Rodgers Providence 330 User manual
Owner's Guide
PRO DENCE330
ROffiERS®
INSTRUMENT
CORPORATION
The
sound
choice!
RODGERS
Instrument
Corporation, Hillsboro,
Oregon
OWNER'S
MANUAL
Rodgers
Providence
330
RODGERS ORGAN COMPANY
Hillsboro,
Oregon
RODGERS PROVIDENCE
330
The tonal
design
and
mechanical
layout
of
the
Providence
330
provides
a
very
complete
three-manual
classical
instrument
capable
of
meeting
the
needs
for
every
type
or
worship
service
as
well
as
supplying the
necessary
resources
for
concert
work.
All
elements
that
are
essential
for
practice
and teaching
work
are
incorporated
in the
organ's
design,
which expands the
usefulness
of the
Providence
to include
educational
institutions
and
private
instructors.
This
booklet
is
aguide
to
the
resources
of
the
Providence,
but
is
far
from
exhausting
the
complete
tonal
range
and
color
available
in
this
fine
organ.
There
are
many
practical
suggestions
offered
in
this
book-
let
which
may
be
altered
to
fit
personal
taste
and
need
by you,
the
organist.
If
further
information
is
desired
or
any
assistance
is
needed,
please
calIon
your
local
Rodgers
Organ
Dealer
who
will
be happy to
assist
you and
also
give you
names
of
competent
organ
instructors
in
your
area,
if
desired.
Remember
that
your
dealer
is
always
available
to help you
use,
to
the
best
advantage, the
musical
resources
available
to you
from
Rodgers
Organs.
RODGERS
PROVIDENCE
THE
THREE-MANUAL
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,
have
gradually
culled
out
"innovations"
that
served
no
practical
purpose
but
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 hitched down, would
cause
the
lower
four
or
five
pipes
of
the
Pedal
Division to sound
simultaneously,
giVing a
rumble
effect
like
thunder.
Such
devices,
except
on
Theatre
Organs
where
they
were
useful,
are
happily
extinct.
The
modern
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
pedal-
board
gives
the
organist
the
necessary
console
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
scheme
in the tonal
des
ign
of
the
organ.
GREAT
ORGAN
This
division
is
the backbone and
main
substance
of the
organ,
characterized
by the
Principal
Chorus
as
the
major
sound.
This
is
backed by a
softer
Flute
Chorus.
Together,
they
constitute
the
principal
sound
used
to
lead
congregational
singing. The
other
manual
divisions
relate
in
some
way
to
the
Great
Organ,
and
are
playable
on the
Great
manual
by the
inter-manual
couplers.
CHom
ORGAN
This
division
is typically
softer,
deriVing
its
name
from
the
fact
that
this
division
is
used
to accompany the
church
choir
in
softer
works.
It
is
com-
posed
of
soft
Principals
(or
hybrid
stops
as
on the
Providence),
a
complete
Flute
Chorus,
and
soft
solo
reeds.
This
gives
the CIloir Organ sound
an
ideal
soft
but
rich
texture
so
essential
for
accompanying
choirs.
The
Rodgers
Choir
Organ
serves
an additional function
as
a
Positiv
division
when
the
Great/Choir
Chiff is engaged, giving the flute the
percussive
harmonic
attack
so
typical
of
the
German
Baroque
Organ.
The
organ's
percussions
(Harp
and
Carillon)
are
also
located
in the
Choir
Organ.
-2-
SWELL
ORGAN
The Swell division
is
the
first
organ
division
to
be
expressive,
by
being
placed
in abox with
venetian
blind-like
swell
shades
in
the
front,
which
open and
close
by
operating
a
shoe
pedal
located
above the
pedalboard.
The Romantic
organ
sounds
(strings
and
celestes)
are
located
in
this
division,
in
addition to the
secondary
Diapason
chorus,
a
Flute
chorus,
and the
major
Reed
Chorus.
PEDAL
ORGAN
The
Pedal
organ
(pedal
clavier)
contains
the
lowest
pitched
voices
which
provide
the foundation
for
the
entire
tonal
mass
of
the
organ.
The
stops
are
mostly
Diapasons and
Flutes
which
provide
the
necessary
firm
found-
ation,
and the
pedal
Reeds which add the
power
and
color
to
this
division.
The
manual
divisions
couple
to
the
pedal
for
addtional
reinforcement
and
clarity
of
the
pedal
line.
ENSEMBLE
The
most
important
factor
in the sound
of
an
organ
is
ENSEMBLE.
Basically,
ensemble
refers
to the
manner
in which the
various
stops
complement
each
other,
and
especially
how
large
combinations
sound
collectively.
No
one
stop
should
overpower
the
basic
ensemble,
but
each
stop
should add
its
own
color
and
quality
to the
overall
sound.
