PipeChat Digest #2317 - Thursday, August 16, 2001
 
Re: the cost of fine workmanship
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
Felix Hell's 16th Birthday and Farewell from NYC
  by "Administrator" <admin@pipechat.org>
Allegro - part 5
  by "John Vanderlee" <jovanderlee@vassar.edu>
Re: Allegro - part 5
  by "Glenda" <gksjd85@access.aic-fl.com>
Re: Allegro - part 5
  by "John Vanderlee" <jovanderlee@vassar.edu>
Re: pitch... but different
  by "Bob Elms" <elmsr@albanyis.com.au>
RE: Utah Organ In A Barn
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Hoopernacle Organ
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: the cost of fine workmanship
  by "Jon C." <opus1100@catoe.org>
Re: Allegro - part 5
  by "Jon C." <opus1100@catoe.org>
RE: the cost of fine workmanship
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Allegro - part 5
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: Allegro - part 5
  by "John Vanderlee" <jovanderlee@vassar.edu>
Allegro - part 6
  by "John Vanderlee" <jovanderlee@vassar.edu>
Re: Mixtures to scream or not to scream
  by <RonSeverin@aol.com>
Re: Allegro - part 5
  by "Glenda" <gksjd85@access.aic-fl.com>
Re: Allegro - part 6
  by "Glenda" <gksjd85@access.aic-fl.com>
 

(back) Subject: Re: the cost of fine workmanship From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Thu, 16 Aug 2001 04:45:26 -0500     Douglas A Campbell wrote at length and concluded by writing:   > Remember, even a lowly organ bench is really a piece of fine > furniture........and only Norm Abrams can make one in a single half hour > TV show !   suggesting that the obvious answer to the problem is to call Norm; if we place the call Saturday morning, it will be ready by Sunday, right?        
(back) Subject: Felix Hell's 16th Birthday and Farewell from NYC From: "Administrator" <admin@pipechat.org> Date: Thu, 16 Aug 2001 05:52:42 -0500   =46olks   The following posting was sent to me with the request that I post it to the list, which I am more than glad to do. The celebration is being organized by Dr. Thomas Schmidt, Director of Music at St. Peter's. I wish that I lived closer to New York City to be able to attend this festive evening. I hope that those of you in that area will make it a point to attend and give Felix a Birthday Celebration and Send Off from NYC that he will always remember.   David     ************************************************************ Dear Listmembers and friends,   Saint Peter's Church, NYC, invites you to   =46elix Hell's 16th Birthday Party   =46riday, September 14, 2001 7:00 p.m.   =46elix Hell was born September 14, 1985, and has been Organ Scholar at Sain= t Peter's for the past two years. During that time he has played the organ for services, accompanied and sung in the choir, attended many church gatherings, and even celebrated his Confirmation. He has been a well-loved and loving member of Saint Peter's and now that he is leaving us for his studies at Curtis, we want to give him a big send-off! We are inviting =46elix's many friends and the members of the organ community to join Saint Peter's members as we celebrate his work and presence here and this big milestone in his life.   7:00 Dinner in the Living Room 8:00 Festive musical celebration with guest organists from Germany: Andreas Petersen from D=FCsseldorf Christoph Keggenhoff from Speyer and fellow students from Juilliard and Curtis Scott Myers, Curtis Institute of Music Chelsea Chen, Juilliard School of Music and other surprises! 9:30 Birthday cake time   Please let us know if you'll be coming so we can plan enough food for the dinner! Call Cantor Tom Schmidt at Saint Peter's by September 10, 212-935-2200, to make your reservation. Or e-mail him at tschmidt@saintpeters.org.   Donation for the dinner $10   Saint Peter's Church 619 Lexington Avenue (at 54th Street) New York, New York 10022  
(back) Subject: Allegro - part 5 From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Thu, 16 Aug 2001 08:20:40 -0700   --=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D_-1214147255=3D=3D_ma=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D Content-Type: text/plain; charset=3D"us-ascii" ; format=3D"flowed"     But here they were again, trying to fathom each other's feelings. "You can't do this Jer'!" Her eyes flashed anger, "I can't finish this semester, go back home and not know about you, about us. Do you know how I feel? Do I have to spell it out? Do I have to beg?" She was crying now, and her pain became his. He breathed deeply and avoided looking at her, trying to recompose himself. "One... two... three....," he counted to himself as he slowly took the 3 steps down from the chancel, and sat down in the first pew from where he faced Samantha. A guilty ache rose higher in his chest as he drank her in. "You're so great, so beautiful," he thought, "and I'm hurting you, damn!" She sat on the organ bench sobbing quietly. Pearls formed on her lashes. "Jeremy?" she said haltingly. Her sadness cut his soul. Jeremy shook his head as if to clear the visage. Yet his mind wouldn't rest. It drummed the truth into his senses: You've been here before! Don't do it! Don't go through this again! And yet.... It was not the same! She was not the same. She would never laugh in his face. Would he dare admit it to himself? To her!? Was he not a coward by hurting someone he could so easily love by not admitting his fear? His mind reeled ; a visage from the past willed itself into his consciousness: another beauty, with promises of happiness and all the things he so desired from Samantha. Melanie. One who he once loved as much as he now wanted to love Samantha. Melanie who had stepped on his soul. Thoughts of her refueled the anger and his pain. Damn you Melanie! I can't do this again!   