PipeChat Digest #2808 - Wednesday, April 17, 2002
 
RE: Confusion in Easter . . .
  by "Alan Freed" <afreed3036@yahoo.com>
Changing Lanes
  by "Alan Freed" <afreed3036@yahoo.com>
RE: Changing Lanes
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Reminder-Lew Williams Plays RTOS Wurlitzer this Saturday ((cross-posted)
  by "Ken Evans" <kevans1@rochester.rr.com>
Organ Maintenance Worshop
  by "Judy A. Ollikkala" <71431.2534@compuserve.com>
RE: Hymns for "Christ and Culture in Paradox"
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: ebay Estey --- proposed stop changes?
  by <Cremona502@cs.com>
Re: ebay Estey --- proposed stop changes?
  by <LLWheels@aol.com>
Re: ebay Estey --- proposed stop changes?
  by <quilisma@socal.rr.com>
Re: ebay Estey --- proposed stop changes?
  by "Ross & Lynda Wards" <TheShieling@xtra.co.nz>
Re: ebay Estey --- proposed stop changes?
  by <RonSeverin@aol.com>
 

(back) Subject: RE: Confusion in Easter . . . From: "Alan Freed" <afreed3036@yahoo.com> Date: Tue, 16 Apr 2002 05:06:26 -0700 (PDT)   --- "Emmons, Paul" <pemmons@wcupa.edu> wrote:   > No, I think the difference lies between the old and > new lectionaries, > because there really is a week's difference, not > just in name. > Paul is 100% correct throuhout his entire post. And Good Shepherd Sunda is still just that, Introit or no, for it is in the Gospel that Jesus identifies himself as "the Good Shepherd."   Alan   __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/  
(back) Subject: Changing Lanes From: "Alan Freed" <afreed3036@yahoo.com> Date: Tue, 16 Apr 2002 05:15:28 -0700 (PDT)   This Ben Affleck / Sam Jackson movie has just been released. The reviews are VERY good: "a thinking person's thriller." If you go to see it, watch closely for the scene where Ben strides quickly past the front door of Saint Luke's Church, Manhattan--the time being Good Friday, and thus the church doors open, and the black-veiled crucifix MAYBE visible on the altar.   Look quickly; it may last two or three seconds. I doubt that I got a credit as "Liturgical Consultant."   Alan   __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/  
(back) Subject: RE: Changing Lanes From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Tue, 16 Apr 2002 09:17:38 -0400   Is there more that you consulted on or did you just recommend which church they should stride by? And if the latter, why did you choose St. Luke?   -----Original Message----- From: Alan Freed [mailto:afreed3036@yahoo.com] Sent: Tuesday, April 16, 2002 8:15 AM To: PipeChat Subject: Changing Lanes     This Ben Affleck / Sam Jackson movie has just been released. The reviews are VERY good: "a thinking person's thriller." If you go to see it, watch closely for the scene where Ben strides quickly past the front door of Saint Luke's Church, Manhattan--the time being Good Friday, and thus the church doors open, and the black-veiled crucifix MAYBE visible on the altar.   Look quickly; it may last two or three seconds. I doubt that I got a credit as "Liturgical Consultant."   Alan   __________________________________________________ Do You Yahoo!? Yahoo! Tax Center - online filing with TurboTax http://taxes.yahoo.com/   "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: Reminder-Lew Williams Plays RTOS Wurlitzer this Saturday ((cross-posted) From: "Ken Evans" <kevans1@rochester.rr.com> Date: Tue, 16 Apr 2002 11:16:25 -0400   The Rochester Theater Organ Society wants to remind you that Arizona's very-talented Lew Williams returns for his fifth performance on our 4/22 Wurlitzer. The concert will start at 8 p.m. on this coming Saturday, = April 20 at the Auditorium Center, 875 East Main Street, Rochester, NY 14605.   Tickets will go on sale at the door one-hour before the concert start priced at $10 each . I suspect that anyone familiar with the theater organ scene knows that the combination of Lew Williams and the = RTOS Wurlitzer will provide a stellar evening of musical excellence.   For more information, driving directions, background info and many = pictures visit the RTOS "Home on the Web" at http://theatreorgans.com/rochestr/ .   We are looking forward to seeing you here.   Regards, Ken Evans      
