PipeChat Digest #3038 - Monday, August 12, 2002
 
the instruments we have
  by <quilisma@socal.rr.com>
Handel's Messiah for Organ
  by "Alex Oldroyd" <droydmaester@fastmail.fm>
Re: Handel's Messiah for Organ
  by <OrganMD@aol.com>
Re: Handel's Messiah for Organ
  by "Mack" <mack02445@mindspring.com>
Re: Handel's Messiah for Organ
  by "Teah" <teahzg@charter.net>
RE: Handel's Messiah for Organ
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
music search
  by <quilisma@socal.rr.com>
RE: music search
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: music search
  by <quilisma@socal.rr.com>
RE: what we maybe SHOULD be talking about
  by "Emmons, Paul" <pemmons@wcupa.edu>
RE: what we maybe SHOULD be talking about
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Bourdons
  by <quilisma@socal.rr.com>
Re: what we maybe SHOULD be talking about
  by <RonSeverin@aol.com>
Re: Handel's Messiah for Organ
  by "Russ Greene" <rggreene2@shaw.ca>
Re: music search
  by "Randolph Runyon" <runyonr@muohio.edu>
RE: Bourdons
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: music search
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: music search
  by "Randolph Runyon" <runyonr@muohio.edu>
RE: Bourdons
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: music search
  by <quilisma@socal.rr.com>
RE: music search
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: music search
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
scaling
  by <quilisma@socal.rr.com>
 

(back) Subject: the instruments we have From: <quilisma@socal.rr.com> Date: Mon, 12 Aug 2002 09:14:05 -0700   Well, I have a confession to make: I've had the instruments rebuilt, revoiced or replaced in several churches where I've worked, and a few others where I've been the consultant. Some changes were minor; some were not.   Holy Rosary Church, Cleveland OH - 2m Schantz, 1959 - I had the Great Twelfth made into a Nineteenth, as there was no space or money for a Great Mixture, and the organ lacked brilliance. The work was done by John Leek, who was at the time Curator of Organs at Oberlin Conservatory.   Holy Trinity Episcopal Church, Kenwood OH - replaced a Baldwin 5 with a small second-hand Verschueren unit organ   Old St. Mary's Church, Cincinnati OH - 3m Austin, 1928 - added ranks salvaged from the Hook/Austin in Music Hall ... same vintage, same wind-pressure, same voicing   Shrine of the Immaculata, Cincinnati OH - replaced a moribund 2m Mather tubular pneumatic with a 2m Koehnken & Grimm tracker, salvaged from a neighboring church   St. Catharine of Siena Church, Cincinnati OH - replaced a moribund 3m Vottler-Holtkamp-Sparling with a 3m Schantz (consultation ... my recommendation was for a Holtkamp, but the committee chose to go with Schantz; the organ was less than successful, due to a number of factors, some of which Schantz had no control over ... Buzard has now been engaged to rebuild it, 25 years later)   Christ Episcopal Church, Dallas TX - replaced a 2m Pilcher with a 2m Janke tracker   MCC/San Diego - replaced a 2m Wurlitzer electronic with a 2m Rodgers   St. Stephen's Episcopal Church, Beaumont CA - replaced a Hammond Concert Model with a new Allen   St. Matthew's Anglican Catholic Church, Newport Beach CA - replaced a moribund Hammond/Suzuki with a used Allen ... 3m Holtkamp due in 3-5 years       MOST of those involved replacing an organ that DIDN'T work with one that DID ... in the cases where an electronic was chosen, money and/or space was an issue.   I've never really had a first-class pipe organ to play ... if the Holtkamp at St. Matthew's comes before I retire, I'll FINALLY have that satisfaction (grin).   Cheers,   Bud    
(back) Subject: Handel's Messiah for Organ From: "Alex Oldroyd" <droydmaester@fastmail.fm> Date: Mon, 12 Aug 2002 10:49:47 -0600   Has anybody listened to the Mormon Tabernacle Choir's recording of the Hallelujah chorus? Does anyone know what organ score they use, b/c that's what I need.   -Alex    
(back) Subject: Re: Handel's Messiah for Organ From: <OrganMD@aol.com> Date: Mon, 12 Aug 2002 12:45:46 EDT     --part1_b2.fee68c0.2a89403a_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Hi Alex......   Which MoTab recording of the piece? There is more than one.   Bill Hesterman in Salt Lake City.   --part1_b2.fee68c0.2a89403a_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D3>Hi Alex......<BR> <BR> Which MoTab recording of the piece?&nbsp; There is more than one.<BR> <BR> Bill Hesterman in Salt Lake City.</FONT></HTML>   --part1_b2.fee68c0.2a89403a_boundary--  
