PipeChat Digest #2660 - Thursday, January 17, 2002
 
Re: Mutations in the Plenum??
  by <Cremona502@cs.com>
Re: Various ons and offs
  by <Cremona502@cs.com>
Re: Prepared-for divisions
  by <Cremona502@cs.com>
Re: old anthem books ... HELP! (X-posted)
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
Re: Mutations in the Plenum??
  by <TubaMagna@aol.com>
Re: Various ons and offs
  by "Roger Brown" <rbrown7@bigpond.net.au>
Re: quint couplers
  by <RonSeverin@aol.com>
Re: Kilgen actions & re-leathering techniques for them.
  by "Brent Johnson" <brentmj@swbell.net>
Re: Mutations in the Plenum??
  by <Cremona502@cs.com>
Re: Various ons and offs
  by "John L. Speller" <jlspeller@mindspring.com>
Re: Kilgen actions & re-leathering techniques for them.
  by "John L. Speller" <jlspeller@mindspring.com>
Re: Mozart organ stuff
  by <MFoxy9795@aol.com>
Re: quint couplers
  by "douglas morgan" <dkmorgan76209@yahoo.com>
Re: quint couplers
  by "Stan Yoder" <vze2myh5@verizon.net>
Re: Mutations in the Plenum??
  by <TubaMagna@aol.com>
 

(back) Subject: Re: Mutations in the Plenum?? From: <Cremona502@cs.com> Date: Thu, 17 Jan 2002 17:13:35 EST     --part1_27.215b2727.2978a68f_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 1/17/02 11:47:04 AM Eastern Standard Time, randyterryus@yahoo.com writes:     > On another list there is a discussion of the 5-1/3 Nasard in (French) > classical organs, and a good deal of historical coonfirmation of its use =   > not only as a 16' Cornet in the French Classical organs, but in the = large > Principal choruses of Baroque Gremanic instruments as well. > > I am rather interested in this topic as I find I am drawn to the = inclusion > of mutations in full Principal registrations, particularly in Baroque > music.   My rule of thumb is, does it make the music more interesting? I have = found in playing preludes and fugues that very often the inclusion of the lower =   quints and tierce gives a weight and reediness without making the piece = heavy and tonally cluttered. Very often reeds, while making the overall sound beautiful, will obscure the voice leadings, trading richness for clarity. = The tierce seems to bridge this and provides a nice middle ground of tonal =   texture.   > As a young organist, I absolutely detested the strong mutations at 2-2/3 = and > 1-3/5 one often finds in neo-baroque instruments, and especially I = thought > the Quintadena 16' was an unacceptable horror! As I have grown = older.... > (snip)   Ah yes, with age comes wisdom (in varying quantities!! heeheehee). I remember detesting the tierce sound, and now it is one of my greatest pleasures to play a nice two-part fugue that ends on an octave with the = bass note in the bottom register, playing a perfectly pure major chord. I = think the tierce also adds clarity in a fugue and makes the transition to a secondary sound very simple: simply move to a manual with a similar registration sans tierce. Especially on smaller instrument, I find it helpful to combine the manual for one plenum and then for the secondary manual use the same plenum minus one stop:   Great: Principal 8, 4 Swell: Rohrflote 8, Principal 2, Larigot 1-1/3   or in a large instrument: Great: Principal 8, 4, 2-2/3, 2, 1-3/5 Positiv: Principal 8, 4, (2-2/3 ?), 2 ,   > At St. Peter's, in an instrument with only 20 ranks .....   How about your stoplist to help the discussion??   > Most of my colleagues will say they never include mutations in ensemble > choruses of any type, and it is not "correct" to do so.... (snip)   Aw!!! Be BOLD... Be DARING!!   > Currently polishing the g Minor fugue of Bach, and will begin the = Fantasia > this morning. I am also polishing the Mulet Carillon-Sortie and working = on > my first ever Lubeck Praeludium... (snip)   The b-minor is a wonderful piece. What are you using for the fugal interludes in the Fantasia? They are some of my favorite writing. Are =   you taking a baroque/pure approach or are you being mildly decadent with = the Fantasia? ;-) Are you doing the fugue on two or three terrace levels? = Wonderful, wonderful piece!!! Which Lubeck are you doing? The E-major is one of my absolute = favorites. Emory Fanning did a wonderful recording of it at Middlebury College (Gress-Miles) and did some really fantastic ornamentation and cadenzas. = He made Lubeck really come alive and is really responsible for my coming to = like it. Of course, unequal temperament helped later on!! ;-) The Carillon-Snortie is also a goodie, and one of my very favorites. Always = an audience pleaser!!   , > I simply MUST replace the metronome that I seemed to have lost in the = move > across the country! It is such a wonderful tool for maintaining a steady =   > tempo!   A metronome is indespensive for my practice enjoyment, not to mention productivity. It reminds me of a student of mine who came to her lesson = and asked if I could have her metronome (that I had provided her with two = years previously) repaired. I asked what was wrong and she said, "It just = won't go." I then asked, "Did you wind it too tight?" She replied quizzically, "Wind it????" (TWO years... and she had never wound it!!)   Thanks for the really interesting thread!   Bruce Cornely < Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres and meet the Baskerbeagles: Duncan, Miles, Molly & = Dewi < http://members.tripod.com/Brucon502 >   --part1_27.215b2727.2978a68f_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 = 1/17/02 11:47:04 AM Eastern Standard Time, randyterryus@yahoo.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">On another list = there is a discussion of the 5-1/3 Nasard in (French) classical organs, = and a good deal of historical coonfirmation of its use not only as a 16' = Cornet in the French Classical organs, but in the large Principal choruses = of Baroque Gremanic instruments as well. <BR> <BR>I am rather interested in this topic as I find I am drawn to the = inclusion of mutations in full Principal registrations, particularly in = Baroque music. </FONT><FONT COLOR=3D"#000000" SIZE=3D3 = FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">My rule of thumb is, does it make the music more = interesting? &nbsp;&nbsp;I have found in playing preludes and fugues that = very often the inclusion &nbsp;of the lower quints and tierce gives a = weight and reediness without making the piece heavy and tonally cluttered. = &nbsp;&nbsp;Very often reeds, while making the overall sound beautiful, = will obscure the voice leadings, trading richness for clarity. = &nbsp;&nbsp;The tierce seems to bridge this and provides a nice middle = ground of tonal texture. <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">As a young = organist, I absolutely detested the strong mutations at 2-2/3 and 1-3/5 = one often finds in neo-baroque instruments, and especially I thought the = Quintadena 16' was an unacceptable horror! &nbsp;&nbsp;&nbsp;As I have = grown older.... &nbsp;(snip) </FONT><FONT COLOR=3D"#000000" SIZE=3D3 = FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Ah yes, with age comes wisdom (in varying = quantities!! heeheehee). &nbsp;&nbsp;I remember detesting the tierce = sound, and now it is one of my greatest pleasures to play a nice two-part = fugue that ends on an octave with the bass note in the bottom register, = playing a perfectly pure major chord. &nbsp;&nbsp;&nbsp;I think the tierce = also adds clarity in a fugue and makes the transition to a secondary sound = very simple: &nbsp;simply move to a manual with a similar registration = sans tierce. &nbsp;&nbsp;Especially on smaller instrument, I find it = helpful to combine the manual for one plenum and then for the secondary = manual use the same plenum minus one stop: <BR> <BR>Great: &nbsp;Principal 8, 4 <BR>Swell: &nbsp;Rohrflote 8, Principal 2, Larigot 1-1/3 <BR> <BR>or in a large instrument: <BR>Great: &nbsp;Principal 8, 4, 2-2/3, 2, 1-3/5 <BR>Positiv: Principal 8, 4, (2-2/3 ?), 2 <BR>, <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">At St. Peter's, in = an instrument with only 20 ranks .....