(back) Subject: Organ Maintenance Worshop From: "Judy A. Ollikkala" <71431.2534@compuserve.com> Date: Tue, 16 Apr 2002 11:43:56 -0400   Bill Czelusniak's Organ Maintenance Workshop sponsored by AGO Worcester Chapter Friday, April 26 at 7pm First Parish Church, top of the Upper Common, Main St. Fitchburg MA USA (old brick church with white steeple)   Bill Czelusniak of Messrs. Czelusniak et Dugal Inc. will share his expertise with us regarding organ maintenance and restoration issues, and the common = problems that might occur. The instrument, which is being restored as funds = permit,   is an intact E. M. Skinner 3 manual, 26 ranks, installed in 1928. Robin Dinda, organist at First Parish, will give a brief demonstration of the organ. A pot-luck dessert will follow, please bring a dessert to share. The = public is invited.   Judy Ollikkala    
(back) Subject: RE: Hymns for "Christ and Culture in Paradox" From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Tue, 16 Apr 2002 11:03:13 -0400   Dear Karl:   I think I have this book at home but have never read it. It sounds interesting. Does he discuss how Incarnational theology relates to the concept of Christ and Culture in Paradox? This school of thought would hold, I think, that the Incarnation itself blessed the world and = made it a less hostile place than before. Some would even suggest that God created the world so that He could become incarnate in it, and would have done so even if there were no sinners to redeem. This thinking is best represented in Eastern Orthodoxy and Anglicanism. I was thinking, as I = read your message, that "Christ and culture in paradox" does not quite describe this school of thought; but later, when you described the alternatives of "Christ of culture" and "Christ against culture" it was easy to see that Incarnational thinking fits it far better than it fits either of the other two.   Regardless of theology, or perhaps influencing it, it may be inevitable = that those in a relatively hierarchical world-wide faith will not identify or confuse church and nation. Perhaps part of the paradox is that the church is a body of people but they are to influence the world as individuals; whereas the "Christ of culture" folks have a very individualistic kind of faith, as well as perhaps seeing God as particularly transcendent, but = they are real groupies when it comes to identifying their church and nation as incorporating the will of God well.   The first hymn I thought of was Chesterton's "O God of earth and altar", = no. 590 in the Episcopal hymnal 1982. This is in the "Christian = responsibility" section, and perhaps other hymns in this section also address what you = have in mind. Especially:   582 O holy city, seen of John   585 Morning glory, starlit sky (last stanza: "Here is God: no monarch he, throned in easy state to reign; here is God, whose arms of love aching, spent, the world sustain.")   586 Jesus, thou divine Companion   594 God of grace and God of glory (the first two verses sound a little = like the Christ of culture way of thinking, but the last two are definitely corrective)   596 Judge eternal, throned in splendor      
(back) Subject: Re: ebay Estey --- proposed stop changes? From: <Cremona502@cs.com> Date: Tue, 16 Apr 2002 15:12:10 EDT     --part1_80.1a50476f.29edd18a_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Morton, The organ has a wonderful stoplist for a home organ. You really don't = need upperwork in a small room with virtually no acoustics. The ONLY think I would do, and this would depend upon the original sound of the rank, is to =   tune the Aeoline as a celeste. However, Aeolines are very small = diapasons in my experience rather than strings and are quite useful. It might be a very wonderful stop, especially in combination with the harmonic flute 4.   The Great has a very complete unison foundation chorus and, again, I would =   not tinker with it. I was told years ago that the Dulciana is what = "gives the magic" to the Melodia, and it's very true. They are an invaluable = pair. Likewise, the Viola da Gamba and Melodia are quite useful together; the =   Dulciana would add a nice bit of colour to the Viola da Gamba, as well. = I would think that the Diapason 8 and Principal 4 would be more than = adequate in a small space. If the voicing is non-tubby, it would sound even = better in a live room. I would make no changes!   If you feel you actually need additional stops, make them separate from = the Estey, or at the least, interchangeable pipes which would fit on to the = rack of another stop. This is one place where I would say, if you must have "more" organ, rather than make changes in the organ, just get a box of digital stuff that you can change at will. It will be much cheaper than "additions" and since you won't have spent as much money you won't feel so =   bad when you get tired of it and toss it into the rubbish bin.   