(back) Subject: Re: Handel's Messiah for Organ From: "Mack" <mack02445@mindspring.com> Date: Mon, 12 Aug 2002 12:46:40 -0400   Alex,   Richard Elliot, organist at the Tabernacle is on this list perhaps he will see your post or you might look in the archives for his email = address.   Cheers, Mack   Alex Oldroyd wrote:   > Has anybody listened to the Mormon Tabernacle Choir's recording of the > Hallelujah chorus? > Does anyone know what organ score they use, b/c that's what I need. > > -Alex > >      
(back) Subject: Re: Handel's Messiah for Organ From: "Teah" <teahzg@charter.net> Date: Mon, 12 Aug 2002 11:50:23 -0500   I believe it is the Schirmer edition. Have your tried The Organ = Historical Society? http://www.ohscatalog.org/index.html   Cheers,   Tim      
(back) Subject: RE: Handel's Messiah for Organ From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 12:52:52 -0400   I have an organ score but you'll have to wait until tomorrow because I'm = not home. I don't remember what edtion it is. I know it's a gray cover with = pink lettering, if you can believe that. I have now about 20 years. I thought = it was Schirmer's. But it might be one of the Fischer's. RBC  
(back) Subject: music search From: <quilisma@socal.rr.com> Date: Mon, 12 Aug 2002 09:57:54 -0700   Don't laugh ... I need a copy of "La Mer" (?) ... "Beyond the sea ... waiting for me" for a golden wedding anniversary. It was sung/played at their last dance before he went off to the Korean War, and they want it played at the renewal of their vows. That'll be AFTER Mass (grin) ... DURING Mass they're having "Entreat Me Not To Leave Thee".   Cheers,   Bud    
(back) Subject: RE: music search From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 12:56:09 -0400   Is that English? =3D=3D=3D=3D=3D "Entreat Me Not To Leave Thee".   Cheers,   Bud      
(back) Subject: Re: music search From: <quilisma@socal.rr.com> Date: Mon, 12 Aug 2002 10:03:10 -0700   I imagine it was French originally ... it's Gounod, aka "Song of Ruth."   Cheers,   Bud   "COLASACCO, ROBERT" wrote: > > Is that English? > =3D=3D=3D=3D=3D > "Entreat Me Not To Leave Thee". > > 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: what we maybe SHOULD be talking about From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Mon, 12 Aug 2002 13:22:17 -0400   Bud suggests discussing:   >WHY unification is generally bad,   I'll bite. Unification is bad first because a pipe can speak only once at = a time. If you draw an 8' and a 4' stop and play an octave interval on the keyboard, four pipes should sound. But if these stops are from a single unified rank, only three pipes will sound. This = is bad enough in homophonic textures; polyphony gets really mangled quite seriously. Secondly, unification is bad because a rank should be scaled = and voiced for one role in the ensemble. When it must serve multiple roles, there must be compromises. Thirdly, if a rank is used both for unison and mutation pitches, there are tuning problems (another of Bud's topics).   That said, I can't ever object to a 16' manual stop being borrowed on the pedal, as long as this borrowing isn't an attempt to substitute for stops that should be provided on the pedal division itself. The bottom notes of a manual 16' should be relatively quiet, but on the pedal they must be relatively powerful.   >what can be done to make it LESS so   If you are designing an organ, try to avoid using a rank at two pitches = just one octave apart on the same manual. Same if your are registering using = a unified rank: don't use adjacent octave pitches simultaneously. On his small unit organs (good examples of their type, I think), Schlicker might use a flute at 8' and 2' on one manual and at 4' on the other. There were = no couplers. The pedal stops above 16' tended to be the same as the great.   Unification on the pedal is less objectionable than in the manuals, = because we seldom play more than one note at a time; but the problem of scaling and voicing for two pitch levels at once remains. = It is also most attractive in that division because of the size and expense = of the low pipes.   I once read here or on PIPORG-L of the possibility of designing and tuning = a rank, perhaps a spitzflote, primarily for 2 2/3', and secondarily as a celeste. Does anyone know of an actual example? It sounds like a rather ingenious idea, although presumably the celeste is either at 4' or at 8' just to tenor C. At any rate, unification of small pipes sounds like an = act of desperation, to be considered only on organs that are so small as to be thoroughly unified. The benefits carry less and less weight against the objections.    