To
further
explain
ensemble,
we
will
explain
CHORUS
as
it
applies
to
organ
sound. AChorus
is
constructed
by
combining
stops
of
the
same
tone
quality
(family)
at
successive
unison
pitches
(16',
8',
4',
2'),
generally
avoiding
the
non-unison
pitches
(2-2/3'
and
1-3/5').
By
constructing
the
chorus,
the full
spectrum
of
the
family's
tone
quality
sounds
at
the
playing
of
a
single
chord.
To
further
explain
the tonal
design
of
the
Providence
330, we
will
analyze
the
major
tone
families
of
the
organ,
their
location
and
reasons
for
their
placement
•.
-3-
THE
MUSICAL RESOURCES
OF
THE
PROVIDENCE
The
Voice
Families
of the
Organ
(Diapasons,
Flutes,
Strings,
and
Reeds)
THE
DIAPASON FAMILY
The
Diapason
family
is
the foundation tone of the
organ,
being
completely
unique
to
the
instrument
and not having any
orchestral
origin.
The
importance
of
the
Diapason
can
be
further
expounded by the
word
"Principal"
which
frequently
appears
on the
stop
which
denotes
the
basic
pitch
level
of a
division.
The
boldest
and
best
developed
Diapason
Chorus
is
in
the
Great
Division. On the
Providence,
the
Diapason
Chorus
on the
Great
consists
of 8'
Principal,
4'
Octave,
2'
Fifteenth,
2-2/3'
Twelfth,
Fourni-
ture
III
Mixture,
and
16'
Gemshorn
(a
Diapason/String
hybrid).
The
8'
Principal
denotes
the
basic
pitch
level
of the
division
with
the
other
names
showing the
pitch
relationship
to the
Principal.
The
8',
4',
2'
and
2-2/3'
are
voiced to blend
in
a
clean
and
brilliant
ensemble
which
is
topped
with
the
Fourniture
III.
The
16'
Gemshorn
is
thin,
so
as
not
to
"muddy"
the
ensemble
when played in a
lower
keyboard
register.
The
secondary
Diapason
Chorus
is
located
in
the Swell
Division
and on the
Providence,
has
an
8',
4',
and
Plein
Jeu
III
mixture.
The
8'
Geigen
Diapason
is
brighter
and
softer
than the
Great
8'
Principal
with
the
4'
Prestant
voiced
to
complement the Geigen
Diapason.
The
Plein
Jeu
III
has
adouble function, one being the topping of the Swell
foundations and
also
the topping
of
the
Full
Swell (with
Reeds).
The
Swell Foundations
must
also
blend
with
the
Great
Diapason
Chorus
and
with
the
Choir
Flute
Chorus.
The
Choir Diapason is
located
only
at
4'
and
for
a
specific
reason.
The
contemporary
Cho-ir
organ
must
function both
as
Choir
Division
for
accompanimental
work
and
also
as·
a
Positiv
organ.
The
Positiv
Diapason
is
traditionally
at
4'
pitch.
The
Choir
fo~da
tions
are
not
as
loud;
therefore,
the
8'
Diapason
is
most
always
omitted
from
any
specifications
on
modern
organs,
whether
pipe
or
electronic.
In
place
of the
Diapason
8' is the
Gemshorn
(the
aforementioned
hybrid) which
has
a
soft
and
smooth
sound
that
is
wonderful
for
accompanimental
work.
~
The
Pedal
Diapasons
are
bold and
construct
the
bottom
foundation
for
the
entire
organ.
On
the
Providence,
the
Pedal
Diapasons
are
at
16',
8',
and
4',
giving the
essential
support
to the 16'
with
the
Mixture
II to give additional
clarity
to the
Pedal
line.
-4-
To
construct
an
ascending
Diapason
Chorus,
depress
the following
stops
in
order,
while holding a
chord
on the
Great
Keyboard.
Choir
to
Great
and Swell to
Great
"On. "
Choir
Gemshorn
8'
Swell Geigen
Diapason
8'
Great
Principal
8'
Swell
Prestant
4'
Choir
Principal
4'
Great
Octave
4'
Great
Fifteenth
2'
Great
Twelfth
2-2/3'
Swell
Plein
Jeu
III
Great
Gemshor.n
16'
Great
Fourniture
III
Add
appropriate
pedal
note
Pedal
16'
Principal
Pedal
Octave
8'
Pedal
Choral
bass
4'
THE FLUTE FAMILY
The
basic
tone of the flute family
is
derived
from
the
orchestral
Flute,
and
in the
organ
has
some
variations.
