PipeChat Digest #1661 - Tuesday, November 14, 2000

 

HELP!  changing, adding, suggestions sought

  by "Randy Terry" <randyterry@laumc.org>

Re: HELP!  changing, adding, suggestions sought

  by <TRACKELECT@cs.com>

ADMINISTRATION NOTE - ALL READ!!!

  by "Administrator" <admin@pipechat.org>

Re: Tying Repeated Notes in Hymns

  by "WDBabcock" <WDBabcock@email.msn.com>

Re: Tying Repeated Notes in Hymns

  by "Michael" <scapolo@sympatico.ca>

Re: Werkprinzip as Academic Construct (xpost)

  by "Bob Scarborough" <desertbob@rglobal.net>

 


(back) Subject: HELP! changing, adding, suggestions sought From: "Randy Terry" <randyterry@laumc.org> Date: Mon, 13 Nov 2000 14:12:53 -0800   This is a multi-part message in MIME format.   ------=3D_NextPart_000_000C_01C04D72.98DE7460 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: 7bit     I have moved to a church that has a wonderful worship space. The acoustic is glorious. The organ is a 1972 Swain & Kates assembled from various supply houses. However, the scales are generous, the voicing in keeping with "Anglican" tradition. We have the following ranks:   16' Subbass/Koppelflote 16' Quintadena 8' Diapason (exposed) 8' Gemshorn 8' Celeste (TC) 4' Principal (exposed) 2-2/3' Nasard (chimney flute pipes) 1-3/5' Tierce (TC) IV Mixture 16' Trumpet   We are doing some revamping of the specification and minor additions, = listed below:   4' Clarabella (new, revoiced flute/principal hybrid) 2-2/3 Nasard (new metal conical) 8' Oboe (new)   Everything is in a chamber with good swell shutters except the 8' and 4' Principals. Good cut-ups, mild nicking in flutes, a little too much in = the Principals. Wonderful sounding Celeste and a very nice round Trumpet with full length bass. All in all this instrument is a good match for our = liturgy and the wonderful acoustics make it "sound" better than many much nicer organs. It truly sings.   We are Revoicing the Quintadena (low 32 pipes) into a soft Gedeckt, and using the remainder of that chest to install a new (to us) conical Nasard. We are adding 7 pipes to the existing Rhor Nazard and it will become a unison flute to pair with the Koppelflute. We also purchased a wonderful Stinkins Oboe from 1964 which has never been used. So far so good. The thing we lack is a Geigen or broad string to pull this ensemble together. We don't have the money to purchase any more pipework. I haven't found anything cheap and revoicable to serve this purpose. However, the organbuilder brought in a revoiced Clarabella. He had lowered the cut-up = by adding a metal extension to the upper lip. It sounds very much like a flute/principal hybrid. With these additions we will have 15 ranks and a full chamber. We have gone back and forth about a real 4' Principal in = the chamber. This organ is a workhorse. We want to be able to play hymns, = some literature, improvise, and accompany. In my opinion suitability for literature is bottom on my list, but if the specification is a good one it should serve the literature, too, in theory. We have a 1972 Klann console that we can't afford to replace or re-work. There are no couplers, but I see it basically as a one manual organ, duplexed, with some unification. = We have a finite ammount of tabs, etc., and it would be pointless to spend = any significant money on this console unless we can afford to replace the innards, which we can't at this point.   Since we have no couplers, I want all the foundations, chorus and reed combinations on the Great. The swell is accompaniment. It also has the cornet, and slush. There are a lot of duplications of "main" ranks. But = I hope the second manual will function well. I am very uncertain as to how well it will work as a quasi-positiv, but it doesn't do that now!   We will regulate and revoice where needed. I'm really excited about these changes. Here is the porposed specification of the redo. The current = specs are included following for reference. I think the revamped one will be = much more servicable. Any suggestions or comments would be appreciated.     Great:   16' Gedecktbass (former Quintadena for 24 notes then Rhorflote) 8' Diapason (exposed) 8' Clarabella 8' Chimney Flute (bass from existing wood "unison bass") 8' Gemshorn (soft, fluty) 4' Octave (exposed) 4' Couple Flute 2-2/3' Nasard 2' Fifteenth (ext. 8') IV Mixture 1-1/3' IV Octave Mixture (octave coupler of Mixture) 16' Double Trumpet 8' Trumpet 8' Oboe 4' Clarion   Unification here at a minimum. Major choruses and suitable accompaniment for "Swell."   