PipeChat Digest #2541 - Thursday, December 6, 2001
 
Re: Individual sliders for Mixture Ranks
  by "John L. Speller" <jlspeller@mindspring.com>
Searching for a harmonium
  by "Patricia/Thomas Gregory" <tgregory@speeddial.net>
Re: (No Subject)
  by "Margo Dillard" <dillardm@airmail.net>
RE: Anyone listen to the postlude Sunday?
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: mixtures (long) Stable tunings
  by <RonSeverin@aol.com>
Re: Wedding Music for Mandy
  by "David Carter" <david_n_carter@hotmail.com>
RE: Building a Library of Organ Music: Bach editions
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: Building a Library of Organ Music: Bach editions
  by <quilisma@socal.rr.com>
RE: Building a Library of Organ Music: Bach editions
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: Building a Library of Organ Music: Bach editions
  by "Malcolm Wechsler" <manderusa@earthlink.net>
RE: Individual sliders for Mixture Ranks
  by "Andrew Mead" <mead@eagle.ca>
Re: (No Subject)
  by <Cremona502@cs.com>
 

(back) Subject: Re: Individual sliders for Mixture Ranks From: "John L. Speller" <jlspeller@mindspring.com> Date: Thu, 06 Dec 2001 06:40:30 -0600     --------------C6F898E583E92EC2AE6AEE48 Content-Type: text/plain; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   Cremona502@cs.com wrote:   > In a message dated 12/5/01 2:13:28 PM Eastern > Standard Time, TubaMagna@aol.com writes: > > > >> On electropneumatic pitman actions in which >> there is a separate pouch rail >> for each of the ranks, some builders provided >> cutout switches. > > I remember a '54 Schantz in which the mixture > ranks were on separate actions and were placed > in different locations on the chest with a > couple of ranks in between. Does this improve > the situation? >   No, it really doesn't. The best results for tuning mixtures are when all the pipes are on a common wind supply (preferably a slider chest) and when the wind pressure in them is the way it normally is when the mixture is playing -- i.e. with none of the ranks turned off even if they will turn off. Even when the ranks will turn off individually (I have seen this in some Casavant and Wicks organs) you will get a more accurate tuning by having all the ranks turned on. In one case (a 1940 Casavant) this did at least have the advantage that it was possible to have the mixture with or without the tierce rank, although it would have been nicer to be able to do this at the console rather than in the organ.   John Speller   --------------C6F898E583E92EC2AE6AEE48 Content-Type: text/html; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML> Cremona502@cs.com wrote: <BLOCKQUOTE TYPE=3DCITE><FONT FACE=3D"arial,helvetica"><FONT SIZE=3D-1>In = a message dated 12/5/01 2:13:28 PM Eastern Standard Time, TubaMagna@aol.com = writes:</FONT></FONT> <BR>&nbsp; <BR>&nbsp; <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><FONT = FACE=3D"arial,helvetica"><FONT SIZE=3D-1>On electropneumatic pitman actions in which there is a separate pouch = rail</FONT></FONT> <BR><FONT FACE=3D"arial,helvetica"><FONT SIZE=3D-1>for each of the ranks, = some builders provided cutout switches.</FONT></FONT></BLOCKQUOTE>   <P><FONT FACE=3D"Arial"><FONT COLOR=3D"#000000"><FONT SIZE=3D-1>I remember = a '54 Schantz in which the mixture ranks were on separate actions and were placed in different locations on the chest with a couple of ranks in = between.&nbsp;&nbsp; Does this improve the situation?</FONT></FONT></FONT> <BR>&nbsp;</BLOCKQUOTE> No, it really doesn't.&nbsp; The best results for tuning mixtures are when all the pipes are on a common wind supply (preferably a slider chest) and when the wind pressure in them is the way it normally is when the mixture is playing -- i.e. with none of the ranks turned off even if they will turn off.&nbsp; Even when the ranks will turn off individually (I have seen this in some Casavant and Wicks organs) you will get a more accurate tuning by having all the ranks turned on.&nbsp; In one case (a 1940 = Casavant) this did at least have the advantage that it was possible to have the = mixture with or without the tierce rank, although it would have been nicer to be able to do this at the console rather than in the organ. <P>John Speller</HTML>   --------------C6F898E583E92EC2AE6AEE48--    
