Rodgers organ company 35-a User manual

!

~

.

.,

,

OWNER

MANUAL

MODELS

35-A

&35-D

MODELS

36-C

&

36-D

RODGERS

ORGAN

COMPANY

/ HI LLSBOro,

OREGON

INDEX

PAGE

AIR

SOUND

7

MUSIC

RACK

-8-

ANTIPHONAL

DIVISION

7

PEDALBOARD

15

BAROQUE

ACCENT

6

PEDAL

ORGAN

5,9,

10

BAROQUE

ENSEMBLE

13

PERCUSSIONS

6,14

BENQ-1

15

PISTONS

7

CI\RE

&

MAINTENANCE

8

REED

FAMILY

3

CARILLON

6'

14

REGISTR~TION

HINTS

CELESTE

EFFECT

3

BAROQUE

ENSEMBLE

13

CHIFF

6

CHOIR

ACCENT

12

CHOIR

ORGAN

5

CHOIR

POSITIV

12

COMBINATION

ACTION

7

FULL

ORGAN

13

CONSOLE

SPECIFICATIONS

15

GREAT

10

COUPLERS

6

HYfVNS

14

CRESCENOO

PEDAL

6

PEDAL

9,10

Dl

APASON

FM~I

LY

2

ROMANTIC

ENSEMBLES

13

EXPRESSION

PEDALS

6

SWELL

11

FLUTE

FAMILY

2 .

SETTERBOARD

7

GLOSSARY

15

SERVICE

&

GUARANTEE

15

GREAT

ORGAN

4'

10

SFORZANDO

7

HARP

8

SOLO

VOICES

3,4,11

INTRODUCTION

STRING

FAMILY

2

KEYBOARDS

8

SWELL

ORGAN

4,

11

KEY

SW

ITOi

15

THREE

~11\NUALS

4

LEVELING

THE

CONSOLE

15

TOE

STUDS

-7

Ml

XTURE

2,4

TREMULANTS

6

INTRODUCTION

In

their

basic

design

and

layout,

the

RODGERS

ORGANS

are

complete,

three-manual

church

organs,

capable

of

supplying

the

ordinary

needs

of

the

church

service

as

well

as

the

performance

of

more demanding

recital

and

concert

works.

Incorporated

in

their

design

are

the

elements

necessary

for

practice

and

teaching

work,

expanding

the

usefulness

of

these

instruments

to

include

schools

and

studios.

Authentic

and

complete,

the

RODGERS

is

often

found

in

the

homes

of

serious

organ

students

and

devotees

of

classical

organ

literature.

This

booklet

is

far

· from

exhaustive

in

exploring

the

total

range

of

tone

color

and

versatility

of

this

instrument.

However, you

will

find

much

that

will

be

useful

to

you.

If

you

have

further

questions,

do

not

hesitate

to

ask

your

local

RODGERS

representative.

He

will

be

more

than

glad

to

assist

you

with

additional

registration

hints,

with

the

selection

of

a

competent

organ

instructor,

or

ideas

to

help

you

to

enjoy

to

the

fullest

the

broad

musical

resources

of

your

new

RODGERS

ORGAN.

1

THE

MUSICAL

RESOURCES

OF

THE

RODGERS

ORGAN

THE

VOICE

FAMILiES

OF

·

THE

ORGAN

(DIAPASONS,

FLUTES,

STRINGS

AND

REEDS)

THE

DIAPASON

FAMILY

The

sound

which

most

of

us

associate

with

the

organ

is

Diapason

tone,

the

very

foundation

of

the

organ.

The

importance

of

this

stop

is

often

emphasized

by

the

use

of

the

word

"principal"

to

denote

it.

The

Diapason

is

non-imitative,

it

is

unique

to

the

organ

alone,

and

it

has

enough

foundational

tone

to

enable

it

to

blend

well

with,

and add

strength

to

the

ensemble.

At

the

same

time,

it

pos-

sesses

enough

harmonic

development

to

add

brilliance

and

life.

The

usefulness

of

this

type

of

tone

becomes

apparent

as

one

looks

at

the

stoplist

of

this

organ.

On

the

Great

manual,

Diapasons

are

present

at

81,

4',

and

2'

pitches.

There

is

also

a

Mixture,

which

corroborates

the

upper

harmonics

of

the

Diapa-

sons

and

adds

the

final

touch

of

brilliance

to

the

Diapason

Chorus.

In

the

Swell

division,

the

Diapason

tone

becomes

less

bold,

more

in

keeping

with

the

romantic

nature

of

the

Swell

Organ.

·

These

Diapasons

are

called

Geigen

Principal.

In

the

Pedal

Organ,

the

Diapasons

are

present

to

provide

foundation

and

firm-

ness

for

that

division.

THE

FLUTE

FAMILY

The

Flute

tones

of

the

organ

are

characterized

by

an

almost

complete

lack

of

harmonic

development,

and

as

such

are

good

foundation

builders.

In

the

Great

division,

they

complete

the

ensemble

and

give

it

a

fuller

sound.

The

light

Choir

Flutes

with

their

mutation

pitches

are

useful

as

a

contrapuntal

foil

to

the

Great,

as

well

as

being

able

to

synthesize

many

interesting

solo

effects.

The

Baroque

"chiff"

accent

is

also

available

on

the

Choir

Flutes,

adding

sparkle

to

the

works

of

Bach

and

his

contemporaries.

