PipeChat Digest #3443 - Monday, February 10, 2003
 
Re: INHARMONICITY
  by "D. Keith Morgan" <aeolian_skinner@yahoo.com>
Re: NYNY and NYNYers
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
RE: St. Louis
  by "Jeff White" <reedstop@prodigy.net>
Re: NYNY and NYNYers
  by "Nelson Denton" <ndenton@cogeco.ca>
Blackburn Cathedral UK (Part 1)
  by "Colin Mitchell" <cmys13085@yahoo.co.uk>
 

(back) Subject: Re: INHARMONICITY From: "D. Keith Morgan" <aeolian_skinner@yahoo.com> Date: Sun, 9 Feb 2003 20:08:16 -0800 (PST)   Dear Pipechatters:   For some reason, the computer decided to send this message before I was finished. I'll go ahead and finish it and send the completed message.   D. Keith Morgan     --- "D. Keith Morgan" <aeolian_skinner@yahoo.com> wrote: > A few weeks ago, I made reference to the word > "inharmonicity", and several members ask about that > word, and wanted to know more about it. Because of > computer difficulties, I am giving a rather > long-delayed response. > > Before I begin, I would like to give you my idea of > how I refer to the harmonic series so that you will > know exactly what I'm talking about. > > I think of the fundamental as being exactly that -- > a > fundamental and not a harmonic. When I refer to the > first harmonic, I am referring to the octave > harmonic > which some people refer to as the second harmonic. > > Lest I be accused of being off topic by referring to > the piano, I will simply say that inharmonicity > exists > in a piano string because of the fact that the tones > of a piano are produced by tightly stretched > strings. > Inharmonicity does not exist in the organ, because > its > tones are produced by a vibrating column of air > within > a pipe, or by digital circuitry as the case may be. > Because of this, I will be writing mostly about the > piano. > > Let us say, for example, that the A above middle C > (A=3D440) is produced by a string that is exactly 36 > inches long. When it is set in vibration, it > divides > itself into two 18 inch sections; the node occuring > at > precisely haflway down the string. These two > sections > produce the first harmonic, which on paper should be > A=3D880. > > However, there is a factor that causes these > harmonics > to deviate slightly from their mathematical > frequencies. The string producing the fundamental > is > the same string that produces the other harmonics. > The proportion of the string's thickness, length, > and > thickness come into play here. The proportions of > the > string's overall length producing the fundamental, > and > the proportion of the string's dimentions producing > the first harmonic are quite different. The > thickness > and tention are exactly the same, but the length is > quite different. The thickness is much greater in > the > 18" sections than the thickness of the 36" section. > It is much THICKER than the length producing the > fundamental. Because it is THICKER, it is thrown a > little sharp, so that the fundamental of the A one > octave higher than A=3D440 which should be A=3D880, > might > end up being A=3D881.5 instead. > > The fundamentals of these notes are one octave from > each other, and that is too great a distance to > cause > beats. Therefore, we tune A=3D880 to THE FIRST > HARMONIC > > __________________________________________________ > Do you Yahoo!? > Yahoo! Mail Plus - Powerful. Affordable. Sign up > now. > http://mailplus.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 >     __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com  
(back) Subject: Re: NYNY and NYNYers From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Mon, 10 Feb 2003 04:11:43 +0000 (GMT)   Hello Sebastian,   Thanks for the advice.   In fairness, I didn't have much time in NY and the weather was not good enough to race about making arrangements.....October and wet.   I know that NY has some wonderful instruments, old and new.....next time.   2,000,000 organ builders seems a little excessive, even by US standards!   Regards,   Colin Mitchell UK >   __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com  
(back) Subject: RE: St. Louis From: "Jeff White" <reedstop@prodigy.net> Date: Sun, 9 Feb 2003 22:49:14 -0600   Dear friends,   I've been in St. Louis all my life, and have been in many of the area LCMS churches. Here are a few I can recommend:   1. Salem Lutheran Church 8343 Gravois Rd (Schlicker, 31 rks, 1976) (my = home church) :) 2. Holy Cross Lutheran 2650 Miami Street (Kilgen, 37 rks, 1902, 1924, = 1950, 1981) 3. St. Paul Lutheran, Des Peres MO (Manchester and I-270) Martin Ott = 1985 4. Lutheran Church of the Resurrection (Sappington Road) Schlicker (this one's ok) 5. Messiah Lutheran Church (Grand Avenues) Moeller/Rodgers combo 6. Chapel of the Cross (North St. Louis), Zimmer (recently installed)     From what I've heard the Seminary's organ is ok, and it's a Casavant.   I do not recommend Gethsemane's ... it's not voiced very well, IMHO.   Hope you enjoy your visit! Let me know where you ended up visiting! (I'm LCMS, but I play for Holy Trinity Lutheran (ELCA - Zimmer, 1986, 27 ranks) at Reavis Barracks and I-55.)   Jeff White    
(back) Subject: Re: NYNY and NYNYers From: "Nelson Denton" <ndenton@cogeco.ca> Date: Mon, 10 Feb 2003 00:05:33 -0500   > > 2,000,000 organ builders seems a little excessive, > even by US standards! > > Regards, > > Colin Mitchell UK   Seb means "Personalites" not "Bodies".   +(:-P))))   N. (not the usual one who writes here.)  
