PipeChat Digest #2456 - Thursday, October 25, 2001
 
Re: Piston dependency
  by "Tom Hoehn" <thoehn@theatreorgans.com>
tierces in chorus mixtures / an early crescendo mechanism
  by <quilisma@socal.rr.com>
Re: tierces in chorus mixtures / an early crescendo mechanism
  by "Randy Terry" <randyterryus@yahoo.com>
RE: rollschweller/crescendo/free combinations
  by "Emmons, Paul" <pemmons@wcupa.edu>
RE: Piston dependency
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: rollschweller/crescendo/free combinations
  by <quilisma@socal.rr.com>
RE: The Crescendo Crutch
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: rollschweller/crescendo/free combinations
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: Piston dependency
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: The Crescendo Crutch
  by <quilisma@socal.rr.com>
RE: tierces in chorus mixtures
  by "Emmons, Paul" <pemmons@wcupa.edu>
 

(back) Subject: Re: Piston dependency From: "Tom Hoehn" <thoehn@theatreorgans.com> Date: Thu, 25 Oct 2001 13:31:16 -0400   This is a multi-part message in MIME format.   ------=3D_NextPart_000_004F_01C15D59.52B2B300 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   The church that I play at (First United Methodist Church, Clearwater,FL) = =3D has a small Rodgers 2m in the chapel. I use it every Sunday for the =3D 8:30 service. There are several combinations for the Crescendo,/Swell =3D pedal. One is to select the CRESC. Reversible (LPB) This puts all =3D swells on the left shoe and the crescendo on the right. There is also a = =3D GR/PED unenclosed reversible as well. The crescendo is settable so I =3D can actually program what I want to add and subtract as I use the pedal = =3D more. I for one grew up playing using the crescendo pedal in church (I =3D remember it squeaking as the metal contact strip ran underneath the =3D contact fingers (1919 Kilgen Console). =3D20   In Theatre organ work I use the crescendo the way a lot of artists use =3D Second Touch on the Great to add that momentary Post Horn punch for =3D emphasis, Since the Wurlitzer I play regularly doesn't have a very =3D functional second touch on the great and the accompaniment second touch = =3D isn't really regulated where it ought to be. =3D20   Tom Hoehn, Organist Tampa Theatre, Tampa, FL Royalty Theatre, Clearwater, FL First United Methodist Church, Clearwater, FL CFTOS/Manasota/OATOS/HiloBay/CIC-ATOS http://theatreorgans.com/tomhoehn ----- Original Message -----=3D20 From: Cremona502@cs.com=3D20 To: pipechat@pipechat.org=3D20 Sent: Thursday, October 25, 2001 12:22 PM Subject: Re: Piston dependency     In a message dated 10/24/01 11:24:42 PM Eastern Daylight Time, =3D gedeckt@usit.net writes:=3D20         Having grown up playing a Robert Morton 2/4 Theater Organ at a =3D Catholic=3D20 church [since abandoned and rescued, refinished and totally restored = =3D   with a loving owner now]=3D20       um... heeheehee The organ or the church....???? ;-)=3D20     A recent Rodgers console design has dual expression pedals, no=3D20 crescendo, possibly a sign of things to come. This particular =3D instrument=3D20 does however permit configuring the instrument for use with an =3D exposed=3D20 Great division of pipes [or digital for practice in preparation = for=3D20 performing on an exposed Great instrument], assigning the Swell to =3D the=3D20 Left Expression Pedal...and the right becomes a Crescendo. So it's =3D not=3D20 completely gone.=3D20       This might be a very good place for a "crescendo pedal" on or off =3D switch.=3D20 Any chance it's "hidden" in there??=3D20   Please visit the NEWLY RENOVATED Howling Acres at =3D http://members.tripod.com/Brucon502/=3D20   Bruce Cornely ~ Cremona502@cs.com =3D20 with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, = Bohawow!"=3D20 Duncan, Miles, Molly, and Dewi=3D20     ------=3D_NextPart_000_004F_01C15D59.52B2B300 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 5.50.4807.2300" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>The church that I play at (First = United =3D Methodist=3D20 Church, Clearwater,FL) has a small Rodgers 2m in the chapel.&nbsp; I use = =3D it=3D20 every Sunday for the 8:30 service.&nbsp; There are several combinations = =3D for the=3D20 Crescendo,/Swell pedal.&nbsp; One is to select the CRESC. Reversible =3D (LPB) This=3D20 puts all swells on the left shoe and the crescendo on the right.&nbsp; =3D There is=3D20 also a GR/PED unenclosed reversible as well.