The

Swell

Flutes

characteristically

possess

greater

harmonic

development

than

the

flutes

on

the

rest

of

the

organ,

but

they

still

have

the

"covered"

sound

of

the

Flute

Family.

In

the

Pedal

Organ,

the

Bourdon,

Lieblich

Gedeckt

and

Flutes

provide

the

soft

to

medium-heavy

foundation

for

quiet

ensemble

playing.

THE

STRING

FAMILY

This

sound

was

introduced

into

the

organ

rather

late

in

its

development:

in

the

early

part

of

the

19th

century.

It

is

an

imitative

sound,

closely

associated

with

the

sound

of

an

orchestral

string

section.

The

string

family

of

organ

stops

possesses

a

soft

tone,

with

a

keen

edge

and

a

limited

amount

of

foundation

pitch.

2

This

extreme

development

of

harmonic

partials

allows

this

sound

to

blend

easily

into

quieter

ensembles,

giving

them a

"singing"

quality,

like

the

sound

of

violins

in

the

symphony

orchestra.

This

tone

quality

is

placed

on

the

Swell

manual,

where

it

is

most

useful

in

producing

romantic

sounds.

Broader,

more

Diapason-like

strings

are

also

on

the

Choir

manual

as

aids

to

the

accom-

paniment

function

of

that

division.

Extra

sets

of

tone

generators

are

used

to

create

the

Celeste

effect,

such

as

the

Flute

Celeste

playable

on

the

Swell

manual.

An

organ

Celeste

is

created

by

setting

precisely-tuned

oscillators

against

purposely

sharp-tuned

oscillators.

Historically,

the

resulting

undulating

"beat"

is

said

to

resemble

''celestial

voices,"

hence

the

stop

name

11

Vofx

Celeste."

This

gently

undulating

sound

is

unequalled

in

adding

warmth

and

emotional

depth

to

organ

tone.

The

compass

of

the

Celeste

rank

is

from

tenor

C

to

c2

.

In

pipe

organs,

all

of

the

above

tone

qualities

(Diapasons,

Flutes

and

Strings)

are

derived

from

a

pipe

sound

caused

by

a

vibrating

column

of

air

set

in

mo-

tion

by

the

action

of

air

impinging

on

a

knife-like

edge

on

the

upper

part

of

the

pipe

mouth.

These

pipes

and

their

resultant

sounds

are

classed

collectively

under

the

name

of

Flue

Stops.

1HE

REED

FAMILY

Pipe

organ

Reed

Stops

make

use

of

the

vibrations

of

a

brass

reed

tongue

against

a

fixed

shallot,

the

resulting

impulses

being

qualified

and

given

tonal

shape

by

a

resonator

placed

above

the

reed

assembly.

Reeds

are

of

two

basic

types,

solo

and

chorus

reeds.

The

Solo

Reeds

are

of

an

imitative

orchestral

character,

best

used

when

standing

alone

in

a

melodic

line.

The

Hautbois

or

Oboe

would

be

an

example

of

this.

The

Trompette

is

a

Chorus

Reed

and

may

be

used

in

solo

capacity,

but

are

voiced

for

the

purpose

of

adding

"fire"

to

the

full

Diapason

and

Flute

Chorus,

due

to

the

extreme

harmonic

development

of

these

stops.

Pedal

Reeds,

such

as

the

Fagotto,

add

"snarl"

and

percussiveness

to

the

Pedal

Ensemble.

3

THE

THREE

MANUAL

CONSOLE

As

the

art

of

organbuilding

has

evolved

over

the

centuries,

certain

features

of

the

instrument

·

have

.become .

more

or

less

standard,

as

·

organists,

by

a

process

of

elimination,

gradually

have

culled

out

"innovations"

that

served

no

real

practical

function

and

merely

got

in

the

way.

It

is

thus

that

tradition

has

given

us

the

three-manual

organ,

and

most

organ

literature

has

been

written

for

the

three

61-note

keyboards

and

a

32-note

pedalboard.

You

have

probably

noticed

that

nearly

all

music

written

for

the

organ

contains

registration

notes·

for

Swell,

Great,

Choir

and

PedaL

Adapting

these

pieces

to

the

two-

.rnanual

organ

is

cumbersome

at

best,

often

involving

rapid

registration

changes

and

difficult

11

cross-hand

11

techniques,

an

unwieldy

compromise

of

the

composer"s

intent.

In

two-manual

organs

the

missing

tonal

division,

if

it

is

supplied

at

all,

must

be

distributed

somewhere among

the

stops

of

the

two

manuals.

This,

of

course,

.

is

a

compromise

sometimes

made

in

the

name

of

economy.

Three

manuals

of

61

notes

each

and

a

full

32-note

pedalboard

give

the

orgapist

all

the

necessary

flexibility

to

interpret

organ

music

the

way

the

composer

intended.

In

addition,

the

various

tone

colors

are

conveniently

available,

distributed

into

divisions

according

to

their

traditional

function

in

the

organ.

It

may

well

be,

at

this

point,

that

a

short

description

of

the

tonal

"palette"

and

function

of

the

various

divisions

would

be

useful.

THE

GREAT

ORGAN

--

Center

Keyboard

This

division

is

the

backbone

and

main

substance

of

the

organ.