Jeremy stood up, still silent, looking at Samantha. "Just go back to the dorm, Sam," he said, finally, with a constricted voice, "I don't know when I'll get done here. I need to work on my project. There's nothing to tell you, and what there is.... might be better left unsaid." "Don't you do this me Jeremy!" Her tears began flowing freely, "You can't keep putting me off. If I have to go, it won't be without knowing what's going on. I can't fight an enemy that I can't see. I just know it's not just your thesis, I have seen you compose, I know that you're good. WHAT IS IT REALLY, JEREMY?!.... What?!......I deserve an answer!!" The anguish in her voice cut him deeply. Too deeply. He swallowed, hard. Finally he heard himself say: " I really want to love you Sam, and I can't bear to see you hurt, but.... I don't know...." he stammered: You'll hurt Sam. I promise you'll hurt and I don't want to hurt you, and you don't know all about me, and.... last year, and, and... I 'm such an idiot!", Jeremy finished with a thick voice and sat on the pew again.   -- --=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D_-1214147255=3D=3D_ma=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D Content-Type: text/html; charset=3D"us-ascii"   <!doctype html public "-//W3C//DTD W3 HTML//EN"> <html><head><style type=3D"text/css"><!-- blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 } --></style><title>Allegro - part 5</title></head><body> <div><tt><br> </tt>But here they were again, trying to fathom each other's feelings.<x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </x-tab><br> <x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </x-tab>&quot;You can't do this Jer'!&quot; Her eyes flashed anger, &quot;I can't finish this semester, go back home and not know about you, about us. Do you know how I feel? Do I have to spell it out? Do I have to beg?&quot; She was crying now, and her pain became&nbsp; his. He breathed deeply and avoided looking at her, trying to recompose himself.<br> <x-tab> </x-tab>&quot;One... two... three....,&quot; he counted to himself as he slowly took the 3 steps down from the chancel, and sat down in the first pew from where he faced Samantha. A guilty ache rose higher in his chest as he drank her in.&nbsp; "You're so great, so beautiful," he thought, "and I'm hurting you, damn!"</div> <div>&nbsp;She sat on the organ bench sobbing quietly. Pearls formed on her lashes.&nbsp; "Jeremy?" she said haltingly. Her sadness cut his soul. Jeremy shook his head as if to clear the visage. Yet his mind wouldn't rest. It drummed the truth into his senses: You've been here before! Don't do it! Don't go through this again!&nbsp; And yet.... It was not the same! She was not the same. She would never laugh in his face. Would he dare admit it to himself? To her!? Was he not a coward by hurting someone he could so easily love by not admitting his fear? His mind reeled ; a visage from the past willed itself into his consciousness: another beauty, with promises of happiness and all the things he so desired from Samantha.&nbsp; Melanie. One who he once loved as much as he now wanted to love Samantha.&nbsp; Melanie who had stepped on his soul. Thoughts of her refueled the anger and his pain. Damn you Melanie! I can't do this again!</div> <div><br> Jeremy stood up, still silent, looking at Samantha.<br> <x-tab>&nbsp;&nbsp;&nbsp;&nbsp; </x-tab>&quot;Just go back to the dorm, Sam,&quot; he said, finally, with a constricted voice, &quot;I don't know when I'll get done here. I need to work on my project. There's nothing to tell you, and what there is.... might be better left unsaid.&quot;<br> <x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </x-tab>&quot;Don't you do this me Jeremy!&quot; Her tears began flowing freely, &quot;You can't keep putting me off. If I have to go, it won't be without knowing what's going on. I can't fight an enemy that I can't see. I just know it's not just your thesis, I have seen you compose, I know that you're good. WHAT IS IT&nbsp; REALLY, JEREMY?!.... What?!......I deserve an answer!!&quot;<br> <x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </x-tab>The anguish in her voice cut him deeply.&nbsp; Too deeply. He swallowed, hard. Finally he heard himself say: " I really want to love you Sam, and I can't bear to see you hurt, but.... I don't know....&quot; he stammered: You'll hurt Sam. I promise you'll hurt and I don't want to hurt you, and you don't know all about me, and.... last year, and, and... I 'm such an idiot!&quot;, Jeremy finished with a thick voice and sat on the pew again.</div> </body> </html> --=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D_-1214147255=3D=3D_ma=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D--  