&nbsp; The crescendo is =3D settable so=3D20 I can actually program what I want to add and subtract as I use the =3D pedal more.=3D20 I for one grew up playing using the crescendo pedal in church (I =3D remember it=3D20 squeaking as the metal contact strip ran underneath the contact fingers = =3D (1919=3D20 Kilgen Console).&nbsp; </FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV><FONT face=3D3DArial size=3D3D2>In Theatre organ work I use the =3D crescendo the way a=3D20 lot of artists use Second Touch on the Great to add that momentary Post = =3D Horn=3D20 punch for emphasis, Since the Wurlitzer I play regularly doesn't have a = =3D very=3D20 functional second touch on the great and the accompaniment second touch = =3D isn't=3D20 really regulated where it ought to be.&nbsp; </FONT></DIV> <DIV><FONT face=3D3DArial size=3D3D2></FONT>&nbsp;</DIV> <DIV>Tom Hoehn, Organist<BR>Tampa Theatre, Tampa, FL<BR>Royalty Theatre, = =3D   Clearwater, FL<BR>First United Methodist Church, Clearwater,=3D20 FL<BR>CFTOS/Manasota/OATOS/HiloBay/CIC-ATOS<BR><A=3D20 href=3D3D"http://theatreorgans.com/tomhoehn">http://theatreorgans.com/tomho= =3D ehn</A></DIV> <BLOCKQUOTE=3D20 style=3D3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =3D BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style=3D3D"FONT: 10pt arial">----- Original Message ----- </DIV> <DIV=3D20 style=3D3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =3D black"><B>From:</B>=3D20 <A title=3D3DCremona502@cs.com=3D20 href=3D3D"mailto:Cremona502@cs.com">Cremona502@cs.com</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>To:</B> <A =3D title=3D3Dpipechat@pipechat.org=3D20 href=3D3D"mailto:pipechat@pipechat.org">pipechat@pipechat.org</A> </DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Sent:</B> Thursday, October 25, =3D 2001 12:22=3D20 PM</DIV> <DIV style=3D3D"FONT: 10pt arial"><B>Subject:</B> Re: Piston =3D dependency</DIV> <DIV><BR></DIV><FONT face=3D3Darial,helvetica><FONT size=3D3D2>In a =3D message dated=3D20 10/24/01 11:24:42 PM Eastern Daylight Time, <A=3D20 href=3D3D"mailto:gedeckt@usit.net">gedeckt@usit.net</A> writes: =3D <BR><BR><BR> <BLOCKQUOTE=3D20 style=3D3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px = =3D solid; MARGIN-RIGHT: 0px"=3D20 TYPE=3D3D"CITE"><BR>Having grown up playing a Robert Morton 2/4 Theater = =3D Organ at=3D20 a Catholic <BR>church [since abandoned and rescued, refinished and =3D totally=3D20 restored <BR>with a loving owner now] <BR></FONT><FONT lang=3D3D0 =3D face=3D3DArial=3D20 color=3D3D#000000 size=3D3D3 =3D FAMILY=3D3D"SANSSERIF"></BLOCKQUOTE><BR><BR></FONT><FONT=3D20 lang=3D3D0 face=3D3DArial color=3D3D#000000 size=3D3D2 =3D FAMILY=3D3D"SANSSERIF">um... heeheehee=3D20 &nbsp;&nbsp;&nbsp;The organ or the church....???? &nbsp;;-) =3D <BR></FONT><FONT=3D20 lang=3D3D0 face=3D3DArial color=3D3D#000000 size=3D3D3 =3D FAMILY=3D3D"SANSSERIF"><BR></FONT><FONT=3D20 lang=3D3D0 face=3D3DArial color=3D3D#000000 size=3D3D2 = FAMILY=3D3D"SANSSERIF"> <BLOCKQUOTE=3D20 style=3D3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px = =3D solid; MARGIN-RIGHT: 0px"=3D20 TYPE=3D3D"CITE">A recent Rodgers console design has dual expression =3D pedals, no=3D20 <BR>crescendo, possibly a sign of things to come. This particular =3D instrument=3D20 <BR>does however permit configuring the instrument for use with an =3D exposed=3D20 <BR>Great division of pipes [or digital for practice in preparation = =3D for=3D20 <BR>performing on an exposed Great instrument], assigning the Swell = =3D to the=3D20 <BR>Left Expression Pedal...and the right becomes a Crescendo. So =3D it's not=3D20 <BR>completely gone. <BR></FONT><FONT lang=3D3D0 face=3D3DArial =3D color=3D3D#000000 size=3D3D3=3D20 FAMILY=3D3D"SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT lang=3D3D0 =3D face=3D3DArial=3D20 color=3D3D#000000 size=3D3D2 FAMILY=3D3D"SANSSERIF"><BR>This might be a = very =3D good place=3D20 for a "crescendo pedal" on or off switch. <BR>Any chance it's "hidden" = =3D in=3D20 there?? <BR><BR>Please visit the NEWLY RENOVATED Howling Acres at=3D20 &nbsp;&nbsp;http://members.tripod.com/Brucon502/ <BR><BR>Bruce Cornely = =3D   &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with = the=3D20 Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!"=3D20 <BR>&nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi=3D20 <BR></BLOCKQUOTE></FONT></FONT></BODY></HTML>   ------=3D_NextPart_000_004F_01C15D59.52B2B300--      
