PipeChat Digest #2195 - Wednesday, July 4, 2001
 
Speaker Placement
  by "Paul R. Swank" <prswank@surfbest.net>
Re: Speaker Placement
  by "Carlo Pietroniro" <organist@total.net>
On the fuller Key and beating a dead horse
  by "Wayne Grauel" <wgvideo@attglobal.net>
Re: Rodgers (Question to list)
  by <DEMPAR1@aol.com>
Re: Rodgers (Question to list)
  by <Innkawgneeto@cs.com>
Two manual, 30-stop organ
  by <TubaMagna@aol.com>
Re: Two manual, 30-stop organ
  by <ScottFop@aol.com>
Re: Two manual, 30-stop organ
  by <Innkawgneeto@cs.com>
Re: Rodgers (Question to the list)
  by "Mike Gettelman" <mike3247@earthlink.net>
Re: Rodgers (Question to list)
  by <Cremona502@cs.com>
Re: Two manual, 30-stop organ
  by <Cremona502@cs.com>
Re:  A "Fuller" key
  by "Jackson R. Williams II" <jackwilliams_1999@yahoo.com>
 

(back) Subject: Speaker Placement From: "Paul R. Swank" <prswank@surfbest.net> Date: Wed, 04 Jul 2001 21:07:01 -0700     I recall that when I had a Rodgers Trio, the speaker cabinets were = designed so that the speakers spoke out of the back of the cabinets. They = literally faced the back of the cabinet. The backs were open, and the cabinets were =   meant to sit about 4-5 inches from the wall.   This allowed the speaker's sound to spread out from the wall, and gave a sound that seemed to surround you. It also helped to eliminate the sound coming from a single point, even though the tibias cams from one side of the room, and the reeds cam from the other side of the room, there did not =   seem to be a single point of emanation.   It was as if the sound was coming from chambers on each side of the room, and was very pleasing.   Unfortunately, my Allen 620TH Computer Theatre Organ has six speaker cabinets and different placings around the same room. It is not possible to get the same sense of surround. Of course, the speakers face directly into the room.   I wonder what the effect would be of turning the Allen speakers toward the =   walls, with a 4-5 inch distance from the wall.   Looks like I have a project to try out for the next several days.   I have one of the speakers from my Baldwin Classical D-911 Church organ placed on a landing on the stairs from the first floor to the second floor. There is a large open space above the speaker cabinet, almost like =   an organ chamber. It does wonders for the sound of the Baldwin.   In my somewhat limited experience with electronic organs, I believe that the more channels, with more amplifiers, and more speakers (not at loud settings) and spread around the room provide the best ambiance.   Paul R. Swank.   At 05:02 PM 7/4/01, you wrote: > > Do Allen Renaissance models deliver the best sound if the speakers = bounce > > their sound off of the ceiling, walls, or out of chambers? > >Yes. Absolutely.    
(back) Subject: Re: Speaker Placement From: "Carlo Pietroniro" <organist@total.net> Date: Wed, 4 Jul 2001 21:15:11 -0400   I have all the speakers from my Rodgers 960 turned around, facing the = wall. The results are very nice.   Carlo    
(back) Subject: On the fuller Key and beating a dead horse From: "Wayne Grauel" <wgvideo@attglobal.net> Date: Wed, 04 Jul 2001 21:14:48 -0400   You have to remember that in those days, chances are that most of the = organs and harpsichords were not in equal temperament. That's why d minor is so popular. I would have to say that anything in d = flat would be way beyond edgy to flat out of tune in anything but equal temperament.   Play any organ (even a good digital) in anything but equal temperament and = the whole sound just wakes up (in the right key)   > >The German poet Christian Schubart wrote about key colors in his "Ideen = zu > >einer Aesthetik der Tonkunst." (1806). His description (in English) of = the > >character of various keys can be found here: > > > >http://www.wmich.edu/mus-theo/courses/keys.html > >   As far as the Allen Rodgers, Tracker issue, For God's sake... give it a = rest! All I can say is in the right room, with the right organ, give me 24 stops = of tracker any day. If it's a piece of crap repair shop organ, I'll take the digital!   Wayne Grauel Eminent USA www.eminent-usa.com      
(back) Subject: Re: Rodgers (Question to list) From: <DEMPAR1@aol.com> Date: Wed, 04 Jul 2001 22:04:40 EDT   You'll have a pain in the butt too. Have you ever tried to work on the = action in an Aeolean residence organ?   In a message dated 07/04/2001 3:11:39 PM Central Daylight Time, dutchorgan@svs.net writes:   << f I had my druthers, I'd druther take a 3-manual Aeolean residence organ -of about 25-30 ranks with cascading stops. It would have to have Crawford's sobbing tibias, sizzling strings, fat strings, orchestral = reeds (to include trombone), and several differently-voiced diapasons. A few choice traps and percussions (including a glass harp). Now where'd I put my druthers?! Rick >> Right next to your pile of Gold Bullion, (to purchase this rare puppy) !   Phil L.    