(back) Subject: RE: what we maybe SHOULD be talking about From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 13:32:38 -0400   The bottom notes of a manual 16' should be relatively quiet, but on the pedal they must be relatively powerful.   says Paul Emmons   to which I ask How is that done? Is it a wind pressure difference? I don't know these things and I'm sure my naive questions sound, well, naive. I know why it is and it should be, I agree. I ask how is it, how is it done that a stop marked Bourdon 16', let us say, on the Great manual sound = softer than the Pedal division's stop marked Bourdon 16'? Is it something done to the pipes physically or is it wind pressure difference? What is it that makes that so? Thanks, Robert Bernardino Colasacco  
(back) Subject: Bourdons From: <quilisma@socal.rr.com> Date: Mon, 12 Aug 2002 11:05:12 -0700   Manual 16' tone (a VITAL component in LOTS of different registrations of ALL periods) has fallen into disrepute for a number of reasons:   (1) small organs, particularly unit organs, try to use the SAME 16' Bourdon pipes for the Great AND the Pedal. Now, obviously, this usually CAN'T be done with any degree of success. EITHER it will be too BIG for the Great, OR it will be too SMALL for the Pedal.   It CAN be done, but it takes a MASTER voicer with LOTS of patience ... AND a good ROOM.   The MANUAL 16' Bourdon needs to be light enough that it can be drawn in the Plein Jeu so that chords can be played in the tenor register without making mud-pies.   The PEDAL 16' Bourdon has to support the entire organ (unless there's also a 16' Open Diapason, which there usually ISN'T).   OTOH, the manual Bourdon also needs to be strong enough for French ROMANTIC music to provide the UNISON pitch when those toccatas are screaming away in the top of the keyboard. That's why (if you look at French romantic stoplists) there are multiple 16' flues on the G.O. ... Montre, Violone, Bourdon.   (2) pianists who can't play the pedals tend to play with the Great 16' Bourdon drawn ALL THE TIME, not realizing that they need to play the TENOR-ALTO-SOPRANO *up* an octave ... at least that was so before the advent of "Pedal to Great Bass" couplers, which have been a GREAT boon to amateur organists.   To answer Robert's question, some builders used to build a "two-speed" Pedal Bourdon/Lieblich Gedeckt ... it was one set of pipes ... when the Lieblich Gedeckt tab was pressed, the pipes played at a slightly softer volume by means of a valve which lowered the wind-pressure.   Now, obviously, you couldn't have the SAME Bourdon playing at the lower pressure on the Great and the higher pressure on the Pedal AT THE SAME TIME. They SHOULD be two different ranks of pipes. My own preference is for a medium-scale stopped or chimney METAL Bourdon in the manual, and a large-scale stopped WOOD rank in the Pedal.   Cheers,   Bud       "COLASACCO, ROBERT" wrote: > > The bottom notes of a manual 16' should be relatively quiet, but on the > pedal they must be relatively powerful. > > says Paul Emmons > > to which I ask How is that done? Is it a wind pressure difference? I = don't > know these things and I'm sure my naive questions sound, well, naive. I > know why it is and it should be, I agree. I ask how is it, how is it = done > that a stop marked Bourdon 16', let us say, on the Great manual sound = softer > than the Pedal division's stop marked Bourdon 16'? Is it something done = to > the pipes physically or is it wind pressure difference? What is it that > makes that so? > Thanks, > Robert Bernardino Colasacco > > "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: what we maybe SHOULD be talking about From: <RonSeverin@aol.com> Date: Mon, 12 Aug 2002 14:07:59 EDT   Dear Paul:   The nasard, celeste idea was used on some rather large organs, such as ACCC, St. Patrick's NYC, West Point, Wanamakers. Tierces were done likewise. They were tuned pure for the mutation and the celeste, you got what you got either sharp or flat. I discovered this from the Osiris Archive which covers 1000's of organ spec's. It seemed appropriate and cleaver to me. The mutations were carried to sub, sub sub, and sub, sub sub pitches as a unit on pedals and manuals, and the celeste or unda maris drawn from them directly. This was done with Dulciana's Erzahler's, soft open flutes, and echo salicionals. I really see no particular harm in doing this with a unit organ. With good unit scaling these color stops would work both ways, and only losing control of the speed of the celeste or unda maris.   From a 4' TC rank a 3 1/5' and a 1 3/5' is possible from a Tierce and 2 2/3' and 1 1/3' from a Nasard. That seems reasonable to me. I don't know why it isn't done on small organs, yet you'll see a real celeste or unda maris and the mutations drawn from unison ranks out of tune. That to me is wasteful and limits the use of the color stops, which are out of tune. If it can be done on the giants it can also be done on the small ones.   Ron Severin  