(back) Subject: tierces in chorus mixtures / an early crescendo mechanism From: <quilisma@socal.rr.com> Date: Thu, 25 Oct 2001 10:37:16 -0700   OK, that's a new topic worth beating to death (grin) ... the comings and goings of the tierce rank in CHORUS mixtures (as opposed to Sesquialteras and Cornets).   I seem to recall that Father Willis was rather fond of the tierce chorus mixture.   I used to occasionally play a 3-manual Hook and Hastings of 1900 in St. Paul's RC Church, Cincinnati (now gone ... I think the pipes were re-used elsewhere) that had a fine V rank tierce chorus mixture on the Great, and a "Dolce" Cornet on the Swell that was ALMOST loud enough for a III rank chorus mixture.   That same organ had a very ingenious crescendo mechanism ... the key action was (original) electric, powered by racks of mercury batteries back in the bell tower in the beginning; the wind was raised by hand until the installation of a blower later on; the STOP action (are you with me?) (grin) was TUBULAR pneumatic; the swell shoe was MECHANICAL.   At any rate, there was a little pressurized box with holes corresponding to the tubes to each slider-motor. A little leather window-shade on a roller covered the holes. When the crescendo was depressed, the window-shade rolled up, uncovering the holes and activating the slider-motors one by one. With the crescendo closed, the stop-action operated from the knobs as usual.   That organ also had standard garden-variety tracker action, up to the point where the action would have dived under the floor from the detached console ... at that point, the trackers activated some sort of electrical contacts ... I wish I could remember what they looked like .... but in any case, when we were trying to get the organ playable again, I DO remember having to replace rotted leather nuts and broken trackers in the back of the console.   Cheers,   Bud    
(back) Subject: Re: tierces in chorus mixtures / an early crescendo mechanism From: "Randy Terry" <randyterryus@yahoo.com> Date: Thu, 25 Oct 2001 10:50:11 -0700 (PDT)   --0-1395346840-1004032211=3D:73474 Content-Type: text/plain; charset=3Dus-ascii     I am not advocating tierces in the mixtures of smaller organs in general, = but simply say that I think (and most disagree) that the occasional use of = the tierce for color in the plena of both baroque and romantic pieces can = add an additional layer of interest. I am really fighting the urge to = unify the Nasard at 5-1/3 now that the great has an independent Twelfth. I = think what I am probably saying is that in most instruments, such as ours, = where the basic instrument is Lauckhauf other than nicking in the 8 and 4 = Principals and the chorus at 8-4-2-IV is very sparkling and transparent, = that these voices can serve to thicken the texture particularly once the = Oboe and Mixture is on, without having to always add the reed. In baroque = pieces I have often added the Tierce to the lighter 8-4-2-mixture = registration, particularly when the Trumpet is on in the great. It adds a = reedy texture while keeping the point and articulation that flues have. I = don't think I would want to have ONLY a Tierce m quilisma@socal.rr.com wrote: OK, that's a new topic worth beating to = death (grin) ... the comings and goings of the tierce rank in CHORUS mixtures (as opposed to Sesquialteras and Cornets).       Randy Terry, Director of Music & Organist Mona Dena, Principal Choir Director The Episcopal Church of St. Peter Redwood City, California www.stpetersrwc.org     --------------------------------- Do You Yahoo!? Make a great connection at Yahoo! Personals. --0-1395346840-1004032211=3D:73474 Content-Type: text/html; charset=3Dus-ascii   <P> I am not advocating tierces in the mixtures of smaller organs in = general, but simply say that I think (and most disagree) that the = occasional use of the tierce for color in the plena of both baroque and = romantic pieces can add an additional layer of interest. I am really = fighting the urge to unify the Nasard at 5-1/3 now that the great has an = independent Twelfth. I think what I am probably saying is that in most = instruments, such as ours, where the basic instrument is Lauckhauf other = than nicking in the 8 and 4 Principals and the chorus at 8-4-2-IV is very = sparkling and transparent, that these voices can serve to thicken the = texture particularly once the Oboe and Mixture is on, without having to = always add the reed. In baroque pieces I have often added the Tierce to = the lighter 8-4-2-mixture registration, particularly when the Trumpet is = on in the great. It adds a reedy texture while keeping the point and = articulation that flues have. I don't think I would want to have ONLY a = Tierc <P>&nbsp; <B><I>quilisma@socal.rr.com</I></B> wrote: <BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: = #1010ff 2px solid">OK, that's a new topic worth beating to death (grin) = ... the comings and<BR>goings of the tierce rank in CHORUS mixtures (as = opposed to<BR>Sesquialteras and = Cornets).