(back) Subject: Re: Rodgers (Question to list) From: <Innkawgneeto@cs.com> Date: Wed, 4 Jul 2001 22:15:15 EDT     --part1_cc.175083d9.287527b3_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   OK, Ok, folks. I'll take a Rodgers electronic for my home, as long as = they will also include a rank of an Aeolian Skinner French Horn, real pipes, = real windchest.   That would suit me just dandy. (I wouldn't mind having some tibias and fibias either LOL)   Neil Brown   --part1_cc.175083d9.287527b3_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT = SIZE=3D2>OK, Ok, folks. &nbsp;I'll take a Rodgers electronic for my home, = as long as they <BR>will also include a rank of an Aeolian Skinner French Horn, real = pipes, real <BR>windchest. <BR> <BR>That would suit me just dandy. &nbsp;(I wouldn't mind having some = tibias and <BR>fibias either LOL) <BR> <BR>Neil Brown</FONT></HTML>   --part1_cc.175083d9.287527b3_boundary--  
(back) Subject: Two manual, 30-stop organ From: <TubaMagna@aol.com> Date: Wed, 4 Jul 2001 22:26:03 EDT   Ladies and Gentlemen of "pipechat":   In response to the recent exchange, I am posting the design of a 30-stop instrument we are bidding on for a client in the south; they have several =   bids in, including from digital manufacturers, who were able to provide = many more knobs than our design. The bid will mailed this week, and it may be months or years before they decide. However, this is an organ that will = play a decent service, and a decent amount of repertoire.   If this type of document would bore you, this is a good time to close this =   window and delete the mail. Otherwise, please feel free to comment, if anybody feels it is worth discussing.   The questions one asks when designing an organ should also include, "Will this design hold up musically a half century hence?"; "Is its mechanical design such that its infrastructure is renewable fifty years from now, = using only basic and universally available materials?"; and finally, "Would I, = as a musician, enjoy practicing upon and playing this instrument daily?" The =   specification follows:   GREAT ORGAN, manual I, unenclosed   16' Bourdon, 61 pipes, stopped pine 8' Open Diapason, 61 pipes, 50% tin 8' Double Flute, 61 pipes, stopped pine, double mouths from C13 8' Gamba, 61 pipes, 90% tin 4' Principal, 61 pipes, 50% tin 4' Chimney Flute, 61 pipes, 50% tin 2' Fifteenth, 61 pipes, 50% tin IV rank Chorus Mixture, 244 pipes, 50% tin 8' Clarinet, 61 pipes, 50% tin Tremulant   SWELL ORGAN, manual II, enclosed   8' Open Diapason, 61 pipes, 50% tin 8' Stopped Diapason, 61 pipes, pine 8' Salicional, 61 pipes, 50% tin 8' Voix Celeste, 54 pipes (GG), 50% tin 4' Principal, 61 pipes, 50% tin 4' Harmonic Flute, 61 pipes, 50% tin 2-2/3' Nazard, 61 pipes, 50% tin 2' Recorder, 61 pipes, 50% tin 1-3/5' Tierce, 61 pipes, 50% tin, breaks to 3-1/5' at D# no 52 IV rank Sharp Mixture, 244 pipes, 50% tin 8' Trumpet, 61 pipes, 50% tin 8' Oboe, 61 pipes, 50% tin Tremulant   PEDAL ORGAN   16' Open Diapason, 30 pipes, pine 16' Violone, 30 pipes, pine 16' Sub Bass, 30 pipes, pine [16' Bourdon (by transmission from Great Organ)] [10-2/3' Contraquint (by transmission from Great Organ)] 8' Principal, 30 pipes, zinc and 50% tin 8' Violoncello, 30 pipes, zinc and 50% tin 8' Stopped Flute, 30 pipes, pine 4' Fifteenth, 30 pipes, 50% tin 4' Open Flute, 30 pipes, pine 16' Trombone, 30 pipes, zinc and 50% tin   If anybody has any interest in the scales or mixture compositions, I can = post that, too, which might generate some pipe-related subject matter. The two =   bracketed stops in the Pedal are borrowed from the Great; the bottom 30 pipes of the 16' manual double are planted on a separate electropneumatic windchest in order to accomplish this, whilst the remainder of the = instrument speaks from slider and pallet soundboards.   Sebastian Matthaus Gluck New York City  