It

is

character-

ized

by

the

unique

Diapason

sound,

available

at

various

pitches.

This

Diapason

Chorus,

backed

up

by

a

chorus

of

softer

Flutes

and

crowned

by

the

Mixture,

constitutes

the

principal

support

to

congregational

singing

in

the

church.

All

of

the

other

divisions

of

the

organ

relate

in

some way

to

the

Great

Organ.

An

example

is

the

16',

8',

and

4'

Swell

to

Great

couplers,

to

make

the

Swell

voices

playable

on

the

Great

manual.

THE

SWELL

ORGAN

Top

Keyboard

This

division

contains

the

more

romantic

and

imitative

sounds.

There

is

the

Geigen

Diapason

.

Chorus,

somewhat

less

assertive

than

the

Great

Diapason

Chorus,

and

derived

from

a

tone

source

independent

of

the

Great

Diapasons.

There

is

a

quiet

String

Chorus

for

soft

ensemble

playing,

and

a

Flute

Chorus

of

a

different

harmonic

structure

than

the

Great

or

Choir

Flutes.

The

String

and

Flute

celestes

add

warmth

and

depth

to

this

division.

There

are

both

solo

and

chorus

reeds

on

this

manual.

The

Swell

is

named

for

its

being

an

expressive

division,

having

the

ability

to

"swell"

in

volume

as

the

e~pression

pedal

is

opened.

This

manual

is

further

separated

from

the

others

by

having

its

own

expression,

independent

of

the

others.

4

THE

CHOIR

ORGAN

Bottom

Keyboard

Typically

a

lighter

sound,

named

fpr

the

fact

that

this

division

most

often

accompanies

the

church

choir.

To

thi~

·

end,

it

has

light

flutes

and

strings

to

provide

an

ideal

fabric

of

sound

against

which

the

voices

of

the

choir

may

be

placed.

The

Choir

division

of

the

RODGER&

ORGAN

serves

the

additional

function

of

a

Positiv,

or

Baroque

manual.

The

light

Flutes

and

mutations,

together

with

the

Chiff

(Baroque

Accent),

provide

a

counter-voice

for

the

more

·

assertive

Great

division.

The

Choir

is

also

important

as

accompaniment

for

the

solo

voices

of

the

other

divisions.

The

percussions

(Harp

and

Carill~n)

are

also

located

on

this

manual.

THE

PEDAL

ORGAN

--

Pedal

Keyboard

This

division,

consisting

mostly

of

Flue

stops,

is

the

foundation

on

which

the

tonal

mass

of

the

organ

rests.

Couplers,

such

as

the

8'

and

4'

Great

to

Pedal,

assure

that

the

necessary

upper

work

is

available

when

more

definition

is

needed

in

the

pedal

melody

line.

The

Pedal

Reeds

add

additional

percussiveness

to

the

ful

\

Pedal

registr

a

tion.

5

COUPLERS,

PERCUSSIONS,

TREMULANTS,

AND

NON-SPEAKING

STOPS

COUPLERS

There

are

both

inter-manual

and

intra-manual

couplers

on

the

RODGERS

ORGAN.

The

inter-manual

couplers

connect

the

divisions

of

the

organ

together,

for

instance

16',

8',

and

4'

Swell

to

Great

couplers

connect

or

add

the

sounds

of

the

stops

drawn

in

the

Swell

Division

so

that

they

can

be

played

from

the

Great

keyboard

and

added

to

the

sounds

of

the

Great

Organ.

Great

to

Pedal

couplers

are

also

inter-manual

couplers

in

a

sense,

as

they

connect

the

sounds

of

the

Great

keyboard

to

the

Pedal

keyboard.

Intra-manual

couplers,

such

as

16'

Swell

to

Swell,

Swell

Unison

Off,

and

4'

Swell

to

Swell,

are

used

to

add

octaves

to

the

stop

drawn on

their

division,

greatly

·

adding

to

the

versatility

and

scope

of

the

organ.

PERCUSSIONS

The

Carillon

is

derived

from a

cluster

·

of

sustained

Flute

partials,

assembled

about

a

given

pitch

so

as

to

duplicate

the

harmonic

structure

of

tuned

bells.

The

Harp

is

another

sustained

voice,

suggestive

of

steel

bars

being

struck

by

small

felt

hammers.

When

used

in

arpeggios,

it

is

.

most

useful.

CHIFF

The 81

Quintade

on

the

Choir

is

used

when

the

Baroque

accent

is

desired

on

the

Choir

Flutes.

When

depressed,

it

adds

the

12th

momentarily

to

each

note

as

it

is

keyed.

This

effect

is

simultaneously

added

to

all

Choir

Flutes

and

mutations.

TREMULANTS

There

are

tremulants

on

the

s

~'

.dl

and

Choir

divisions

of

the

organ.

These

may

be

voiced

or

changed

in

many

ways

to

suit

the

particular

needs

of

the

organist.

Tremulants

are

often

used

with

Solo

Reeds

on

the

Swell

manual

or

with

the

strings

in

the

same

division.

EXPRESSION

PEDALS

Balanced

expression

pedals

control

the

volume

level

of

divisions

of

the

organ.

On

Models

35-A

and

35-D, two

expression

pedals

are

provided.

The

left

pedal

controls

the

Great,

Choir

and

Pedal

Divisions.

The

center

pedal

controls

the

Swell

Division.