Swell:   8' Clarabella (bass from existing stopped wood unison bass) 8' Couple Flute 8' Gemshorn 8' Gemshorn Celeste 4' Hohlphife (ext. Clarabella) (revoiced flute/principal hybrid) 4' Chimney Flute 4' Gemshorn Celeste II 2-2/3' Nasard 2' Flute (ext. Couple Flute) 1-3/5' Tierce IV Octave Mixture 8' Trumpet 8' Oboe 4' Clarion   Pedal:   32' Resultant 16' Subbass 16' Gedecktbass 8' Principal 8' Gedeckt (from Subbass/Koppel unit) 8' Gemshorn 4' Choralbass (from 8') 4' Couple Flute V Mixture (2' Fifteenth + IV Mixture) 16' Double Trmpet 8' Trumpet 4' Clarion 4' Oboe   Accessories:   Chimes Swell (tab and reversible piston) General Tremolo (tab and reversible piston) Cymbelstern (rev. piston and toe stud)   ORIGINAL SPECS:   Great: 16' Quintadena, 8' Diapason, 8' Koppelflute, 8' Gemshorn, 4' = Octave, 4' Quintadena, 2-2/3' Rhor Nasard, 2' Fifteenth, 2' Koppelflute, IV Fourniture, IV Cymbal (unified from mixture starts at C25, unusable) 16, = 8, 4, Trumpet. Chimes, Cymbelstern   Swell: 8' Rhorflute (unified from Nazard, later wiring change by some technician) 8' Quintadena, 8' Gemshorn, 8' Celeste, 4' Principal (gt) 4' Koppelflute, 2' Quintadena, 2' Gemshorn, 1-1/3' Quinte, 1' Piccolo, IV Mixture (begins at C12 of parent rank) 8' Trumpet, 4' Clarion, Gen. = Tremolo   Pedal: 32' Resultant, 16' Subbass, 16' Quintadena, 8' Principal, 8' Gedeckt, 8' Gems., 4' Choralbass (8'), 4' Koppelflute, 2' Koppelflute, IV Mixture, Trumpet 16, 8, 4   ------=3D_NextPart_000_000C_01C04D72.98DE7460 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META HTTP-EQUIV=3D3D"Content-Type" CONTENT=3D3D"text/html; =3D charset=3D3Diso-8859-1">     <META content=3D3D"MSHTML 5.00.2614.3500" name=3D3DGENERATOR></HEAD> <BODY> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>I have=3D20 moved to a church that has a wonderful worship space.&nbsp; The acoustic = =3D is=3D20 glorious.&nbsp; The organ is a 1972 Swain &amp; Kates assembled from =3D various=3D20 supply houses.&nbsp; However, the scales are generous, the voicing in =3D keeping=3D20 with "Anglican" tradition. We have the following =3D ranks:</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Subbass/Koppelflote</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Quintadena</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Diapason (exposed)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Gemshorn</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Celeste (TC)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Principal (exposed)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>2-2/3'=3D20 Nasard (chimney flute pipes)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>1-3/5'=3D20 Tierce (TC)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>IV=3D20 Mixture</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Trumpet</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>We are=3D20 doing some revamping of the specification and minor additions, listed=3D20 below:</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Clarabella (new, revoiced flute/principal hybrid)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>2-2/3=3D20 Nasard (new metal conical)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Oboe (new)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Everything is in a chamber with good swell = =3D shutters=3D20 except the 8' and 4' Principals.&nbsp; Good cut-ups, mild nicking in =3D flutes, a=3D20 little too much in the Principals.&nbsp; Wonderful sounding Celeste and = =3D a very=3D20 nice round Trumpet with full length bass. All in all this instrument is = =3D a good=3D20 match for our liturgy and the wonderful acoustics make it "sound" better = =3D than=3D20 many much nicer organs.&nbsp; It truly sings.</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>We are=3D20 Revoicing the Quintadena (low 32 pipes) into a soft Gedeckt, and using =3D the=3D20 remainder of that chest to install a new (to us) conical Nasard.&nbsp; =3D We are=3D20 adding 7 pipes to the existing Rhor Nazard and it will become a unison =3D flute to=3D20 pair with the Koppelflute.&nbsp; We also purchased a wonderful Stinkins = =3D Oboe=3D20 from 1964 which has never been used.&nbsp; So far so good.&nbsp; The =3D thing we=3D20 lack is a Geigen or broad string to pull this ensemble together.&nbsp; =3D We don't=3D20 have the money to purchase any more pipework.&nbsp; I haven't found =3D anything=3D20 cheap and revoicable to serve this purpose.