Rodgers 35A User manual

OWNER MANUAL
35A & 350
ER_~fJU! Organ Company; Hillsboro, Oregon

SWELL PISTON RAIL
POWER
CHOIR PISTON RAIL
MASTER TOE STUDS
GREAT CHOIR &
PEDAL EXPRESSION
SWELL EXPRESSION
CRESCENDO
35A
Console
STOP BOARD
GREAT TO PEDAL
PISTON
SFORZANDO
CANCEL
GREAT TO PEDAL
TOE STUD

STOP BOARDS
SWELL PISTON RAIL
GREAT PISTON RAIL
CHOIR PISTON RAIL
GREAT CHOIR &
PEDAL EXPRESSION
SWELL EXPRESSION
CRESCENDO ---'
350
.·.: ··. .. · :·
Console
COUPLER RAIL
GREAT TO PEDAL
PISTON
SFORZANDO
CANCEL
GREAT TO PEDAL
TOE STUD

MODEL
TONE CABINETS
The minimum tone cabinet complement for the Rodgers
35- A
consists of two Wide-Range Tone Cabinets and one
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 .
This speaker complement provides three channels, allow-
ing for voice separation by manual division and voice family .
The console is prepared for additional channels for added
power and voice separation .
Amplification is provided within each Tone Cabinet using
high performance , all-transistor amplifiers .
GREAT SWELL
CHOIR
8' Gemshorn
Specifications
Three AGO 61-note Overhanging and
Tilted Keyboards
AGO 32-note Concave and Radiating Pedal Clav i er
17 -Piston Setterboard Combination Action
Sforzando Piston and Toe Stud
Baroque Chiffon Choir Flutes
Air Sound
Organ Harp and Carillon
Independent Celestes on Swell and Choir
Diapason , Flute, String , and Reed Voices
Full Complement of Standard Couplers
Great to Pedal Reversible
Divided Tremulants
Divided Ex press ion
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 61%"
Depth 36,
Minimum Floor Area for Console ,
Height 51 " Pedal, and Bench: 62 " Square
AUXILIARY SPEAKER SYSTEMS
Rodgers Antiphonal Speakers (with Amp l ifiers)
Rodgers Outdoor Tower Speaker System
PEDAL
16 ' Gemshorn
8' Principal
8' Bourdon
4' Oct ave
16 ' Lie blich Gede ck t (Ch)
8' G eige n Diapason
8' Rohrfl ot e 8' Gemshorn
Ce leste
8' Gedeckt
32 ' Contr a P ri ncipal
16' Principal
16 ' Bourdon
C OMBINA TI ON AC TIO N
(Se tt e rbo ard in Dr a we r)
4- S we ll P isto ns
4-Gr ea t & Pedal Pi sto ns
4- Ch oi r Pi stons
4- Coll ective Mast er Pi ston s
4' Sp itzflote
2%' Tw elfth
2' Supe ro ctave
2'
Bloc kflote
M ix ture Ill
• 4' Gr eat to Gr eat
16 ' Swell to Gr eat
8' Sw
ell to Gre at
4'
Sw ell to Gr eat
• 16' Cho ir to Gr eat
8' Gamba
8' Gamb a Cele st e
8' Flute Celeste II
4' Pr
estant (Ch)
4' Nachtho rn (Ch)
2%' Nazard (Ch)
2' Waldfl ote (C h)
8' T ro mpette
8' Ha
utbo is
8' K
rummhorn
Tremulant
8' Quin tade (w/ch iff )
4' Gemshorn
4' Koppelfl
ot e
2%' Nazat
2' Nachthorn
1W Terz
1
~ · L arigot
1' Si ffl ot e
Harp
Carillon
Tremulant
16 ' Lieblich Ge deckl
16 ' Dulc iana
8' Oct ave
8' F lo tenbass
4' Chora lb ass
4' Sp itzf l ot e
Mixture II
16' Fa gott o
(Dupli ca ted by Toe St uds)
1-- General Ca ncel P iston
ANTIPHONAL PROV ISION S
Sw
ell Main Off
Sw ell Echo On
C hoir Main Off
Ch oi r Echo On
• 8'
Choir to Gr ea t
• 4' Cho ir to Great
16 ' S we ll to Swell
S
we ll Unison Off
4' Sw e ll to Sw ell
•16'
Cho ir to Cho ir
Cho ir Unison Off
8' Gr ea t to Pedal
4' Great to Pedal
8' Swell to Pedal
4' S we ll to Pedal
• 8' Choir to Pedal AIR
SOUND
' ( Opt ional Coupl ers)
BALANCED EXPRESSION PEDALS
1. Gr eat, Choir a nd Pedal
2. Sw ell
• 4'
Choi r to Choir
16 ' S we ll to C hoir
8' Swell to Choir
SFORZANDO PISTON & TOE STUD 4' Swell to Choir
• 4'
Choir to Pedal
BALANCED CRESCENDO PEDAL
(with Indicat or Lights)
REVERSIBLE ACTION
Great to Pedal 8'
(Piston & Toe Stud)
RODGERS ORGAN COMPANY / HILLSBORO , OREGON / CHICAGO / SAN FRANCISCO
2304 - 020

