Rodgers Columbian 75 User manual

Owners Manual
RODG€RS
COLUMbiAN
.and 7-;
Jamestown
100-11
PART #1905-212
RODGERS ORGAN COMPANY
1300 NE 24TH Avenue
Hillsboro, Oregon 97124

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RODGERS COLUMBIA-75
RODGERS 'JAMESTOWN 100-11
The design of the Rodgers Organ is a skillful blend
of space-age technology with the centuries-old art of organ
building. From a compact and reliable solid-state console
emanates a full ensemble of pure classic voices suited to
the interpretation of traditional organ literature as well
as service music of the contemporary church.
Incorporated into its design are the elements necessary for
practice and teaching, making the( Organ ' - - also an ideal
instrument for school or studio.
Because this organ is capable of such a broad range of tonal
color and flexibility, no attempt will be made to completely
catalogue the many possible stop combinations available. It
is hoped, however, that the registration suggestions and other
information contained here will serve as a proper introduction
to the musical resources of your new Rodgers Organ
An organ's sound is constructed by the various combinations
of sounds of the families of tone found on the organ.
The uniqueness of different sounds on an organ is the fact
that they are found at different pitch levels (octaves).
A stop that is engraved with an 8' sounds at the same pitch
level as a piano. When you play middle "C" on the organ with
an 8' stop on, you hear the same note as you would playing
middle "C" on the piano. .
You
will notice that other stops have 16',4', 2', 2-2/3',
and 1-3/5' engraved on them. These numerals show the pitch
relationship to the 8'. The larger the number, the lower the
pitch. Example: the stop engraved 4' will produce a sound
one octave higher than the note being played. If you are playing
middle "C", the sound you would be hearing is the pitch of
the "C" one octave above middle "C". The 16' would give you
one octave below, and the 2' will produce the pitch two octaves
above the note you are playing.

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The 2-2/3' and 1-3/5' are of a different nature. When they
are drawn, they produce a different interval other than the
octave of the note being played. The 2-2/3' produces a note
one octave and five steps above the note that is being played.
Example: playing middle "C", you will hear the "G" above
the octave above middle "C". The Tierce 1-3/5' speaks two
octaves and a third above the 8' pitch. These stops are
called mutations and are used for coloring purposes only,
being omitted from any full organ combinations. Use these
stops often for combinations with a single melody line and
experiment with them; they are the "salt and pepper" of the
organ stops.
The glorious sound that an organ produces comes from the
combination of similar tone qualities at different pitch
levels, with the upper pitch levels adding brilliance and
the lower pitches adding fullness. This combination of voices
at different pitch levels produces ensemble.
Ensemble is created by the combination of voices that complement
each other by adding their own quality to the total sound
without sticking out or being obtrusive in any way. To hear
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' Fifteenth, and finally the Mixture II.
Hear how the tone is brightened and clarified by these registers.
Now add in succession the 8' Bourdon and the 4' Flute. This
"firms up" the ensemble and gives it body. The use of these
stops in various combinations is basic to the art of registration.
Experiment freely with the sounds of the organ; experimentation
is the key to a better understanding of its capabilities.

THE CONSOLE
As the art of organ building 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 practi-
cality, 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 -- Lower Keyboard
This division is the backbone and main substance of the organ.
It is characterized by the unique Principal sound, available
at a complete range of pitches. This Principal Chorus, backed
up by a chorus of softer Flutes and crowned by the Mixture, consti-
tutes the principal support to congregational singing in the
church. This division also contains the soft Celeste voice,
to enable the Great to funtion as an accompanimental division
as well. The percussions (Harp and Carillon) are located in
this division.
THE SWELL ORGAN -- Upper Keyboard
This division characteristically contains the more romantic solo,
orchestral, and color sounds. Its Principals are less assertive
than those of the Great. It contains Reed voices, as well as
the mutations, which allow for the synthesis of interesting tone
colors. The Voix Celeste II is located in this division which
is the traditional location of this beautiful stop.