Originally,
the flute
in
a
pipe
organ
imitated
the
modern
flute's
predecessor,
the
recorder,
which
has
a
bright
and hollow
quality
to
its
tone. Due to the
construction
of the flute
pipe,
these
flutes
are
called
"Stopped
Flutes."
These
Flutes
are
traditionally
located
on the Choir and
Positiv
organs.
On
the
Providence,
the
Choir
Flutes
are
8'
Gedeckt,
4'
Nachthorn,
2'
Block-
fllite, and
l'
Siffltlte.
These
construct
the
Choir
Flute
Chorus.
The
2-2/3'
Nazard
and
1-3/5'
Tierce
should only
be
used
for
coloring.
The
Great
Flute
Chorus
is
the
8'
Bourdon,
4'
SpillflHte, and
2'
Piccolo.
This
Chorus
supports
the
Great
Principal
Chorus,
and the individual
stops
can
be
used
as
solo
stops
for
moderately
softpassages.
The
Swell
organ
has
3
Flutes
of
a
sl
ightly
different
character,
being
broader
and
fuller
than the
Great
and Choir
Flutes.
The Swell
Flutes
are
8'
Hohl
Flute,
4'
Harmonic
Flute,
and
2'
Flautino.
The
8'
and
4'
are
especially
useful
as
soft
solo
stops
or
as
a
soft
accompaniment
for
other
solo
stops.
The
Pedal
has
two 16'
Flutes
of
distinct
volume
differences.
The
16'
Subbass is apowerful
Flute
that
supplements
the
16'
Principal,
while the
16'
Lieblich
Gedeckt
is
very
soft
for
supplying a
soft
foundation
under
delicate
manual
combinations.
The
8'
Flute
supports
the
16'
Subbass
for
clarity
and definition of
pitch.
-5-
Another
feature
of the
Providence
is the
Great/Cl1oir/Flute
Chiff
control.
This
control,
when
actuated,
puts
a
harmonic
attack
on the
Flute,
which
gives
the
attack
characteristic
of the
German
Baroque
Flutes.
THE
STRING FAMILY
The
String
sound
is
a
relative
newcomer
to the
organ,
being
conceived
in
the
Romantic
Period.
The
String
tone is
closely
related
to the
Diapason,
except
much
thinner
and
transparent
in quality and
generally
much
softer.
The
Strings
are
most
often
located
in the Swell
division
with
their
c·eleste.
A
celeste
is
created
by two
identical
ranks
of
pipes,
with one
set
tuned
slightly
sharper
than the
other,
causing
a
tremolo
effect when
played
simultaneously.
On
the
Providence,
the
strings
are
drawn
as
one
stop,
but
play two
sets
of
oscillators.
The
result
is
a
mystical
and
ethereal
sound which
was
a
favorite
of
many
Romantic
organ
composers.
The
celeste
effect
became
so
popular,
it
was
used
on
other
voices
for
more
color.
The
Providence
has
a
Flute
Celeste
in the Swell Division.
Another
form
of
string
is the
Gemshorn
and Violone.
These
are
generally
classified
as
hybrid
stops,
since
their
tone
quality
lies
somewhere
between
the
String
and Diapason.
On
the
Providence,
the
Gemshorn
and
its
celeste
are
found
in
the
Choir
organ,
where
they
provide
a
medium-full,
yet
rich
sound
that
blends with the
Flutes,
and
is
ideal for
accompaniment
stops.
The
Violone in the
Pedal
division
tends
to
imitate
the
String
Bass,
and
is
more
abundant in
harmon
ics
than the
Pedal
Pr
incipal.
It
is found
at
32',
16',
and
8'.
The
32'
Violone
gives
the
depth
of
pitch,
but is lightweight
so
it
does
not become
ponderous
and
can
be
used
in
very
Iight
combinations
as
well
as
full
combinations.
The
16'
Violone and
8'
Violone give a
mezzo
forte
richness
to the
Pedal
organ
and
are
useful
when an
orchestral
Pedal
sound is
des
ired.
In pipe
organs,
all
of the above tone
qualities
(Diapasons,
Flutes,
and
Strings)
are
derived
from
apipe sound
caused
by a
vibrating
column
of
air
set
in motion
by
the
action
of
a
sheet
of wind-impinging on a
knife-like
edge
on the
upper
lip
of the pipe mouth.
These
pipes
and
their
resulting
sounds
are
classed
collectively
under
the
name
of
Flue
Stops.
THE
REED
FAMILY
The
Reed
derives
its
categorical
name
from
the
manner
of sound
production
in apipe
organ.
To
produce
asound, a
brass
reed
tongue
vibrates
against
a
slotted
metal
tube (shallot) with the
vibrations
being affected by the
length,width, and
thickness
of
the
resonator
which is
directly
attached
to
the
top of the
shallot.