&nbsp; However, the =3D organbuilder=3D20 brought in a revoiced Clarabella.&nbsp; He had lowered the cut-up by =3D adding a=3D20 metal extension to the upper lip.&nbsp; It sounds very much like a=3D20 flute/principal hybrid.&nbsp; With these additions we will have 15 ranks = =3D and a=3D20 full chamber.&nbsp; We have gone back and forth about a real 4' =3D Principal in the=3D20 chamber.&nbsp; This organ is a workhorse.&nbsp; We want to be able to =3D play=3D20 hymns, some literature, improvise, and accompany.&nbsp; In my opinion=3D20 suitability for literature is bottom on my list, but if the =3D specification is a=3D20 good one it should serve the literature, too, in theory.&nbsp; We have a = =3D 1972=3D20 Klann console that we can't afford to replace or re-work.&nbsp; There =3D are no=3D20 couplers, but I see it basically as a one manual organ, duplexed, with =3D some=3D20 unification.&nbsp; We have a finite ammount of tabs, etc., and it would = =3D be=3D20 pointless to spend any significant money on this console unless we can =3D afford to=3D20 replace the innards, which we can't at this point.</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>Since=3D20 we have no couplers, I want all the foundations, chorus and reed =3D combinations on=3D20 the Great.&nbsp; The swell is accompaniment.&nbsp; It also has the =3D cornet, and=3D20 slush.&nbsp; There are a lot of duplications of "main" ranks.&nbsp; But = =3D I hope=3D20 the second manual will function well.&nbsp; I am very uncertain as to =3D how well=3D20 it will work as a quasi-positiv, but it doesn't do that =3D now!</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>We=3D20 will regulate and revoice where needed.&nbsp; I'm really excited about =3D these=3D20 changes.&nbsp; Here is the porposed specification of the redo.&nbsp; The = =3D current=3D20 specs are included following for reference.&nbsp; I think the revamped =3D one will=3D20 be much more servicable.&nbsp; Any suggestions or comments would be=3D20 appreciated.</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Great:</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Gedecktbass (former Quintadena for 24 notes then =3D Rhorflote)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Diapason (exposed)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Clarabella</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Chimney Flute (bass from existing wood "unison =3D bass")</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Gemshorn (soft, fluty)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Octave (exposed)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Couple Flute</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>2-2/3'=3D20 Nasard</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>2'=3D20 Fifteenth (ext. 8')</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>IV=3D20 Mixture 1-1/3'</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>IV=3D20 Octave Mixture (octave coupler of Mixture)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Double Trumpet</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Trumpet</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Oboe</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Clarion</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Unification here at a minimum.&nbsp; Major = =3D choruses and=3D20 suitable accompaniment for "Swell."</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Swell:</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Clarabella (bass from existing stopped wood unison =3D bass)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Couple Flute</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Gemshorn</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Gemshorn Celeste</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Hohlphife (ext. Clarabella)&nbsp; (revoiced flute/principal=3D20 hybrid)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Chimney Flute</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Gemshorn Celeste II</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>2-2/3'=3D20 Nasard</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>2'=3D20 Flute (ext. Couple Flute)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>1-3/5'=3D20 Tierce</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>IV=3D20 Octave