Rodgers 32A User manual

Specifications
RODGERS ORGAN COMPANY/HILLSBORO. OREGON/CHICAGO/SAN FRANCISCO
2304'()17
SFORZANDO PISTON &TOE STU[
PRESET COMBINATION ACTION
4-General Pistons
1stTouch Cumulative
2nd Touch Progressive
1-Cancel Piston
OPTIONAL
COMBINATION ACTIO"
(Setterboard in Drawer)
4-Swell Pistons
4-Great &Pedal Pistons
4-Choir Pistons
4-Collective Master Pistons
(Duplicated
by Toe Studs)
1-General Cancel Piston
PEDAL
16' Diapason
16' Bourdon
16' Lieblich Gedeckt
8' Octave
8' Flute
Great to Pedal
Coupler
Swell to Pedal Coupler
MODEL32-A
CONSOLE DIMENSIONS
Width 59"
Depth 29'l'8 "
Height 48"
Minimum Floor Area for Console.
Pedal. and Bench:
60" Square
All Rodgers Church Organs Comply with American
Guild
of Organists Standards
All Rodgers'lnstruments are Guaranteed
for Five Years
Three
AGO 61-note Overhanging and
Tilted Keyboards
AGO 32-note Concave and Radiating Pedal Clavier
Double-Touch Preset Pistons
Sforzando Piston and Toe Stud
Baroque
Chiff on Choir Flutes
Organ Harp and Carillon
Two Independent Celestes on the Swell
Diapason, Flute, String. and Reed
Voices
Standard Couplers
Divided Tremulants
Divided Expression
Illumination for Music Rack. Stop Board. and Pedal
Matching Organ Bench
Locking Roll-Top
Console
All Tone Generators Contained in the Console
CHOIR
8' Gedeckt
8' QUintade
(w/chiff)
8' Dulciana
4' Flute
2%' Nazard
2' Piccolo
1%' Tierce
8'
Clarinet
Tremulant-;-light
Tremulant-full
Harp
Carillon
'(Optional)
SWELL
8' Geigen Diapason
8' Rohrflute
8' Salicional
'8' Voix Celeste II
'8' Flute Celeste II
4' Geigen Octave
4' Nachthorn
4' Salicet
8' Trumpet
8' Oboe
Tremulant
BALANCED EXPRESSION PEDALS
1. Great, Choir and Pedal
2. Swell
GREAT
16' Lieblich
Gedeckt
8' Open Diapason
8' Bourdon
4' Octave
4' Flute
2' Super
Octave
Mixture II
Swell
to Great Coupler
Full Chorus
ECHO
Main
Off
Echo On
TONE CABINETS
The typical 32-A installation would include two Wide-Range
Tone
Cabinets combining cone type low and mid-range
speakers with special high-frequency tweeters. For full
voice
separation. one additional Wide-Range Tone Cabinet
and a separate Pedal Cabinet may be plugged directly into
the
console. Echo Speaker Cabinets may be added to any
voice
channel. Amplification is provided within each Tone
Cabinet using high performance. all-transistor amplifiers.
For the
small church or studio the 32-A provides for the use
of a single Wide-Range Tone Cabinet. either self-contained
or external.
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Minimum Floor Area for Console,
Pedal, and Bench: 62" Square
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CONSOLE DIMENSIONS
Width 61%"
Depth 36"
Height 51"
All Rodgers Church Organs Comply with American
Guild of Organists Standards
All Rodgers Instruments are Guaranteed for Five Years
MODEL32-C
Specifications
Three AGO 61-note Overhanging and
Tilted Keyboards
AGO 32-note Concave and Radiating Pedal Clavier
Double-Touch Preset Pistons
Sforzando Piston and Toe Stud
Air Sound
Baroque Chiff on Choir Flutes
Organ Harp and Carillon
Two Independent Celestes on the Swell
Diapason, Flute, String, and Reed Voices
Fully Independent Pedal
Standard Couplers
Divided Tremulants
Divided Expression
Balanced
Crescendo
Illumination for Music Rack, Stop Board, and Pedal
Matching Organ Bench
Locking Roll-Top Console
All Tone Generators Contained in the Console
TONE CABINETS
Two Wide-Range Tone Cabinets make up the minimum tone
cabinet complement for the- Model 32-C. The recommended
installation would add an Extended Low-Frequency Pedal
Cabinet. Each
Wide-Range Cabinet combines cone type
speakers with special high-frequency tweeters. The two
15" speakers in the Pedal Cabinet effortlessly reproduce
the low fundamental tones of the organ, even at high power
levels. For full voice separation, one additional Wide-Range
Tone Cabinet (a four-cabinet installation) may be plugged
directly into the console. Echo Tone Cabinets may be added
to any voice channel.