(The

right

Pedal

is

Crescendo,

explained

later)

·

On

the

Models

36-C

and

36-D,

three

expression

pedals

are

provided.

The

pedal

to

the

far

left

controls

the

Choir

division,

the

to

the

right

controls

the

Swell

division,

the

to

the

right

controls

the

Great

division,

and

the

pedal

to

the

far

right

is

the

Balanced

Credcendo

pedal.

The

36-C

and

36-D

also

have

expression

couplers

to

connect

the

Choir

and

the

Swell

divisions

to

the

Great

expression

pedal.

This

makes

the

Great

a

master

pedal.

BALANCED

CRESCENDO

PEDAL

·

The

pedal

on

the

far

right

is

the

Balanced

Crescendo

Pedal.

Indicator

lights

on

the

stop

rail

indicate

the

position

of

the

pedal.

As

this

pedal

is

depressed,

stops

will

be

added

to

those

already

drawn,

building

to

full

organ

6

)·

SFORZAN

00

PISTON

AND

TOE

STUD

The

button

marked

11

sforz

11

when

pressed,

brings

on

the

full

organ

instantly.

Pressing

the

button

again

cancels

this

action

.

(Therefore

it

is

referred

to

as

reversible)

The

toe

stud

to

the

right

of

the

expression

pedals

is

used

in

the

same way.

COMBINATION

ACTION

DRAWKNOB

STOP

CONTROL

SETTERBOARD

I .

On

the

setterboard

equipped

organs,

the

combination

action

moves

the

stop

tabs

or

drawknobs

affected

and

is

adjustable

by

means

of

the

setterboard

located

in

a

drawer

underneath

the

Choir

Manual.

This

unit

contains

a

switch

for

each

stop

in

a

division,

and

a

set

of

these

switches

for

each

manual

thumb

piston

belonging

to

that

division.

Any

switch

moved

to

the

right

will

bring

on

the

stop

it

represents

when

that

manual

piston

is

pressed.

The

pistons

located

to

the

left

of

the

Great

manual

pistons

are

collective

general

pistons

and

are

duplicated

by

Toe

Studs

to

the

left

of

the

expression

pedals.

Each

general

piston

(or

toe

stud)

brings

on

all

of

the

stops

in

all

divisions

that

are

set

on

pistons

with

the

same

number,

i.e.

all

the

l's,

2's,

etc.

CAPTURE

TYPE

To

set

combinations

on

organs

equipped

with

Capture

Type

combination

action,

hold

in

the

button

on

which

you

wish

to

set

a

combination,

and

press

down on

the

stop

tabs

you

wish

to

use,

and

raise

any

stop

tabs

previously

set,

that

you do

not

wish

to

use.

Using

the

general

cancel

button,

located

at

the

right

end

of

the

choir

manual,

clear

the

setting,-

·

and

push

the

button

you

have

just

set.

Your

combination

will

now

reappear.

This

type

of

combination

action

has

.

also

been

referred

to

as

11

hold

and

set

11

•

llie

to

the

mechanical

aspects

of

this

action,

it

will

be

more

noisy

than

the

setterboard

type

of

action.

ANTIPHONAL

PROVISIONS

If

your

installation

has

been

equipped

with

Antiphonal

speakers,

it

is

possible

to

direct

the

Choir

or

Swell

Divisions

through

these

speakers.

Stop

controls

on

the

organ

consol

·e

operate

the

Antiphonal

and

additional

controls

will

turn

off

that

division

from

sounding

through

the

main

speakers.

If

your

organ

is

not

connected

to

this

Antiphonal

division,

it

may

be

added

at

a

future

date.

AIR

SOUND

The

RODGERS

ORGAN

is

equipped

with.

Air

Sound

to

duplicate

the

effect

of

air

leaking

from

pipes.

The

console

has

many

internal

controls

governing

the

amount

and

intensity

of

this

sound,

and

your

local

representative

will

be

happy

to

adjust

it

to

your

requirements.

A

switch

is

provided

under

the

Choir

manual

(or

on

the

setterboard)

to

turn

the

air

off,

should

you

wish

to

play

music

that

you

fe

el

it

does

not

add

to.

7

THE

CARE

AND

MAINTENANCE

OF

THE

RODGERS

ORGAN

CARE

AND

MAINTENANCE

Like

any

fine

musical

instrument,

·

the

care

and

maintenance

your

ROIX;ERS

receives

is

part

of

the

protection

of

your

investment.

Normally,

you

should

experience

no

difficulties

with

the

various

systems

of

the

organ.

It

has

been

carefully

designed,

and

only

the

very

finest

component

parts

have

been

used

in

its

manufacture.

·Even

the

finest

equipment,

however,

is

subject

to

occasional

malfunctions

and

failures.

Your

RODGERS

Service

Representative

is

fully

equipped

and

qualified

to

handle

any

service

problems

which

may

arise.

CONSOLE,

PEDALBOARD,

MUSIC

RACK,

KEYBOARDS

AND

STOP

TABS

Your new

ROIX;ERS

ORGAN

is

not

only

a

fine

musical

instrument,

but

is

also

a

fine

piece

of

custom

made

furniture,

finished

to

hold

its

attractiveness

through

generations

of

use.

Only

the

best

woods

are

used,

carefully

checked

for

uniformity

of

grain

and

intensity

of

figure,

and

carefully

hand

assembled.

