PipeChat Digest #2218 - Monday, July 9, 2001
 
Re: stoplists and the literature
  by <Cremona502@cs.com>
Re: stoplists and the literature
  by <SProt82850@cs.com>
Re: stoplists and the literature
  by <quilisma@socal.rr.com>
Re: New Organ
  by <Cremona502@cs.com>
Re: prices
  by <Cremona502@cs.com>
Re: thaxted
  by "Bob Elms" <elmsr@albanyis.com.au>
Re: stoplists and the literature
  by <Cremona502@cs.com>
Re: stoplists and the literature
  by <Cremona502@cs.com>
 

(back) Subject: Re: stoplists and the literature From: <Cremona502@cs.com> Date: Mon, 9 Jul 2001 18:53:48 EDT     --part1_6b.16e20ad6.287b8ffc_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/8/01 11:24:30 AM Eastern Daylight Time, tmbovard@arkansas.net writes:     > Bruce, I sorta think you're being a bit "restrictive" with your = definition of > "Am. Classic". Seems as though you're thinking pretty exclusively of = the > GDH > "formula". (which admittedly is the original concept, I suppose, but...) = > Yep! I was.       > > As with most aspects of organ design, I feel that our "labels" are only > representations of general styles and dispositions (periods of = history?). > There are, fortunately, *no* absolute "rules". Thus, I wouldn't be > uncomfortable with Bud's design being Am. Classic -- it's just Am. = Classic > *as > it has evolved over the last 40 years*. Until another half-a-century = goes > by > (and somebody coins yet another "definition/name", that's the name we've =   > got!! > <g> > OK! I surrender. Makes sense. etc   Got to run. Have a pie to bake. Now where is that can of humble?? ;-)   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_6b.16e20ad6.287b8ffc_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 = 7/8/01 11:24:30 AM Eastern Daylight Time, <BR>tmbovard@arkansas.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Bruce, I sorta = think you're being a bit "restrictive" with your definition of <BR>"Am. Classic". &nbsp;Seems as though you're thinking pretty = exclusively of the <BR>GDH <BR>"formula". (which admittedly is the original concept, I suppose, = but...) &nbsp; <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR>Yep! &nbsp;I was. <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> <BR>As with most aspects of organ design, I feel that our "labels" are = only <BR>representations of general styles and dispositions (periods of = history?). <BR>There are, fortunately, *no* absolute "rules". &nbsp;Thus, I wouldn't = be <BR>uncomfortable with Bud's design being Am. Classic -- it's just Am. = Classic <BR>*as <BR>it has evolved over the last 40 years*. &nbsp;Until another = half-a-century goes <BR>by <BR>(and somebody coins yet another "definition/name", that's the name = we've <BR>got!! <BR>&lt;g&gt; <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">OK! &nbsp;&nbsp;I surrender. &nbsp;Makes sense. = &nbsp;etc <BR> <BR>Got to run. &nbsp;Have a pie to bake. &nbsp;&nbsp;&nbsp;Now where is = that can of humble?? &nbsp;;-) <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_6b.16e20ad6.287b8ffc_boundary--  
(back) Subject: Re: stoplists and the literature From: <SProt82850@cs.com> Date: Mon, 9 Jul 2001 18:55:41 EDT     --part1_126.129bfab.287b906d_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Dear Bud by the beach,   I like your stop list quite well. As an Anglican organist (retired for = the time being) your spec feels quite playable for most of the literature and = I found myself automatically looking for the combinations of stops I know I would need and they are almost all there.   I like that the mutations are independent, which is critical for tuning = and appropriate use. I would sooner leave them off an organ than pull them = out of unison ranks.   I also like that you have first and second Diapason choruses, which are critical for a wide range of accompanying needs, especially in the = Anglican church, and the equally important 8' and 4' flutes on the great.   There are also plenty of 8' sounds, providing warmth and strength when you =   need it, plus the luxury of 3 reeds of varying strength and color.   