</FONT><FONT COLOR=3D"#000000" = SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">How about your stoplist to help the discussion?? <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Most of my = colleagues will say they never include mutations in ensemble choruses of = any type, and it is not "correct" to do so.... (snip)</FONT><FONT = COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Aw!!! Be BOLD... Be DARING!! <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Currently = polishing the g Minor fugue of Bach, and will begin the Fantasia this = morning. I am also polishing the Mulet Carillon-Sortie and working on my = first ever Lubeck Praeludium... (snip)</FONT><FONT COLOR=3D"#000000" = SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">The b-minor is a wonderful piece. = &nbsp;&nbsp;&nbsp;What are you using for the fugal interludes in the = Fantasia? &nbsp;&nbsp;They are some of my favorite writing. = &nbsp;&nbsp;&nbsp;Are you taking a baroque/pure approach or are you being = mildly decadent with the Fantasia? &nbsp;;-) &nbsp;&nbsp;&nbsp;&nbsp;Are = you doing the fugue on two or three terrace levels? = &nbsp;&nbsp;&nbsp;&nbsp;Wonderful, wonderful piece!!! <BR>Which Lubeck are you doing? &nbsp;&nbsp;&nbsp;The E-major is one of my = absolute favorites. &nbsp;&nbsp;Emory Fanning did a wonderful recording of = it at Middlebury College (Gress-Miles) and did some really fantastic = ornamentation and cadenzas. &nbsp;&nbsp;He made Lubeck really come alive = and is really responsible for my coming to like it. &nbsp;&nbsp;Of course, = unequal temperament helped later on!! &nbsp;;-) &nbsp;&nbsp;&nbsp;The = Carillon-Snortie is also a goodie, and one of my very favorites. = &nbsp;&nbsp;&nbsp;Always an audience pleaser!! <BR> <BR>, <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I simply MUST = replace the metronome that I seemed to have lost in the move across the = country! It is such a wonderful tool for maintaining a steady = tempo!</FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">A metronome is indespensive for my practice = enjoyment, not to mention productivity. &nbsp;It reminds me of a student = of mine who came to her lesson and asked if I could have her metronome = (that I had provided her with two years previously) repaired. = &nbsp;&nbsp;&nbsp;I asked what was wrong and she said, "It just won't go." = &nbsp;&nbsp;&nbsp;I then asked, "Did you wind it too tight?" = &nbsp;&nbsp;&nbsp;She replied quizzically, "Wind it????" = &nbsp;&nbsp;&nbsp;(TWO years... and she had never wound it!!) <BR> <BR>Thanks for the really interesting thread! <BR> <BR> Bruce Cornely &lt; Cremona502@cs.com &gt;<I> </I> <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres <I>&nbsp;</I>and meet the Baskerbeagles: = &nbsp;Duncan, Miles, Molly &amp; Dewi <BR> &nbsp;&nbsp;&nbsp;&lt; &nbsp;http://members.tripod.com/Brucon502 = &gt;</FONT></HTML>   --part1_27.215b2727.2978a68f_boundary--  
(back) Subject: Re: Various ons and offs From: <Cremona502@cs.com> Date: Thu, 17 Jan 2002 17:47:13 EST     --part1_8c.12a5c481.2978ae71_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 1/17/02 3:29:20 PM Eastern Standard Time, SProt82850@cs.com writes:     > I find it extremely valuable when the minister requests that I play on = the > quietest possible stop!   I always preferred to play on the 16 and 4 coupler chorus. It was a = 1950's Austin and made a wonderful racket, like a bunch of really obese rats in = the attic!!   Bruce Cornely < Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres and meet the Baskerbeagles: Duncan, Miles, Molly & = Dewi < http://members.tripod.com/Brucon502 >   --part1_8c.12a5c481.2978ae71_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 = 1/17/02 3:29:20 PM Eastern Standard Time, SProt82850@cs.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I find it = extremely valuable when the minister requests that I play on the quietest = possible stop! &nbsp;</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 always preferred to play on the 16 and 4 coupler chorus. = &nbsp;&nbsp;It was a 1950's Austin and made a wonderful racket, like a = bunch of really obese rats in the attic!! <BR> <BR> Bruce Cornely &lt; Cremona502@cs.com &gt;<I> </I> <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres <I>&nbsp;</I>and meet the Baskerbeagles: = &nbsp;Duncan, Miles, Molly &amp; Dewi <BR> &nbsp;&nbsp;&nbsp;&lt; &nbsp;http://members.tripod.com/Brucon502 = &gt;</FONT></HTML>   --part1_8c.12a5c481.2978ae71_boundary--  