As

each

finish

coat

is

applied,

it

is

thoroughly

dried

and

hand

rubbed

before

the

is

applied.

This

hand

rubbing

results

in

a

satin

finish

that

glows

with

polished

highlights;

a

finish

that

is

lasting

and

easy

to

keep

looking

beautiful.

CON

SOLE

AND

FEDAL

BOARD

A

frequent

dusting

with

a

soft,

clean

cloth

is

usually

all

that

is

required.

A

small

amount

of

Johnson•s

Cream

Polish

on

the

cloth

will

keep

the

organ

smudge-free

and

will

help

to

remove

fingerprints.

Waxes,

oils,

or

silicone-

base

polishes

should

not

be

used.

Always

wipe

the

finished

surfaces

with

the

grain,

using

straight

and

even

strokes.

PLEXIGLASS

MUSIC

RACK

To

avoid

scratches

on

plexiglass,

the

music

rack

should

be

cleaned

only

with

products

made

specifically

for

plexiglass

cleaning

and

polishing.

One

such

product

is

11

Sure-Fire

11

Plastic

Cleaner

manufactured

by

the

Wilco

Company

of

Los

Angeles.

Apply

with

a

very

soft

cloth,

using

straight

and

even

strokes.

KEYBOARDS

AND

STOP

TABS

Keyboards

and

Stop

Tabs

should

be

creaned

with

the

plastic

cleaner

suggested

above,

or

with

a

soft

cloth

dampened

with

water

and

a

mild

soap.

DO

NOT

USE

SOLVENTS

(alcohol,

gasoline,

carbon

tetrachloride,

etc.).

Since

extreme

cold,

heat,

or

exposure

to

sunlight

may

injure

the

finish

of

any

piece

of

fine

furniture,

the

organ

console

&hould

not

be

placed

over

a ·

heat

register

or

near

an

open

window.

8

)

SOME

REGISTRATION

HINTS

FOR

THE

RODGERS

ORGAN

The

following

guides

to

stop

selection

include

manual

by

manual

suggestions

as

to

basic

combinations

of

organ

voices,

as

wei

I

as

a

reference

guide

for

interpreting

the

stop

suggestions

of

pub! ished organ music. The

latter

is

especially

important

because most

organ

music

is

pub! ished with

only

general

suggestions

for

registra-

tion.

This

is

because

every

organ

is

different

in

some

way

from

the

organ

that

the

composer had

at

his

disposal.

Therefore,

names

of

some

stops

would

be

meaningless

on

some

instruments.

The

way

to

get

to

know

your

new

RODGERS

ORGAN

is

to

freely

experiment

with

the

sounds

of

the

instruments,

and

the

following

basic

guide

wi

II help you

achieve

good

classic

registration

ski

I

Is.

At

the

end

of

this

section

wi

II be found

several

ful

I organ

registrations,

given

as

the

basis

for

certain

specific

styles

and

periods

of

musical

practice.

PEDAL

DIVISION

The

term

"Appropriate

Pedal"

often

appears

on

suggested

registrations.

The

suggestion

seems obvious

at

first,

but

Pedal

stop

selection

is

as

much

an

art

as

manual

selection.

In

most organ

playing

the

Pedal

is

simply used

to

provide

the

foundation

(bass)

for

manual work. The use

of

16

1

voices

provides

the

subhar-

monics

necessary

to

undergird

the

manual

tonal

struc-r-ure.

PUBLISHED

MUSIC

NOTATIO~?~~D_FODgE~S

EQUIVALENTS

1.

SOFT

16

1

PEDAL

16

I

DULCIANA

2.

LIGHT

16

1

PEDAL

16

1

Ll

EBLI

CH

GEDECKT

3.

SOFT

16

I

AND

8I

16

I

LIEBLICH

GEDECKT

81

FLOTENBASS

OR

GEMSHORN

4.

BASIC

MP

TO

MF

PEDAL

16

1

BOUROON

8'

FLOTENBASS

8'

GEMSHORN

5.

FOUNDATIONS

16

1 &81

16

1

BOUROON,

16

1

DULCIANA

8'

OCTAVE,

81

GEMSHORN

6.

FOUNDATIONS

16

1 &81

16

I

PRINZ

I

PAL,

16'

BOURDON

81

OCTAVE,

81

FLOTENBASS

4'

CHORALBASS,

41

SPITZFLOTE

7.

FULL

PEDAL

16

I

PRINZIPAL,

16'

BOURDOO,

16'

BOMBARDE

81

FLOTENBASS,

81

OCTAVE

41

CHORALBASS,

4'

SPITZFLOTE

GRAVE

II

rks(MI

XTURE

II)

9

PEDAL

DIVISION

(Cont'd)

When

additional

Pedal upper voices

are

needed in

the

above

suggestions,

the

Pedal

couplers

are

used.

Most

generally

used

are

the

Great

to

Pedal

couplers,

since

the

stops

set

on

the

Great

usually

determine

the

basic

dynamic

strength

of

the

organ.

In

some

of

the

more

complex forms

of

contrapuntal

music,

the

Pedal Is

often

cal led

upon

to

furnish

a

distinctive

third

voice,

such

as

In

Trio

Sonatas

and

Chorale

Preludes.

The

Pedal

couplers

make

available

alI

of

the

upper

work

and Reeds

required

by

this

style

of

_music.