<BR><BR></BLOCKQUOTE><BR><BR>Randy Terry, Director of Music &amp; = Organist<br>Mona Dena, Principal Choir Director<br>The Episcopal Church of = St. Peter<br>Redwood City, California<br>www.stpetersrwc.org<p><br><hr = size=3D1><b>Do You Yahoo!?</b><br> Make a great connection at <a href=3D"http://rd.yahoo.com/mktg/mail/txt/tagline/?http://personals.yahoo.c= om" target=3D"_blank">Yahoo! Personals</a>. --0-1395346840-1004032211=3D:73474--  
(back) Subject: RE: rollschweller/crescendo/free combinations From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 25 Oct 2001 13:59:56 -0400   Bud writes:   >and there was also a "Walze off" piston ... so the crescendo could be opened to the desired point, and then cancelled until it was needed.   >Very useful, considering that German organs of that period might have had only two, three or four "free combinations"   Also useful considering that the Walze was, at least originally, a mechanical device not nearly as convenient as the electric crescendo = pedal. Several seconds of mad scrambling might be required to open or close it fully, right? (Can anyone verify or give further details?)   Paul      
(back) Subject: RE: Piston dependency From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 25 Oct 2001 14:02:52 -0400   > -----Original Message----- > From: Tom Hoehn [SMTP:thoehn@theatreorgans.com] > Sent: Thursday, October 25, 2001 1:31 PM > To: PipeChat > Subject: Re: Piston dependency > > The church that I play at (First United Methodist Church, Clearwater,FL) > has a small Rodgers 2m in the chapel. I use it every Sunday for the = 8:30 > service. There are several combinations for the Crescendo,/Swell pedal. > One is to select the CRESC. Reversible (LPB) This puts all swells on the > left shoe and the crescendo on the right. There is also a GR/PED > unenclosed reversible as well. The crescendo is settable so I can > actually program what I want to add and subtract as I use the pedal = more. > I for one grew up playing using the crescendo pedal in church (I = remember > it squeaking as the metal contact strip ran underneath the contact = fingers > (1919 Kilgen Console). > > In Theatre organ work I use the crescendo the way a lot of artists use > Second Touch on the Great to add that momentary Post Horn punch for > emphasis, Since the Wurlitzer I play regularly doesn't have a very > functional second touch on the great and the accompaniment second touch > isn't really regulated where it ought to be. > > Tom Hoehn, Organist > Tampa Theatre, Tampa, FL > Royalty Theatre, Clearwater, FL > First United Methodist Church, Clearwater, FL > CFTOS/Manasota/OATOS/HiloBay/CIC-ATOS > <http://theatreorgans.com/tomhoehn> > > ----- Original Message ----- > From: Cremona502@cs.com <mailto:Cremona502@cs.com> > To: pipechat@pipechat.org <mailto:pipechat@pipechat.org> > Sent: Thursday, October 25, 2001 12:22 PM > Subject: Re: Piston dependency > > In a message dated 10/24/01 11:24:42 PM Eastern Daylight Time, > gedeckt@usit.net <mailto:gedeckt@usit.net> writes: > > > > > > Having grown up playing a Robert Morton 2/4 Theater Organ at a > Catholic > church [since abandoned and rescued, refinished and totally restored > > with a loving owner now] > > > > > um... heeheehee The organ or the church....???? ;-) > > > > A recent Rodgers console design has dual expression pedals, no > crescendo, possibly a sign of things to come. This particular > instrument > does however permit configuring the instrument for use with an > exposed > Great division of pipes [or digital for practice in preparation for > performing on an exposed Great instrument], assigning the Swell to > the > Left Expression Pedal...and the right becomes a Crescendo. So it's > not > completely gone. > > > > > This might be a very good place for a "crescendo pedal" on or off = switch. > Any chance it's "hidden" in there?? > > Please visit the NEWLY RENOVATED Howling Acres at > http://members.tripod.com/Brucon502/ > > Bruce Cornely ~ Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" > Duncan, Miles, Molly, and Dewi > >  