Mixture</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Trumpet</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Oboe</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Clarion</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Pedal:</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>32'=3D20 Resultant</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Subbass</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Gedecktbass</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Principal</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Gedeckt (from Subbass/Koppel unit)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Gemshorn</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Choralbass (from 8')</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Couple Flute</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>V=3D20 Mixture (2' Fifteenth + IV Mixture)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>16'=3D20 Double Trmpet</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>8'=3D20 Trumpet</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Clarion</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>4'=3D20 Oboe</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Accessories:</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>Chimes=3D20 Swell (tab and reversible piston)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>General Tremolo (tab and reversible=3D20 piston)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Cymbelstern (rev. piston and toe=3D20 stud)</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>ORIGINAL SPECS:</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Great:&nbsp; 16' Quintadena, 8' Diapason, = 8'=3D20 Koppelflute, 8' Gemshorn, 4' Octave, 4' Quintadena, 2-2/3' Rhor Nasard, = =3D 2'=3D20 Fifteenth, 2' Koppelflute, IV Fourniture, IV Cymbal (unified from =3D mixture starts=3D20 at C25, unusable) 16, 8, 4, Trumpet.&nbsp; Chimes,=3D20 Cymbelstern</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN =3D class=3D3D400102819-13112000>Swell:=3D20 8' Rhorflute (unified from Nazard, later wiring change by some =3D technician) 8'=3D20 Quintadena, 8' Gemshorn, 8' Celeste, 4' Principal (gt) 4' Koppelflute, =3D 2'=3D20 Quintadena, 2' Gemshorn, 1-1/3' Quinte, 1' Piccolo, IV Mixture (begins =3D at C12 of=3D20 parent rank) 8' Trumpet, 4' Clarion, Gen. Tremolo</SPAN></FONT></DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000></SPAN></FONT>&nbsp;</DIV> <DIV><FONT color=3D3D#0000ff face=3D3DArial size=3D3D2><SPAN=3D20 class=3D3D400102819-13112000>Pedal:&nbsp; 32' Resultant, 16' Subbass, = 16'=3D20 Quintadena, 8' Principal, 8' Gedeckt, 8' Gems., 4' Choralbass (8'), = 4'=3D20 Koppelflute, 2' Koppelflute, IV Mixture, Trumpet 16, 8,=3D20 4</SPAN></FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_000C_01C04D72.98DE7460--    
(back) Subject: Re: HELP! changing, adding, suggestions sought From: <TRACKELECT@cs.com> Date: Mon, 13 Nov 2000 17:55:14 EST   In a message dated 11/13/00 5:22:45 PM Eastern Standard Time, randyterry@laumc.org writes:   << I have moved to a church that has a wonderful worship space. The = acoustic is glorious. The organ is a 1972 Swain & Kates assembled from various supply houses. However, the scales are generous, the voicing in keeping with "Anglican" tradition. We have the following ranks: >>   I have two strong recommendations for you: 1. Before you start adding ranks make that your infrastructure is sound. = Is the chamber in good shape? Falling plaster? Uninsulated walls? Good glossy =   white paint (gloss reflects sound and white makes it easier for organman = to see). Good air circulation between enclosed and unenclosed ranks? Are the blower and rectifier up to handling the new stuff? Is the leather sound on =   the reservoirs, the actions, and the Subbass stoppers, Swell engine, Tremulant? 2. Get ready to tackle the console. If I were you I would do this first. I =   know these consoles and they are full of plastic parts that start to = degrade at this age.   Good luck:   Alan B.  
(back) Subject: ADMINISTRATION NOTE - ALL READ!!! From: "Administrator" <admin@pipechat.org> Date: Mon, 13 Nov 2000 16:59:39 -0600   Folks   I hate to have to do this reminder again but we have been having way too many posts that have been done as HTML text rather than PLAIN TEXT. I know that some of you might think your post looks pretty when it comes back to you BUT it also means that there are folks that cannot read it. Not everyone on this list has the latest and greatest email client that will interpret HTML coding. For those folks it just comes through as a bunch of gibberish. And it really messes up the Digests which about a third of your fellow subscribers read. So PLEASE out of consideration for your fellow list members do not post anything except in PLAIN TEXT.   Thanks and now back to Happy PipeChatting   David -- **************************************** David Scribner Owner / Co-Administrator PipeChat   http://www.pipechat.org mailto:admin@pipechat.org  