(back) Subject: Re: Two manual, 30-stop organ From: <ScottFop@aol.com> Date: Wed, 4 Jul 2001 22:43:25 EDT     --part1_6b.16ae6ae0.28752e4d_boundary Content-Type: text/plain; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   This looks like a wonderful specification. I have five questions:   1. Does the organ have super and sub couplers (both inter and intra = manual)=3D ? 2. Are there no possibilities for 16' flue and reed extensions in the = Swell=3D ? 3. Are there no possibilities for 32' extensions or digital stops in = the=3D20 Pedal?=3D20 4. Is there no possibility for a 4' reed in the Pedal for a cantus = firmus=3D20 when called for?? =3D20 5. Is there a preparation for a solo reed?   I ask these questions because of hymn playing and repertoire where a = solo=3D20 reed would be used or needed, repertoire when a cantus is specifically = calle=3D d=3D20 for in the pedal and for the rumble and growl giving the "grand = Cathedral=3D20 effect" that a single 16' manual Bourdon may not be able to provide.   I VERY MUCH like and agree with the two 8' diapasons, one in each = manual=3D20 division. These stops will prove their value for congregational = singing,=3D20 choral accompaniment, repertoire and improvisation. I also like the = Clarine=3D t=3D20 on the Great with the Oboe and Trumpet in the Swell, where they would=3D20 normally be found. The Clarinet will give another dimension of = flexibility=3D20 that a singular oboe and trumpet otherwise would not. (Another trick = of=3D20 course is possible by using the 8' flute or string in the Swell with = the=3D20 2-2/3' stop.)   Given the stops and ranks as listed, and if there is to be only one = celeste,=3D =3D20 then the string celeste in the Swell is well thought out. I am delighted = to=3D =3D20 see the Great tremulant. Might the Pedal 16' Trombone be extended to = includ=3D e=3D20 an 8' pitch as well?   Even though I ask many questions, as is it looks like a very nice and = well=3D20 designed instrument all around. Bravo Sebastian.   SCOTT F. FOPPIANO, Principal Organist and Director of Music and Liturgy THE NATIONAL SHRINE OF THE LITTLE FLOWER, Royal Oak, MI (Geo. Kilgen & Son, St. Louis, MO, Opus 5180, 1933) =3DE2=3D80=3D9CCantantibus organis Caecilia Domino decantabat dicens, fiat cor meum immaculatum ut non confundar.=3DE2=3D80=3D9D     --part1_6b.16ae6ae0.28752e4d_boundary Content-Type: text/html; charset=3D"UTF-8" Content-Transfer-Encoding: quoted-printable Content-Language: en   <HTML><FONT FACE=3D3Darial,helvetica><FONT COLOR=3D3D"#0000a0" SIZE=3D3D2 = FAMILY=3D =3D3D"SCRIPT" FACE=3D3D"Comic Sans MS" LANG=3D3D"0">This looks like a = wonderful sp=3D ecification. &nbsp;I have five questions: <BR> <BR>1. &nbsp;Does the organ have super and sub couplers (both inter and = intr=3D a manual)? <BR>2. &nbsp;Are there no possibilities for 16' flue and reed extensions = in=3D20=3D the Swell? <BR>3. &nbsp;Are there no possibilities for 32' extensions or digital = stops=3D20=3D in the=3D20 <BR>Pedal?