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-

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, have gradually culled out "innovations" that served no practical
function and merely got in the way. An extreme example of this type of thing
was the old "thunder pedal" of some of the older European organs . This pedal,
when depressed, would cause the lowest four or five pipes of the Pedal division
to sound at once, giving an effective "rumble" like thunder. Such devices, ex-
cept in Theatre Organs, are happily extinct.
The modern organ console is a miracle of convenience and practicality, due to
the process of evolution that produced it. The combination of three 61-note
beveled and tilted keyboards and the 32-note concave and radiating pedalboard
gives the organist the necessary console flexibility to perform organ music as
written, without compromise. In addition, the various tone colors are conven-
iently available, distributed into divisions according to their traditional functions
in the organ.
Incidentally, all Rodgers Classic Organs adhere rigidly to the specifications
for console standardization as prescribed 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 charac-
terized by the unique Diapason sound, available at 5 separate pitch levels.
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 Swell to Great couplers (161, 81, and 41)
to render the Swell voices playable on the Great Manual.
THE SWELL MANUAL - Top Keyboard
This division characteristically contains the more romantic and imitative
sounds. There is the Geigen Diapason, somewhat stringier and less as-
sertive than the Great Diapasons , and derived from an independent tone
source. There is a quiet string, the Gamba, and its Celeste, and a Flute
of a different harmonic structure than the Great and Choir Flutes. There
- 6 -

is the Flute Celeste, a soft and eloquent sound. The Reeds of this manual
consist of an imitative Hautbois and Krummhorn, used in their solo capac-
ity, and the Chorus Trompette , used as an ensemble builder in the full or-
gan. The Swell is named for its being an expressive division, having the
ability to "swell" in volume as the expression pedal is opened. This man-
ual is separated from the other two manuals by having its own unison (8')
stops on a separate expression pedal, independent of the rest of the organ.
The non-unison stops of the Swell are "borrowed" from the other divisions,
and are marked as such to indicate their origin and the expression under
which they are placed.
THE CHOIR ORGAN - Bottom Keyboard
Typically a lighter sound, named for the fact that this division most often
accompanies the church choir in softer works. To this end, it has light
Flutes and small scaled Diapasons to provide an ideal fabric of sound a-
gainst which the voices of the choir may be placed. The Choir Division
of the Rodgers Organ serves the additional function of a Positive, or Ba-
roque manual. The light Flutes and mutations, together with the Chiff
(Quintade), provide a counter-voice for the more assertive Great Division.
The Choir Celeste is also important as accompaniment for the solo voices
of the other divisions. The percussions (Harp and Carillon) are also lo-
cated 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. With its wide range of pitches and
sounds, the Pedal Division is complete in itself, yet couplers have been
provided to bring manual sounds down to this division, to add further
definition to the Pedal line. For instance, the Swell Krummhorn can be
played on the Pedal clavier at 4' pitch (with the Swell to Pedal 4') to pro-
vide the type of melodic capability needed in some Chorale Preludes. The
16' Fagotto, a percussive Reed sound, adds the additional percussiveness
needed in full Pedal registrations.
- 7-

COUPLERS, PERCUSSIONS, TREMULANTS, AND NON-SPEAKING STOPS
COUPLERS
The following is a list of couplers to be found on current versions of the 35- A and
35-D. Older versions of this instrument may not have the couplers indicated with
an asterisk.
PEDAL
81
Great to Pedal
41 Great to Pedal
81 Swell to Pedal
41 Swell to Pedal
*81 Choir to Pedal
*4
1
Choir to Pedal
SWELL GREAT
161
Swell to Swell * 41 Great to Great
Swell Unison Off 16
1 Swell
to Great
41 Swell to Swell 81 Swell to Great
41 Swell to Great
*161 Choir to Great
* 81 Choir to Great
* 41 Choir to Great
CHOIR
*161 Choir to Choir
* Choir Unison Off
* 41 Choir to Choir
161 Swell to Choir
81 Swell to Choir
41 Swell to Choir
While this great abundance of couplers adds immeasurably to the flexibility of the
instrument, it must be remembered that, like all conveniences, they can be inar-
tistically used. Each division has its complete complement of stops, and wholesale
coupling of "everything to everything else" is to be discouraged, as it tends to upset
the tonal balance of the organ. Here are a few examples of legitimate uses of coup-
lers:
1. Coupling the Swell (or Ghoir) Celestes to themselves at 161 and 41 pitch, to
broaden the sound.
2. Coupling the Swell Reeds to the Great to complete the Full Organ sound.
3. Coupling manual sounds into the Pedal (Swell Reeds or Choir Mutations, for
instance) to provide a melodic capability for the Pedal.
4. Coupling the Choir or Swell to Great on the last verse of a hymn, to give a
fuller sound.
5. Coupling a division to itself at 4 1 pitch to add brilliance.
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.
- 8-