(back) Subject: Re: Handel's Messiah for Organ From: "Russ Greene" <rggreene2@shaw.ca> Date: Mon, 12 Aug 2002 13:44:44 -0500   On 8/12/02 11:49 AM, Alex Oldroyd wrote:   > Has anybody listened to the Mormon Tabernacle Choir's recording of the > Hallelujah chorus? > Does anyone know what organ score they use, b/c that's what I need. > > -Alex   Years ago, a friend proudly displayed his full organ score of Messiah, = which he had obtained at great cost. Neither of us had previously seen an organ score and with great anticipation we went through it together.   And, much to his dismay, we found it was quite simply the piano score with the bass doubled on a separate Pedal staff, much the same as what we'd = been doing anyway!   If there is an organ score out there that is significantly enhanced, I'd really be interested in getting one. I hope someone on the list knows of such an arrangement.   TTFN, Russ Greene      
(back) Subject: Re: music search From: "Randolph Runyon" <runyonr@muohio.edu> Date: Mon, 12 Aug 2002 14:52:43 -0400   on 8/12/02 12:57 PM, quilisma@socal.rr.com at quilisma@socal.rr.com wrote:   > Don't laugh ... I need a copy of "La Mer" (?) ... "Beyond the sea ... > waiting for me" for a golden wedding anniversary. It was sung/played at > their last dance before he went off to the Korean War, and they want it > played at the renewal of their vows. That'll be AFTER Mass (grin) ... > DURING Mass they're having "Entreat Me Not To Leave Thee". > > Cheers, > > Bud > 8th =3D eighth note, 1 =3D quarter note, 1. =3D dotted quarter, 2 =3D = half note, 2. =3D dotted half, 4 =3D whole note, ( =3D tie, 3: =3D each of three quarter = notes in a triplet, / =3D bar line, :// =3D repeat sign   The piece is in cut time, key of F major. Note names immediately precede note value. E.g., C 1 =3D a quarter note on C   C 1 / F 4 / (F 2 3: E F G / A 2. F 1 / G 2 3: E D C / A 4 / (A 2 3: G = A B-flat / C 1. F 8th F 1. F 8th / D 4 / (D 1 D 1 3: C A G / F 2 D 1 F 1 / [next two bars constitute the first ending] G 4 / C 2. C 1 ://   [next two bars constitute the second ending] G 4 / F 2 quarter rest E 1 / = A 4 / (A 2 3: G-sharp A B-natural / C-sharp 2. A 1 / B-natural 2 3: = G-sharp F-sharp E / E 4 / (E 2. G-natural 1 / C-natural 4 / (C-natural 2 3: B-natural C-natural D / E 2. C 1 / D 1. B natural 8th 3: B-natural A G / = C 4 / (C 2. C [octave below preceding C] 4 / F 4 / (F 2 3: E F G / A 2. F 1 = / G 2 3: E D C / A 4 / (A 2 3: G A B-flat / C 1. F 8th F 1. F 8th / D 4 / (D 1 D 1 3: C A G / F 2 D 1 F 1 / G 4 / F 2.   Here are the chords; chord changes occur at two-beat intervals, unless otherwise indicated (no chord on pick-up note beginning the song):   / F, Dm / B-flat, C7 / F, Dm / B-flat, C7 / F, A7 / Dm, C7 / F, Dm / B-flat, D7 / Gm, C7, Gdim on the last note (a G) of the triplet / Dm, B-flat / first ending: G7 for whole measure / C C 7 / second ending: Gm7, C7 / F, E7 / A, F-sharp dim / D6, E7 / A, F-sharp dim / D6, E7 / A (four beats) / A (three beats), G7 / C, Am / F, G7 / C, Am / Dm, G7 / C, C7 / = Am, C7 / F, Dm / B-flat, C7 / F, Dm / B-flat, C7 / F, A7 / Dm, C7 / F, Dm / B-flat, D7 / Gm, C7, Gdim on last note (a G) of triplet / Dm, B-flat / G7, C7 / F.   In case they want to you to sing, here are the words: Some - / where ... / ... be - yond the / sea Some- / where wait - ing = for / me ... / ... my lov - er / stands on gold - en / sands... / ... And = watch - es the / ships that go / sail - / ing. Some - / [repeat: ] where ... / .... be - yond the / sea He's / there watch - ing for / me /. ... if I = could / fly like birds on / high... / ... Then straight to his / arms I'd go / sail - / ing. It's / far... / ... be- yond a / star, it's / near be- yond the / moon... / ... I / know... / ... be- yond the / shore, we'll / kiss just as be- / fore... / ... Hap - py we'll / be be- yond the / sea... ... and nev - er a -' gain I'll go / sail - ing.       Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu      