The first obvious weakness I see is the Pedal and its lack of independent stops. I'd almost prefer an independent Pedal Bourdon to the Bourdon on = the Great, primarily for the vastly different scaling and voicing treatment a Pedal flute demands vs. a manual 16' flute. My other criticism is that = there is a 4' flute missing in the swell, but you can't have everything. Where would you put it?   I'd enjoy playing an organ like this Sunday after Sunday and I wish you = much success with its installation and completion.   Steven   --part1_126.129bfab.287b906d_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Dear Bud by the beach, <BR> <BR>I like your stop list quite well. &nbsp;As an Anglican organist = (retired for the <BR>time being) your spec feels quite playable for most of the literature = and I <BR>found myself automatically looking for the combinations of stops I = know I <BR>would need and they are almost all there. <BR> <BR>I like that the mutations are independent, which is critical for = tuning and <BR>appropriate use. &nbsp;I would sooner leave them off an organ than = pull them out <BR>of unison ranks. <BR> <BR>I also like that you have first and second Diapason choruses, which = are <BR>critical for a wide range of accompanying needs, especially in the = Anglican <BR>church, and the equally important 8' and 4' flutes on the great. <BR> <BR>There are also plenty of 8' sounds, providing warmth and strength when = you <BR>need it, plus the luxury of 3 reeds of varying strength and color. <BR> <BR>The first obvious weakness I see is the Pedal and its lack of = independent <BR>stops. &nbsp;I'd almost prefer an independent Pedal Bourdon to the = Bourdon on the <BR>Great, primarily for the vastly different scaling and voicing = treatment a <BR>Pedal flute demands vs. a manual 16' flute. &nbsp;My other criticism = is that there <BR>is a 4' flute missing in the swell, but you can't have everything. = Where <BR>would you put it? <BR> <BR>I'd enjoy playing an organ like this Sunday after Sunday and I wish = you much <BR>success with its installation and completion. <BR> <BR>Steven</FONT></HTML>   --part1_126.129bfab.287b906d_boundary--  
(back) Subject: Re: stoplists and the literature From: <quilisma@socal.rr.com> Date: Mon, 09 Jul 2001 16:18:17 -0700     --------------67575AFD1C2E4345F232C8E5 Content-Type: text/plain; charset=3Dus-ascii Content-Transfer-Encoding: 7bit       SProt82850@cs.com wrote:   > Dear Bud by the beach, > > I like your stop list quite well. As an Anglican organist (retired > for the > time being) your spec feels quite playable for most of the literature > and I > found myself automatically looking for the combinations of stops I > know I > would need and they are almost all there.   Thank you, Steven ... I'm glad it's recognizably an Anglican service-playing organ (grin).   > I like that the mutations are independent, which is critical for > tuning and > appropriate use. I would sooner leave them off an organ than pull > them out > of unison ranks.   Agreed ...   > I also like that you have first and second Diapason choruses, which > are > critical for a wide range of accompanying needs, especially in the > Anglican > church, and the equally important 8' and 4' flutes on the great. > > There are also plenty of 8' sounds, providing warmth and strength when > you > need it, plus the luxury of 3 reeds of varying strength and color. > > The first obvious weakness I see is the Pedal and its lack of > independent > stops. I'd almost prefer an independent Pedal Bourdon to the Bourdon > on the > Great, primarily for the vastly different scaling and voicing > treatment a > Pedal flute demands vs. a manual 16' flute.   Actually, that WAS the PEDAL Bourdon in the Moller, and I'm taking a fair amount of heat for wanting it at 16-8 in the Great (grin), but I wanted a big solo flute somewhere, and that was the cheapest way to get it. I suspect the strength of the bottom 12 of the 16' octave will have to be a compromise.   > My other criticism is that there > is a 4' flute missing in the swell, but you can't have everything. > Where > would you put it?   The Nachthorn WAS in the Swell originally, as was the 2' Flautino, but it didn't all add up, somehow ... the Nachthorn in particular needs revoiced ... and there were NO principals in the original Moller Swell .... it was very weak, except for the all-obliterating Trompette. So I had to balance getting a principal chorus into the Swell with the need for a 4' flute SOMEWHERE, and I decided the revoiced Nachthorn would sound better out in the open on the Great. The organ WILL have full couplers (grin), so I CAN get a species of 8-4 flutes on the Swell that way ... not ideal, but we're full up space-wise.   > I'd enjoy playing an organ like this Sunday after Sunday and I wish > you much > success with its installation and completion. > > Steven   With my luck, it'll be finished in time for my RETIREMENT (grin), but the church IS committed to the project.   Cheers,   Bud   --------------67575AFD1C2E4345F232C8E5 Content-Type: text/html; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   <!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> &nbsp; <p>SProt82850@cs.com wrote: <blockquote TYPE=3DCITE><font face=3D"arial,helvetica"><font = size=3D-1>Dear Bud by the beach,</font></font> <p><font face=3D"arial,helvetica"><font size=3D-1>I like your stop list = quite well.&nbsp; As an Anglican organist (retired for the</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>time being) your spec = feels quite playable for most of the literature and I</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>found myself = automatically looking for the combinations of stops I know I</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>would need and they are almost all there.</font></font></blockquote> Thank you, Steven ... I'm glad it's recognizably an Anglican = service-playing organ (grin). <blockquote TYPE=3DCITE><font face=3D"arial,helvetica"><font size=3D-1>I = like that the mutations are independent, which is critical for tuning = and</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>appropriate use.&nbsp; = I would sooner leave them off an organ than pull them out</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>of unison ranks.</font></font></blockquote> Agreed ... <blockquote TYPE=3DCITE><font face=3D"arial,helvetica"><font size=3D-1>I = also like that you have first and second Diapason choruses, which = are</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>critical for a wide = range of accompanying needs, especially in the Anglican</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>church, and the equally important 8' and 4' flutes on the great.</font></font> <p><font face=3D"arial,helvetica"><font size=3D-1>There are also plenty of 8' sounds, providing warmth and strength when you</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>need it, plus the = luxury of 3 reeds of varying strength and color.</font></font> <p><font face=3D"arial,helvetica"><font size=3D-1>The first obvious = weakness I see is the Pedal and its lack of independent</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>stops.&nbsp; I'd almost prefer an independent Pedal Bourdon to the Bourdon on the</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>Great, primarily for = the vastly different scaling and voicing treatment a</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>Pedal flute demands vs. a manual 16' flute.</font></font></blockquote> Actually, that WAS the PEDAL Bourdon in the Moller, and I'm taking a fair amount of heat for wanting it at 16-8 in the Great (grin), but I wanted a big solo flute somewhere, and that was the cheapest way to get it. I suspect the strength of the bottom 12 of the 16' octave will have to be a compromise. <blockquote TYPE=3DCITE><font face=3D"arial,helvetica"><font size=3D-1>My = other criticism is that there</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>is a 4' flute missing = in the swell, but you can't have everything. Where</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>would you put = it?