PipeChat Digest #4722 - Saturday, August 28, 2004 Re: 16' Manual stops... by <ScottFop@aol.com> Re: AEolian Skinner Opus Archive by <Norms0549@aol.com> Re: Never to Soon to Think About Christmas by "Jonathan Orwig" <firstname.lastname@example.org> Re: AEolian Skinner Opus Archive by <AEolianSkinner@aol.com> Re: PipeChat Digest #4721 - 08/27/04 by "Larry Wheelock" <email@example.com>
(back) Subject: Re: 16' Manual stops... From: <ScottFop@aol.com> Date: Fri, 27 Aug 2004 23:34:14 EDT In a message dated 8/27/04 4:47:03 AM Central Daylight Time, firstname.lastname@example.org writes: > 1) what flue stop or stops you believe to be > suitable as 16' Swell stops? Regarding flues, most commonly, I would say either an independent 16' = flute or an extension of the 8' manual flute/stopped diapason. In addition, I = have also seen and heard some very successful 16' string extensions that also = work well, although I would say that the flute is more common. A few = instruments I have played had both. Regarding reeds, it would depend on what type of reed chorus exists. If = it is a large English reed chorus, then a 16' Double Trumpet or Posaune would = be appropriate. If it is a modest to small chorus, then I would suggest a = 16' Waldhorn. If it is a large-scale French reed chorus, more often than not = one would expect to see a 16' Bombarde. If it is a modest or small French = reed chorus then a 16' Basson would work well. Many instruments have a = Basson-Hautbois which seems to cover multiple applications in registration. It is a nice compromise to a large scale Double Trumpet or Bombarde and a smaller = Waldhorn. Of course, harmonic intensity and weight in the overall ensemble and full = organ need to be taken into consideration as well. Duplexing of the Swell 16' reed and flue stops into the Pedal division is more common than not, and adds a very valuable flexibility to the = instrument's registrational capabilities. > 2) what flue stop or stops you believe to be > suitable as 16' Great stops? Regarding Great flue stops and depending on the instrument, I would say = that a foundation or broad string works best, especially for a large 16' = Plenum. On large instruments with many foundation ranks on the manuals and = substantial pedal ranks, a 16' Double Open Diapason would work best. My personal preference is something like a 16' Violone. It has enough weight yet is = not quite as heavy as a diapason, again depending on the size and overall effect of the = instrument in question. Many instruments that have neither of the above = will have a 16' Bourdon or duplex from another division to fill in that pitch = gap on the Great chorus. I have never thought that a 16' Quintaton worked well = or really contributed much (if anything) to such a chorus or the full organ. = G. Donald Harrison, a great man with many fine contributions, once said" the = 16' Quintaton adds gravity without heaviness." On a very, very small organ I suppose this is true. Regarding Great reed stops, generally one will only see a 16' reed on = modest to large instruments. In most cases that would be an independent 16' = double of the 8' reed or an extension of same. Extensions are NOT a bad thing, especially when space and funds are = limited. IN the case of any 16' Great manual stop, duplexing that stop into the = Pedal division at 16' and 8,' and perhaps even 4,' gives so much more = flexibility, especially in smaller choruses and choral accompaniment. > 3) should 16' manual flue stops be full compass? > or should they just go down to Tenor C? Again, depending on the instrument, this would be dictated by space and funds. Naturally full compass stops are preferable regardless, but if = space and funds do not permit, then a T.C. stop is better than nothing at all. Just my two-cents' worth.... Scott F. Foppiano Cantantibus organis Caecilia Domino decantabat.
(back) Subject: Re: AEolian Skinner Opus Archive From: <Norms0549@aol.com> Date: Fri, 27 Aug 2004 23:49:02 EDT Gregory, Thanks for posting this. There's more information here than I thought = there was! Norman
(back) Subject: Re: Never to Soon to Think About Christmas From: "Jonathan Orwig" <email@example.com> Date: Fri, 27 Aug 2004 21:57:24 -0700 \Jonathan sets shamless self-promotion mode I have arrangements of 4 tunes in my Christmas Suite: Trio on Joy to the World : http://www.blackiris.com/orwig/Orwig_comps/Orwig_Joy_to_the_World.mp3 Fughette on O Come, All Ye Faithful: http://www.blackiris.com/orwig/Orwig_comps/Orwig_Fughette_on_Hark_the_Heral= d_Angels.mp3 Adagio - Silent Night: http://www.blackiris.com/orwig/Orwig_Adagio_Silent_Night.mp3 Toccata Carillon - Ding Dong Merrily: http://www.blackiris.com/orwig/Orwig_comps/Orwig_Toccata_Carillon.mp3 I also have a Toccata-Flourish and Fugue on Wachet Auf: http://www.blackiris.com/orwig/Orwig_comps/Jonathan_Orwig_Toccata_Flourish_= and_Fugue_on_Wachet_Auf.mp3 All of these can be ordered from my website... \end shameless self-promotion Jonathan http://www.evensongmusic.net Bob wrote: > Hello All, > Im looking for a couple nice, demanding, big arrangements > of 'O Come All Ye Faithful' and 'Joy to the World' to use for this > upcoming Christmas season. Any suggestions that you may have are > greatly appreciated. > Thanks, > Bob
(back) Subject: Re: AEolian Skinner Opus Archive From: <AEolianSkinner@aol.com> Date: Sat, 28 Aug 2004 00:58:44 EDT No problem Norman. Someone gave that web site to me and I haven't = stopped looking at it since. Best Regards, Gregory Hinson
(back) Subject: Re: PipeChat Digest #4721 - 08/27/04 From: "Larry Wheelock" <firstname.lastname@example.org> Date: Sat, 28 Aug 2004 00:19:17 -0500 On Aug 27, 2004, at 10:34 PM, Bud wrote: > > Bud wrote: >> The ideal Quintadena, to my way of thinking, has just the slightest >> HINT >> of the quint sound. This gives me the perfect opening to repeat my favorite Quintedena story from my college days. I was to accompany the University Choir for Britten's "Rejoice in the Lamb" for the Sunday Eucharist. The "U Choir," as we called it, was at that time was the ranking vocal ensemble on the campus and was conducted by Larry Fleming who was known to be very exacting and who had little patience with less-than-perfect performance. I was playing the big Schlicker in the Chapel of the Resurrection at Valparaiso University -- well before its rebuild -- I'm talking 1971 here. I had practiced and registered on the Schlicker but, unfortunately, for some reason, never rehearsed the piece in the chapel with the choir. The piece begins with a sustained 'middle c' which I took in the pedal freeing up both hands for the little figures to follow. I registered it on -- you guessed it -- the 16' Quintadena. The downbeat arrived and I dutifully placed my foot on the key sounding 'middle c.' One measure later, as the score requires, the choir entered, but instead of a unison 'c', the choir was singing a perfect fifth. Some had heard the fundamental, and others had heard only the overtone. Fleming stopped the choir and gave me a chilling look. We started again with the same result, and I was feeling physical pain from the looks I was getting from Fleming. For the third try (I still didn't understand what was going on) I decided that they just couldn't hear the organ for some reason, so I reached up and drew another stop -- I don't remember which, but we got the piece launched and finished it without further incident. Fleming never, ever mentioned it to me, but, then again, i can't recall that he ever spoke to me again at all. :-) Larry Wheelock Director of Music Ministries Kenwood United Methodist Church Milwaukee, Wisconsin email@example.com