(back) Subject: Searching for a harmonium From: "Patricia/Thomas Gregory" <tgregory@speeddial.net> Date: Thu, 06 Dec 2001 07:38:02 -0600   Greetings:   May I suggest checking with the Reed Organ Society.   The ROS has a very fine website and also publishes a very fine magazine = "The Reed Organ Society Quarterly".   Although quality harmoniums are very rare in the U.S., they are sometimes available. It is often a waiting game to find one.   If your search does not turn up anything in the near future, you may be = able to find a quality American instrument.   Mason & Hamlin Liszt models are very fine instruments. The design of the M & H was inspired by Adolph Mustel, one of the finest European harmonium builders.   Good luck in your search.   Sincerely,   Tom Gregory (The proud owner of a Mustel concertal harmonium and also a Mason & Hamlin....& a few other instruments) -- Thomas and Patricia Gregory 716 West College Avenue Waukesha WI USA 53186-4569  
(back) Subject: Re: (No Subject) From: "Margo Dillard" <dillardm@airmail.net> Date: Thu, 06 Dec 2001 07:54:00 -0600     --------------722B7EC650145AB50532772A Content-Type: text/plain; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   Mine is dog-chewed-on and cover-gone - but it was the first wedding music book I ever had and is still my "staple" book. I think the Rheinberger and VW Rhosymedre have been part of the preservice music of every wedding I have ever played. I could probably play just about any wedding with this book alone - unless the bride wanted the Wagner or Mendelssohn, which are not in it.   Margo   Cremona502@cs.com wrote:   > In a message dated 12/5/01 7:16:06 AM Eastern Standard Time, > pemmons@wcupa.edu writes: > > > >> For what it's worth, Concordia publishes a two-volume collection of >> so-called wedding music that includes the Clarke/Purcell Trumpet >> Tune and >> Trumpet Voluntary and Marcello's Psalm 19. This is a very useful >> anthology >> altogether (although I somewhat prefer E. Power Biggs's arrangement >> of the >> Marcello in his Treasury of Early Organ Music), not only for >> weddings but >> for general purposes-- especially volume 1, comprising free pieces. > > The inclusion of the Rheinberger "Cantilena" is worth the price of the > entire volume I . This volume introduced me to so much literature. > And I still use it for my own enjoyment. This book will NEVER be > sold!! ... and I'm still using my original beat up, dog-eared, and > coffee-stained edition. > > Bruce Cornely ~ Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" > Duncan, Miles, Molly, and Dewi > Please visit Howling Acres at http://members.tripod.com/Brucon502/ > and wander through the Mall Without Walls   --------------722B7EC650145AB50532772A Content-Type: text/html; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   <!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> Mine is dog-chewed-on and cover-gone - but it was the first wedding music book I ever had and is still my "staple" book.&nbsp; I think the = Rheinberger and VW Rhosymedre have been part of the preservice music of every wedding I have ever played.&nbsp; I could probably play just about any wedding with this book alone - unless the bride wanted the Wagner or Mendelssohn, which are not in it. <p>Margo <p>Cremona502@cs.com wrote: <blockquote TYPE=3DCITE><font face=3D"arial,helvetica"><font size=3D-1>In = a message dated 12/5/01 7:16:06 AM Eastern Standard Time, pemmons@wcupa.edu = writes:</font></font> <br>&nbsp; <br>&nbsp; <blockquote TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><font = face=3D"arial,helvetica"><font size=3D-1>For what it's worth, Concordia publishes a two-volume collection = of</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>so-called wedding music that includes the Clarke/Purcell Trumpet Tune and</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>Trumpet Voluntary and = Marcello's Psalm 19.&nbsp; This is a very useful anthology</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>altogether (although I = somewhat prefer E. Power Biggs's arrangement of the</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>Marcello in his = Treasury of Early Organ Music), not only for weddings but</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>for general purposes-- = especially volume 1, comprising free pieces.</font></font></blockquote>   <p><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>The = inclusion of the Rheinberger "Cantilena" is worth the price of the entire volume I .&nbsp; This volume introduced me to so much literature.&nbsp; And I still use it for my own enjoyment.&nbsp;&nbsp; This book will NEVER be sold!!&nbsp; ... and I'm still using my original beat up, dog-eared, and coffee-stained edition.</font></font></font> <p><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>Bruce = Cornely&nbsp;&nbsp;&nbsp;&nbsp; ~&nbsp; Cremona502@cs.com</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!"</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font = size=3D-1>&nbsp;&nbsp;&nbsp; Duncan, Miles, Molly, and Dewi</font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>Please = visit Howling Acres at&nbsp;&nbsp; <A = HREF=3D"http://members.tripod.com/Brucon502/">http://members.tripod.com/Bru= con502/</A></font></font></font> <br><font face=3D"Arial"><font color=3D"#000000"><font size=3D-1>&nbsp; = and wander through the Mall Without Walls</font></font></font></blockquote> </html>   --------------722B7EC650145AB50532772A--    