</font></font></blockquote> The Nachthorn WAS in the Swell originally, as was the 2' Flautino, but it didn't all add up, somehow ... the Nachthorn in particular needs = revoiced .... and there were NO principals in the original Moller Swell ... it was very weak, except for the all-obliterating Trompette. So I had to balance getting a principal chorus into the Swell with the need for a 4' flute SOMEWHERE, and I decided the revoiced Nachthorn would sound better out in the open on the Great.&nbsp; The organ WILL have full couplers (grin), so I CAN get a species of 8-4 flutes on the Swell that way ... not ideal, but we're full up space-wise. <blockquote TYPE=3DCITE><font face=3D"arial,helvetica"><font size=3D-1>I'd = enjoy playing an organ like this Sunday after Sunday and I wish you = much</font></font> <br><font face=3D"arial,helvetica"><font size=3D-1>success with its = installation and completion.</font></font> <p><font face=3D"arial,helvetica"><font = size=3D-1>Steven</font></font></blockquote> With my luck, it'll be finished in time for my RETIREMENT (grin), but the church IS committed to the project. <p>Cheers, <p>Bud</html>   --------------67575AFD1C2E4345F232C8E5--    
(back) Subject: Re: New Organ From: <Cremona502@cs.com> Date: Mon, 9 Jul 2001 19:27:23 EDT     --part1_9e.16f5a289.287b97db_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/8/01 4:15:57 PM Eastern Daylight Time, ahremsen40@aol.com writes:     > Personally I would go with the company > that knows the most about PIPES, and that would be Wicks. Now I await = the > insulting letters. The last time I wrote about Wicks having become a = good > builder someone from this list e-mailed me to tell me either I couldn't > hear > or didn't know what to listen for. Don't you just love organists! >   I must agree with Allen. After the Philadelphia OHS convention in '96, = with my ears filled with wonderful sounds, I visited the Wicks factory on my = way home. I was favorably impressed with the tracker instrument I played and =   was also impressed with the "series" organ I played. It had digital reeds = on it which were quite good. If you are going to be in a position requiring =   give-and-take and various design negotiations, I would have no qualms = about recommending Wicks. They're exceptionally nice people, very helpful, and =   quite easy to work with.   Tracker or Direct-Electric, they have an exceptional record for longevity = and service.   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_9e.16f5a289.287b97db_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 = 7/8/01 4:15:57 PM Eastern Daylight Time, <BR>ahremsen40@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">Personally I would = go with the company <BR>that knows the most about PIPES, and that would be Wicks. &nbsp;Now I = await the <BR>insulting letters. &nbsp;The last time I wrote about Wicks having = become a good <BR>builder someone from this list e-mailed me to tell me either I = couldn't <BR>hear <BR>or didn't know what to listen for. &nbsp;Don't you just love = organists! <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>I must agree with Allen. &nbsp;After the Philadelphia OHS convention = in '96, with <BR>my ears filled with wonderful sounds, I visited the Wicks factory on = my way <BR>home. &nbsp;&nbsp;I was favorably impressed with the tracker = instrument I played and <BR>was also impressed with the "series" organ I played. &nbsp;It had = digital reeds on <BR>it which were quite good. &nbsp;&nbsp;If you are going to be in a = position requiring <BR>give-and-take and various design negotiations, I would have no qualms = about <BR>recommending Wicks. &nbsp;&nbsp;They're exceptionally nice people, = very helpful, and <BR>quite easy to work with. <BR> <BR>Tracker or Direct-Electric, they have an exceptional record for = longevity and <BR>service. <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_9e.16f5a289.287b97db_boundary--  