=3D20 <BR>4. &nbsp;Is there no possibility for a 4' reed in the Pedal for a = cantus=3D firmus=3D20 <BR>when called for?? &nbsp; <BR>5. &nbsp;Is there a preparation for a solo reed? <BR> <BR>I ask these questions because of hymn playing and repertoire where a = sol=3D o=3D20 <BR>reed would be used or needed, repertoire when a cantus is specifically = c=3D alled=3D20 <BR>for in the pedal and for the rumble and growl giving the "grand = Cathedra=3D l=3D20 <BR>effect" that a single 16' manual Bourdon may not be able to provide. <BR> <BR>I <I><U>VERY MUCH</I></U> like and agree with the two 8' diapasons, = one=3D20=3D in each manual=3D20 <BR>division. &nbsp;These stops will prove their value for congregational = si=3D nging,=3D20 <BR>choral accompaniment, repertoire and improvisation. &nbsp;I also like = th=3D e Clarinet=3D20 <BR>on the Great with the Oboe and Trumpet in the Swell, where they = would=3D20 <BR>normally be found. &nbsp;The Clarinet will give another dimension of = fle=3D xibility=3D20 <BR>that a singular oboe and trumpet otherwise would not. &nbsp;(Another = tri=3D ck of=3D20 <BR>course is possible by using the 8' flute or string in the Swell with = the=3D =3D20 <BR>2-2/3' stop.) <BR> <BR>Given the stops and ranks as listed, and if there is to be only one cele=3D ste,=3D20 <BR>then the string celeste in the Swell is well thought out. &nbsp;I am = del=3D ighted to=3D20 <BR>see the Great tremulant. &nbsp;Might the Pedal 16' Trombone be = extended=3D20=3D to include=3D20 <BR>an 8' pitch as well? <BR> <BR>Even though I ask many questions, as is it looks like a very nice and = we=3D ll=3D20 <BR>designed instrument all around. &nbsp;Bravo Sebastian. <BR> <BR><B>SCOTT F. FOPPIANO</B>, Principal Organist and Director of Music and = L=3D iturgy <BR>THE NATIONAL SHRINE OF THE LITTLE FLOWER, Royal Oak, MI <BR>(Geo. Kilgen &amp; Son, St. Louis, MO, Opus 5180, 1933) <BR><I>=3DE2=3D80=3D9CCantantibus organis Caecilia Domino decantabat = dicens, <BR>fiat cor meum immaculatum ut non confundar.=3DE2=3D80=3D9D</I> <BR></FONT></HTML>   --part1_6b.16ae6ae0.28752e4d_boundary--  
(back) Subject: Re: Two manual, 30-stop organ From: <Innkawgneeto@cs.com> Date: Wed, 4 Jul 2001 22:55:54 EDT     --part1_db.16d8925d.2875313a_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Sebastian, your stop list sounds great. I'm just wondering, though, why =   don't more organbuilders bring the 4' principals down to the next octave? =     I would enjoy using the lightness of the 4' principal, especially in accompanying choirs or soloists, etc.   Just me, I know.   Neil B   --part1_db.16d8925d.2875313a_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT = SIZE=3D2>Sebastian, &nbsp;&nbsp;your stop list sounds great. &nbsp;I'm = just wondering, though, why <BR>don't more organbuilders bring the 4' principals down to the next = octave? &nbsp; <BR> <BR>I would enjoy using the lightness of the 4' principal, especially in <BR>accompanying choirs or soloists, etc. &nbsp; <BR> <BR>Just me, I know. <BR> <BR>Neil B</FONT></HTML>   --part1_db.16d8925d.2875313a_boundary--  
(back) Subject: Re: Rodgers (Question to the list) From: "Mike Gettelman" <mike3247@earthlink.net> Date: Wed, 04 Jul 2001 23:48:46 -0400   Sebastian wrote:   <snip> as the pipe organ continues to evolve through advances in scholarship, apprenticeship programs, organbuilding educational institutions, development of tools and techniques, and the continued patronage of serious musicians and clients.   Mike Asks: Could you expand this discussion into a new thread that discusses apprenticeship programs and organ building educational Institutions. I would welcome any information the list has to offer on the subject. What is being done to replenish the ranks of talented builders and voicers so essential to the next generation of pipe organ?    