(back) Subject: RE: Anyone listen to the postlude Sunday? From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 6 Dec 2001 11:03:40 -0500   I agree entirely with Bruce, that the postlude should be retained.   Like everything else in the liturgy, it is not performed primarily for a human audience, but for the glory of God.   I think that the circumstances should be taken into consideration, = however: if people don't stay to listen, the postlude should usually be brief (two = or three minutes); and if they make a lot of chatter and noise, the postlude should be repertoire painted in rather broad brushstrokes, as it were, rather than a masterpiece of exquisite counterpoint that would cause frustration in anyone who did try to listen.   It looks to me like a chicken-and-egg problem: what comes first, an appreciative audience, or music worthy of their appreciation? Surely the ideal is for those in the congregation either to listen quietly (although that does not necessarily require them all to remain in the pews) or to leave quietly and save their talk until they are elsewhere. But this will never happen if organists don't keep their part of the bargain.   At S. Paul's in Seattle, one organist decided to suppress the postlude on three Sundays of the month and play a recital ca. 15 min. the remaining Sunday. This might be an interesting idea to stimulate interest, = especially during Advent and Lent, although I'd not be comfortable with it as a permanent institution for the reasons above.    
(back) Subject: Re: mixtures (long) Stable tunings From: <RonSeverin@aol.com> Date: Thu, 6 Dec 2001 11:53:45 EST   Hi John et al   In tuning the mixture I can see the advantage of using mops to sanction off pipes during the proceedure. If tuning slides are used to tune the pipe, wouldn't they have a tendency to sharpen already tuned pipes when you go on to the next note in order.   If an 8' Gamba or other string were used as the tuning reference, and all the mixture pipes tuned perfect, would there be a pressure drop anyway when 8' 4' and other stops are added to the ensemble? Would this cause some tuning variation with mixtures on the fly?   How are atmospheric and temperature changes taken into account while tuning a mixture? or other pipes for that matter? I guess I'm asking, what is common practice for compensating these varibles to achieve a stable tuning?     I have yet to experience a room with absolutely steady temperature or pressure. Natural air flow, of a room, would be different in each situation. Stacked pipe divisions would present even greater challenges. Would the pipes at the top of the stack be tuned first or last? In the morning temperatures have a tendency to rise, in the PM fall.   With stable flues, only reeds will require most of the attention on a = tuning visit. If flues are unstable, drafts need to be taken into account. I = suppose some instruments receive a better tuning in the AM and others in the PM. Wind leaks could also figure in especially if they are pretty hidden.   Regards,   Ron Severin  
(back) Subject: Re: Wedding Music for Mandy From: "David Carter" <david_n_carter@hotmail.com> Date: Thu, 06 Dec 2001 17:09:39   I go to Kinko's and Office Max often to have choral scores rebound, when = the conductor requests that we have black covers on our music.   David Carter Sacramento, CA     >From: "TommyLee Whitlock" <tommylee@whitlock.org> >> > Yes, but it sure would make a HUGE difference if these publishers = would >>stop > > for one minute and realize that books that thick (and I'm only talking =   >an > > inch, if that) need to be SPIRAL bound, and NOT regularly bound. = Makes >it > > hard to keep the @#$% book open! :-) > >You could check with a full-service copy house, such as Kinko's, about >drilling and spiral binding your book for you if it's a paper-back. I >would recommend avoiding the GBC binding, though, since my experience = with >it is that it falls apart under heavy use. I haven't done this yet, but = I >am considering checking on a it for a couple books. >TommyLee     _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp    