(back) Subject: Re: Prepared-for divisions From: <Cremona502@cs.com> Date: Thu, 17 Jan 2002 17:51:48 EST     --part1_9b.214b1559.2978af84_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 1/17/02 3:37:43 PM Eastern Standard Time, chercapa@enter.net writes:     > > I have a unison off stop on my Allen and can't, for the life of me, > figure out what such a stop would be useful for. I'm sure someone has = some > suggestions. >   Paul, the primary purpose of the Unison Off is to allow you to play solo stops an octave higher or lower using the Unison Off with a 16 or 4 = coupler. I'm either lazy or a show off, and prefer to physically move to the = desired octave. I recall the quizzical looks I used to get from people walking behind the console after communion and seeing me playing with my left hand = on the Swell in the tenor register, and my right hand crossed over on the = Great playing in the bass octave (using the 2' flute). It's actually much more =   fun that way!   Bruce Cornely < Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres and meet the Baskerbeagles: Duncan, Miles, Molly & = Dewi < http://members.tripod.com/Brucon502 >   --part1_9b.214b1559.2978af84_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 = 1/17/02 3:37:43 PM Eastern Standard Time, chercapa@enter.net writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> <BR> &nbsp;&nbsp;&nbsp;&nbsp;I have a unison off stop on my Allen and = can't, for the life of me, <BR>figure out what such a stop would be useful for. I'm sure someone has = some <BR>suggestions. <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>Paul, the primary purpose of the Unison Off is to allow you to play = solo stops an octave higher or lower using the Unison Off with a 16 or 4 = coupler. &nbsp;&nbsp;&nbsp;I'm either lazy or a show off, and prefer to = physically move to the desired octave. &nbsp;&nbsp;&nbsp;I recall the = quizzical looks I used to get from people walking behind the console after = communion and seeing me playing with my left hand on the Swell in the = tenor register, and my right hand crossed over on the Great playing in the = bass octave (using the 2' flute). &nbsp;&nbsp;It's actually much more fun = that way! <BR> <BR> Bruce Cornely &lt; Cremona502@cs.com &gt;<I> </I> <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres <I>&nbsp;</I>and meet the Baskerbeagles: = &nbsp;Duncan, Miles, Molly &amp; Dewi <BR> &nbsp;&nbsp;&nbsp;&lt; &nbsp;http://members.tripod.com/Brucon502 = &gt;</FONT></HTML>   --part1_9b.214b1559.2978af84_boundary--  
(back) Subject: Re: old anthem books ... HELP! (X-posted) From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Thu, 17 Jan 2002 16:37:39 -0600       quilisma@socal.rr.com wrote:   > Can anyone spare a tattered (but complete) copy of the OLD Oxford > "Church Anthem Book" and/or the OLD Novello anthem book (forget the > title)? I've lost mine, and repeated requests to Oxford, Novello and > Pepper have gotten me either (1) nothing, or (2) the NEW Oxford (and > Novello? I forget) books, which I can use, but I still need the old > ones.   I went to the home page of the used book meta-site, <abebooks.com>, entered "Church Anthem Book for the title, and obtained a list that included both the Oxford and Novello books, at prices from about 12.50 each (including air-mail, USD).   ns      
(back) Subject: Re: Mutations in the Plenum?? From: <TubaMagna@aol.com> Date: Thu, 17 Jan 2002 18:26:53 EST   We're talking about very, very different things here. Mutations are flute-scaled, members of what are known as "female" choruses. They are used for composite colors, cornets, etc. A 5-1/3' Gros =   Nazard is scaled, built, and voiced completely differently than a 5-1/3' Quint in a principal plenum. Off-unison pitches in the principal, or "male" chorus, such as fifths = and thirds, have precedence going back centuries, DESPITE the misguided Orgelbewegung logic. Likewise, "neobaroque" mixtures found in American organs of the last half century are way, way too high pitched to correspond to much of what the Baroque era built and heard. Contraquint (5-1/3') couplers cause severe balance problems, since everything plays in parallel fifths and is way too loud to form any kind = of subtle composite tone. Also, the quints will never be in tune, ever. = There is enough harmonic complexity with the perfect fifths in mixtures at odds with the tempered fifths on the keyboard. Octave (4') couplers can also cause plenty of balance problems. Well-designed, well-scaled, well-voiced instruments tend not to have them, =   especially on the Great. Sub (16') couplers, or Octaves Graves, are part = and parcel of French Romantic organbuilding and composition.   Sebastian Matthaus Gluck New York City  