I hope the organ finds a nice home!   SW Tremelo SW Aeoline 8 SW Salicional 8 SW Stopped Diapason 8 SW Flute Harmonic 4' SW VIolin Diapason 8 SW Bourdon Bass 16' SW Bourdon Treble 16' SW Oboe 8 (presumably a reedless Oboe)   Great to Pedal Swell to Pedal Swell to GReat 4' Swell to Great 8   GT Dulciana 8 GT Melodia 8 GT VIola Da Gamba 8 GT Open Diapason 8 GT Principal 4   Pedal Lieblich Gedackt 16' (perhaps a second pressure of the Pedal BOurdon?) Ped Bourdon 16'         Bruce Cornely < Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" "Snuffer -- The Lighthouse Beagle" is now in print Visit Howling Acres: http://members.tripod.com/Brucon502 Earn BIG! Save BIG! Give away SUPER STORES online FREE! Saving and earning =   has never been easier! Get yours FREE TODAY! www.freestoreclub.com/go/BDawg     --part1_80.1a50476f.29edd18a_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>Morton, <BR>The organ has a wonderful stoplist for a home organ. &nbsp;You really = don't need upperwork in a small room with virtually no acoustics. = &nbsp;&nbsp;The ONLY think I would do, and this would depend upon the = original sound of the rank, is to tune the Aeoline as a celeste. = &nbsp;&nbsp;&nbsp;However, Aeolines are very small diapasons in my = experience rather than strings and are quite useful. &nbsp;It might be a = very wonderful stop, especially in combination with the harmonic flute 4. <BR> <BR>The Great has a very complete unison foundation chorus and, again, I = would not tinker with it. &nbsp;&nbsp;I was told years ago that the = Dulciana is what "gives the magic" to the Melodia, and it's very true. = &nbsp;&nbsp;They are an invaluable pair. &nbsp;&nbsp;Likewise, the Viola = da Gamba and Melodia are quite useful together; &nbsp;the Dulciana would = add a nice bit of colour to the Viola da Gamba, as well. = &nbsp;&nbsp;&nbsp;&nbsp;I would think that the Diapason 8 and Principal 4 = would be more than adequate in a small space. &nbsp;&nbsp;&nbsp;If the = voicing is non-tubby, it would sound even better in a live room. = &nbsp;&nbsp;&nbsp;I would make no changes! <BR> <BR>If you feel you actually need additional stops, make them separate = from the Estey, or at the least, interchangeable pipes which would fit on to the rack of = another stop. &nbsp;&nbsp;&nbsp;This is one place where I would say, if = you must have "more" organ, rather than make changes in the organ, just = get a box of digital stuff that you can change at will. &nbsp;It will be = much cheaper than "additions" and since you won't have spent as much money = you won't feel so bad when you get tired of it and toss it into &nbsp;the = rubbish bin. <BR> <BR>I hope the organ finds a nice home! <BR> <BR>SW &nbsp;&nbsp;&nbsp;Tremelo <BR>SW &nbsp;&nbsp;&nbsp;&nbsp;Aeoline 8 <BR>SW &nbsp;&nbsp;&nbsp;Salicional 8 <BR>SW &nbsp;&nbsp;&nbsp;Stopped Diapason 8 <BR>SW &nbsp;&nbsp;&nbsp;Flute Harmonic 4' <BR>SW &nbsp;&nbsp;&nbsp;&nbsp;VIolin Diapason 8 <BR>SW &nbsp;&nbsp;&nbsp;Bourdon Bass 16' <BR>SW &nbsp;&nbsp;&nbsp;Bourdon Treble 16' <BR>SW &nbsp;&nbsp;&nbsp;Oboe 8 (presumably a reedless Oboe) <BR> <BR>Great to Pedal <BR>Swell to Pedal <BR>Swell to GReat 4' <BR>Swell to Great 8 <BR> <BR>GT &nbsp;&nbsp;&nbsp;Dulciana 8 <BR>GT &nbsp;&nbsp;&nbsp;Melodia 8 <BR>GT &nbsp;&nbsp;&nbsp;VIola Da Gamba 8 <BR>GT &nbsp;&nbsp;&nbsp;Open Diapason 8 <BR>GT &nbsp;&nbsp;&nbsp;Principal 4 <BR> <BR>Pedal &nbsp;&nbsp;&nbsp;Lieblich Gedackt 16' &nbsp;(perhaps a second = pressure of the <BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Pedal BOurdon?) <BR>Ped &nbsp;&nbsp;&nbsp;Bourdon 16' <BR> <BR> <BR> <BR> <BR> Bruce Cornely &lt; Cremona502@cs.com &gt;<I> </I> <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR><P ALIGN=3DCENTER>"Snuffer -- The Lighthouse Beagle" &nbsp;is now in = print <BR><P ALIGN=3DLEFT>Visit Howling Acres: = &nbsp;<I>&nbsp;</I>http://members.tripod.com/Brucon502 <BR>Earn BIG! Save BIG! Give away SUPER STORES online FREE! Saving and = earning has never been easier! Get yours FREE TODAY! <BR>www.freestoreclub.com/go/BDawg <B> <BR></B></P></P></FONT></HTML>   --part1_80.1a50476f.29edd18a_boundary--  