CHIFF
The 8' Quintade on the Choir is us . ed 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 two tremulants on the 35-A and 35-D. The Swell Tremulant places the
tremulant effect on all unison voices in the Swell Division. The Great and Choir
voices (as well as the upper voices of the Pedal) are affected by the Tremulant in
the Choir Division.
EXPRESSION PEDALS
.
There are two pedals which directly affect the volume level of the organ. The
Swell Pedal affects the same voices that the Swell Tremulant does; the Swell
Unison (8') voices. The Great Pedal affects collectively the rest of the organ.
The Register Crescendo Pedal (located to the right and slightly above the ex-
pression pedals) affects the volume of the organ in a different way, by progres-
sively adding stops in a predetermined order. This device does not affect the
stops already set up on the organ, but merely adds to them. Again, the inartis-
tic use of these devices is to be warned against. "Pumping" of the Expression
and Crescendo Pedals results in a sound that quickly tires the listener.
SFORZANDO PISTON
The button marked "SFORZ," located on the Great Manual Piston Rail, brings on
the full organ instantaneously when depressed. Pressing the button again reverses
this action. The toe stud on the far right of the kneeboard accomplishes the same
thing.
GREAT TO PEDAL PISTON
This button, when depressed, brings on the 8' Great to Pedal Coupler. When
depressed again, it turns off the Coupler, along with the 4' Great to Pedal Coup-
ler, if this one is on. The toe stud immediately to the right of the Crescendo
Pedal accomplishes the same thing.
- 9-

SETTERBOARD COMBINATION ACTION
The standard combination device on the 35-A and 35-D is a setterboard type
combination action. This combination device visibly moves the stop controls
affected by it 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 piston belonging to that division.
Any switch moved to the right will bring on the stop it represents when that
manual piston is depressed. The pistons located to the left of the Great Man-
ual pistons are collective general or Master Pistons and are duplicated by toe
studs to the left of the expression pedals. Each Master piston brings on all
stops in all divisions that are set on pistons with the same number, i.e. all
the l's, 2's, etc.
CAPTURE COMBINATION ACTION (OPTIONAL)
This optional system provides for general pistons that are fully independent
of the individual manual piston s, and are fully adjustable. The setting oper-
ation consists of pressing the piston upon which the combination of stops is to
be placed. While holding the piston in, the stops previously set on that piston
are retired by hand, and the new combination is set up in like manner. The
piston is then released. The new combination will now appear whenever that
particular piston is depressed.
TOWER SPEAKER SYSTEM
The console is prepared for the use of the Rodgers Outdoor Tower Speaker
System. This system, operated by the locking key switch on the right side
of the console, permits the organist to play the Choir Percussion Stops
(particularly the Carillon) from a special high-power, weatherproof speaker
system. The Percussions, as played through this system, are independent
of the expression system of the organ, and therefore play at a constant vol-
ume level.
- 10-

SOME REGISTRATION SUGGESTIONS FOR THE RODGERS 35-A AND 35-D
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 be-
cause most organ music is published with only general suggestions for registration.
This is because every organ is different in some way from the organ that the com-
poser had at his disposal. Therefore, names of some stops would be meaningless
on some instruments. The way to get to know the organ is to experiment freely with
the sormds of the instrument, and the following basic guide will help you achieve good
classic registration skills. At the end of this section will be formd several full 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 sug-
gestion seems obvious at first, but Pedal stop selection is as much an art as manual
selection (probably even more, since the Pedal division must often balance dynamic-
ally with all three manual divisions). In most organ playing, the Pedal is simply used
to provide the formdation (bass) for manual work. The use of 16' voices provides the
subhm;monics necessary to rmdergird the manual tonal structure.
PUBLISHED SUGGESTION
1. Light 16' Pedal
2. Soft 16' & 8'
3. Basic MP Pedal
4. Basic MF Pedal
5. Formdations 16' & 81
-11-
SUGGESTED INTERPRETATION
16' Lieblich Gedeckt or 16' Dulciana
16' Lieblich Gedeckt or 16' Dulciana
8' Flotenbass
16
1
Bourdon or 16' Dulciana
81 Flotenbass
(41 Spitzflote)
16' Bourdon
161 Dulciana
8' Flotenbass
41 Spitzflote
161 Bourdon
161 Lieblich Gedeckt
81 Octave
8' Flotenbass
41 Spitzflote