(back) Subject: RE: Bourdons From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 14:56:20 -0400   Phew, that was the long way around but very informative and for me educational. Thanks Bud, but simply put, yes, the reason the Gt Boudon 16 = is lest powerful than the more powerful Pd Bourdon 16 is due to wind pressure and nothing else. Because there was something in here about scale and I don't understand what scale is. RBC .... It CAN be done, but it takes a MASTER voicer with LOTS of patience ... AND a good ROOM.   .... The PEDAL 16' Bourdon has to support the entire organ (unless there's also a 16' Open Diapason, which there usually ISN'T). ....   To answer Robert's question, some builders used to build a "two-speed" Pedal Bourdon/Lieblich Gedeckt ... it was one set of pipes ... when the Lieblich Gedeckt tab was pressed, the pipes played at a slightly softer volume by means of a valve which lowered the wind-pressure.   Now, obviously, you couldn't have the SAME Bourdon playing at the lower pressure on the Great and the higher pressure on the Pedal AT THE SAME TIME. They SHOULD be two different ranks of pipes. My own preference is for a medium-scale stopped or chimney METAL Bourdon in the manual, and a large-scale stopped WOOD rank in the Pedal.   Cheers,   Bud       ..  
(back) Subject: RE: music search From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 14:59:35 -0400   Oh god, This is almost as bad as Mother Dear, Oh Pray for Me =3D=3D=3D In case they want to you to sing, here are the words: Some - / where ... / ... be - yond the / sea Some- / where wait - ing = for / me ... / ... my lov - er / stands on gold - en / sands... / ... And = watch - es the / ships that go / sail - / ing. Some - / [repeat: ] where ... / .... be - yond the / sea He's / there watch - ing for / me /. ... if I = could / fly like birds on / high... / ... Then straight to his / arms I'd go / sail - / ing. It's / far... / ... be- yond a / star, it's / near be- yond the / moon... / ... I / know... / ... be- yond the / shore, we'll / kiss just as be- / fore... / ... Hap - py we'll / be be- yond the / sea... ... and nev - er a -' gain I'll go / sail - ing. Randy Runyon  
(back) Subject: Re: music search From: "Randolph Runyon" <runyonr@muohio.edu> Date: Mon, 12 Aug 2002 15:03:41 -0400   on 8/12/02 2:59 PM, COLASACCO, ROBERT at RCOLASACCO@popcouncil.org wrote:   > Oh god, This is almost as bad as Mother Dear, Oh Pray for Me   Well, as you can see from the original below, it loses something in translation:   =20 La mer Paroles et Musique: Charles Trenet =A0 1945 ------------------------------------------------------------------------   La mer Qu'on voit danser le long des golfes clairs A des reflets d'argent La mer Des reflets changeants Sous la pluie   La mer Au ciel d'=E9t=E9 confond Ses blancs moutons Avec les anges si purs La mer berg=E8re d'azur Infinie   Voyez Pr=E8s des =E9tangs Ces grands roseaux mouill=E9s Voyez Ces oiseaux blancs Et ces maisons rouill=E9es   La mer Les a berc=E9s Le long des golfes clairs Et d'une chanson d'amour La mer A berc=E9 mon c=A6ur pour la vie       Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu          
(back) Subject: RE: Bourdons From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Mon, 12 Aug 2002 15:04:23 -0400   Robert Colasacco asked:   >> The bottom notes of a manual 16' should be relatively quiet, but on the > pedal they must be relatively powerful. > > says Paul Emmons > > to which I ask How is that done? Is it a wind pressure difference?   I was referring to the scaling and voicing within a rank. As one plays = down the scale into the bottom octave of a 16' manual rank, the volume should taper off somewhat, but on a pedal rank it should remain firm or even increase. This difference is an argument against borrowing between manuals and pedal for any 16' stop that is to be considered important for both. I used to play an organ of = 60-some ranks in which a single trumpet rank not only played at 16' and 8' and = maybe 4' in the pedal, but was extended to provide a manual "bombarde division" at 16' 8' and 4'. The 16' bottom octave was, happily, appropriate to the pedal, but this made it way out of proportion for manual use. If it were meant to fit the manual division, it would be too weak to serve as the = main pedal reed.   Bud observes of a 16' bourdon:   >EITHER it will be too BIG for the Great, OR it will be too SMALL for the Pedal.   Yes, and this is particularly true of the bottom octave, IF it is intended as the main pedal bourdon. However, a secondary quiet bourdon (lieblich gedeckt etc.) is IMHO very useful on the pedal, especially for = accompaniment (also especially if it is enclosed). I'm all for borrowing any 16' manual stop on the pedal as long as the organ's action makes it easy to do (i.e., maybe not with tracker action or slider chests-- then it's a tougher decision whether it is worthwhile) and the pedal division can stand alone without it. ..      