'ONE CABINETS
'he minimum tone cabinet complement for the Rodgers
5-D
consists of two Wide-Range Tone Cabinets and one
:xtended
Low-Frequency Pedal Cabinet. Each Wide-Range
~abinet combines cone type speakers with special high-
r
equency tweeters. The two 15" speakers in the Pedal
~abinet effortlessly reproduce the low fundamental tones
1f the organ, even at high power levels.
'his speaker complement provides three channels, allow-
1g for voice separation by manual division and voice
amily. The console is prepared for additional channels for
1 dded power and voice separation .
l..mplification is provided within each Tone Cabinet using
ligh performance , all-transistor amplifiers .
>R EAT SWELL
CHOIR
8' Gemshorn
Specifications
Traditional Draw-Knob Stop Controls for
Organ Voices
Tilt-Tab Stop Controls for Couplers and
Ant iphonal 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
Chiffon Choir Flutes
Air Sound
Organ Harp and Carillon
Independent Celestes on Swell and Choir
Diapason, Flute, String , and Reed Voices
Full Complement of Standard Couplers
Great to Pedal Reversible
Div ided 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
CONSOLE DIMENSIONS
Width 61 V
8"
Minimum Floor Area for Console ,
Depth 36" Pedal, and Bench: 62" Square
Height 51"
AUXILIARY SPEAKER SYSTEMS
Rodgers Antiphonal Speakers (with Amplifiers)
Rodgers Outdoor Tower Speaker System
PEDAL
16 ' Gemshorn
8' Principal
8' Bourdon
4' Octave
16 ' lieblich Gedeckt (Ch)
8' Geigen Diapason
8' Rohrflote 8' Gemshorn
Celeste
8' Gedeckt
32 ' Contra Principal
16 ' Principal
16 ' Bourdon
COMBINATION ACTION
(Setterboard in Dr awer)
4-Swell Pi stons
4-Great & Pedal Pi stons
4-Choir Pistons
4-Collective Master Piston s
4'
Spitzflote
%' T welfth
2' Superoctave
2' Blockflote
Mixture Ill
4' Great to Great
16 ' Swell to Great
8' Swell to Great
4' Swell to Great
16' Choir to Great
8' Choir to Great
4' Choir to Great
' (Optional Couplers)
IALANCED EXPRESSION PEDALS
.
Gre at, Choir and Pedal
.
Swell
8' Gamba
8' Gamba Celeste
8' Flute Celeste II
4' Prestant (Ch)
4' Nachthorn (Ch)
2%' Naza rd (Ch)
2'
Waldflote (Ch)
8' Trompett e
8' Hautbois
8' Krummhorn
Tremulant
8' Quintad e (w/chiff)
4' Gemshorn
4' Koppelflote
2%' Nazat
2'
Nachthorn
1%' Terz
1 IS ' Larigot
1'
Sifflote
Harp
Carillon
Tre mulant
•16 ' Choir to Choir
Choir
Unison Off
16 ' Swell to Swell
Swell
Unison Off
4' Swell to Swell
• 4' Choir to Choir
16 ' Swell to Choir
8' Swell to Choir
SFORZANDO PISTON & TOE STUD 4' Swell to Choir
16 ' Lieblich Gedeckt
16 ' Dulci a na
8' Octave
8' Flotenbass
4'
Choralb ass
4' Spitzftote
Mixture II
16 ' F ag otto
8' Great to Pedal
4'
Gr ea t to Pedal
8' Swell to Pedal
4'
Sw ell to Pedal
• 8' Cho ir to Ped al
• 4' Choir to Pedal
BALANCED CRESCENDO PEDAL
(with Indicator Lights)
(Duplicated by Toe Studs )
1-
-General Cancel Pisto n
ANT IPHONAL PROVISIONS
Swell Main Off
Swell Echo On
Choir Main Off
Choir Echo On
AIR SOUND
REVERSIBLE ACTION
Great to PedaI 8'
(Piston & Toe Stud)
~ODGERS ORGAN COMPANY / HILLSBORO , OREGON / CHICAGO / SAN FRANCISCO
2304-021

