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
Re: AEolian Skinner Opus Archive
by <AEolianSkinner@aol.com>
Re: PipeChat Digest #4721 - 08/27/04
by "Larry Wheelock" <llwheels@mac.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,
littlebayus@yahoo.com 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

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
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
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" <llwheels@mac.com>
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
musicdirector@kenwood-umc.org