Amplification is provi<;led within each Tone Cabinet using
high
performance, all-transistor amplifiers.
RODGERS ORGAN COMPANY/HILLSBORO, OREGON/CHICAGO/SAN FRANCISCO
BALANCED EXPRESSION PEDALS
1. Great, Choir &Pedal
2. Swell
BALANCED CRESCENDO PEDAL
(with Indicator Lights)
2304·018
PRESET COMBINATION ACTION
4-General Pistons
1st Touch Cumulative
2nd Touch Progressive
1-Cancel Piston
SFORZANDO PISTON &TOE STUD
AIR SOUND
OPTIONAL
COMBINATION ACTION
(Setterboard in Drawer)
4-Swell Pistons
4-Great &Pedal Pistons
4-Choir Pistons
4-Collective Master Pistons
(Duplicated
by Toe Studs)
l--General Cancel Piston
PEDAL
16' Diapason
16' Bourdon
16' Lieblich
Gedeckt
16' Dulciana
8' Octave
8' Flute
8' Gemshorn
16' Trombone
Great to Pedal
Coupler
Swell to Pedal Coupler
CHOIR
8' Viola
8' Gedeckt
8' QUintade (w/chiff)
8' Dulciana
4' Flute
2%' Nazard
2' Piccolo
1%' Tierce
l' Fife
8' Clarinet
Tremulant
Harp
Carillon
SWELL
8' Geigen Diapason
8' Rohrflute
8' Salicional
8' Voix Celeste II
8' Flute Celeste II
4' Geigen Octave
4' Nachthorn
4' Salicet
8' Trumpet
8' Oboe
4' Clarion
Tremulant
GREAT
16'
Lieblich Gedeckt
8' Open Diapason
8' Bourdon
4' Octave
4' Flute
2%'
Twelfth
2' Super Octave
2' Piccolo
Mixture III
Swell to Great Coupler
Full Chorus
ECHO
Main
Off
Echo On

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Two Wide-Range Tone Cabinets make up the minimum tone
cabinet complement for the Model 32- 0The recommended
installation
would add an Extended Low-Frequency Pedal
Cabinet. Each Wide'-Range
Cabinet combines cone type
speakers with special high-frequency tweeters. The two
15" speakers in the Pedal Cabinet effortlessly reproduce
the low fundamental tones of the organ, even at high power
levels. For full voice separation, one additional Wide-Range
Tone
Cabinet (a four-cabinet installation) may be plugged
directly into the console. Echo Tone Cabinets may be added
to any voice channel.
Amplification is provided within each Tone Cabinet using
high performance,
all-transistor amplifiers.
MODEL32-D
Specifications.
Traditional Draw-Knob Stop Controls for
Organ Voices
Tilt-Tab
Stop Controls for Couplers and
Antiphonal Provisions
Three
AGO 61-note Overhanging and Tilted
Keyboards
AGO 32-note Concave and Radiating Pedal Clavier
17-Piston Setterboard Combination Action
Sforzando Piston and Toe Stud
Baroque
Chiff on Choir Flutes
Air Sound
Organ Harp and
Carillon
Two Independent Celestes on the Swell
Diapason, Flute, String, and Reed Voices
Fully Independent Pedal
Standard
Couplers
Divided Tremulants
Divided Expression
Balanced Crescendo
Illumination for Music Rack, Stop Board, and Pedal
Matching Organ Bench
Locking Roll-Top Console
All Tone
Generators Contained in the Console.