(back) Subject: Re: Allegro - part 5 From: "Glenda" <gksjd85@access.aic-fl.com> Date: Thu, 16 Aug 2001 07:31:09 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0025_01C12625.6B370D60 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Allegro - part 5This is worse than a soap opera - the episodes are too =3D short, and leave you dangling over the cliff! It's interfering with my = =3D work - what is Jeremy going to do? Don't make that poor girl ruin her =3D makeup - come on, man! The truth shall set you free - tell her (and =3D us).   Glenda Sutton (hanging on the edge of her seat and looking for John a =3D contact with Harlequin Romances)   ------=3D_NextPart_000_0025_01C12625.6B370D60 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><TITLE>Allegro - part 5</TITLE> <META content=3D3D"text/html; charset=3D3Diso-8859-1" =3D http-equiv=3D3DContent-Type> <STYLE type=3D3Dtext/css>BLOCKQUOTE { PADDING-BOTTOM: 0px; PADDING-TOP: 0px } DL { PADDING-BOTTOM: 0px; PADDING-TOP: 0px } UL { PADDING-BOTTOM: 0px; PADDING-TOP: 0px } OL { PADDING-BOTTOM: 0px; PADDING-TOP: 0px } LI { PADDING-BOTTOM: 0px; PADDING-TOP: 0px } </STYLE>   <META content=3D3D"MSHTML 5.00.2919.6307" name=3D3DGENERATOR></HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>This is worse than a soap opera - the = =3D episodes are=3D20 too short, and leave you dangling over the cliff!&nbsp; It's interfering = =3D with my=3D20 work - what is Jeremy going to do?&nbsp; Don't make that poor girl ruin = =3D her=3D20 makeup - come on, man!&nbsp; The truth shall set you free - tell her =3D (and=3D20 us).</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>Glenda Sutton (hanging on the edge of = =3D her seat and=3D20 looking for John a contact with Harlequin =3D Romances)</FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_0025_01C12625.6B370D60--    
(back) Subject: Re: Allegro - part 5 From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Thu, 16 Aug 2001 08:36:58 -0700   >This is worse than a soap opera - the episodes are too short, and >leave you dangling over the cliff! It's interfering with my work - >what is Jeremy going to do? Don't make that poor girl ruin her >makeup - come on, man! The truth shall set you free - tell her (and >us). > >Glenda Sutton (hanging on the edge of her seat and looking for John >a contact with Harlequin Romances)   To be continued at noon!   John V   PS   Harlequin? NEVER, just think of what they would with the ORGAN part. ;) but then again.. if there's money in it... mmmmm.....   That could be the first pipe organ project funded by Harlequin romance!   Maybe I should finish the one about the pipe organ that killed people. Stephen King watch out! --  
(back) Subject: Re: pitch... but different From: "Bob Elms" <elmsr@albanyis.com.au> Date: Thu, 16 Aug 2001 20:27:34 +0800   Must be something wrong with my ears Ron. To me meantone sounds deplorable unless you carefully avoid G# and D# and a couple of other notes. Some of the other odd intonations sound nearly as bad in certain keys. That puts much organ music out of contention and, hey, I love the music of V.Williams, Howells et cie. I wonder also why 90% of organs and nearly all, if not all, pianos are tuned in equal temperament. It doesn't seem to bother many people "badly" as you put it. There must be some reason why most organs use itm, and don't tell me it is through the ignorance of the builders/tuners. And, pardon me, but I did n't detect any "silveriness" in the well temp that I tried. Bob E.   RonSeverin@aol.com wrote: > > Then dial up a > well temper and listen to the difference. It's a wopper! Add octaves > and mixtures and A and B the two temperments again, same chord. > Once you hear it, Equal will bother you very badly, it's out of tune > as far as the interval relationships. > > I'm not saying no beats are good, and some beats are bad. I'm saying > our modern ears have blocked the harshness of Equal, but when well > temper is encountered, there is a compelling calmness, and silveriness > to the tone that can be found no other way. > >    
(back) Subject: RE: Utah Organ In A Barn From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 16 Aug 2001 08:58:21 -0400       Here's a link to an article in the Salt Lake Tribune about a Utah farmer = who   has built an organ in his barn.   http://www.sfgate.com/cgi-bin/article.cgi?file=3D/news/archive/2001/08/13/s= tat e1642EDT7314.DTL   David Carter Sacramento   What a wonderful story. Too bad there aren't any photos. And I've always wondered what happened to the organ that was doomed at Philhamonic Hall. = Now I know. I bet his cows give great milk.  