THE CHOIR DIVISION
Organ music very often has registrations calling for the third
manual, the Choir manual. This division gets its name from its
traditional function of accompanying the church choir. To this
end, it has light flutes and strings to provide the fabric of
sound against which voices and vocal lines may be placed. The
light Flutes and Mutations, together with the Chiff (Baroque Accent)
provide the light, articulate sounds of the Positiv, or Baroque
Division. The percussions (Harp and Carillon) are generally of
this division.
In many two manual organs, this division is neglected. On your
Rodgers, however, the characteristic sounds of the choir are
distributed among the two manual divisions., placed with an eye
to flexibility so that solo sounds are placed against accompanimental
sounds; full sounds against light sounds. Note, for instance,
that the Solo Clarinet on the Great can be accompanied by the
Celeste on the Swell. The Mutations and light upper flutes of
the Swell make an ideal contrapuntal foil to the Principal Chorus
of the Great. In addition, the preset tabs on the Jamestown
100 give much of the flexibility of the third manual.
THE PEDAL ORGAN -- Pedal Keyboard
This division, consisting of Flue Stops, is the foundation upon
which the tonal mass of the organ rests. Two 16' Flutes assure
the proper dynamic strength for soft or full playing. The two
8' stops of differing tone quality and the 4' Principal voice
give the necessary definition and clarity to the Pedal Melodic
line, with the Flutes at 4' and 2' for clear pitch definition
with lighter combinations. The Mixture II brightens the entire
pedal division.
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PERCUSSIONS, TREMULANTS, AND OTHER NON-SPEAKING STOPS
PERCUSSIONS Jamestown lOa-II ONLY
The Carillon is derived from a cluster of sustained 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 Jamestown 100-11
ONLY
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The Chiff tablet is used when the Baroque accent is desired on
the Flutes. When depressed, it adds thel9th momentarily to each
note as it is keyed. This effect is simultaneously added to all
Flutes.
TREMULANTGROUP
There are three Tremulant controls on the Organ .The Main Tremulant
places a light tremulant on the entire organ. This is adjustable
both as to speed and depth. The other two controls affect the operation
of the Leslie speaker unit. The Flute Tremulant/Full tab, when
depressed, engages the fast speed of the Leslie unit. The Flute
Diapason Chorus Tab, when depressed without the Flute Tremulant/Full
tab, channels some of both the Diapason (Principal) and Flute sound
into the Leslie at slow speed, giving more warmth ana-aepth to the
overall organ sound.
FLUTEFF
Often a need arises to temporarily change the basic balance of the
Principals and Flutes on the Organ This is especially true
when the Leslie Flute Tremulant is used on the fast speed, in music
of the Gospel tradition. Depressing the Flute FF tab will cause
a moderate increase in all Flute voices on the organ.

ADDITIONAL DESIGN ELEMENTS OF THE 'RODGERS ORGAN
CONSOLE SPECIFICATIONS
As has previously been stated, the Rodgers Organ adheres
precisely to A.G.O. specifications. This means that the organist
can move from these organs to pipe organs and other A.G.O. consoles
and feel immediately at home. The order of the stops is the
same, as is the placement of manuals, stop divisions, and expression
pedal. Incidentally, the Pedal Clavier of a Rodgers Organ is
completely removable by merely lifting on each side and pulling
the Pedalboard back from the console. This makes it easy to
clean under the Pedalboard -- no cables, no contacts. The Organ
contains a locking roll-top, making the organ tamper-proof.
LEVELING GLIDES
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To assure optimum performance and life of the moving part,s of the
console, it should always be kept "square". Uneven floors tend to
distort the casework over a period of time, and extreme stresses
will damage the casework and equipment. Th~ 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 simple 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.
, SPEAKER SYSTEM
The Jamestown is available with either a self-contained, two-channel
speaker system, or with external cabinets. The internal speaker
system consists of aMain Channel (4 speakers) and a built-in Leslie
rotating speaker element.
The typical external speaker installation would include a full-range
Main Cabinet, plus a Leslie rotating speaker system. For added voice
separation, as many as three cabinets may be used as well as an Echo
speaker system, to give adequate power and spread for large churches.
In addition, external cabinets may be added to self-contained models
at a later date, if desired. Amplification is provided within each
Tone Cabinet using high performance all-transistor amplifiers.