(back) Subject: Re: Rodgers (Question to list) From: <Cremona502@cs.com> Date: Wed, 4 Jul 2001 23:50:36 EDT     --part1_7d.176327ca.28753e0c_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/4/01 3:32:57 PM Eastern Daylight Time, Innkawgneeto@cs.com writes:     > I will add my mere 2 cents to this discussion. > >   Actually, it would be more fun if you'd just answer the question.   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_7d.176327ca.28753e0c_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 = 7/4/01 3:32:57 PM Eastern Daylight Time, <BR>Innkawgneeto@cs.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I will add my mere = 2 cents to this discussion. <BR> <BR></BLOCKQUOTE> <BR> <BR>Actually, it would be more fun if you'd just answer the question. <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>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</FONT></HTML>   --part1_7d.176327ca.28753e0c_boundary--  
(back) Subject: Re: Two manual, 30-stop organ From: <Cremona502@cs.com> Date: Thu, 5 Jul 2001 00:03:52 EDT     --part1_11b.1371650.28754128_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   The only thing I would really miss on the manuals is a 2-2/3 on the Great. = It's nice to see 8' Diapasons on both manuals. The only change I would make would be the Stopped Flute 8 in the Pedal. I would rather have an = open flute. The 8' and 4' octaves of stopped flutes tend to sound "thumpy" and =   bark, which is really annoying to me. I like the more firm sound of an = open flute. I would also consider an open flute at 8 in the Swell rather = than the Stopped Flute. The stoplist indicates that the voicing will be 19th =   century style. Is that close? I would find this instrument very = versatile and fun to play.   In a message dated 7/4/01 10:26:43 PM Eastern Daylight Time, TubaMagna@aol.com writes:     > GREAT ORGAN, manual I, unenclosed > > 16' Bourdon, 61 pipes, stopped pine > 8' Open Diapason, 61 pipes, 50% tin > 8' Double Flute, 61 pipes, stopped pine, double mouths from C13 > 8' Gamba, 61 pipes, 90% tin > 4' Principal, 61 pipes, 50% tin > 4' Chimney Flute, 61 pipes, 50% tin > 2' Fifteenth, 61 pipes, 50% tin > IV rank Chorus Mixture, 244 pipes, 50% tin > 8' Clarinet, 61 pipes, 50% tin > Tremulant > > SWELL ORGAN, manual II, enclosed > > 8' Open Diapason, 61 pipes, 50% tin > 8' Stopped Diapason, 61 pipes, pine > 8' Salicional, 61 pipes, 50% tin > 8' Voix Celeste, 54 pipes (GG), 50% tin > 4' Principal, 61 pipes, 50% tin > 4' Harmonic Flute, 61 pipes, 50% tin > 2-2/3' Nazard, 61 pipes, 50% tin > 2' Recorder, 61 pipes, 50% tin > 1-3/5' Tierce, 61 pipes, 50% tin, breaks to 3-1/5' at D# no 52 > IV rank Sharp Mixture, 244 pipes, 50% tin > 8' Trumpet, 61 pipes, 50% tin > 8' Oboe, 61 pipes, 50% tin > Tremulant > > PEDAL ORGAN > > 16' Open Diapason, 30 pipes, pine > 16' Violone, 30 pipes, pine > 16' Sub Bass, 30 pipes, pine > [16' Bourdon (by transmission from Great Organ)] > [10-2/3' Contraquint (by transmission from Great Organ)] > 8' Principal, 30 pipes, zinc and 50% tin > 8' Violoncello, 30 pipes, zinc and 50% tin > 8' Stopped Flute, 30 pipes, pine > 4' Fifteenth, 30 pipes, 50% tin > 4' Open Flute, 30 pipes, pine > 16' Trombone, 30 pipes, zinc and 50% tin >     Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Visit Howling Acres at http://members.tripod.com/Brucon502/   --part1_11b.1371650.28754128_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>The only thing I would = really miss on the manuals is a 2-2/3 on the Great. &nbsp;&nbsp;&nbsp; <BR>It's nice to see 8' Diapasons on both manuals. &nbsp;&nbsp;&nbsp;The = only change I would <BR>make would be the Stopped Flute 8 in the Pedal. &nbsp;I would rather = have an open <BR>flute. &nbsp;The 8' and 4' octaves of stopped flutes tend to sound = "thumpy" and <BR>bark, which is really annoying to me. &nbsp;I like the more firm sound = of an open <BR>flute. &nbsp;&nbsp;&nbsp;&nbsp;I would also consider an open flute at = 8 in the Swell rather than <BR>the Stopped Flute. &nbsp;&nbsp;&nbsp;The stoplist indicates that the = voicing will be 19th <BR>century style. &nbsp;&nbsp;Is that close? &nbsp;&nbsp;I would find = this instrument very versatile <BR>and fun to play. <BR> <BR>In a message dated 7/4/01 10:26:43 PM Eastern Daylight Time, <BR>TubaMagna@aol.