(back) Subject: RE: Building a Library of Organ Music: Bach editions From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 6 Dec 2001 13:05:25 -0500   Malcolm Wechsler writes:   >We were also sent to the old Bach Gesellschaft in the library to make comparisons and occasionally changes in certain works, where it differed from the Peters.   I'd be interested in more details as to the differences, as I don't = remember ever going to this trouble. You probably wrote the above sentence carefully. My understanding is that the Peters edition originally = antedated the Bach-Gesellschaft-Ausgabe and sometimes used manuscript sources that were later lost. Because of this loss, the fact that the BGA is the fruit of later scholarship and great care does not always tip the scales in its favor.   I could be totally mistaken about this and am too lazy to research it at = the moment. Does anyone want to verify or enlighten?   Paul    
(back) Subject: Re: Building a Library of Organ Music: Bach editions From: <quilisma@socal.rr.com> Date: Thu, 06 Dec 2001 10:40:27 -0800       "Emmons, Paul" wrote:   > Malcolm Wechsler writes: > > >We were also sent to the old Bach Gesellschaft in the library to make > comparisons and occasionally changes in > certain works, where it differed from the Peters. > > I'd be interested in more details as to the differences, as I don't = remember > ever going to this trouble. You probably wrote the above sentence > carefully. My understanding is that the Peters edition originally = antedated > the Bach-Gesellschaft-Ausgabe and sometimes used manuscript sources that > were later lost. Because of this loss, the fact that the BGA is the = fruit > of later scholarship and great care does not always tip the scales in = its > favor. > > I could be totally mistaken about this and am too lazy to research it at = the > moment. Does anyone want to verify or enlighten? > > Paul >   No, Paul, you are quite correct. I don't recall offhand WHY certain = manuscripts were available to C.F. Peters and NOT to the BG, but such WAS the case. I = DO seem to recall one instance where an individual owned a manuscript, and he simply refused to allow the BG folks to examine it because he didn't LIKE = them (grin).   *I* was VERY disappointed in the NBA when the early volumes appeared ... = they were FULL of OBVIOUS mistakes. I presume they've been corrected now, but = I've played from the Widor-Schweitzer for nearly fifty years ... I'm at the end = of my career, and don't see any reason to change. I have a few variant readings = of things pencilled into the W-S books.   Variant readings ARE inevitable ... we have different VERSIONS of things = from Bach's own hand ... perhaps for various students, and possibly various = organs.   Cheers,   Bud    
(back) Subject: RE: Building a Library of Organ Music: Bach editions From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 6 Dec 2001 13:50:30 -0500   >*I* was VERY disappointed in the NBA when the early volumes appeared ... they were FULL of OBVIOUS mistakes. I presume they've been corrected now, but I've played from the Widor-Schweitzer for nearly fifty years ... I'm at the end of my career, and don't see any reason to change. I have a few variant readings = of things pencilled into the W-S books.   Yeah, I'm afraid I'm not that fussy about what editions I use, either. I, too, have always used this edition, as for vols. 1-6, and I like it = because it is readable, elegantly printed, and not so love-hatingly *German* in = its parsimony with paper as the Peters. The other two volumes came out after I'd already adopted Peters for that material (chorale preludes).   Interesting what you say about the NBA. The only organist I've ever heard insisting on this as the only responsible edition to use nowadays is a = local light who shall remain nameless. He is foreign born and a Juilliard graduate. At the time I was impressed with this decision of his, considering how expensive this edition is-- but in his case it does little good: his Bach playing is impossible to like.   Paul    