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THE CARE AND MAINTENANCE 'OF THE RODGERS ORGAN
Like any fine musical instrument, the care and maintenance your
Rodgers 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 of 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.
Your new Rodgers is not only a fine musical instrument, it 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 next coat is applied. This hand rubbing results
in a finish that is lasting and easy to keep looking beautiful.
Here are a few tips on caring for the Rodgers.
CONSOLEANDPEDALBOARD
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 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.
KEYBOARDS AND STOP TABS
Keyboards and Stop Tabs should be cleaned 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
or finished speaker cabinets should not be placed over a heat
register or near an open window.

THE MUSICAL RESOURCES OF THE RODGERS ORGAN
The Voice Families of the Organ
(Principals, Flutes, Strings, and Reeds)
THEPRINCIPALCDIAPASON) FAMILY
The sound which most of us associate with the organ isthe Principal.
or Diapason tone, the very foundation of the classic organ.
The importance of this stop is emphasized by the use of the
word "Principal" to denote it. The Principal sound is non-imitative;
it has no orchestral counterpart. It is, therefore, unique to
the organ. It is the natural sound produced by open metal organ
pipes, set into vibration by the action of the wind. It has
enough foundational tone to enable it to blend well with, and
add strength to, the whole ensemble of the organ. At the same
time, it possesses enough harmonic development to add brilliance
and character. The usefulness of this type of tone becomes apparent
when one looks at the stoplist of the Organs J. On the Great
Manual, Principals are present at 8', 4'~ 2' pitch level$.
There is also a mutation Principal pitch (2-2/3' Twelfth), and
a Mixture stop composed of Principal partials, designed to add
brilliance to the Principal Chorus in every register of the keyboard.
In the Swell division, Principals are present at 8' and 4' pitches
as aids to the ensemble of that manual. The 8' Gemshorn on the
Swell is voiced as a Principal/String hybrid, less bold than
the 8' Principal of the Great. In the Pedal Organ, Principals
are present at 8' and 4' pitches to provide foundation and definition
for that division plus a Mixture II to further accentuate the pedal
line.
THE FLUTE FAMILY
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The Flute tones of the organ are characterized by limited harmonic
development, and as such, are good foundation builders. Here we
have sound with an orchestral counterpart, and it can be used as
a valuable solo stop. In the Great division, Flutes complete the
ensemble and give it a fuller, more rounded sound. The light upper
Flutes of the Swell manual enable that division to perform as a
Baroque divison-- as a foil to the Great in passages involving
contrapuntal textures. The mutation (off-unison) pitches of the
Swell Flutes enable the imaginative organist to actually synthesize
a variety of interesting solo effects (more on this in the registration
section). The Baroque "chiff" accent is available on the Flutes,
adding sparkle to the works of Bach and his contemporaries.
The Flutes of the Rodgers Organ may be channeled into the Leslie
Speaker Unit, through the use of the Flute/Diapason Chorus and Flute (
Tremulant Full tabs. This gives the Flutes the deep, vibrant
tremolo of the Tibia family of stops, enabling the organist to play
the music of the Gospel tr~dition, as well as theatrical and popular
style music.

