Jones, eh, Leo?"   Poor John! He lost 1 fingernail and the other two turned black, but he didn't lose them. Fortunately for me, I guess, this was the last night the band played until the following fall semester started up again, and I didn't have to see John until then. When I did finally see him, I reminded him that perhaps this was his punishment for having fallen asleep before the band's spring concert earlier that year, and having slept all the way through it - by the time he arrived, the concert was over, and so was his music scholarship. I hear he left music and went to law school instead. A much safer profession, sometimes, I've heard.   Again, my apologies for the length, but without a doubt, this is one of my funniest memories of college life.   \/\/\      
(back) Subject: The Elec Organist's Lament From: Vernon Moeller <vernonm@ccsi.com> Date: Mon, 15 Sep 1997 15:49:11   Friends:   I had the rare privilege and honor of playing for the wedding of my 73-yr-young mother to a 79-yr-young whippersnapper from Minnesota the day before yesterday at an ELCA church in San Antonio. Needless to say, I was very happy for her (still am), and I'm looking forward to any changes in my lifestyle due to my becoming (for the first time in my 46 years) an uncle, a great-uncle, a stepson, and a stepbrother, all at once.   However, at the risk of starting another PO vs EO conflagration, I must report, sadly, that the only thing wrong with the wedding was the organ. I played on a 3 manual PO/EO Rodgers. I had rehearsed for about 2 hours on it, on two separate occasions earlier this year, and I found nothing seriously wrong either of those times. Granted, some of the pipes were way out of tune, but I had arrived early enough to check them out, so I avoided using registrations that included those ranks (it comes with the territory, so I considered it to be a normal situation).   When I started playing one of the hymns, I could hear some really loud groaning coming from behind the wall behind me. Fortunately, the hymns were loud enough to drown it out. When I stopped playing, the sound stopped, too. I thought that maybe it would only occur on loud music. WRONG! The worst part was yet to come. My wife Ann was the soloist. She sang a song my mom and stepdad wrote near the beginning, then "One Hand, One Heart" for the lighting of the unity candle, and finally Malotte's "Lord's Prayer" near the end of the service. As soon as I pressed the first few notes of the Malotte on the choir, the groaning started in again. This time, I was drowned out until we reached "For thine is the kingdom," but my poor wife was audibly nervous because she couldn't hear me for all the dreadful groaning. Lucky for us, she is a wonderful singer and she just sang her little heart out and we stayed together to the very end.   The pastor asked if I knew what could cause that, and I said that my expertise is not in PO's, but it sounded to me like the blower couldn't keep up the required air pressure and that it was just pumping as fast as it could. Does this sound feasible to you PO techies out there? When I said the word "blower," the pastor replied, "Oh, please, please, please, don't say it's the blower," so apparently they've had this kind of trouble before.   Which leads me to my opinion in this matter. I've played PO's and EO's that have broken down during weddings and services before, but if you want to be embarrassed, be sure you're playing on a PO when it breaks down because it doesn't just quit, like most EO's do, it generally ends up sounding like a dying moose, much to everybody's misery.   Maybe I'm alone in my experiences, but for right now, I have absolutely no desire to support the PO cause. I was strongly tempted to tell the pastor, "Hey, if you're interested, I'll bet I can get you a good deal trading this one in on an Allen," but I decided against saying anything that might make the poor fellow feel worse. I'll probably get over how I feel, as soon as I've seen the video tape that was made, but for the next few days, criticize my trend of thought on this matter at your own risk (snarl!).   I'd still like to know what y'all think might have caused this strange sound. It sounded like a very loud hum, in a low register, and it took a while to start up. I turned off the organ during the homily, hoping that perhaps it was something that happened when the organ or some of its components heated up, but even after letting it cool off for a few minutes, the sound came back almost immediately after I started playing again. Maybe their organ needs a lot of work patching up holes in the leather, and the blower ends up pumping air through a sieve, not an organ. Any ideas that you submit I'll call in to the pastor so he can inquire intelligently about repair costs from his technician.   \/\/\