All Rodgers Church Organs Comply with American
Guild
of Organists Standards
All Rodgers Instruments are Guaranteed
for
Five Years
CONSOLE DIMENSIONS
Width 61Va"
Depth 36"
Minimum Floor Area for Console,
Height 51" Pedal, and Bench:
62" Square
RODGERS ORGAN COMPANY/HILLSBORO, OREGON/CHICAGO/SAN FRANCISCO
BALANCED EXPRESSION PEDALS
1. Great, Choir and Pedal
2. Swell
AIR SOUND
2304-019
COMBINATION ACTION
(Setterboard in Drawer)
4-Swell Pistons
4-Great &Pedal Pistons
4-Choir Pistons
4-Collective Master Pistons
(Duplicated by Toe Studs)
I-General Cancel Piston
SFORZANDO PISTON &TOE
STUD
BALANCED CRESCENDO PEDAL
(with Indicator Lights)
PEDAL
16' Diapason
16' Bourdon
16' Lieblich Gedeckt
16' Dulciana
8' Octave
8' Flute
8' Gemshorn
16' Trombone
Great to Pedal Coupler
Swell
to Pedal Coupler
CHOIR
8' Viola
8' Gedeckt
8' QUintade
(w/chiff)
8' Dulciana
4' Flute
2%' Nazard
2' Piccolo
1~' Tierce
l' Fife
8' Clarinet
Tremulant
Harp
Carillon
SWELL
8' Geigen Diapason
8' Rohrflute
8' Salicional
8'
Voix Celeste II
8' Flute Celeste II
4' Geigen Octave
4' Nachthorn
4' Salicet
8' Trumpet
8' Oboe
4' Clarion
Tremulant
ECHO
Main
Off
Echo On
GREAT
16' L1eblich Gedeckt
8' Open Diapason
8' Bourdon
4' Octave
4' Flute
2%' Twelfth
2' Super Octave
2' Piccolo
Mixture III
Swell to Great Coupler
Full Chorus

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THE RODGERS
Model 32-A
32-C ..
32-D
In their basic design and layout, these models are complete, three-manual
church organs, capable of supplying the ordinary needs of the church service
as well as the occasional 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 these two instruments. 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.
- 1-

THE MUSICAL RESOURCES OF THE MODEL 32-A, 32-C, AND 32-D
THE VOICE FAMILIES OF THE ORGAN
(DIAPASONS, FLUTES, STRINGS AND REEDS)
THE DIAP
AS ON 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
possesses enough harmonic development to add brilliance and life. The
usefulness of this type of tone becomes apparent as one looks at the stoplist of
the organ. On the Great manual, Diapasons are present at 8', 4', and 2'
pitches. There is also a Mixture, which corroborates the upper harmonics of
t
he Diapasons 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 Diapasons. In the Pedal Organ, the Diapasons are present at 16' and
8' pitches, to provide foundation and firmness 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 and Lieblich Gedeckt at 16' pitch and the Flute at 8' pitch 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
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possesses a soft tone, with akeen edge and a limited amount of foundation
pit~h. 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 accompaniment function of that division.
An extra set of tone generators, playable on the Swell manual , creates the..
Celeste' effect. (Optional on Model 32-A) 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 "Voix Celeste." This gently undulating sound
is unequalled in adding warmth and emotional depth to organ tone. Two
distinctive celeste voices are included: Flute Celeste and String Celeste.
The compass of these voices 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
motion 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 collec-
tively under the name Flue Stops.
THE REED FAMILY
Pipe organ Reed Stops make use of the vibrations of a brass reed tongue
against a fixed shallot, t he 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 Clarinet and
Oboe belong to this category. The Chorus Reeds, such as the Trumpet(plus
the Clarion on the 32-C/D) may be used in a 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. The 16' trombone in the Pedal
(mod~l 32-C/D) adds "snarl" and percussiveness to the Pedal Ensemble.