(back) Subject: Blackburn Cathedral UK (Part 1) From: "Colin Mitchell" <cmys13085@yahoo.co.uk> Date: Mon, 10 Feb 2003 05:07:30 +0000 (GMT)   Hello,   Back in 1969, when I was young, a new organ graced the revamped Blackburn Cathedral here in the UK. Speaking into a huge acoustic, this new instrument was to the design of Dr.Francis Jackson and Mr John Bertalot (then the Cathedral Organist). Built by J W Walker, and voiced by Denys Thurlow , this instrument was a watershed in British organ building.Although using EP action, a detached console and divided divisions, this instrument owed much to the "werkprinzip" style. Furthermore, it owed much to the recommendations of Ralph Downes and the organ reform people.   Where this organ differed significantly from that in the Festival Hall and elsewhere, was in the provision of very French sounding reeds as a complement to the German-inspired chorus-work. A modest instrument of about 60 stops and just three manuals, it was nevertheless a complete triumph which set the organ-world alight with excitement and interest.   Consequently, at the first opportunity following its re-building last year, I approached the cathedral last Saturday evening (Feb.8th) with a growing sense of apprehension. The question on my mind was, "Have they ruined an organ masterpiece?"   I feared the worst, entered the cathedral, parted with a considerable amount of money and obtained two of the best seats in the house for the "Carlo Curley extravaganza".....our seats right next to the console!   It wasn't long before Carlo was greeting me warmly once again, as we exchanged a few words and shook hands. (That handshake is memorable! In fact, compensation springs to mind!)   The sight of the all-new, four-manual console brought a lump to my throat....the old 3-decker was a lovely, comfortable console. However, the new one LOOKED comfortable enough and copied the lovely italic lettering on the stops of the old console.   A brief welcome from the Dean, and the new, slim-line Carlo Curley swept into view to enthusiastic but relatively restrained applause. Following a brief description of the first two items on the programme, Mr Curley climbed aboard the "flight deck", and my heart was in my mouth.... What would it sound like?   Well, the pipework sounded beautiful.......   Unfortunately, the Pedal organ remained totally silent!   Mr Curley fumbled around with the Pedal stops in silence, but try as he may, the new digital electronic "wood basses" refused to function. So it was, that the Walker (UK) pipework of 1969 came to the rescue of the Walker digital voices from the USA!!   With a brief apology, Mr Curley summoned a technician and the opening item "Edwardia", by George Thalben-Ball (from the Hovingham Sketches) re-commenced. Unfamiliar with this lovely, atmospheric piece of music, I was taken by its great melodic beauty and ethereal harmonies.....a combination of Bach, Flor Peeters and "Harmonies du Soir" by Karg-Elert. A sensitive and eloquent testimony to Mr Curley's former tutor, the notes of which seemed to hover in the chancel before gently wafting into the nave of the Cathedral.   Suitably gentle applause followed the final, hushed tones.   As always, Mr Curley's transcription of the "Sinfonia from Cantata no.29" was a demonstration of sheer panache and driving, clockwork precision which lifted the audience and carried them on a tidal wave of musical energy. It is a measure of the performer that, with this one work, he had the large audience firmly in the palm of his hand.......the applause was thunderous!   If there was one advantage in the fact that the digital stops remained silent, it was in the fact that the organ used nothing but the original 1969 pipework throughout. With an overwhelming sense of relief, I sighed heavily.....the organ sounded as superb as I had known it to be previously......in fact, exactly the same; unaltered and unmolested by aflickrtistic flic of the voicer's bic!       (To be continued)                             __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com