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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 ensemble playing. Flutes at 4' and 2' provide the basis for
lighter Pedal registrations.
THE STRINGS
The sound of a soft ensemble of bowed stringed instruments
is a favorite effect of all musicians. It was only natural,
therefore, that this sound should eventually find its way into
the organ. The RODGERS ORGAN provides the Gemshorn sound on
both the Swell and Great. This is a string-like hybrid tone
quality, having an incisive edge and harmonic development,
yet broad enough to make an ideal accompanimental texture.
On theJAMESTOWN ONLY there is an extra set of genera tors, playable
from both Great and Swell manuals that create the celeste effect.
An organ Celeste is created by setting precisely tuned pitch
sources against purposely sharp-tuned ones. Historically,
the resulting beats attained by the two pitch sources "fighting"
each other are said to create heavenly voices, hence the name
Celeste.
The Gemshorn Celeste II is available on the Great where it
provides awarm full sound ideal for accompanying solo voices
on the Swell, and it also provides a subtle sound for use during
quiet moments of a church service. The Voix Celeste II on
the Swell is somewhat thinner and brighter than the Gemshorn
Celeste II, giving a celeste of a different quality, yet useful
to accompany the solo combinations on the Great. When coupled
together, the result is an extremely warm, rich, and undulating
sound. The compass of the Celeste is from C to C3.
In the pipe organ, 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 wind
impinging on a knife-like edge at the upper part of the pipe
mouth (a common toy whistle operates this way). These pipes
and their resulting sounds are classed collectively under the
name of Flue Stops.
THE REED STOPS
Pipe organ Reed Stops make use of the vibrations of a brass
reed tongue against a slotted brass tube, called a shallot.
The resulting impulses of wind are qualified in pitch and given
tonal shape by a resonator (of varying size and shape) placed
above the reed assembly. Reeds are of two basic types, solo
and chorus reeds. Solo Reeds are best used in a single melodic
line, and are generally of an imitative orchestral character.
The Great Clarinet 8' belongs in this family.

The Cornet on the Swell partakes of the character of a Solo
Reed, but is primarily intended to add additional brilliance
and incisiveness to the Swell ensemble. This stop originated
in early French organs, and is Dften called for in Classic French
organ literature. Both Reed stops in the Jamestown 100 are
generated from upper harmonics partials of the Flue Voices.
COUPLERS
There are three couplers on the RODGERS ORGAN which increase
the versatility and ensemble of the organ when properly used.
These are unison couplers, that is, they couple at the unison
pitch level only.
SweTltoGreat
When the Swell to Great coupler is on, the voices that are selected
on the Swell manual will sound when the keys of the Great manual
are depressed. This coupler is the most useful coupler on any
organ, allowing all the voices of the Swell and Great to sound
simultaneously from one keyboard. You will find this coupler
useful when the full organ is needed for hymns, processionals,
or any other occasion demanding most of the tonal resources
of the organ.
Swell to Pedal
When the Swell to Pedal coupler is on, the
will sound when a Pedal note is depressed.
used for the addition of extra clarity for
on the Pedal.
Great to Pedal
voices of the Swell
This coupler is
lighter combinations
The Great to Pedal coupler is the most essential Pedal coupler
adding the firmness of the Great organ to the Pedal for extra
reinforcement. This coupler is especially useful for louder
contrapuntal works where the pedal line is predominate.
The couplers on the RODGERS ORGAN perform the function that
is labeled on the tab. The Swell will not play on the Pedal
just because the Great to Pedal is one, and the Swell to Great
is on. The couplers are totally independent.

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RODGERS TRANSPOSER
The Transposer is an "extra" available on all Rodgers Organs.
It will raise or lower the pitch of the organ a full four semitones
(half steps) in either direction. The transposer is controlled
by 8 pitch-changing pistons and a neutral position piston on
the right Swell piston rail. There is also a corresponding light
panel to inform the organist of the position of the transposer,
which avoids any confusion.
The Transposer is especially useful to the organist who does
much accompanying by saving the time necessary to mentally transpose
music on the printed sheet into a different key. It is aknown
fact that many singers have the need of a key change to accommodate
the range of their voice, sometimes as far as a major third in
either direction, which is accomplished easily by merely selecting
the number of half steps needed to be changed, pressing the appropriate
piston, and then playing the music as written on the printed
page.
Another feature of the transposer is the circuit that returns
the setting to normal pitch (0 piston) automatically when the
organ is shut off, thus avoiding any problem if the organ is used
again under hurried circumstances where there would not be sufficient
time to check all of the controls on the console.