(back) Subject: Re: ebay Estey --- proposed stop changes? From: <LLWheels@aol.com> Date: Tue, 16 Apr 2002 23:40:07 EDT     --part1_bc.250dde79.29ee4897_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 4/16/02 4:11:56 AM Central Daylight Time, flcg1018@mails.fju.edu.tw (Morton Belcher) writes:     > > > Ahem.... If you were redoing this organ, what changes would you make to > try and improve it? > >   I, too, saw this old Estey on ebay and got a kick out of seeing the = <stop-co ntrol-manual> In my youth I knew a little Estey like this in the Baptist church in Goshen Indiana.   I have two reactions to your theoretical question;   1. Why does the stoplist need to change? Is there something wrong with it = the way it is? Hundreds of similar instrument were produced by many different builders and purchased and enjoyed by as many congregations, who saw/heard = no deficiency. (Yes, I'm playing devil's advocate here - I would find the stoplist = limiting for my repertoire, but maybe the fault is with my repertoire.)   This leads to question 2. For what purpose is the organ to be used? I = firmly believe that there is no such thing as an all-purpose organ. This stoplist =   was designed the way it was for a specific purpose -- the worship habits = and expectations of early 20th cent. Protestants in the USA. It makes mostly quiet, mystical and other-worldly-sounding noises, with a large Diapason = to lead singing (part-singing I believe). I think one must approach a = stoplist with a specific use in mind, and then determine what resources are = available to alter the instrument to the requirements of the expected use. Let's = face it, this is NEVER going to be a <baroque> instrument -- not only is it missing the necessary materials from which to create the so-called baroque =   ranks, but the action, windpressure and layout all work against such a reincarnation.   I suspect the best choice is to let the instrument be primarily what it = was designed to be, and then, if necessary, see if any compromises can be made = to make it more suitable for current expectations of a small organ. Be very careful, though. This instrument was designed to be played with octave couplers, and the addition of higher-pitched ranks can play havoc with the =   balance if the octave couplers are engaged while using the new stops.   For example; the instrument has 8&4-foot diapasons on the GT and with the coupler this becomes in effect 8,4,4,2 - a reasonable diapason chorus with =   the predominant pitch the 4-foot, considered by many to be the ideal for hymn-singing. If you add a new two-foot this becomes 8,4,4,2,2,1 - skewing =   the pitch center to the higher-pitched stops 3 to 2 and places this unbalanced structure upon an 8-foot stop which was never expected to = balance a 2-foot pitch center. I suppose a skillful voicer can overcome these effects, but to what end? In most cases, IMHO, the effect would not be desirable.   In short -- all of the changes you suggested are possible, but in the end, = I can only ask WHY?     Larry Wheelock Madison, Wisconsin   My mother told me there would be days like this -- but she didn't mention that there would be so many, and all in a row!   --part1_bc.250dde79.29ee4897_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><BODY BGCOLOR=3D"#ffffff"><FONT = style=3D"BACKGROUND-COLOR: #ffffff" SIZE=3D2>In a message dated 4/16/02 = 4:11:56 AM Central Daylight Time, flcg1018@mails.fju.edu.tw (Morton = Belcher) writes:<BR> <BR> <BR> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><BR> <BR> Ahem....&nbsp; If you were redoing this organ, what changes would you make = to<BR> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; try and = improve it?&nbsp; <BR> <BR> </BLOCKQUOTE><BR> <BR> I, too, saw this old Estey on ebay and got a kick out of seeing the = &lt;stop-control-manual&gt; In my youth I knew a little Estey like this in = the Baptist church in Goshen Indiana.<BR> <BR> I have two reactions to your theoretical question;<BR> <BR> 1. Why does the stoplist need to change? Is there something wrong with it = the way it is? Hundreds of similar instrument were produced by many = different builders and purchased and enjoyed by as many congregations, who = saw/heard no deficiency.<BR> (Yes, I'm playing devil's advocate here - I would find the stoplist = limiting for my repertoire, but maybe the fault is with my = repertoire.)