(back) Subject: Re: music search From: <quilisma@socal.rr.com> Date: Mon, 12 Aug 2002 12:11:51 -0700   No, they don't want it SUNG ... I need the music to PLAY it (grin) ... you got it?   Cheers,   Bud   "COLASACCO, ROBERT" wrote: > > Oh god, This is almost as bad as Mother Dear, Oh Pray for Me > =3D=3D=3D > In case they want to you to sing, here are the words: > Some - / where ... / ... be - yond the / sea Some- / where wait - ing = for > / me ... / ... my lov - er / stands on gold - en / sands... / ... And = watch > - es the / ships that go / sail - / ing. Some - / [repeat: ] where ... = / > ... be - yond the / sea He's / there watch - ing for / me /. ... if I = could > / fly like birds on / high... / ... Then straight to his / arms I'd go / > sail - / ing. It's / far... / ... be- yond a / star, it's / near be- = yond > the / moon... / ... I / know... / ... be- yond the / shore, we'll / kiss > just as be- / fore... / ... Hap - py we'll / be be- yond the / sea... = ... > and nev - er a -' gain I'll go / sail - ing. > Randy Runyon > > "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: music search From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 15:12:38 -0400   Wow, I wouldn't even call that a translation. Quite different. =3D=3D =3D   Well, as you can see from the original below, it loses something in translation:   =20 La mer Paroles et Musique: Charles Trenet =A0 1945 ------------------------------------------------------------------------=     La mer Qu'on voit danser le long des golfes clairs A des reflets d'argent La mer Des reflets changeants Sous la pluie   La mer Au ciel d'=E9t=E9 confond Ses blancs moutons Avec les anges si purs La mer berg=E8re d'azur Infinie   Voyez Pr=E8s des =E9tangs Ces grands roseaux mouill=E9s Voyez Ces oiseaux blancs Et ces maisons rouill=E9es   La mer Les a berc=E9s Le long des golfes clairs Et d'une chanson d'amour La mer A berc=E9 mon c=A6ur pour la vie       Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu           "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: music search From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Mon, 12 Aug 2002 15:13:49 -0400   You'd better hope they don't start singin' it themselves. = Eeeeeeeeeeeeeek!!! : O RBC =3D=3D=3D No, they don't want it SUNG ... I need the music to PLAY it (grin) ... you got it?   Cheers,   Bud  
(back) Subject: scaling From: <quilisma@socal.rr.com> Date: Mon, 12 Aug 2002 12:27:08 -0700   I really wish some of the builders would chime in here ... I'm ABOUT to get WAY out of my depth (grin), but here goes:   SCALE refers to the ratio of the LENGTH of the pipe to its CIRCUMFERENCE.   Grossly simplified, the WIDER the scale, the FLUTIER the tone; the NARROWER the scale, the STRINGIER the tone.   FLUTES are generally made FAT(ter); Principals are made MEDIUM to MEDIUM-NARROW; strings are made NARROW(er).   In the case of the bottom octave of a manual 16', you MIGHT be referring to a COMBINATION of scale AND voicing. The scale MIGHT be made SLIGHTLY narrower, but the pipes would ALSO be VOICED slightly softer. THAT would be done at the mouth, and/or (less desirably) at the toe (at least by some builders).   Now ... if somebody would explain to ME what happens to scales as you go UP, I'd be MOST grateful (grin).   Cheers,   Bud