PRE-SET COMBINATION ACTION
The four reverse-colored stop tabs in the center section of the stop
rail of the ORGANS form one of its most convenient features.
The pre-set tabs, used in conjunction with the individual stops on
the stop rail, allow the organist to change registrations in an instant.
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The three pre-set tabs are labeled as to their general dynamic level,
and are voiced with an eye to general church service playing. The
Soft combination is used for meditative moments or quiet accompaniments,
the Mezzo combination is used for prayer hymns, medium choral accompan-
iments, etc. The Full combination is used for major anthems, proces-
sional hymns, etc.--rllese tabs are additive, and any combination
of them may be used at any time.
The Stop Rail tab, when depressed, disconnects the stop rail temporarily,
leaving only those stops which are on by virtue of a pre-set tab being
depressed. Thus, the registration of the individual stops on the
stop rail can be changed while the organ is being played on a Ere-set,
without affecting the pre-set registratlon. Then, the stop rall
can be re-engaged by turning off the Stop Rail tab, after which the (
pre-sets can either be left on or turned off. (NOTE: The Stop Rail
tab does not affect the General Tabs.)
Experimentation with this combination facility will soon reveal its
many possibilities. The following is a listing of the registrations
contained on each of the three pre-sets:

PRESET COMBINATIONS
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SOFT PRESET
MEZZO PRESET
FULL PRESET
SWELL
8' Gemshorn
4' F1ute
8' Gedeckt
8' Gemshorn
4' Flute
2' Piccolo
8' Gedeckt
8' Gemshor~
4' OCtave
4' Flute
2' Piccolo
GREAT
8' Bourdon
4' Flute
8' Diapason
4' Octave
4' F1ute
2' Piccolo
8' Diapason
8' Bourdon
4' Octave
4' Flute
2' Fifteenth
2' Piccolo
PEDAL
16' Lieblich Gedeckt
8' F1ute
16' Bourdon
8' Flute
8' Gemshorn
16' Bourdon
4' Choralbass
2' Piccolo
Stop Rail Off Disables all stop tabs except the "General" tabs,
Preset tabs, and the couplers.

SOME REGISTRATION HINTS FOR THE COLUMBIAN-75.
The following guides to stop selection are for the Columbian as a basically
classic instrument used in the church service. They include division-by-
division suggestions for basic combinations of stop voices. These guides
are also useful for interpreting the stop suggestions of published organ music.
The latter is especially important because most organ music is printed
with only general suggestions for registration. This is because every organ
is different in some way from the organ that the composer has at his disposal.
Therefore, names of some stops would be meaningless on some instruments.
The way to get to know your Rodgers is to experiment freely with the sounds
of the instrument, and this 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 organ composition.
GENERAL NOTE: Unless otherwise indicated, the use of the Diapason/Flute
Chorus tab is optional, but will add considerable warmth to the sound. Use
of the Flute Tremulant/Fast is to be avoided on most of the registrations in
this section, as this gives a sound that is foreign to the nature of classic
organ music. Use of the Main Tremulant is indicated wherever desirable.
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TONE FAMILY
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SPEAKING STOPS ON THE COLUMBIAN-75
LOCATION
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GREAT MANUAL
SWELL MANUAL
PEDAL CLAVIER
DIAPASONS 8'
Diapason
8'
Gemshorn
8'
Octave
4' Octave 4'
Octave
4'
Choralbass
2' Fifteenth
FLUTES
8' Bourdon
16'
Lieblich Gedeckt
16' Bourdon
4' Flute
8'
Gedeckt 16' Lieblich Gedeckt
2' Piccolo
4'
Flute
8'
Flute
2'
Piccolo
4'
Flute
2'
Piccolo
STRINGS
8' Gemshorn 8'
Gemshorn
SOLO REEDS 8'
Clarinet 8'
Cornet
CHORUS REEDS 8'
Cornet
MUTATIONS
2-2/3' Twelfth
2-2/3'
Nazard
1-3/5'
Tierce
MIXTURES
Mixture II
Mixture IT
Mixture II