(back) Subject: Re: Building a Library of Organ Music: Bach editions From: "Malcolm Wechsler" <manderusa@earthlink.net> Date: Thu, 6 Dec 2001 14:24:56 -0500   ----- Original Message ----- From: "Emmons, Paul" <pemmons@wcupa.edu> To: "'PipeChat'" <pipechat@pipechat.org> Sent: Thursday, December 06, 2001 1:05 PM Subject: RE: Building a Library of Organ Music: Bach editions     > Malcolm Wechsler writes: > > >We were also sent to the old Bach Gesellschaft in the library to make > comparisons and occasionally changes in > certain works, where it differed from the Peters. > > I'd be interested in more details as to the differences, as I don't remember > ever going to this trouble.   I recall (after all these years!) that the piece that first brought forth the assignment to visit the BG was the "Cathedral" E Minor Prelude and = Fugue (S. 533). Here there are quite a few differences between the two editions, and we were given a sort of <carte blanche> about which to choose.   > My understanding is that the Peters edition originally antedated > the Bach-Gesellschaft-Ausgabe and sometimes used manuscript sources that > were later lost. Because of this loss, the fact that the BGA is the = fruit > of later scholarship and great care does not always tip the scales in = its > favor. > Griepenkerl and Roitzsch began the first Peters Bach editions in 1844, and the first Bach Gesellschaft edition began in 1850, bringing out almost 50 volumes in 50 years. (The new BG did more-or-less the same thing, = beginning in 1950, a neat kind of symmetry!) Bolstering Paul's statement, Hermann Keller, writing in 1967, says of the old Peters: "[It is] an achievement = of truly historical importance. Its authority remains unshaken even today. Moreover, it is by far the most widely used edition." This was, of course, written before the appearance of many volumes of the new BG, so the = balance may have tipped somewhat.   Cheers,   Malcolm Wechsler      
(back) Subject: RE: Individual sliders for Mixture Ranks From: "Andrew Mead" <mead@eagle.ca> Date: Thu, 6 Dec 2001 15:00:46 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0000_01C17E66.C94FD1E0 Content-Type: text/plain; charset=3D"us-ascii" Content-Transfer-Encoding: 7bit     Casavant employed the one rank/one stop principal to their organs from = about 1940 to 1960. In my neck of the woods some of the Casavants with this feature HAD the toggle switches that controlled each rank moved back to = the console so the organist could arrange the mixture. Another nice feature of this arrangement surfaces should the console be rebuilt with solenoids and electronics. If you have a 4 rank mixture and wanted other stops added to the same division you simply place the entire mixture on ONE stop action, and have 3 left over for whatever ranks one wishes to add, provided, of course, provision is made at the console for additional drawknobs. No, it really doesn't. The best results for tuning mixtures are when all the pipes are on a common wind supply (preferably a slider chest) and when the wind pressure in them is the way it normally is when the mixture is playing -- i.e. with none of the ranks turned off even if they will turn off. Even when the ranks will turn off individually (I have seen this in some Casavant and Wicks organs) you will get a more accurate tuning by having all the ranks turned on. In one case (a 1940 Casavant) this did at least have the advantage that it was possible to have the mixture with or without the tierce rank, although it would have been nicer to be able to = do this at the console rather than in the organ. John Speller   ------=3D_NextPart_000_0000_01C17E66.C94FD1E0 Content-Type: text/html; charset=3D"us-ascii" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <html xmlns:o=3D3D"urn:schemas-microsoft-com:office:office" =3D xmlns:w=3D3D"urn:schemas-microsoft-com:office:word" =3D xmlns=3D3D"http://www.w3.org/TR/REC-html40">   <head> <meta http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Dus-ascii"> <meta name=3D3DProgId content=3D3DWord.Document> <meta name=3D3DGenerator content=3D3D"Microsoft Word 9"> <meta name=3D3DOriginator content=3D3D"Microsoft Word 9"> <link rel=3D3DFile-List href=3D3D"cid:filelist.xml@01C17E2E.9DDD3580"> <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:DoNotRelyOnCSS/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:DocumentKind>DocumentEmail</w:DocumentKind> <w:EnvelopeVis/> </w:WordDocument> </xml><![endif]--> <style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} p.MsoAutoSig, li.MsoAutoSig, div.MsoAutoSig {margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} p {margin-right:0in; mso-margin-top-alt:auto; mso-margin-bottom-alt:auto; margin-left:0in; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} span.EmailStyle16 {mso-style-type:personal-reply; mso-ansi-font-size:10.0pt; mso-ascii-font-family:Arial; mso-hansi-font-family:Arial; mso-bidi-font-family:Arial; color:navy;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style> </head>   <body lang=3D3DEN-US style=3D3D'tab-interval:.5in'>   <div class=3D3DSection1>   <p class=3D3DMsoNormal><span class=3D3DEmailStyle16><font size=3D3D2 =3D color=3D3Dnavy face=3D3DArial><span style=3D3D'font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'><!