ENSEMBLE
Much has been mentioned so far about the "ensemble" of an organ. This is
perhaps the single most important factor in determining the success or
failure of a church organ. Ensemble refers to the manner in which the
various stops complement each other, and the manner in which they all add
up to a homogenous tonal mass. No one sound should overpower the basic
-3-

ensemble sound of the organ. The Solo Reeds, mutations of the Tierce
family such as the 1-3/5', and the Celestes are exceptions to this. They are
included to extend the versatility of the organ but do not fit well into an
ensemble sound. To hear how this principle works, turn on the 8' Open
Diapason on the Great. Now, while holding a chord, add in succession the
4' Octave, the 2' Super Octave, and finally the Mixture. Hear how the tone
is brightened and clarified by these registers. Now add in succession the
8' Bourdon, the 4' Flute, and the 2' Piccolo(32-C/D). This "firms up" the·
ensemble and gives it body. The use of these stops in various combination:s
is basic to the art of registration. Experiment freely with the sounds of the
organ; this is the key to a better understanding of its capabilities.
MUTATIONS
The mutation, stops of an organ, sometimes called fractional pitches, are
those which speak pitches other than the unison pitch (1-3/5', 2-2/3', etc.).
These stops are used for the purpose of adding color to solo stop combina-
tions, and in light contrapuntal music. The 2-2/3' Nazard, when played in
combination with an 8' stop, for instance, speaks a note an octave and a
fifth
above the 8' pitch. The Tierce 1-3/5' speaks two octaves and a third
above the 8' pitch. Use these stops often and experiment with them; they
are the" salt and pepper" of the organ stops.
MIXTURES
Mixtures are composed of sets of fractional pitches, and are· used to clarify
and extend the upper harmonic structure of the organ ensemble. They are
used principally in full registrations, to cap off the sound with a mantle of
brilliance. Play the Mixture stop by itself, starting at the bottom of the
keyboard and ascending chromatically. Notice that the pitches are relatively
high at the bottom of the manual. This gives clarity and definition to the
lower registers. As you go up, the pitches "break back" to lower ones as
they reach the top of their compass .. Near the top of the manual, . the pitches
are kept as high as possible. This gives brilliance and sparkle to the upper
registers. The effect of a mixture on the ensemble may be likened to throw-
ing open the curtains of a darkened room and allowing the sun to come in.
On the Rodgers Organ, the Mixture II tab makes two sets, or ranks, of these
mixture pitches playable on the Great Manual where this stop is most useful.
On any mixture stop, the roman numeral on the stopkey is your guide to the
number of ranks that that stop plays. (Mixture II, Mixture ill, etc.)
-4-
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SPEAKING STOPS ON THE 32-A
TONE FAMILY ,LOCATION
GREAT MANUAL SWELL MANUAL CHOIR MANUAL
PEDAL CLAVIER
8' Open Diapason
8' Geigen Diapason
16' Diapason
DIAPASONS
4' Octave
4' Geigen Octave
8' Octave
2' Super Octave
16' Lieblich Gedeckt
8' Rohrflute
8' Gedeckt
16' Bourdon
FLUTES
8' Bourdon
4' Nachthorn
8' Quintade
16' Lieblich Gedeckt
4' Flute
4' Flute
8' Flute
2' Piccolo
STRINGS
8' Salicional
8' Dulciana
o!.
4' Salicet
SOLO REEDS
8' Oboe
8' Clarinet
;
CHORUS REEDS
8' Trumpet
MUTATIONS 2-2/3' Nazard
1-3/5' Tierce
MIXTURES
Mixture II
CELESTES
*8' Voix Celeste II
*8'
Rute Celeste II
PERCUSSIONS
Harp
Carillon
* Optional
SPEAKING STOPS ON THE 32-C AND 32-D
TONE FAMILY LOCATION
GREAT MANUAL SWELL MANUAL CHOIR MANUAL
PEDAL CLAVIER
8' Open Diapason
8' Geigen Diapason
..