GREAT DIVISION
The Great is used in general church music for hymns, major anthems and
solo accompaniments. Primarily intended for ensemble or homophonic
textures, the Great is played "both hands" in these functions.
PUBLISHED SUGGESTIONS
1. Flutes 8'
2. Light Foundation 8'
3. Great Strings 8'
4. Broad Foundations 8'
5. Light Foundations 8' & 4'
6. Flutes 8' & 4'
7. Light Foundation 8', 4', & 2'
8. Foundation 8', with Flute 4'
9. Basic Diapason Chorus
10. Full Foundation 8', 4', & 2'
11. Full Great to Mixtures
12. Great Solo Stop
RODGERS REGISTRATION
8' Bourdon
8' Diapason or
8' Gemshorn
4' Flute
8' Gemshorn
8' Diapason
8i Bourdon
8' Bourdon
4' Octave
8' Bourdon
4' Flute
8' Bourdon
4' Octave
2' Fifteenth
8' Diapason
8' Bourdon
4' Flute
8' Diapason
4' Octave
2-2/3' Twelfth
2' Fifteenth
8' Diapason
8' Bourdon
4' Octave
4' Flute
2-2/3' Twelfth
2' Fifteenth
2' Piccolo
Add Mixture II to the above
8' Clarinet

SWELL DIVISION
A
considerable amount of registration for the Swell Division will be given directly
in the form of solo type registrations. The suggestions below are given for use
as ensemble choruses in music of a romantic nature.
PUBLISHED SUGGESTIONS RODGERS REGISTRATION
l.
Strings 8'
(Gamba, Viola)
8'
Gemshorn
2.
Flutes 8' 8' Gedeckt
3.
Strings 8', Flute 4'
8'
Gemshorn
4'
Flute
4.
Flutes 8' & 4'
8'
Gedeckt
4'
Flute
5.
Foundations 8' 8'
Gemshorn
8'
Gedeckt
06.
Foundations 8'
& 4'
8'
Gemshorn
4'
Octave
7.
Swell Foundation Chorus
8'
Gemshorn
8'
Gedeckt
4'
Octave
2'
Piccolo
8.
Swell Reeds 8'
Cornet
9.
Full Swell 8'
Gemshorn
8'
Gedeckt
4'
Octave
4'
Flute
2-2/3'
Nazard
2'
Piccolo
8'
Cornet

PEDAL DIVISION
The term "Appropriate Pedal" often appears on suggested registrations. The
suggestion seems obvious at first, but Pedal stop selection is as much of 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 pr~:)Vides
the subharmonies necessary to under-gird the manual tonal structure.
Often, however, the Pedal is called upon to furnish an independent melodic
line, as in much of the contrapuntal works of the Baroque period (Bach and
others). The Pedal 8' and 4' Stops provide the necessary upperwork for these
melodic purposes.
PUBLISHED SUGGESTION
1. Light 16' Pedal
2. Soft 16' and 8'
3. Foundations 16' and 8'
4. Foundat ions 16' and 8'
5. Foundations 16', 8', and 4'
6. Full Pedal
RODGERS REGISTRATION
16' Lieblich Gedeckt
16' Lieblich Gedeckt
8' Flute
16' Bourdon
8' Octave
16' Bourdon
8' Octave
8' Flute
16' Bourdon
8' Octave
4' Choralbass
16' Bourdon
8' Octave
8' Flute
4' Choralbass
2' Flute (optional)
Mixture II