THE RODGERS
Model 35-A
Model 35-D
In their basic design and layout, these models are complete, three-manual
classic organs, capable of supplying the ordinary needs of the church service
as well as the performance of the most demanding recital and concert liter-
ature. 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 Organ 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 addi-
tional registrational information, with the selection of a competent organ
instructor, or with ideas to help you exploit to the fullest the broad musical
resources of this fine organ.
-1-

THE MUSICAL RESOURCES OF THE MODEL 35-A & 35-D
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 further empha-
sized by the frequent use of the name "principal" to denote it. Diapason tone
is non-imitative in nature, and is unique to the organ alone. It has enough
foundational tone to enable it to blend well with, and add strength to, the en-
semble. 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 16 , 81, 41, and 21 pitch registers. There is also a Diapason
Twelfth (2-2/3'), as well as the Mixture Ill, which corroborates the upper
harmonic structure of the Diapasons and adds the final touch of brilliance to
the Diapason Chorus. In the Swell Division, Diapasons are present at 81 and
41 pitch, the 8' Diapason being less bold, more in keeping with the romantic
nature of the Swell. The general name for this type of stop is Geigen Diapa-
son. The Choir Division has the Diapason family represented by the softer
Gemshorn sound, at 81 and 4' pitch. These add fullness and variety to the
Choir ensemble. The Pedal Division uses the Diapason at 32' , 16, 8' , and
4' pitches, as well as the Diapason Mixture IT, which caps the Pedal ensem-
ble. Here, as in all divisions, Diapason tone is the principal sound, and the
one most characteristic of the organ.
THE FLUTE FAMILY
The Flute tones of the organ are characterized by a lesser amount of harmonic
development, and as such are good foundation builders. The Great Flute chorus
completes the ensemble and gives it a well-rounded, full sound. The Choir
Flutes, present in an abundance of pitch registers (including mutations) serve
as a contrapuntal foil to the more assertive Great, and lend the possibility of
synthesizing many interesting solo effects. The Quintade stop adds the Baroque
"chili" accent to the Choir Flutes, adding sparkle to the works of Bach and his
contemporaries. The Swell 8' Flute is a fuller sound, again in keeping with the
romantic nature of this division. The 16, 4', 2-2/3', and 2' Flutes on the Swell
extend the pitch register capability of this division and provide the necessary
· upper work. The Pedal Flutes, at 16', 8', and 4' pitches, round out the Pedal
sound much in the same way as they do in the Great ensemble, and provide the
soft to medium heavy foundation for quiet ensemble playing.
- 2-

THE STRING FAMILY
This sound is a relative newcomer to organ tone, coming as it did in the early
19th century. It is generally an imitative sound, closely associated with the
sound of an orchestral string section. The string family of organ stops pos-
sesses a soft tone, with an incisive edge and a limited amount of foundational
pitch. This extreme development of harmonic partials allows this sound to
blend easily in to quieter ensembles, while at the same time giving them a
"singing" quality, like the sound of violins in the symphony orchestra. The
Gamba on the Swell has this type of sound, giving that division a valuable voice
for use in quiet, orchestral ensembles. The 161 Dulciana in the Pedal is a
string of soft speech, yet it has definition and gives pitch security for that di-
vision in soft playing.
Extra sets of tone generators, playable on the Swell and Choir manuals, create
the Celeste effect. An organ celeste is created by setting precisely-tuned os-
cillators against purposely out of tune oscillators. Historically, the resulting
undulating "beat" is said to resemble "celestial voices," hence the "Celeste"
nomenclature o This gently undulating sound is unequalled in adding warmth and
emotional depth to organ tone. Two distinctive Celeste voices are on the Swell
Manual, the Gamba Celeste and Flute Celeste. The Choir Celeste is the broad
Gemshorn sound, an_ideal accompaniment for the Solo voices of the Swell. The
compass of these voices is from tenor C to c4.
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 lmife-like edge on the upper part of the
pipe mouth. These pipes and their resulting sounds are classed collectively
under the name of Flue Stops o
THE 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 standing alone in a melodic line. The Krummhorn (the organ counter-
part of the Clarinet) and the Hautbois (the organ Oboe) belong to this category.
The Chorus Reeds, such as the Trompette, 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 161 Fagotto in the
Pedal adds "snarl" and percussiveness to the Pedal Ensemble.
- 3-