GREAT

DIVISION

The

Great

is

used in general church music

for

hymns

and major anthem

and

solo

accompaniments.

Primarily

Intended

for

ensemble

or

homophonic

texture,

the

Great

is

played

"both

hands" in

these

functions.

PUBLISHED

MUSIC

NOTATIONS

AND

RODGERS

EQUIVALENTS

1.

FLUTES

81 .

8'

BOURDON

2.

LIGHT

FOUNDATION

8'

PRINZ

I

PAL

4'

SPITZFLOTE

3.

BROAD

FOUNDATION

81

8'

BOUROON

8'

PRINZ

I

PAL

4.

LIGHT

FOUNDATION

81 &

4'

8'

BOUROON

4'

OCTAVE

5.

LIGHT

FOUNDATION

81, 41 &

2'

8'

BOUROON

4'

OCTAVE

2'

BLOCKFLOTE

6.

FOUNDATION

81

WITH

8'

PRINZ

I

PAL

FLUTES

4'

&

2'

4'

SPITZFLOTE

2'

BLOCKFLOTE

7.

BASIC

DIAPASON

CHORUS

8'

PRINZ

I

PAL,

8'

BOUROON

4'

OCTAVE

2'

SUPER

OCTAVE,

2'

BLOCKFLOTE

8.

FULL

FOUNDATION

CHORUS

8'

PRINZIPAL,

8'

BOURDON

41

OCTAVE,

41

SPITZFLOTE

2-2/3

QUI

NT

21

SUPER

OCTAVE,

2'

BLOCKFLOTE

9.

FULL

GREAT

TO

MIXTURE

ADD

MIXTURE

Iii

rks

TO

ABOVE

10.

FULL

GREAT

PLUS

16'

ADD

16

1

GH1SHORN

TO

THE

ABOVE

10

SWELL

DIVISION

A

considerable

amount

of

registration

for

the

Swel

I Division

wi

II

be

given

directly

in

the

form

of

solo

type

registration.

The

suggestions

below

are

given

for

use as ensemble choruses in music of a romantic

nature.

PUBLISHED

~1USIC

NOTATIONS

AND

RODGERS

EQUIVALENTS

I.

STRINGS

81

(GAMBA,

VIOLONE)

2.

SWELL

FLUTES

81

3.

STRINGS

8I & 4 I

OR

4•

FLUTES

8'

&

4'

5.

FOUNDATIONS

81 &

4'

6.

STR

I

NG

a-lOR

US

7.

FLUTE

CHORUS

8.

REEDS

9.

FULL

SWELL

10.

FULL

SWELL

PLUS

16

1

81

VIOLA

de

GAMBA

8'

Ra-JRFLOTE

8'

VIOLA

de

GAMBA

4'

GEMSHO~

8'

VIOLA

de

GAMBA,

SWELL

TO

SWELL

41

8'

ROHRFLOTE

4'

NAQ-lTHO~~

81

GEIGEN

DIAPASON

41

PRINZIPAL

81

VIOLA

de

GAMBA

81

VIOLA

CELESTE

SWELL

TO

SWELL

4'

81

FLUTE

DOLCE

81

FLUTE

CELESTE

SWELL

TO

SWELL

4'

81

TROMPETIE

8'

SQ-lALME

I

81

GEIGEN

DIAPASON,

81

ROHRFLOTE

8I

TROMPETIE,

8I

SQ-lALME

I

41

PRINZIPAL,

4'

NACHTHORN

21

DOUBLETIE

1-1/3'

OCTAVE

QUINT

<ADD

S\'.'ELL

TO

SWELL

41

IF

DESIRED)

ADD

16

1

BOURDON

TO

ABOVE

11

CHOIR

DIVISION

Two

sets

of

suggestions

are

given below

for

the

Choir

Division.

The

first

is

for

the

Choir

in

an

accompanimental

function;

the

second

for

using

the

Choir

as

a

Positiv.

Q-101

R

ACCOMPANIMENT

1.

CHOIR

STRINGS

8'

DULCIANA

OR

8'

VIOLA

2.

Q-lOIR

FLUTES

8'

81

GEDECKT

--

3.

Q-lOIR

STRINGS

8'

&

41

8'

DULCIANA

OR

8'

VIOLA

CHOIR

TO

CHOIR

41

4.

Q-101

R

REEDS

81

KRUMM-lORN

81

WAUl-lORN

5.

CHOIR

STRINGS

&

FLUTES

81

GEDECKT,

8'

VIOLA

81 &41

4'

KOPPELFLOTE

6.

CHOIR

ACCOMPANIMENTAL

CHORUS

8'

GEOECKT,

8'

VIOLA

41

KOPPELFLOTE,

4'

GEMSHORN

2'

NACHTHORN

CHOIR

POSITIV

The

following

suggestions

are

for

Baroque

registrations,

usually

employing

the

Chiff

accent.

These

combinations

are

best

used In

contrapuntal,

as

opposed

to

chordal

music. Note: Organs

using

a

Chiff

stop

should use

this

and

the

8'

Gedeckt in

alI

places

cal

ling

for

the

8'

Quintade

(with

chiff).

1.

Positiv

Flutes

81

2.

Combinations

of

Flutes

without

mutations

3.