(back) Subject: Re: Various ons and offs From: "Roger Brown" <rbrown7@bigpond.net.au> Date: Fri, 18 Jan 2002 10:47:57 +1100     SProt82850> I just wish the organ I play had a "minister on SProt82850> minister off".   Well there is the apocryphal story of the console with an aerosol can = marked "clergy off"!   Regards,     Roger   Roger Brown rbrown7@bigpond.net.au http://rogerbrown.tripod.com      
(back) Subject: Re: quint couplers From: <RonSeverin@aol.com> Date: Thu, 17 Jan 2002 19:09:01 EST   Dear Ross   There is a 5 1/3 Quint Trumpet and a 32' reed on the Swell of the Salt Lake Tabernacle organ.   Ron  
(back) Subject: Re: Kilgen actions & re-leathering techniques for them. From: "Brent Johnson" <brentmj@swbell.net> Date: Thu, 17 Jan 2002 18:11:23 -0600   The chambers of the St. Louis Cathedral Kilgen organ are quite spacious, with the exception of the Gallery division, which was not part of the original installation. The division is from the original Kilgen organ in Carnegie Hall, or so I'm told. Great, Pedal, and Solo by Moller are not quite as easy to manuever in, but one does not have to be a monkey to tune them. Brent Johnson The Organ Web Ring http://www.geocities.com/organwebring The Organ Classifieds http://www.organclassifieds.com     ----- Original Message ----- From: "Storandt, Peter" <pstorandt@okcu.edu>     > Was this true even in their larger installations like St. Louis = Cathedral, > St. Patrick's Cathedral, Shrine of the Little Flower, etc.? > > Peter > > John Speller writes: > > Otherwise really the only problem with them is that > they are excruciatingly difficult and uncomfortable to fit oneself into, > especially if, like me, you are 6 ft. tall and weigh 220 lb. I think = the > Kilgen employees must have been about 3 ft. tall, weighed around 40 lb., and > had considerable acrobatic skills. Perhaps, come to think of it, they > employed monkeys to service their instruments. > > > "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: Mutations in the Plenum?? From: <Cremona502@cs.com> Date: Thu, 17 Jan 2002 19:18:02 EST     --part1_166.742dce2.2978c3ba_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 1/17/02 6:27:41 PM Eastern Standard Time, TubaMagna@aol.com writes:     > We're talking about very, very different things here. > Mutations are flute-scaled, members of what are known as "female" > choruses. They are used for composite colors, cornets, etc. A 5-1/3' = Gros > Nazard is scaled, built, and voiced completely differently than a 5-1/3' =   > Quint in a principal plenum. >   Well, as a naughty organist (and not a builder) I must admit that I prefer =   flute mutations to principal ones. They make a more bold tonal statement =   IMHO.   Bruce Cornely < Cremona502@cs.com > with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres and meet the Baskerbeagles: Duncan, Miles, Molly & = Dewi < http://members.tripod.com/Brucon502 >   --part1_166.742dce2.2978c3ba_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 = 1/17/02 6:27:41 PM Eastern Standard Time, TubaMagna@aol.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">We're talking = about very, very different things here. <BR> &nbsp;&nbsp;&nbsp;Mutations are flute-scaled, members of what are = known as "female" <BR>choruses. They are used for composite colors, cornets, etc. &nbsp;A = 5-1/3' Gros <BR>Nazard is scaled, built, and voiced completely differently than a = 5-1/3' <BR>Quint in a principal plenum. <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>Well, as a naughty organist (and not a builder) I must admit that I = prefer flute mutations to principal ones. &nbsp;&nbsp;They make a more = bold tonal statement IMHO. <BR> <BR> Bruce Cornely &lt; Cremona502@cs.com &gt;<I> </I> <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres <I>&nbsp;</I>and meet the Baskerbeagles: = &nbsp;Duncan, Miles, Molly &amp; Dewi <BR> &nbsp;&nbsp;&nbsp;&lt; &nbsp;http://members.tripod.com/Brucon502 = &gt;</FONT></HTML>   --part1_166.742dce2.2978c3ba_boundary--  