16' Diapason
DIAPASONS
4' Octave
4' Geigen Octave 8' Octave
2' Super Octave
8' Gemshorn
16' Lieblich Gedeckt
8' Rohrflute 8' Gedeckt 16' Bourdon
8' Bourdon
4' Nachthorn 8' Quintade 16' Lieblich Gedeckt
FLUTES
4' Flute
4' Flute
8' Flute
2' Piccolo 2' Piccolo
I' Fife
STRINGS
8' Salicional 8' Viola 16' Dulciana
4' Salicet 8' Dulciana
SOLO REEDS 8' Oboe
8' Clarinet
CHORUS REEDS
8' Trumpet
16' Trombone
4' Clarion
MUTATIONS
2-2/3' Twelfth
2-2/3' Nazard
1-3/5' Tierce
MIXTURES Mixture ill
CELESTES
8' Voix Celeste II
8' Flute Celeste II
PERCUSSIONS
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Harp
Carillon
-5-

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 culled out "innovations" that served no
practical function and merely got in the way. An extreme example of this
type of thing is the old "thunder pedal" of some of the early European
organs. This pedal when depressed would cause the lowest four or five
pipes of the pedal organ to sound at once, giving an effective "rumble" like
thunder! Such devices, happily, are extinct.
The modern organ console is a miracle of convenience and practicality, due
to the process of evolution that produced it. The combination of two 6l-note
beveled and tilted keyboards and the 32-note concave and radiating pedalboard
gives the organist the necessary flexibility to perform organ music as
written, without compromise. In addition, the various tone colors are
conveniently available, distributed into divisions according to their traditional
functions in the organ.
Incidentally, all Rodgers Church Organs adhere rigidly to the specifications
for console standardization as laid down by the American Guild of Organists.
It may be well at this point to give a short description of the tonal "palette"
and function of the various divisions of the organ.
THE GREAT ORGAN -- Center Keyboard
This division is the backbone and main substance of the organ. It is'
characterized bY,the unique Diapason sound, available at various pitches.
This Diapason Chorus, backed up by a chorus of sorter 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 Swell to Great coupler, to make the Swell
voices playable on the Great manual.
THE SWELL ORGAN -- Top Keyboard
This division characteristically 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 I
of the Great Diapasons. There is a quiet String Chorus for soft ensemble
playing, and a Flute Chorus of a harmonic structure different from the Great
or Choir Flutes. The String and Flute Celestes provide added warmth and
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depth to thiS~VisiOh. The -!teeds a:fihi:s manual c'Qnsist of ail imitative
Oboe, lised lfiJt ~solo capactty·, and it· ChoruE Tt1:unpet tused as an ensemble
builder in thetuil organ. 'the Swell is harned for its being an expressive
division, having the ability to "swell" in voiume as the expression pedal is
opened. This manual is separated. from the other two manuals by having
its own expressioD.·t mdependent of the others.
THE CHOIR ORGAN -- Bottom Keyboard
Typically a lighter sound, named for the fact that this division most often
accompanies the church choir. To this 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 Rodgers 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 Carillon)
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. The two couplers assure that the necessary
upper work is available when more definition is needed in the pedal melody
line. The 16
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Trombone in the Pedal (Model 32-C/D) adds an additional
percussiveness to the f).Ill Pedal registration.
-7-

COUPLERS, PERCUSSIONS, TREMULANTS, AND NON-SPEAKING STOPS
COUPLERS
There are three couplers on the Rodgers: Swell to Great, Great to Pedal,
and Swell to Pedal. The Swell to Great Coupler is used principally for
combining the Swell voices (usually the Chorus Reeds) with the Great en-
semble for greater brilliance and body in full organ effects. The Pedal
couplers furnish the necessary upper pitches to the Pedal and give it greater
definition. Notice also that the upper pitches of the Swell or Great can be
coupled to the Pedal and there used for playing the melody of a Chorale
Prelude whenever such an arrangement is called for .
PERCUSSIONS
The Carillon is derived from a cluster of sustained Flute partials, assembled
about a given pitch so as to suggest the harmonic structure of tuned bells.
The Harp is another sustained voice, suggestive of steel bars being struck by
small, felt-padded hammers. The Harp is most effective when played in
arpeggios.
CHIFF
The 8' Quintade on the Choir is used when the Baroque accent is desired on
the ~hoir 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 three tremulants on the 32-A; two on the 32-t/D. The one
controlled by the tab on the Swell places a tremolo on all of the Diapason,
Reed: and String voices, as well as the Swell Flutes. The Great and Choir
Flute Tremulant is controlled by the Tremulant stop key on the Choir. The
32-A has two tremulants for these Flutes, Light and Full.