Combinations

of

Flutes

with

Mutations

12

8'

Quintade

(with

chiff)

8'

Quintade

(with

chi

ff)

41

Koppelflote

8'

Quintade

(with

chlff)

21

Nachthorn

8'

Quintade

(with

chi

ff)

1I

Sifflote

8'

Quintade <with chi

ff)

2'

Nachthorn

1I S

iff

I

ote

8'

Quintade

(with

chI

ff)

2-2/3'

Nazat

8'

Quintade

(with

chI

ff)

4'

Koppelflote

2-2/3

Nazat

..

....

,.

)

:

))

3

CHOIR

POSITIV-

Cont'd

3.

Combinations

of

Flutes

with Mutations -

Cont'd.

8'

Quintade

(with

chiff)

2'

Nachthorn

1-3/5

1 Terz

81 Quintade

(with

chiff)

1-1/3'

Larlgot

FULL

ORGAN

REGISTRATIONS

The

following

are

suggested

full

organ

registrations,

with an eye

to

specific

musical

styles.

BAROQUE

ENSEMBLES

1.

2.

3.

SOFT

Swell:

Great:

Choir:

Peda I:

MF

Swell:

Great:

Choir:

Peda I:

FF

Swell:

Great:

Choir:

Peda I:

81 Hautbois

81 Bourdon,

2'

Super Octave

8'

Dulciana,

2'

Nachthorn

16'

Lleblich

Gedeckt,

8'

Gemshorn

8'

16

1

8'

16'

Geigen Diapason,

4'

Prinzipal,

41 Nachthorn

Bourdon, 41 Octave,,

2'

Super

Octave,

2'

Blockflote

Quintade

(with

chiff),

2-2/3'

Nazat ·

Lieblich

Gedeckt, 81

Octave,

81 Gemshorn,

Swel

I

to

Pedal 41

Geigen Diapason, 41

Prinzipal,

1-1/3

1 .

octave

Quint

Bourdon,

4'

Octave, 21 Super

Octave,

21

Blockflote,

Mixture

Iii

Quintade

(w/chiff)

4'

Koppelflote,

2-2/3

1

Nazat,

1'

Sifflote

Bourdon,

8'

Octave,

4'

Choralbass,

4'

Spitzflote,

Grave

ii

rks

RO~iJANT

IC

ENSEMBLES

1.

SOFT

STRINGS,

WITH

SOLO

ON

CHOIR

2.

Swel

1: 81 Viola

de

Gamba,

81

Viola

Celeste,

Swel

I

to

Swel

I 41

Great:

8'

Bourdon, 81 Gemshorn,

Swel

I

to

Great

81

Choir:

81

Krummhorn,

Tremulant

Pedal:

16

1

Lieblich

Gedeckt,

8'

Flotenbass,

Swel

I

to

Pedal

8'

FULL

ROMANTIC

ENSEMBLE

Swel

I:

8'

Viola de

Gamba,

81

Viola

Celeste,

8'

Flute

Dolce,

8'

FJ.

·

Celeste

Swel

I

to

Swel

I 41

(Add

Tremulant

if

desired)

Great:

81 Bourdon, 81 Gemshorn, 41

Spltzflote,

Swell

to

Great

81 &41

(Add

Tremulant

If

desired)

Choir:

8'

Unda

Maris

ii,

Swel

I

to

Choir

81 &

4'

(Tremulant

If

desired)

Pedal:

16

1

Lieblich

Gedeckt,

8'

Flotenbass,

Swel

I

to

Pedal 81

Choir

to

Pedal

8'

13

HYMN

REGISTRATION

One

of

the

very most

important

functions

of

the

organ

in church

is

the

playing

of

hymns. The

suggested

registrations

below

are

not

three

manual

registrations

because

the

Great

manual

is

used

for

most

hymn

playing,

using

both hands

on

this

manual. Most

churches

prefer

that

no

Tremulants

be

used.

When

playing

both hands

on one manual,

it

is

wise

to

avoid

using

the

16'

pitches

of

the

organ

on

the

manual

as

you have

plenty

of

bass

support

from

the

pedal

division.

1.

t'-1

P -

MF

Great:

81

Prinzipal,

4'

Spitzflote,

2'

Super

Octave

8'

Viola,

8'

Gedeckt, 41

Koppelflote

Choir:

Pedal:

16' Bourdon,

8'

Flotenbass,

Great

to

Pedal 81

2.

MF

- F

Swel

I:

81 Geigen Diapason,

8'

Rohrflote

Great:

81 Bourdon, 41

Octave,

4'

Spitzflote

., 21

Super

Octave,

21

Blockflot

Swel

I

to

Great

8'

&

4'

Pedal:

16

1

Prinzipal,

16

1 Bourdon,

8'

Octave,

41

Choralbass,

Great

to

Pe

dal

8'

&41

3.

F

Swel

I:

8'

Geigen Diapason,

8'

Rohrflote,

41

Prinzipal

Great:

81

Prinzipal,

81 Bourdon, 41

Octave,

41

Spitzflote,

21 Super

Octave,

2'

Blockflote,

t-1ixture

iii

rks,

Swell

to

Great

8'

&

4'

Pedal:

16'

Prinzipal,

16' Bourdon,

8'

Octave,

8'

Flotenbass,

4'

Spitz-

flote,

Grave i

i,

S\vell

to

Pedal 81,

Great

to

Pedal 81 &

4'

4.