PUBLISHED SUGGESTION
6. Foundations F
7. Full Pedal
SUGGESTED INTERPRETATION
16' Principal
16' Bourdon
8' Octave
8' Flotenbass
4' Choralbass
4' Spitzflote
32' Contra Principal
16' Principal
16' Bourdon
8' Octave
8' Flotenbass
4' Choralbass
4 ' Spitzflote
Mixture !I
16' Fagotto
When additional upperwork is desired in the Pedal, the Great to Pedal Couplers are
generally used, 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 (particularly the Swell to Pedal Couplers) make available
the manual sounds required by this style of music.
GREAT DIVISION
The Great is used in general church music for hymns and major anthem and solo ac-
companiments. Primarily intended for ensemble or homophonic texture, the Great is
played "both hands" in these functions.
PUBLISHED SUGGESTION
1. Flutes 8'
2. Light Foundations 8'
3. Broad Foundation 8'
4. Light Foundation 8' & 4'
SUGGESTED INTERPRETATION
8' Bourdon
8' Principal ·
4' Spitzflote
8' Principal
8' Bourdon
8' Bourdon
4' Octave
- 12-

PUBLISHED SUGGESTION SUGGESTED
INTERPRETATION
5. Foundations 8' & 4'
8' Principal
8' Bourdon
4' Octave
6. Light Foundations 8' , 4' , & 2'
8' Bourdon
4' Octave
2' Blockflote
7.
Foundation 8', with Flutes 4' & 2'
8' Principal
4' Spitzflote
2' Blockflote
8.
Basic Foundation Chorus
8' Principal
8' Bourdon
4' Octave
2' Super Octave
2' Blockflote
9. Full Foundation Chorus 8' Principal
8' Bourdon
4' Octave
4' Spitzflote
2-2/3' Twelfth
2' Super Octave
2' Blockfl.ote
10.
Full Great to Mixtures Add Mixture III to the above.
11.
Full Great + 16' Add 16' Gemshorn to the above.
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 en-
semble choruses in music of a romantic nature.
PUBLISHED SUGGESTION SUGGESTED
INTERPRETATION
1. Strings 8'
8' Gamba
(Gamba, Violone, Viola, etc.)
2. Swell Flutes 8' 8'
Rohrflote
- 13-

PUBLISHED SUGGESTION SUGGEST
ED INTERPRET ATION
3. Strings 81 & 41 81 Gamba
41 Swell to Swell
4. Flutes 81 & 41
8' Rohrflote
4 1 Swell to Swell
5. Foundations 81 & 41 81
Geigen Diapason
4' Swell to Swell
6. Foundations 81, 41, & 21 81
Geigen Diapason
81 Rohrflote
41 Prestant
41 Nachthorn
21 Wald.flote
7. String Chorus
81 Gamba
81 Gamba Celeste
161 Swell to Swell
41 Swell to Swell
8. Flute Chorus 81 Flute Celeste II
4' Swell to Swell
9. Reeds 81 & 41 81 Trompette
41 Swell to Swell
10. Full Swell, with Reeds 81 Geigen Diapason
81 Rohrflote
41 Prestant
41 Nachthorn
21 Wald.flote
81 Trompette
41 Swell to Swell
11. Full Swell, + 161 Add
either 161 Lieblich Gedect or
161 Swell to Swell to above (Never both).
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
Division.
- 14 -

Choir Accompaniment
PUBLISHED SUGGESTION
1. Choir Flutes 81
2. Choir Strings 81
3. Choir Celeste 81 (Unda Maris)
4. Choir Foundations 81
5. Choir Foundations 81 & 41
6. Choir Accompanimental Chorus
7. Full Choir
Choir Positiv
SUGGESTED INTERPRETATION
81 Gedeckt
81 Gemshorn
81 Gemshorn
81 Gemshorn Celeste
81 Gedeckt
81 Gemshorn
81 Gedeckt
81 Gemshorn
41 Gemshorn
81 Gemshorn
81 Gemshorn Celeste
4 1 Gems horn (or 41 Choir to Choir)
81 Gemshorn
81 Gedeckt
41 Gemshorn
41 Koppelflote
21 Nachthorn
1-1/3
1
Larigot
11 Sifflote
The following suggestions are for Baroque registrations, usually employing the Quintade
Baroque Accent. These combinations are best used in contrapuntal, as opposed to chor-
dal music.
PUBLISHED SUGGESTION
1. Positiv Flutes 81
2. Positiv Foundations 81
3. Flutes 81, Prestant 41
-15 -
SUGGESTED INTERPRETATION
81 Quintade
81 Quintade
81 Gemshorn
81 Quintade
41 Gemshorn