FULL CHORUS CONTROL
This tab, when depressed, slightly detunes the Flute generator set and the
Main generator set. This imparts a "sound in motion" effect to any music
- 8-
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played when the Flutes are used in combination with the Diapasons or
Strings. The resulting effect is slower than a celeste but has much of the
same warmth of tone as a celeste. In full organ combinations it imparts a
slight pitch uncertainty that adds life and body to the ensemble.
EXPRESSION PEDALS
Your organ is equipped with two expression pedals. The left pedal (marked.
Great) controls the volume level of the Great, Choir, and Pedal divisions. :
The right pedal (marked Swell) controls the volume of the Swell division
alone. The 32-C and 32-D have, in addition, yet another pedal: the register
Crescendo Pedal. This is located to the right of the Swell Pedal, and is
raised slightly above the level of the Swell Pedal to prevent its accidental use.
When
depressed, this pedal gradually adds a progression of stops that increase
the overall volume of the organ. It is used when a rapid build-up in ensemble
is desired.
SFORZANDO PISTON
The button marked "SFORZ" when pressed, brings on the full organ instantly.
Pressing the button again cancels this action. The toe stud to the right of the
expression pedals accomplishes the same thing.
PRESET COMBINATION ACTION
On the 32-A and 32-C, the standard combination device is a blind, general
preset-type action. There are four Preset Pistons and one Cancel Piston.
Each Preset Piston has "Double Touch" -- a special feature of this combi-
nation action. For increased flexibility and ease of playing, the "first
touch" (light pressure) is additive and turns on the preset combination,
adding it to whatever stops are already set up on the stopboard as well as
to any other presets that are on. The "second touch" (slightly heavier
pres~ure) is progressive and cancels all presets except the piston being
pushed. The "second touch" does not affect any stops set up manually on
the stopboard. The General Cancel Piston (0) will cancel all preset
combinations.
Fifteen different combinations are possible:
1)
1
1 - 2
1 - 2 - 3
1 - 2 - 4
1-2-3-4
1 - 3 - 4
1 - 3
1 - 4
2
2 - 3
- 9-
2 - 3 - 4
2 - 4
3
3 - 4
4

MODEL: 32-A
Stops may also be added manually from the stopboard. The following preset
combinations are arranged in ascending dynamic order from 1 through 4. A
panel of lights (combons) on the stop rail indicates which Preset Pistons are
on. Here are the stops pre-wired at the factory for each piston:
GREAT SWELL
PISTON # 1
CHOIR
PEDAL
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8' Open Diapason
4' Flute
8' Rohrflute
4' Nachthorn
8' Gedeckt
8' Dulciana
16' Lieblich Gedeckt
Gl
fGl
PISTON #2
8' Bourdon
8' Geigen Diapason 8' Dulciana
16' Bourdon
4' Flute
4' Geigen Octave
4' Flute
.,
PISTON #3
8' Open Diapason
8' Salicional
8' Gedeckt
16' Lieblich Gedeckt
4' Octave
4' Salicet
2' Piccolo
8' Flute
4' Flute
2' Super Octave
PISTON #4
8' Bourdon
8' Geigen Diapason
8' Gedeckt
16' Lieblich GedeckWl
4' Octave
8' Rohrflute
4' Flute
16' Bourdon
2' Super Octave
8' Trumpet
2' Piccolo
8' Octave
Mixture II .,
MODEL: 32-C
PISTON #1
- 10-
GREAT
8' Open Diapason
4' Flute
SWELL
8' Rohrflote
4' Nachthorn
CHOIR
8'
Gedeckt
8' Dulciana
PEDAL
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16' Lieblich Gedeckt8
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GREAT
8' Bourdon
4' Flute
2' Piccolo
8' Open Diapason
4' Octave
4' Flute
2' Super Octave
8' Bourdon
4' Octave
2' Piccolo
Mixture III
PISTON
#2
SWELL
8' Geigen Diapason
4' Geigen Octave
PISTON #3
8' Salicional
4' Salicet
PISTON #4
8' Geigen Diapason
8' Trumpet
CHOIR
8' Viola
4' Flute
8' Gedeckt
4' Flute
2' Piccolo
8' Dulciana
4' Flute
2' Piccolo
l' Fife
PEDAL
16' Bourdon
8' Flute
16' Lieblich Gedeckt
16' Dulciana
8' Gemshorn
16' Diapason
16' Bourdon
8' Octave
8' Flute
Preset Combination Actions have been laid out primarily for use in church liturgy
rather than for the performance of concert literature.