(back) Subject: Hoopernacle Organ From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 16 Aug 2001 10:15:49 -0400   Hi all, With a little help from Peter I got the address for photos of the Hoopernacle organ for anyone interested.... http://members.aol.com/Hooprncle/   Robert B. Colasacco Administrative Assistant/Secretary Distinguished Colleagues Population Council One Dag Hammarskjold Plaza New York, NY 10017 Direct Telephone: (212) 339-0685 Main Telephone: (212) 339-0500 Fax: (212) 755-6052 e-mail: rcolasacco@popcouncil.org Visit our web site: www.popcouncil.org    
(back) Subject: Re: the cost of fine workmanship From: "Jon C." <opus1100@catoe.org> Date: Thu, 16 Aug 2001 09:32:02 -0500   After reading all these posts about building organ benches....I think I = got a really great deal on a used Moller bench for fifty bucks......   jch    
(back) Subject: Re: Allegro - part 5 From: "Jon C." <opus1100@catoe.org> Date: Thu, 16 Aug 2001 09:36:42 -0500   --=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D_1796722= =3D=3D_.ALT Content-Type: text/plain; charset=3D"us-ascii"; format=3Dflowed   At 07:31 AM 8/16/01 -0500, you wrote: >This is worse than a soap opera - the episodes are too short, and leave >you dangling over the cliff! It's interfering with my work - what is >Jeremy going to do? Don't make that poor girl ruin her makeup - come on, =   >man! The truth shall set you free - tell her (and us). > >Glenda Sutton (hanging on the edge of her seat and looking for John a >contact with Harlequin Romances)   Gee Glenda...   You would never have survived back in the days of the fifteen minute radio =   soap opera.....grew up with them as my grandmother, who lived with us, was =   addicted. I sometimes think the TV soaps which cover an hour, rarely produce much more substance in the 60 minutes than the 15 minutes on radio = did.   Personally I think Jeremy is a nerd....he can't be a very passionate = player.   jch     --=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D_1796722= =3D=3D_.ALT Content-Type: text/html; charset=3D"us-ascii"   <html> At 07:31 AM 8/16/01 -0500, you wrote:<br> <blockquote type=3Dcite class=3Dcite cite><font face=3D"arial" = size=3D2>This is worse than a soap opera - the episodes are too short, and leave you dangling over the cliff!&nbsp; It's interfering with my work - what is Jeremy going to do?&nbsp; Don't make that poor girl ruin her makeup - come on, man!&nbsp; The truth shall set you free - tell her (and us).</font><br> &nbsp;<br> <font face=3D"arial" size=3D2>Glenda Sutton (hanging on the edge of her = seat and looking for John a contact with Harlequin Romances)</font></blockquote><br> Gee Glenda...<br><br> You would never have survived back in the days of the fifteen minute radio soap opera.....grew up with them as my grandmother, who lived with us, was addicted. I sometimes think the TV soaps which cover an hour, rarely produce much more substance in the 60 minutes than the 15 minutes on radio did.<br><br> Personally I think Jeremy is a nerd....he can't be a very passionate player.<br><br> jch<br><br> </html>   --=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D_1796722= =3D=3D_.ALT--    
(back) Subject: RE: the cost of fine workmanship From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 16 Aug 2001 10:45:16 -0400   Bravo. I stopped reading them.   -----Original Message----- From: Jon C. [mailto:opus1100@catoe.org] Sent: Thursday, August 16, 2001 10:32 AM To: PipeChat Subject: Re: the cost of fine workmanship     After reading all these posts about building organ benches....I think I = got a really great deal on a used Moller bench for fifty bucks......   jch     "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: Allegro - part 5 From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 16 Aug 2001 10:50:30 -0400   This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible.   ------_=3D_NextPart_001_01C12662.CB5A5570 Content-Type: text/plain; charset=3D"iso-8859-1"   If you remember the early TV soap operas were also only 15 minutes for a short while then went to 1/2 hr. I remember coming home for lunch from elementary school and watching a couple of them, eg, The Egg and I, Search for Tomorrow, while I ate my Lipton chicken noodle "soup" and a sandwich that mom had waiting for me. And if you remember the music was organ, live!!! Robert Colasacco -----Original Message-----     You would never have survived back in the days of the fifteen minute radio soap opera.....grew up with them as my grandmother, who lived with us, was addicted. I sometimes think the TV soaps which cover an hour, rarely = produce much more substance in the 60 minutes than the 15 minutes on radio did.   Personally I think Jeremy is a nerd....he can't be a very passionate = player.   