(back) Subject: Re: Various ons and offs From: "John L. Speller" <jlspeller@mindspring.com> Date: Thu, 17 Jan 2002 19:21:20 -0600   ----- Original Message ----- From: "Roger Brown" <rbrown7@bigpond.net.au> To: "PipeChat" <pipechat@pipechat.org> Sent: Thursday, January 17, 2002 5:47 PM Subject: Re: Various ons and offs     > > SProt82850> I just wish the organ I play had a "minister on > SProt82850> minister off". > > Well there is the apocryphal story of the console with an aerosol = can marked > "clergy off"! >   Not necessarily apocryphal. I actually saw an aerosol can marked in such = a way on the windowsill of the choir room of an Episcopal Cathedral.   John Speller    
(back) Subject: Re: Kilgen actions & re-leathering techniques for them. From: "John L. Speller" <jlspeller@mindspring.com> Date: Thu, 17 Jan 2002 19:24:53 -0600     ----- Original Message ----- From: "Brent Johnson" <brentmj@swbell.net> To: "PipeChat" <pipechat@pipechat.org> Sent: Thursday, January 17, 2002 6:11 PM Subject: Re: Kilgen actions & re-leathering techniques for them.     > The chambers of the St. Louis Cathedral Kilgen organ are quite spacious, > with the exception of the Gallery division, which was not part of the > original installation. The division is from the original Kilgen organ in > Carnegie Hall, or so I'm told.   Yes, it was the original Echo Organ of the Carnegie Hall Kilgen.   John Speller    
(back) Subject: Re: Mozart organ stuff From: <MFoxy9795@aol.com> Date: Thu, 17 Jan 2002 20:29:48 EST   In a message dated 1/16/2002 8:29:31 PM Eastern Standard Time, gksjd85@access.aic-fl.com writes:   > > My question: are the "grace notes" to be played as on a piano, or as = we > have been taught to treat them in organ music? I didn't know the rules > for Mozart, but thought someone in the past told me to actually treat > these as grace notes. (I haven't piddled with the Fantaisie in a very > long time, and suffer from selective memory.) Inquiring minds want to > know, and Mozart himself did not respond to my query. > i believe the convention is to play them as even sixteenths if they are followed by two sixteenths, making four sixteenths. merry  
(back) Subject: Re: quint couplers From: "douglas morgan" <dkmorgan76209@yahoo.com> Date: Thu, 17 Jan 2002 18:14:12 -0800 (PST)   Dear Ron:   Skinner used the 5 1/3' Trumpet in a number of very large organs. Two others that come to mind are the organ at Woolsey Hall at Yale University, and The Mother Church in Boston.   Temple Sinai in New Orleans has an E. M. Skinner organ from about 1920 that has a 1950 Austin console which has a Choir to Great 5 1/3' Coupler.   D. Keith Morgan     --- RonSeverin@aol.com wrote: > Dear Ross > > There is a 5 1/3 Quint Trumpet and a 32' reed on the > Swell of the > Salt Lake Tabernacle organ. > > Ron > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital > organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > Subscribe/Unsubscribe: mailto:requests@pipechat.org >     __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/  
(back) Subject: Re: quint couplers From: "Stan Yoder" <vze2myh5@verizon.net> Date: Thu, 17 Jan 2002 22:38:38 -0500       douglas morgan wrote: > > Dear Ron: > > Skinner used the 5 1/3' Trumpet in a number of very > large organs. Two others that come to mind are the > organ at Woolsey Hall at Yale University, and The > Mother Church in Boston. > > Temple Sinai in New Orleans has an E. M. Skinner organ > from about 1920 that has a 1950 Austin console which > has a Choir to Great 5 1/3' Coupler. >   EM's op664, Hill Aud., UMich, 1928, contained a pedal Quint Trombone 10 = 2/3 (borrowed from the 16' Great reed), as well as the aforementioned C-G 5 1/3. The Great had both 5 = 1/3 and 3 1/5 flues. This was Palmer Christian's, er, organ. All gone in the 50s A-S redo.   Stan Yoder Pittsburgh  
(back) Subject: Re: Mutations in the Plenum?? From: <TubaMagna@aol.com> Date: Thu, 17 Jan 2002 23:01:43 EST   ....beware the "orphaned" 1-1/3'...