<BR> <BR> This leads to question 2. For what purpose is the organ to be used? I = firmly believe that there is no such thing as an all-purpose organ. This = stoplist was designed the way it was for a specific purpose -- the worship = habits and expectations of early 20th cent. Protestants in the USA. It = makes mostly quiet, mystical and other-worldly-sounding noises, with a = large Diapason to lead singing (part-singing I believe). I think one must = approach a stoplist with a specific use in mind, and then determine what = resources are available to alter the instrument to the requirements of the = expected use. Let's face it, this is NEVER going to be a &lt;baroque&gt; = instrument -- not only is it missing the necessary materials from which to = create the so-called baroque ranks, but the action, windpressure and = layout all work against such a reincarnation.<BR> <BR> I suspect the best choice is to let the instrument be primarily what it = was designed to be, and then, if necessary, see if any compromises can be = made to make it more suitable for current expectations of a small organ. = Be very careful, though. This instrument was designed to be played with = octave couplers, and the addition of higher-pitched ranks can play havoc = with the balance if the octave couplers are engaged while using the new = stops. <BR> <BR> For example; the instrument has 8&amp;4-foot diapasons on the GT and with = the coupler this becomes in effect 8,4,4,2 - a reasonable diapason chorus = with the predominant pitch the 4-foot, considered by many to be the ideal = for hymn-singing. If you add a new two-foot this becomes 8,4,4,2,2,1 - = skewing the pitch center to the higher-pitched stops 3 to 2 and places = this unbalanced structure upon an 8-foot stop which was never expected to = balance a 2-foot pitch center. I suppose a skillful voicer can overcome = these effects, but to what end? In most cases, IMHO, the effect would not = be desirable.<BR> <BR> In short -- all of the changes you suggested are possible, but in the end, = I can only ask WHY?<BR> <BR> <BR> Larry Wheelock<BR> Madison, Wisconsin<BR> <BR> My mother told me there would be days like this -- but she didn't mention = that there would be so many, and all in a row!</FONT></HTML>   --part1_bc.250dde79.29ee4897_boundary--  
(back) Subject: Re: ebay Estey --- proposed stop changes? From: <quilisma@socal.rr.com> Date: Tue, 16 Apr 2002 20:59:31 -0700   Like Morton, I grew up on instruments like this, and Larry is absolutely right: accept them for what they are, play on them what was INTENDED to be played on them, and let them speak for themselves.   For instance, most Aeolines ARE just about useless by themselves in today's noisy world; BUT, they add JUST enough color to those WONDERFUL early 20th century Stopped Diapasons to make a new (and very useful) sound. The same thing is true of the Melodia/Dulciana pairing on the Great ... those builders knew EXACTLY what they were doing.   Stoplists on paper don't mean a thing ... the SOUND does.   I played RECITALS on an even SMALLER Estey of SEVEN stops:   SWELL   8' Stopped Diapason 8' Salicional 4' Harmonic Flute Tremulant   GREAT (exposed)   8' Open Diapason 8' Dulciana 4' Octave Swell to Great Swell to Great 8va   PEDAL   16' Bourdon Swell to Pedal Great to Pedal   For instance, for a secondary chorus in Bach, you drew Sw 8-4 flutes coupled to Great at 8-4, and left the box closed. At the episode, you threw off the Great 8-4 diapasons and opened the box, and there was your secondary chorus ... bright, and fully capable of being a foil to the Great 8-4 diapasons.   The Great 4' Octave was perfectly capable of carry a c.f. in the pedals against the Swell 8-4 flutes.   What's often overlooked about these organs is the scaling and the amount of harmonic development in the individual stops ... they didn't NEED mixtures or super-couplers, for the most part.   The Swell 4' Harmonic Flute down an octave with tremulant was a WONDERFUL solo stop against the Great Dulciana; adding the Salicional (but still staying down an octave) gave a nice 'cello sound.   The Swell Salicional coupled to the Great at 8-4 plus the Great Dulciana gave JUST enough to bring out a melody against the 8-4 strings in the Swell.   I accompanied "Messiah" on that organ, WITHOUT an orchestra ... no problem. I had a page-turner; I pulled my own stops.   Perhaps that's why I get a little impatient with the "SIZE MATTERS" crowd ... SIZE doesn't matter, MUSICALITY of the instrument AND the player DOES.   Cheers,   Bud        