(back) Subject: Re: rollschweller/crescendo/free combinations From: <quilisma@socal.rr.com> Date: Thu, 25 Oct 2001 11:09:45 -0700   It was a big rubber treadle stretched between two rollers, or a big wooden rolling-pin-like thingie ... and if it wasn't tightened down properly, one = push could send the thing spinning to full organ, and/or bouncing back and = forth from full closed to full open (grin).   Cheers,   Bud     "Emmons, Paul" wrote:   > Bud writes: > > >and there was also a "Walze off" piston ... so the > crescendo could be opened to the desired point, and then cancelled until > it was needed. > > >Very useful, considering that German organs of that period might have > had only two, three or four "free combinations" > > Also useful considering that the Walze was, at least originally, a > mechanical device not nearly as convenient as the electric crescendo = pedal. > Several seconds of mad scrambling might be required to open or close it > fully, right? (Can anyone verify or give further details?) > > Paul > > "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: The Crescendo Crutch From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 25 Oct 2001 14:11:38 -0400   Which means, what, the Toilette is occupied?     >Oh yeah, the little Green Light IS on!!! LOL   Jeff     "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: rollschweller/crescendo/free combinations From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 25 Oct 2001 14:14:47 -0400   The crescendo at Heavenly Rest in NYC (pre-fire) had light indicators. = There were little lights in a row that lit up one at a time from left to right = as one opened further the crescendo. In fact, I think they were there for the Swell shades as well on the Choir, Swell and Solo divisions. But that was = a great feature to know that the crescendo was up 1/4 or 1/2 or 3/4 or = however much open. Robert Colasacco   -----Original Message----- From: quilisma@socal.rr.com [mailto:quilisma@socal.rr.com] Sent: Thursday, October 25, 2001 1:26 PM To: pipechat Subject: rollschweller/crescendo/free combinations     The German romantic "Walze" had a handy gadget ... there was almost invariably a gauge of some sort, so you could tell how far open the crescendo was ... and there was also a "Walze off" piston ... so the crescendo could be opened to the desired point, and then cancelled until it was needed.   Very useful, considering that German organs of that period might have had only two, three or four "free combinations" by way of registration assistance. Those were sorta handy too, in that you COULD change the pistons WHILE you were playing, if you HAD to, by means of the little tabs above each stop ... there was one row of tabs for each free combination ... sort of a setterboard, but directly above the stops.   As I recall, you also had the option of the free combinations CANCELLING the stop-rail, or ADDING whatever was on the free combination to whatever was already drawn on the stop-rail.   Cheers,   Bud     "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: Piston dependency From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 25 Oct 2001 14:13:48 -0400   Tom Hoehn writes:   >The crescendo is settable so I can actually program what I want to add = and subtract as I use the pedal more. >I for one grew up playing using the crescendo pedal in church   If you still use it often in church, try giving it up for Lent. I gave up Swell to Great for service playing one Lent when I was a student. My friends all laughed, but I thought that I was using it so much that it was becoming a bad habit, and my registrations would improve if I learned to = do without it.   This reminds me, however, that the very first thing engaged by the = crescendo pedal was Swell to Great (whereby I cheated on my Lenten discipline once = or twice). This is often true, and when so, it can be a very handy way to control that coupler if you lack a reversible, or even sometimes when you have one but your fingers are not in its vicinity. One might bear the possibility in mind for whatever coupler comes on first.   