jch       ------_=3D_NextPart_001_01C12662.CB5A5570 Content-Type: text/html; charset=3D"iso-8859-1"   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; = charset=3Diso-8859-1">     <META content=3D"MSHTML 5.50.4522.1800" name=3DGENERATOR></HEAD> <BODY> <DIV><FONT face=3DGaramond color=3D#800000><SPAN = class=3D824244614-16082001>If you remember the early TV soap operas were also only 15 minutes for a short = while then went to 1/2 hr. I remember coming home for lunch from elementary = school and watching a couple of them, eg,&nbsp;The Egg and I, Search for = Tomorrow,&nbsp; while I ate my Lipton chicken noodle&nbsp;"soup" and a&nbsp;sandwich that = mom had waiting for me. And if you remember the music was organ, live!!!</SPAN></FONT></DIV> <DIV><FONT face=3DGaramond color=3D#800000><SPAN = class=3D824244614-16082001>Robert Colasacco</SPAN></FONT></DIV> <DIV><FONT face=3DGaramond color=3D#800000><SPAN class=3D824244614-16082001></SPAN></FONT>&nbsp;</DIV> <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT = face=3DTahoma size=3D2>-----Original Message-----<BR></FONT></DIV><BR>You would never = have survived back in the days of the fifteen minute radio soap opera.....grew = up with them as my grandmother, who lived with us, was addicted. I sometimes = think the TV soaps which cover an hour, rarely produce much more substance in = the 60 minutes than the 15 minutes on radio did.<BR><BR>Personally I think Jeremy = is a nerd....he can't be a very passionate = player.<BR><BR>jch<BR><BR></BODY></HTML>   ------_=3D_NextPart_001_01C12662.CB5A5570--  
(back) Subject: Re: Allegro - part 5 From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Thu, 16 Aug 2001 11:02:27 -0700   > > >Personally I think Jeremy is a nerd....he can't be a very passionate = player. > >jch   I love these comments!   Never purposely "designed" him that way, but I guess he is. Then so was Bill Gates.   But as you'll see later Jeremy's not the real hero either!   John V --  
(back) Subject: Allegro - part 6 From: "John Vanderlee" <jovanderlee@vassar.edu> Date: Thu, 16 Aug 2001 11:59:59 -0700   Quickly, Samantha bounded down the steps and sat next to him. Her hands gently curved around his while she looked at him. He couldn't bear to look. "Tell me Jeremy! what is it? What about last year.....wait....." a realization came over her and it was out before she knew: "WHO is it!!?" She really shocked herself with that last question, but it had just popped out; perhaps it had been in her subconscious all along. The sudden surprise in Jeremy's face told her that she had hit a nerve: "Who.....?" she repeated: "Jeremy?.... Who is it?!" "Melanie," he blurted out, "But it's not like you think...." "Melanie? But that ended last year!.....Wait....not like I think.....,"the anger grew slowly, the words came out faster: "Now what am I supposed to think?! You want to love me but there is this Melanie? What is going on Jeremy? And you were afraid you would hurt me? Oh you certainly called that one!" Her anger was now mixed with pain, and more tears ran. Defensively, Jeremy looked away again: "I loved her Sam, oh God, I loved her so much. I walked on air. She promised me everything. I helped her with her work....." "What did she promise you Jer' ?!" Samantha jumped on his words, desperate for the truth. "And why are you not with her then, instead of making my life miserable? Huh?!" "I told you, Sam, I warned you....." "Tell me all of it, damn you! May God forgive me.... "She said she loved me, wanted to get married after school", his voice stuck, haltingly he continued: "I took her home, to my family.....Sam, please, I can't do this again...., I'm sorry Sam...." "Do what again, Jeremy......?" He must answer! Give an explanation because he was right: she was in pain! "I loved her," he repeated, and then jumped up: "But worse than that, Sam, I trusted her! Like a lovesick puppy dog I trusted her, followed her, helped her, and when the semester was over, she graduated=8A. And just left. No good byes, not even a letter....." Samantha looked at him, understanding slowly replacing anger. She became almost calm: "So that's it. She used you, Right?..... Was that it? ....She used you and dumped you?" "She needed A's, or her tuition would be cut, and I fell for her, hard! She didn't even like music that much, but her parents hassled her. She couldn't understand my compositions, but said she could learn to like them. I was so stupid.....stupid!" "Jeremy, where do I fit in, in all this ?" Her mind raced, but instinctively she already knew. He continued in a distant voice: "After she left, and I realized what an ass I was I vowed not to trust again.....No one.. ever!" He turned back to her, a fevered look in his eyes: "I won't trust anyone anymore,....not you,....NOT ANYONE! No one will hurt me again! Do you understand now? So please...., you'd better go Sam, go now, before we both get hurt." "Too late for that isn't it?" she replied flatly.  