PISTON #1
. :/
GREAT MANUAL Useful for the introduction of larger hymns, for the first
voices of a quiet hymn, and occasionally for choir responses .
,
~,
SWELL MANUAL - Provides an answer to the above, or it can be coupled to the
Great to broaden that registration.
CHOIR MANUAL - Provides a soft background to the Great.
THE PEDAL - Set to balance the above registrations.
PISTON #2
GREAT MANUAL - Provides a clear Flute Chorus for lighter music and with
solo choral work.
-11-

SWELL MANUAL - The Diapason at 8' and 4' provide the foundation --
either when used alone for choir work or when coupled
to the Great for congregational singing.
CHom MANUAL - The most basic registration for lighter hymns.
THE PEDAL - Set to balance the above registrations.
PISTON #3
GREAT MANUAL - The basic Diapason Chorus for most hymns of a larger sort.
SWELL MANUAL - Provides only the light strings, particularly useful for a
quick transition from soft meditation to the Great hymn organ .
CHom MANUAL - Imitation of the Flute Chorus of Great Piston #2.
THE PEDAL - Set to balance the above registrations.
NOTE: These registrations may be broadened by adding
either Piston #2 or # 1.
PISTON #4
GREAT MANUAL - Useful for final verses of hymns, especially when there has
been a gradual build-up, verse by verse, through the Great
registrations on the other pistons (above). The Swell to Great
Coupler adds greater clarity, bringing the reed sound from
the Swell.
SWELL MANUAL - Provides the Swell Reeds, notably the distinctive sound of the
Solo Trumpet.
CHOIR MANUAL - Provides an answering chorus of lighter flutes. On the Rodgers,
this chorus is capped by the I' Fife.
THE PEDAL - Set to balance the above registrations.
NOTE: The addition of Piston #1, #2 or #3 will strengthen
and broaden the thinner registrations of Piston #4 .
-12 -
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SETTERBOARD COMBINATION ACTION
The Setterboard Combination Action is standard on the Model 32- D, optional
on the 32- A and 32-C. This combination action moves the stop tabs affected
and is adjustable by means of the setterboard located in a drawer under the
Choir Manual. This unit contains a switch for each stop in a division, and a
set of these switches for each manual piston belonging to that division. Any
switch moved to the right will bring on the stop it represents when that man'7.
ual 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 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.
-13 -

- 14 -
SOME REGISTRATION HINTS FOR YOUR RODGERS
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' voices provides the subhar-
monies necessary to undergird the manual tonal structure.
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32-C &32-D
32-A
16' Lieblich Gedeckt
16'
Lieblich Gedeckt
16' Lieblich Gedeckt
16' Lieblich Gedeckt
8' Flute or Gemshorn
8' Flute
16' Bourdon
16'
Bourdon
8' Flute (Gemshorn)
8'
Flute
16' Bourdon, Dulciana
16' Bourdon
8' Octave, Gemshorn
8' Octave
16'
Diapason, Bourdon
16'
Diapason,
Bourdon
8' Octave, Flute
8' Flute
16' Diapason, Bourdon,
16' Diapason, Bourdon
Trombone
8' Octave, Flute
8' Octave, Flute,
Gemshorn
The following guides to stop selection include manual by manual suggestions as to
basic combinations of organ voices, as well as a reference guide for interpreting
the stop suggestions of published organ music. The latter is especially important
because most organ music is published 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 meaning-
less on some instruments. The way to get to lmow the organ is to experiment freely
with the sounds of the instrument, and the following basic guide will help you achieve
good classic registration skills. At the end of this section will be found several full
organ registrations, given as the basis for certain specific styles and periods of
musical practice.