(back) Subject: Re: prices From: <Cremona502@cs.com> Date: Mon, 9 Jul 2001 19:39:44 EDT     --part1_cb.135934a7.287b9ac0_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/8/01 9:30:56 PM Eastern Daylight Time, organist@total.net writes:     > ummm, forget about the last one!!! > *snicker* >   Aw! Shucks! I think it would be quite unique to have an "English = country parish" organ, with all nomenclature in English, including the name plate:   Organs by Jack   (by George!!)   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_cb.135934a7.287b9ac0_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 = 7/8/01 9:30:56 PM Eastern Daylight Time, <BR>organist@total.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">ummm, forget about = the last one!!! <BR>*snicker* <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>Aw! &nbsp;Shucks! &nbsp;&nbsp;I think it would be quite unique to have = an "English country <BR>parish" organ, with all nomenclature in English, including the name = plate: <BR> <BR>Organs by Jack <BR> <BR>(by George!!) <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_cb.135934a7.287b9ac0_boundary--  
(back) Subject: Re: thaxted From: "Bob Elms" <elmsr@albanyis.com.au> Date: Tue, 10 Jul 2001 08:00:12 +0800   Of course! That was the origin of the tune in the first place as far as I know.I didn't mention it because I thought it was common knowledge. There are a number of hymn tunes taken from orchestral works by great composers - Beethoven's 9th (Joyful, joyful we adore thee), Dambusters March (Eric Coates - God is our strength and refuge) are two examples. This was done also with many tunes from classical music - Stranger in Paradise (Borodin), Rainbow's End (Chopin), Land of Hope and Glory (Elgar). The Salvation Army Hymn Book of 1900 had a number of hymns put to popular tunes (Annie Laurie, etc.) Bob Elms.   Mike Swaldo wrote: > > Hi all, > > I'm surprised no one's mentioned this. Holst included this tune in his > famous orchestral work "The Planets." It appears in movement 4, = "Jupiter,    
(back) Subject: Re: stoplists and the literature From: <Cremona502@cs.com> Date: Mon, 9 Jul 2001 20:34:22 EDT     --part1_7e.17822dbd.287ba78e_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 7/9/01 2:35:42 PM Eastern Daylight Time, = steltzer@gwi.net writes:     > Second; for those of us whose organ world is in the 10 to 30 stop = category, > perhaps an equally instructive and well-thought-out list for a 2 manual > instrument would be useful. > > The Octave 4' is already in and voiced (3 pipes smaller than the 8' > Diapason, at the same pitch) - what a great help! > > A specific question: by using the ubiqitous unit Gedeckt, we could = have > a 2 2/3' on each manual, and of course could also have a 16' TC on each > manual. Is it useful to do so? .... is it "proper"? ...... is it =   > cool? > The Octave 4 being made 3 pipes smaller not only gives a delicate and = bright top to the Principal 8. In addition, by playing it an octave lower you = have a wonderful additional accompaniment stop.   With regard to the "ubiquitous" Gedeckt, I think, if unification is = necessary (at least temporarily) the 2-2/3 Nazard will greatly increase your colour pallet. And, as long as your at it, I would also include a Tierce 1-3/5. = Even though a unit cornet is not optimal, it is better than no cornet. = If you are in need of a celeste, an independent 1-3/5 extended downward makes = a very successful celeste; however, I don't think I would do this unless you =   also had an independent nazard 2-2/3.   