Paul Emmons                   > -----Original Message----- > From: Tom Hoehn [SMTP:thoehn@theatreorgans.com] > Sent: Thursday, October 25, 2001 1:31 PM > To: PipeChat > Subject: Re: Piston dependency > > The church that I play at (First United Methodist Church, Clearwater,FL) > has a small Rodgers 2m in the chapel. I use it every Sunday for the = 8:30 > service. There are several combinations for the Crescendo,/Swell pedal. > One is to select the CRESC. Reversible (LPB) This puts all swells on the > left shoe and the crescendo on the right. There is also a GR/PED > unenclosed reversible as well. The crescendo is settable so I can > actually program what I want to add and subtract as I use the pedal = more. > I for one grew up playing using the crescendo pedal in church (I = remember > it squeaking as the metal contact strip ran underneath the contact = fingers > (1919 Kilgen Console). > > In Theatre organ work I use the crescendo the way a lot of artists use > Second Touch on the Great to add that momentary Post Horn punch for > emphasis, Since the Wurlitzer I play regularly doesn't have a very > functional second touch on the great and the accompaniment second touch > isn't really regulated where it ought to be. > > Tom Hoehn, Organist > Tampa Theatre, Tampa, FL > Royalty Theatre, Clearwater, FL > First United Methodist Church, Clearwater, FL > CFTOS/Manasota/OATOS/HiloBay/CIC-ATOS > <http://theatreorgans.com/tomhoehn> > > ----- Original Message ----- > From: Cremona502@cs.com <mailto:Cremona502@cs.com> > To: pipechat@pipechat.org <mailto:pipechat@pipechat.org> > Sent: Thursday, October 25, 2001 12:22 PM > Subject: Re: Piston dependency > > In a message dated 10/24/01 11:24:42 PM Eastern Daylight Time, > gedeckt@usit.net <mailto:gedeckt@usit.net> writes: > > > > > > Having grown up playing a Robert Morton 2/4 Theater Organ at a > Catholic > church [since abandoned and rescued, refinished and totally restored > > with a loving owner now] > > > > > um... heeheehee The organ or the church....???? ;-) > > > > A recent Rodgers console design has dual expression pedals, no > crescendo, possibly a sign of things to come. This particular > instrument > does however permit configuring the instrument for use with an > exposed > Great division of pipes [or digital for practice in preparation for > performing on an exposed Great instrument], assigning the Swell to > the > Left Expression Pedal...and the right becomes a Crescendo. So it's > not > completely gone. > > > > > This might be a very good place for a "crescendo pedal" on or off = switch. > Any chance it's "hidden" in there?? > > Please visit the NEWLY RENOVATED Howling Acres at > http://members.tripod.com/Brucon502/ > > Bruce Cornely ~ Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" > Duncan, Miles, Molly, and Dewi > >  
(back) Subject: Re: The Crescendo Crutch From: <quilisma@socal.rr.com> Date: Thu, 25 Oct 2001 11:26:19 -0700   Go to your ROOM, Robert (grin).   I've often thought, in this age of LEDs and whatnot, that it WOULD be useful to have a small light above each stop so you COULD see when it came on in the crescendo sequence ... if nothing else, it'd be pretty at Christmastime (grin) ... what are those colors again? Red for reeds, yellow for strings ... well, we'd have to improvise from there ... true blue for Diapasons, green for flutes (green for flutes??? don't know where THAT came from ... my original inclination was PINK, but I gave it a pass), maybe a FLASHING red light for the party horn(s)?   Cheers,   Bud, who's about to conclude that being housebound for a time CAN be fun (grin)   "COLASACCO, ROBERT" wrote:   > Which means, what, the Toilette is occupied? > > >Oh yeah, the little Green Light IS on!!! LOL > > Jeff > > "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 > > "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: tierces in chorus mixtures From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 25 Oct 2001 14:22:46 -0400   >I seem to recall that Father Willis was rather fond of the tierce chorus mixture.   Yes, he was; and after half a lifetime thinking that it was a kooky idea, = I was able to sit down at the console of Salisbury Cathedral to be overjoyed by how well it worked (I especially remember the effect in the swell). = The diapason chorus was still bright and clear. The tierce made it more colorful and interesting-- like gold threads among the silver.   Wish I knew how Willis did that. Of course, its being a principal rank = has something to do with it; yet it is so different from the effect of adding = a tierce flute to an American plenum that I suspect there is more to the story.   Paul Emmons