Ff-

Sv>'e

II:

8'

Geigen Diapason,

8'

Rohrflote,

8'

Viola

de

Gamba,

8'

Trompet1·e,

8'

Prinzipal,

81 Bourdon,

4'

Octave,

4'

Spitzflote,

2-2/3'

Quint,

2'

Super

Octave,

21

Blockflote,

Mixture

iii

rks,

Swel

I

to

Great

Great:

Choir:

Peda I:

81 &41,

Great

to

Great

4',

Choir

to

Great

81 &

4~

8'

Viola,

8'

Gedeckt,

2-2/3

1 Nazat

16'

Prinzipal,

16' Bourdon, 16' Bombarde, ·

8'

Octave,

8'

Flotenbass,

41

Choralbass,

41

Spitzflote,

Grave

ii

rks,

Swel

I

to

Pedal

8'

&41,

Great

to

Pedal

8'

&

4',

Choir

to

Pedal

S'

&

4'

CARILLON

The

RODGERS

61

note

Carl I Jon,

playable

from

the

Choir

manual,

is

one

of

the

truly

beautiful

sounds avai

Jable

on

your

new

organ.

The

following

registration

wl

II

aid

you

in

using

the

Carl I lon

as

a

regular

part

of

your

services.

Unlike

the

other

voices

of

the

organ,

this

must be

played

using

a

staccato

touch.

If

you

wi

II

think

of

it

as

striking

a bel

I,

you

wi

II always remember

to

remove

your

finger

from

the

note

the

instant

lt

sounds. Holding

the

note

down

wi

II spol I

the

effect.

The Carl

lion

is

always

played

In

SINGLE

NOTES,

never

chords.

Swell:

Choir:

Peda I:

14

8'

Viola

de

Gamba,

8'

Viola

Celeste

Cari

lion

16' Liebl lch Gedeckt.

(Accompaniment)

A

GLOSSARY

OF

SOME

OF

THE

DESIGN

ELEMENTS

OF

THE

RODGERS

ORGAN

CONSOLE

SPECIFICATIONS

AI

I

of

the

console

dimensions

of

your

new

RODGERS

ORGAN

conform

with

the

spec-

Ifications

set

down

by

the

American

Gul

ld

of

Organists.

The

three

61-note

over-

hanging manuals

are

precisely

placed,

both in

relation

to

each

other

and

In

relation

to

the

pedalboard.

The

pedalboard

is

a

standard

A.G.O.

32-note,

concave and

radiating

clavier,

with

the

expression

pedals

placed

as

per

A.G.O.

specifications.

The

RODGERS

bench

is

designed

for

the

convenience

of

the

organist

during

a

service.

Two

compartments

that

open

to

the

front

allow

the

organist

to

keep music

to

one

side

that

has

not

been

played,

and music on

the

other

side,

after

it

has been

played.

This

helps

to

keep

the

music

rack

from

being

stacked

ful

I.

The

pedalboard

is

easily

removed from

the

organ

for

the

purpose

of

cleaning

under

it,

or

retrieving

objects

that

might be dropped

through.

There

are

no

wires

between

the

clavier

and

the

console,

and

simply

by

I

ifting

the

pedalboard

and

sl

!ding

It

away

from

the

console,

the

area

beneath

may

be

cleaned.

LEVELING

GLIDES

To

assure

the

proper

operation

of

the

rol

I

top,

the

console

should

always

sit

"square.'!

Uneven

floors

could

tend

to

distort

the

case

over

a

period

of

time,

and

extreme

stresses

wi

I I damage

the

casework and

equipment.

The

leveling

glides

are

under

each

corner

of

the

console

and

bench,

and

are

mounted

on

heavy

threaded

pins.

These

may

be

adjusted

as

much

as

1-1/2"

to

compensate

for

irregularities

In

the

floor.

A simpiG

spirit

level

can

assure

the

most

accurate

settings.

This

is

particularly

useful

in

schools

where

the

organ

may

have

to

be

moved

to

several

locations.

KEY

SWITCH

Your

RODGERS

ORGAN

is

equipped

with

a

locking

key

switch

and a locking

rol

I

top

cover.

The

same

key

operates

both

locks,

and

spare

keys

are

avai

fable

from

your

focal

RODGERS

representative.

The

organ

should

be covered and locked

when

not

in

use

to

prevent

vandalism.

IF

THE

ORGAN

DOESN'T

WORK

Your

new

RODGERS

ORGAN

is

guaranteed

by

your

local

representative,

and

the

parts

are

covered

by

a

factory

guarantee.

There

are

several

things

which

you

.can

do

before

cal

ling

for

service,

in

the

event

that

the

organ

doesn't

work.

Check

first

to

see

that

the

I

ights

on

both

the

music

rack

and pedal

clavier

come

on

with

the

switch.

This

indicates

whether

the

console

Is

connected

and

receiving

power.

As

the

signal

from

the

organ

reaches

the

speakers

there

wil I

be

an

audible

"thump", which

Is

perfectly

normal,

but

indicates

that

the

speakers

are

plugged

ln.

As

the

speakers

are

often

located

some

distance

from

the

console,

it

is

possible

that

they

may

be

plugged

into

a

different

electrical

circuit,

and

this

circuit

should

also

be

checked.

15

Rodgers Organ Company 35-A User manual

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