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 fail-
ure of a classic 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 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 ex-
tend the versatility of the organ but do not fit well into an ensemble sound,
due to their pungent and colorful tonality. To demonstrate how this principle
works, turn on the 8' Principal on the Great. Now, while holding a chord,
add in succession the 4' Octave, the 2' Superoctave, and finally the Mixture
III.
Hear how the tone is brightened and clarified by the progressive addi-
tion of these registers. Now add to this the 8' Bourdon, the 4' Spitzflote,
and the 2' Blockflote. See how this "firms up" the ensemble and adds body
and weight.
The use of these stops in various combinations 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 (2-2/3', 1-3/5', etc.).
These stops are used for the purpose of adding color to solo stop combin-
ations, and in light contrapuntal music. The 2-2/3' Nazard (or Nazat),
when
played in combination with an 8' stop, for instance, spealfs a note an
octave and a fifth above the 81 pitch. The 1-3/5' Tierce (Terz) speaks two
octaves and a third above the 8' pitch, and the 1-1/3' Larigot (or Octave
Nazard)
speaks two octaves and a fifth 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. Fifth-sound-
ing pitches are used almost exclusively, basically because the ear accepts
the sound of the fifth more easily than a third sounding pitch. This is probably
a carry-over from the Medieval practice of Organum, or singing in parallel
fifths. The Mixtures are used principally in full registrations, to cap off the
sound with a mantle of brilliance. Play the Mixture III on the Great 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
-4-

TONE FAMILY
DIAPASONS
FLUTES
STRINGS
CHORUS
OR
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, they are a mixture of high and relatively low pitches.
This gives brilliance and solidity to the upper registers. The effect of a
mixture on the ensemble may be likened to throwing open the curtains of a
darkened room and allowing the sun to come in.
On the Rodgers organ, the Mixture III stop makes three sets, or ranl<s, of
these mixture pitches playable on the Great Manual where this stop is most
useful. The Pedal division has a different sort of mixture, consisting of a
unison and a fifth-sounding rank. This mixture does not break back, but
merely strengthens the Pedal upper work. Incidentally, on any Mixture
stop, the roman numeral on the stop key or draw knob is your guide to the
number of ranks that are sounded by that stop (Mixture II, Mixture III, etc.).
SPEAKING STOPS ON THE 35-A AND 35-D
LOCATION
GREAT MANUAL
SWELL MANUAL CHOIR MANUAL PEDAL CLAVIER
16
1
Gemshorn
8' Geigen Diapason 8' Gemshorn 321 Contra Principal
8' Principal 4' Prestant 4'
Gems horn
16
1
Principal
4' Octave
8'
Octave
2' Super Octave 4' Choralbass
8'
Bourdon 16
1
Lieblich Gedeckt
8'
Gedeckt
16'
Bourdon
4'
Spitzflote 8' Rohrflote 8'
Quintade
16
1
Lieblich Gedeckt
2' Blockflote
4' Nachthorn 4' Koppelflote
8' Flotenbass
2'
Waldflote
2'
Nachthorn 4' Spitzflote
1' Sifflote
8' Gamba 16
1
Dulciana
ENSEMBLE REEDS
8'
Trompette 16
1
Fag otto
SOLO REEDS
8' Hautbois
8' Krummhorn
2-2/3
1
Twelfth
2-2/3' Nazard 2-2/3' Nazat
MUTATIONS
1-3/5
1
Terz
1-1/3' Larigot
MIXTURES
Mixture III
Mixture II
8' Gamba Celeste 8' Gemshorn Celeste
CELESTES
8'
Flute Celeste ll
PERCUSSIONS
Harp
Carillon
- 5-