(back) Subject: Re: Tying Repeated Notes in Hymns From: "WDBabcock" <WDBabcock@email.msn.com> Date: Mon, 13 Nov 2000 17:07:01 -0600   My teachers through college (B.M.) and grad school (M.M.) were always fanatical about repeated notes being shortened by approximately 1/2 the original value of the note even in dry acoustical settings. Sometimes you need to break all the voices to goose the congregation along on a lively hymn. William D. "Bill" Babcock WDBabcock@msn.com wbabcock@lansing.lib.il.us My goal is to be the person my dog thinks I am. ----- Original Message ----- From: "Jeffrey Trimble" <jtrimble@cc.ysu.edu> To: "PipeChat" <pipechat@pipechat.org> Sent: Monday, November 13, 2000 7:02 AM Subject: Re: Tying Repeated Notes in Hymns     > At 06:57 PM 11/12/00 -0500, you wrote: > > > >Twentieth century organ methods generally accept the tying of repeated notes > >in hymns, especially from strong to weak beats. Does anyone know when and > >where this practice started? Is there any mention of this in earlier > >documents? > > OH? Harold Gleason's Method of Organ Playing ***never*** advocated that > style/technique. From which school have you been quoting from? Nor was > I ever taught that except during some types of Gospel Hymns and during > "Solo Style" playing. > > Jeffrey A. Trimble > Trinity United Methodist Church > Youngstown, Ohio > Very strange. > > "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: Tying Repeated Notes in Hymns From: "Michael" <scapolo@sympatico.ca> Date: Mon, 13 Nov 2000 19:32:43 -0500   > >Twentieth century organ methods generally accept the tying of repeated notes >in hymns, especially from strong to weak beats. Does anyone know when = and >where this practice started? Is there any mention of this in earlier >documents?   >>OH? Harold Gleason's Method of Organ Playing ***never*** advocated that >>style/technique. From which school have you been quoting from   >>Jeffrey A.   Harold Gleason's Method, like most other modern method, does mention tying voices in hymn playing. See edition 8, page 283: "A series of repeated notes may sometimes be tied in the alto and bass parts from strong to weak beats of the measure."   Michael    
(back) Subject: Re: Werkprinzip as Academic Construct (xpost) From: "Bob Scarborough" <desertbob@rglobal.net> Date: Mon, 13 Nov 2000 19:51:41 -0800   At 02:33 PM 11/13/2000 -0500, you wrote: >Doug Campbell's cross-post last week, which provided the stoplist of a = 1961 >Phelps instrument, is a very good example of how within the context of >academic frenzy, an entire era of organbuilding seems to have missed the >boat.<snip>   Seb Gluck's statement here is about as concise a pronouncement of my = gripes about later 20th century organbuilding as one could hope for, wonderfully devoid of my trademark long windedness.   >This was a case of VERY >expensive ADEQUACY, and the fact remains that such organs are built all = the >time today. But if we look more and more at the organs for which our >literature was written, especially the organs of Bach, they are VERY much = at >variance with what is being built.<snip>   Exactly! Many from the "neo"/tracker-backer/slippy-slider "school" of the =   present seem to neglect entire musical eras, preferring to claim some sort =   of non-existent "moral high ground" in turning back the clock 400 some-odd =   years, what with silly tracker action and a paucity of modern performance aids and appliances. One builder in particular tries to make up for this somewhat by going to the ridiculous extreme of loading up his "brustwerks" =   with "romantic" stops...!!!! Silliness, all of it, and I blame a lot of = it on Biggs and Fesperman...Biggs for going over the fantail for the Busch-Reisinger Flentrop, and Fesperman for his misguided book, both products of a time centered around 1960.   DeserTBoB   "Your mission, Mr. Phelps, is to create an organ that plays nothing really =   well, but make academic hacks happy. As always, the Secretary will = disavow any knowledge of your actions...."