= =3D [if =3D !supportEmptyParas]>&nbsp;<![endif]><o:p></o:p></span></font></span></p>   <p style=3D3D'margin-right:.5in;margin-left:1.0in'><font size=3D3D3 =3D color=3D3Dnavy face=3D3D"Times New Roman"><span =3D style=3D3D'font-size:12.0pt;color:navy'>Casavant employed the one rank/one stop principal to their organs from about 1940 = =3D to 1960. In my neck of the woods some of the Casavants with this feature =3D HAD the toggle switches that controlled each rank moved back to the console so the =3D organist could arrange the mixture.</span></font><font color=3D3Dnavy><span style=3D3D'color:navy;mso-color-alt:windowtext'><o:p></o:p></span></font></= =3D p>   <p style=3D3D'margin-right:.5in'><span class=3D3DEmailStyle16><font = size=3D3D2 =3D color=3D3Dnavy face=3D3DArial><span =3D style=3D3D'font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family: Arial'>Another nice feature of this arrangement surfaces should the =3D console be rebuilt with solenoids and electronics. If you have a 4 rank mixture and = =3D wanted other stops added to the same division you simply place the entire =3D mixture on ONE stop action, and have 3 left over for whatever ranks one wishes to =3D add, provided, of course, provision is made at the console for additional =3D drawknobs.<o:p></o:p></span></font></span></p>   <p class=3D3DMsoNormal style=3D3D'margin-left:.5in'><font size=3D3D3 =3D color=3D3Dblack face=3D3D"Times New Roman"><span =3D style=3D3D'font-size:12.0pt;color:black'>No, it really doesn't.&nbsp; The best results for tuning mixtures are when all the =3D pipes are on a common wind supply (preferably a slider chest) and when the wind =3D pressure in them is the way it normally is when the mixture is playing -- i.e. =3D with none of the ranks turned off even if they will turn off.&nbsp; Even when the = =3D ranks will turn off individually (I have seen this in some Casavant and Wicks = =3D organs) you will get a more accurate tuning by having all the ranks turned =3D on.&nbsp; In one case (a 1940 Casavant) this did at least have the advantage that it = =3D was possible to have the mixture with or without the tierce rank, although =3D it would have been nicer to be able to do this at the console rather than in the = =3D organ. </span></font><font color=3D3Dblack><span =3D style=3D3D'color:black;mso-color-alt:windowtext'><o:p></o:p></span></font><= =3D /p>   <p style=3D3D'margin-left:.5in'><font size=3D3D3 color=3D3Dblack = face=3D3D"Times =3D New Roman"><span style=3D3D'font-size:12.0pt;color:black'>John Speller</span></font><font color=3D3Dblack><span =3D style=3D3D'color:black;mso-color-alt:windowtext'><o:p></o:p></span></font><= =3D /p>   </div>   </body>   </html>   ------=3D_NextPart_000_0000_01C17E66.C94FD1E0--    
(back) Subject: Re: (No Subject) From: <Cremona502@cs.com> Date: Thu, 6 Dec 2001 15:45:55 EST     --part1_61.17bd1475.29413303_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 12/6/01 8:44:42 AM Eastern Standard Time, dillardm@airmail.net writes:     > I could probably play just about any wedding with this book alone - = unless > the bride wanted the Wagner or Mendelssohn, which are not in it.   Schriek... horror! Y ou're supposed to have them memorized. That was = one of the first things we did at U Houston in order to properly annoy Dr. = Jones. ;-)   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls   --part1_61.17bd1475.29413303_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 12/6/01 8:44:42 AM Eastern Standard Time, dillardm@airmail.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I could probably = play just about any wedding with this book alone - unless the bride wanted = the Wagner or Mendelssohn, which are not in it. </FONT><FONT = COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"Arial" = LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR>Schriek... horror! &nbsp;&nbsp;Y ou're supposed to have them = memorized. &nbsp;That was one of the first things we did at U Houston in = order to properly annoy Dr. Jones. <BR>;-) <BR> <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Please visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/ <BR> &nbsp;&nbsp;and wander through the Mall Without Walls</FONT></HTML>   --part1_61.17bd1475.29413303_boundary--