You asked about a 10 to 30 stop instrument. Here's what I'd do:   Initial 10 stops in caps (unified stops)   Great BOURDON 16 (8, 4, 2-2/3, 2, 1-3/5) PRINCIPAL 8 Traversflute 8 Viole de Gambe 8 Celeste 8 (tierce duplex) OCTAVE 4 Spillflute 4 Twelfth 2-2/3 FIFTEENTH 2 Seventeenth 1-3/5 (extended down for celeste) Mixture IV Clarinet 16 Trumpet 8 Tremolo Chimes   Swell Gemshorn 16 (4) PRINCIPAL 8 (4, 2) ROHRFLUTE 8 (4, 2-2/3, 2, 1-3/5) SALICIONAL 8 (4) Voix Celeste 8 Octave 4 HARMONIC FLUTE 4 (2-2/3, 2, 1-3/5) Nazard 2-2/3 Harmonic Piccolo 2 Tierce 1-3/5 Larigot 1-1/3 Plein Jeu IV Trumpet 8 OBOE 8 (16, 4) Tremolo   Pedal CONTRABASS 16 (other stops duplexed from manual) Flute 8 Choralbass 4 Trombone 16   Couplers and action as desired   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_7e.17822dbd.287ba78e_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 = 7/9/01 2:35:42 PM Eastern Daylight Time, steltzer@gwi.net <BR>writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Second; for those = of us whose organ world is in the 10 to 30 stop category, <BR>perhaps an equally instructive and well-thought-out list for a 2 = manual <BR>instrument would be useful. <BR></BLOCKQUOTE> <BR> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The Octave 4' is = already in and voiced (3 pipes smaller than the 8' <BR>Diapason, at the same pitch) - what a great help! <BR> <BR>A specific question: &nbsp;&nbsp;by using the ubiqitous unit Gedeckt, = &nbsp;we could have <BR>a 2 2/3' on each manual, and of course could also have a 16' TC on = each <BR>manual. &nbsp;&nbsp;Is it useful to do so? = &nbsp;&nbsp;&nbsp;&nbsp;.... is it "proper"? &nbsp;&nbsp;...... is it <BR>cool? = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= sp; <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">The Octave 4 being made 3 pipes smaller not only = gives a delicate and bright <BR>top to the Principal 8. &nbsp;In addition, by playing it an octave lower you have <BR>a wonderful additional accompaniment stop. <BR> <BR>With regard to the "ubiquitous" Gedeckt, I think, if unification is = necessary <BR>(at least temporarily) the 2-2/3 Nazard will greatly increase your = colour <BR>pallet. &nbsp;&nbsp;And, as long as your at it, I would also include a = Tierce 1-3/5. &nbsp;&nbsp; <BR>Even though a unit cornet is not optimal, it is better than no cornet. = &nbsp;&nbsp;&nbsp;If <BR>you are in need of a celeste, an independent 1-3/5 extended downward = makes a <BR>very successful celeste; however, I don't think I would do this unless = you <BR>also had an independent nazard 2-2/3. <BR> <BR>You asked about a 10 to 30 stop instrument. &nbsp;&nbsp;Here's what = I'd do: <BR> <BR>Initial 10 stops in caps &nbsp; <BR>(unified stops) <BR> <BR>Great <BR>BOURDON 16 &nbsp;&nbsp;&nbsp;(8, 4, 2-2/3, 2, 1-3/5) <BR>PRINCIPAL 8 <BR>Traversflute 8 <BR>Viole de Gambe 8 <BR>Celeste 8 &nbsp;&nbsp;&nbsp;(tierce duplex) <BR>OCTAVE 4 <BR>Spillflute 4 <BR>Twelfth 2-2/3 <BR>FIFTEENTH 2 <BR>Seventeenth 1-3/5 &nbsp;&nbsp;(extended down for celeste) <BR>Mixture IV <BR>Clarinet 16 <BR>Trumpet 8 <BR>Tremolo <BR>Chimes <BR> <BR>Swell <BR>Gemshorn 16 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(4) <BR>PRINCIPAL 8 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(4, 2) <BR>ROHRFLUTE 8 &nbsp;&nbsp;&nbsp;(4, 2-2/3, 2, 1-3/5) <BR>SALICIONAL 8 &nbsp;&nbsp;&nbsp;(4) <BR>Voix Celeste 8 <BR>Octave 4 <BR>HARMONIC FLUTE 4 &nbsp;&nbsp;(2-2/3, 2, 1-3/5) <BR>Nazard 2-2/3 <BR>Harmonic Piccolo 2 <BR>Tierce 1-3/5 <BR>Larigot 1-1/3 <BR>Plein Jeu IV <BR>Trumpet 8 <BR>OBOE 8 = &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(16, 4) <BR>Tremolo <BR> <BR>Pedal <BR>CONTRABASS 16 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(other stops = duplexed from manual) <BR>Flute 8 <BR>Choralbass 4 <BR>Trombone 16 <BR> <BR>Couplers and action as desired <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_7e.17822dbd.287ba78e_boundary--  
(back) Subject: Re: stoplists and the literature From: <Cremona502@cs.com> Date: Mon, 9 Jul 2001 20:39:29 EDT     --part1_4d.e048782.287ba8c1_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Bud, You mentioned at one point having the Great partially enclosed. Is that still an option?   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_4d.e048782.287ba8c1_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Bud, <BR>You mentioned at one point having the Great partially enclosed. = &nbsp;Is that <BR>still an option? <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_4d.e048782.287ba8c1_boundary--