(back) Subject: Re: Mixtures to scream or not to scream From: <RonSeverin@aol.com> Date: Thu, 16 Aug 2001 12:47:54 EDT   Hi Bob in Australia:   IMHO I don't think I ever suggested once, going back to meantone. Church organ work, whether a unit organ, or a substantial straight design, if the mixtures and mutations are hot enough to be effective, they scream in EQUAL. They won't do that in Kellner well temper. Bach used this scheme on harpsicords and clavicords. Kellner is the farthest away from meantone, and all keys are playable. Other forms of well temper are limiting in one way or another.   IMHO people are afraid that they won't like the new scheme Kellner, and = fear is the main objection, not reality. Mixtures will continue scream right = along with Mutations in EQUAL and everyone will continue the pastime of complaining about it. I look for solutions to objections and problems, but some would rather complain. There is a choice, Kellner offers that is an improvement, and not a radical change in tuning from EQUAL that solves the objections.   If you will remember, large organ schemes, at the introduction of EQUAL temperment, began dumping mixtures and most mutations out of new organs(Around the turn of the last Century 1900) Higher wind pressures were employed, Strings were more harmonically endowed to compensate for the loss of upperwork, Principals and flutes too. Reeds were made smoother with leathered shallots. Flues recieved leather on upper lips of pipes. Sonic power became more prevalent than tonal beauty. Scales were much enlarged, in fact the classic organ was pulled out of shape. The sparkle was gone, Hope Jones made his appearance, with the less is better philosophy, and organ building went in a totally different direction.   The failure of the organ reform movement and all it's objections, is that builders tried to scale and voice pipes the old way, and use EQUAL temperment. It won't work no matter who does it or who ever has tried it. Well temper is just as necessary for the success of these instruments as well as a milder form of voicing. Old wine, poured into new skins? I definitely think this is the case.   The mathmatical discrepancy in the tempered scale can be handled, but for most organs out there, and their intended use suffer from EQUAL. It all depends on what is required of an instrument. Organs used with orchestral instruments, EQUAL is probably the only choice. Church organs in most instances would benefit from Kellner or some other well temper form.   Regards,   Ron Severin  
(back) Subject: Re: Allegro - part 5 From: "Glenda" <gksjd85@access.aic-fl.com> Date: Thu, 16 Aug 2001 12:25:58 -0500   Please do.   Glenda Sutton (who has tried to kill people with a pipe organ, but hasn't figured it out yet - she just pisses them off like hornets)   ----- Original Message ----- From: "John Vanderlee" <jovanderlee@vassar.edu> > > Maybe I should finish the one about the pipe organ that killed > people. Stephen King watch out!        
(back) Subject: Re: Allegro - part 6 From: "Glenda" <gksjd85@access.aic-fl.com> Date: Thu, 16 Aug 2001 12:32:19 -0500   Uh-oh - hell hath no fury like a woman scorned. If she sticks with him = now, she's pretty silly. Leave that clod alone to his freight train compositions - he can't dig out of this one.   Melanie isn't going to turn out to be a goat, is she? I mean that = laughing in his face bit made me wonder. Oh, I forgot, you're not from Northwest Florida.   Glenda Sutton