PUBLISHED SUGGESTION
3.
Basic MP to MF Pedal
2. Soft 16' & 8'
5. Foundations 16' & 8'
1. Light 16' Pedal
6. Full Pedal
4. Foundations 16' & 8'

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Pedal Division (cont'd)
When
Pedal upper voices are needed in the above suggestions, the Pedal couplers
are used. Most generally used is the Great to Pedal coupler, 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 called
upon to furnish a distinctive third voice, such as in Trio Sonatas and Chorale Pre-
ludes. The Pedal couplers make available all of the Great and Swell upper work and
Reeds required by this style of music .f.
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 SUGGESTION
32-C & 32-D
32-A
l.
Flutes 8'
8'
Bourdon 8'
Bourdon
2.
Light Foundation 8'
8'
Open Diapason
8'
Open Diapason
4'
Flute
4'
Flute
3.
Broad Foundation 8'
8'
Open Diapason,
8'
Open Diapason,
'.'
Bourdon
Bourdon
~
4.
Light Foundation 8' &4 '
8'
Bourdon
8' Bourdon
4'
Octave
4'
Octave
e
5.
Light Foundation 8', 4',
8'
Bourdon 8'
Bourdon
~
& ~'
4'
Octave
4'
Octave
2'
Piccolo
4'
Flute
f!!'
~
6.
Foundation 8', with
8'
Open Diapason
8'
Open Diapason
~
Flutes 4' & 2' 4'
Flute
4'
Flute
"
2'
Piccolo
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7.
Basic Diapason Chorus
8'
Open Diapason,
8' Open Diapason,
~
8',4',&2'
Bourdon
Bourdon
e
4'
Octave
4'
Octave
2'
Super Octave,
2'
Super Octave
~
Piccolo
"
e
8.
Full Foundation Chorus
8'
Open Diapason, 8'
Open Diapason,
Bourdon
Bourdon
"
4'
Octave, Flute
4'
Octave, Flute
"
2-2/3' Twelfth
e
2'
Super Octave,
2'
Super octave
"
Piccolo
-:,tt -
15 -
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e

1-
,ill
,II
Great Division (cont1d)
:iJJ
PUBLISHED SUGGESTION
32-C & 32-D
32-A
I'll
III
9. Full Great to Mixtures
Add mixture to the
Add mixture to the (Il
above. above.
(1/1
10. Full Great +161Add 161
Lieblich
Add 16' Lieblich
(ill
to the above. to the above. r;jJ
•
SWELL DIVISION •
A considerable amount of registration for the Swell Division will be given directly
•
in the form of solo type registration.
The suggestions below are given for use as
fIJ
ensemble choruses in music of a romantic nature.
•
PUBLISHED SUGGESTION
32-C & 32-D 32-A
WI
WI
1. Strings 8'
81 Salicional
81
Salicional
'"
(Gamba, Violone)
..
2.
Swell Flutes 8181
Rohrflute 81 Rohrflute
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3.
Strings 81& 4'
81 Salicional
8'
Salicional
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41
Salicet
41
Salicet
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4.
Flutes 8' &4181
Rohrflute
81
Rohrflute
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41 Nachthorn
41
Nachthorn
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5.
FOundations 81&4181
Geigen Diapason 81 Geigen Diapason
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4'
Geigen Octave or
41
Geigen Octave or
•
Nachthorn Nachthorn
•
6.
String Chorus
Voix Celeste II
81 Salicional
•
41 Salicet
41
Salicet (or Voix
•
Celeste II) •
(Tremulant)
..
7.
Flute Chorus Flute Celeste II
81
Rohrflute (or Flute
•
41
Nachthorn
Celeste II)
wi
41
Nachthorn
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8.
Reeds 81&4181 Trumpet
81
Trumpet, Oboe
Wi
41 Clarion
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81
Geigen Diapason,
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9. Full Swell
81
Geigen Diapason,
Rohrflute
Rohrflute
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41 Geigen Octave,
41
Geigen Octave,
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Salicet
Salicet
•
81
Trumpet
81 Trumpet, Oboe •
4'
Clarion
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- 16-
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