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">GREAT ORGAN, = manual I, unenclosed <BR> <BR>16' &nbsp;Bourdon, 61 pipes, stopped pine <BR>8' &nbsp;Open Diapason, 61 pipes, 50% tin <BR>8' &nbsp;Double Flute, 61 pipes, stopped pine, double mouths from C13 <BR>8' &nbsp;Gamba, 61 pipes, 90% tin <BR>4' &nbsp;Principal, 61 pipes, 50% tin <BR>4' &nbsp;Chimney Flute, 61 pipes, 50% tin <BR>2' &nbsp;Fifteenth, 61 pipes, 50% tin <BR>IV rank Chorus Mixture, 244 pipes, 50% tin <BR>8' &nbsp;Clarinet, 61 pipes, 50% tin <BR>Tremulant <BR> <BR>SWELL ORGAN, manual II, enclosed <BR> <BR>8' &nbsp;Open Diapason, 61 pipes, 50% tin <BR>8' &nbsp;Stopped Diapason, 61 pipes, pine <BR>8' &nbsp;Salicional, 61 pipes, 50% tin <BR>8' &nbsp;Voix Celeste, 54 pipes (GG), 50% tin <BR>4' &nbsp;Principal, 61 pipes, 50% tin <BR>4' &nbsp;Harmonic Flute, 61 pipes, 50% tin <BR>2-2/3' &nbsp;Nazard, 61 pipes, 50% tin <BR>2' &nbsp;Recorder, 61 pipes, 50% tin <BR>1-3/5' &nbsp;Tierce, 61 pipes, 50% tin, breaks to 3-1/5' at D# no 52 <BR>IV &nbsp;rank &nbsp;Sharp Mixture, 244 pipes, 50% tin <BR>8' &nbsp;Trumpet, 61 pipes, 50% tin <BR>8' &nbsp;Oboe, 61 pipes, 50% tin <BR>Tremulant <BR> <BR>PEDAL ORGAN <BR> <BR>16' &nbsp;Open Diapason, 30 pipes, pine <BR>16' &nbsp;Violone, 30 pipes, pine <BR>16' &nbsp;Sub Bass, 30 pipes, pine <BR>[16' &nbsp;Bourdon (by transmission from Great Organ)] <BR>[10-2/3' &nbsp;Contraquint &nbsp;(by transmission from Great Organ)] <BR>8' &nbsp;Principal, 30 pipes, zinc and 50% tin <BR>8' &nbsp;Violoncello, 30 pipes, zinc and 50% tin <BR>8' &nbsp;Stopped Flute, 30 pipes, pine <BR>4' &nbsp;Fifteenth, 30 pipes, 50% tin <BR>4' &nbsp;Open Flute, 30 pipes, pine <BR>16' &nbsp;Trombone, 30 pipes, zinc and 50% tin <BR></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> <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>Visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/</FONT></HTML>   --part1_11b.1371650.28754128_boundary--  
(back) Subject: Re: A "Fuller" key From: "Jackson R. Williams II" <jackwilliams_1999@yahoo.com> Date: Wed, 4 Jul 2001 21:12:28 -0700 (PDT)   Not quite, John.   Different keys do have different colors because of the physical properties of how the overtones line up depending on the temperament used in the tuning process. Even in equal temperament, each key has it's own color. E-flat sounds different than E major. and there is a definite difference between D-flat and and D major. People who don't have perfect pitch can hear the difference. The Bach Prelude and Fugue in D major would have a completely different color and sound when played in D-flat. > The perception of key signature, what some call > "affective key > characteristics", has interested me for a long time. > I think that our sense > of the character or color of a key is largely > informed by our knowledge of > the character of the *music* written for that key, > rather than any inherent > quality of the pitches composing that key's scale. > With equal temperament, > it can't come from the key itself: something written > in Db and transposed > up to D will have the same mathematic relationships > between the notes of > the scale. > > The German poet Christian Schubart wrote about key > colors in his "Ideen zu > einer Aesthetik der Tonkunst." (1806). His > description (in English) of the > character of various keys can be found here: > > http://www.wmich.edu/mus-theo/courses/keys.html > > Of Db Major, Schubart says: > > "A leering key, degenerating into grief and rapture. > It cannot laugh, but > it can smile; it cannot howl, but it can at least > grimace its > crying.--Consequently only unusual characters and > feelings can be brought > out in this key." > > The idea of affective key characteristics seems > somewhat related to the > phenomenon called "synaesthesia", where the > stimulation of one sense causes > a perception in another sense; music provoking the > sensation of colors > seems to be the most common. > > By the way, Paul, do you have absolute ("perfect") > pitch? > > John A. Panning > Lake City, Iowa > > > > "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 >     __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail http://personal.mail.yahoo.com/