(back) Subject: Re: ebay Estey --- proposed stop changes? From: "Ross & Lynda Wards" <TheShieling@xtra.co.nz> Date: Wed, 17 Apr 2002 16:59:03 +1200   Hear, hear, hear, hear, hear, hear!!!! Ross -----Original Message----- From: quilisma@socal.rr.com <quilisma@socal.rr.com> To: PipeChat <pipechat@pipechat.org> Date: Wednesday, April 17, 2002 3:57 PM Subject: Re: ebay Estey --- proposed stop changes?     >Like Morton, I grew up on instruments like this, and Larry is absolutely >right: accept them for what they are, play on them what was INTENDED to >be played on them, and let them speak for themselves. > >For instance, most Aeolines ARE just about useless by themselves in >today's noisy world; BUT, they add JUST enough color to those WONDERFUL >early 20th century Stopped Diapasons to make a new (and very useful) >sound. The same thing is true of the Melodia/Dulciana pairing on the >Great ... those builders knew EXACTLY what they were doing. > >Stoplists on paper don't mean a thing ... the SOUND does. > >I played RECITALS on an even SMALLER Estey of SEVEN stops: > >SWELL > >8' Stopped Diapason >8' Salicional >4' Harmonic Flute >Tremulant > >GREAT (exposed) > >8' Open Diapason >8' Dulciana >4' Octave >Swell to Great >Swell to Great 8va > >PEDAL > >16' Bourdon >Swell to Pedal >Great to Pedal > >For instance, for a secondary chorus in Bach, you drew Sw 8-4 flutes >coupled to Great at 8-4, and left the box closed. At the episode, you >threw off the Great 8-4 diapasons and opened the box, and there was your >secondary chorus ... bright, and fully capable of being a foil to the >Great 8-4 diapasons. > >The Great 4' Octave was perfectly capable of carry a c.f. in the pedals >against the Swell 8-4 flutes. > >What's often overlooked about these organs is the scaling and the amount >of harmonic development in the individual stops ... they didn't NEED >mixtures or super-couplers, for the most part. > >The Swell 4' Harmonic Flute down an octave with tremulant was a >WONDERFUL solo stop against the Great Dulciana; adding the Salicional >(but still staying down an octave) gave a nice 'cello sound. > >The Swell Salicional coupled to the Great at 8-4 plus the Great Dulciana >gave JUST enough to bring out a melody against the 8-4 strings in the >Swell. > >I accompanied "Messiah" on that organ, WITHOUT an orchestra ... no >problem. I had a page-turner; I pulled my own stops. > >Perhaps that's why I get a little impatient with the "SIZE MATTERS" >crowd ... SIZE doesn't matter, MUSICALITY of the instrument AND the >player DOES. > >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: ebay Estey --- proposed stop changes? From: <RonSeverin@aol.com> Date: Wed, 17 Apr 2002 01:45:29 EDT   Dear Bud and list:   Small instruments make great musicians. Why? You have to milk every resource and become inventive. I really loved every limited organ I ever played on and there were many. If you need a Quntadena 8' and don't have one, combining a Dulciana 8 with a soft nasard at 2 2/3' makes a very serviceable one. I liked Bud's idea for the harmonic fl. 4' down an octave with the 8' salicional. Perhaps a bit of Franck on that darker sound. Principals or Diapason's on these old organs were really quite velvety and blended well. A serviceable Geigen can be created using the Salicional coupled to the great at 4' only with a melodia at 8'. The string Salicional is still useful at 8' on the Swell for contrast. A different character is taken on with the addition of the sw. to sw. 4' There was usually plenty of fire in the 4' Gt. Octave as they sometimes tended to be stringy, add the super coupler 4' fire in the hole! A Fugara 4' is a good substitute. I'll tell you one thing, after that kind of experience, you know how to register a much larger organ, reeds oh man what a rush. Just one reed at 8' say a small trumpet and a 16' and 4' coupler, heaven. Mixtures, pinch me please! Don't change a thing, keep the Estey as it was, you won't ever regret it.   I loved my old Estey reed organ of two manuals and pedal, I played the beliving stuffings out of it, and it never quit. It was one of those less is better organs too. Dulciana 8' SW. coupled to the Gt. Diapason 8' with the stop stem only partially engaged a string and celeste add the gt. to gt. 4' an 8' and 4' Unda Maris. With the couplers and two speaking stops on each manual and one 16' Bourdon in the Pedal it was a lot of organ for as small as it was. I played Bach, and Franck on it. Great experience too.   Spec: Sw. Dulciana 8' Flute 4' Tremolo Gt. Bourdon 16' Diapason 8' Octave coupler Sw. to Gt 8' Ped. Subbass 16' FF Bourdon 16' P Gt. to Ped. Sw. to Ped.   Small is good, very good!   Ron Severin