-6-
The
Reed
family
is
the
most
colorful
of
all
the
organ
families,
and is
sub-divided
into two
divisions,
Chorus
Reeds
and Solo
Reeds.
Chorus
Reeds
are
generally
of a
trumpet
quality,
and
are
located
in the
Swell
division.
Solo
Reeds
can
be
placed
on any
manual,
but
traditionally
and
most
logically
are
placed
on
either
the Swell
and/or
the
Choir.
The
Providence
has
the
Chorus
Reeds
on the Swell and
also
in
the
Pedal.
The
16'
Contra
Fagotto,
8'
Trompette,
and
4'
Clairon
add
the
fire
and
snarl
needed
as
the final topping to the
entire
organ
ensemble.
The
8'
Trompette
is
also
a
powerful
solo
stop
for
stentorian
passages.
The
8'
and
4'
Reeds
are
also
available
on the
Pedal
with an
independent
16'
Bombarde
to
put
the final
frosting
on the
Pedal
division.
The
Krummhorn
located
in
the
Choir
division
is
imitative
of
the
Krumm-
horn
that
was
the
Baroque
and
Renaissance
predecessor
of the
Clarinet.
It
can
be
colored
by the addition
of
the
Choir
4'
Nachthorn
or
the
2-2/3'
Nazard.
When
properly
used,
the
Reeds
can
sing
a
lyric
melody
or
breathe
the
fire
that
finalizes
the
excitement
of the
magnificent
sound
of
the
Providence.
The
Percussions
found on
the
Providence
are
located
on the
Choir
manual
where
they
can
be
used
to
their
best
advantage.
The
Harp
is
typical
of
the
type
of
organ
harp
introduced
in the
late
Romantic
Period
and
the
Carillon
is
of
English
character
which
is
usable
against
any
chords
played
on the
organ.
The
Carillon
can
also
be
played
through
an
outdoor
speaker,
if
desired.
COUPLERS
Afull
complement
of
unison
couplers
is
prOVided on
the
Providence,
with
aSwell to Swell
4'
for
use
with
the
String
and
Flute
Celestes.
The
couplers
are
as
follows:
Swell to
Great
8'
Choir
to
Great
8'
Swell to
Choir
8'
Swell to Swell
4'
Swell to
Pedal
8'
Great
to
Pedal
8'
Choir
to
Pedal
8'
The
Swell
couplers
are
the
most
versatile,
coupling the Swell to any
division
on
the
organ.
The
Great
Division
couples
to the
Pedal
.for added
clarity
when
needed,
and
the
Choir
couples
for
needed
clarity
for
smaller
combinations.
-7-
SPEAKING STOPS
OF
THE
PROVIDENCE
TONE FAMILY
DIAPASONS
FLUTES
DIAPASON
/STRING
HYBRID
STRINGS
CHORUS
REEDS
SOLO
REEDS
PERCUSSIONS
GREAT MANUAL
8'
Principal
4'
Octave
2'
Fifteenth
2-2/3'
Twelfth
Fourniture
III
8'
Bourdon
4'
Spillfltlte
2'
Piccolo
16'
Gemshorn
SWELL
MANUAL
8'
Geigen
Diapason
4'
Prestant
Plein
Jeu
III
8'
Hohl
Flute
4'
Harmonic
Flute
2'
Flautino
8'
Flute
Celeste
n
8'
Voix
Celeste
II
16'
Contra
Fagotto
8'
Trompette
4'
Clairon
-8-
CHom
MANUAL
4'
Principal
8'
Gedeckt
4'
Nachthorn
2-2/3'
Nazard
2'
Blockfltlte
1-3/5'
Tierce
l'
Siffltlte
8'
Gemshorn
8'
Gemshorn
Celeste
8'
Krummhorn
Harp
Carillon
PEDAL
CLAVIER
16'
Principal
8'
Octave
Mixture
II
16'
Subbass
16'
Lieblich
Gedeckt
8'
Flute
32'
Contra
Violone
16'
Violone
8'
Violone
16'
Bombarde
8'
Trompette
(sw)
4'
Clairon
(sw)
TREMULANTS
There
are
two
tremulants
on the
Providence.
The
Main
tremulant
affects
the
entire
organ,
and
is
located
next
to the
Great/Choir
Flute
Chiff
control
on the
backrail
of the
console.
The
Swell-Tremulant
affects
only
the
Swell
Division,
and
is
located
with the
other
stops
of
the Swell
Division.
EXPRESSION PEDALS
There
are
two
pedals
which
directly
affect
the volume
level
of the
organ.
The Swell
Pedal
affects
all
of the
speaking
voices
of the Swell
division.
The
Great,
Choir,
and
Pedal
expression
pedal
affects
collectively
the
rest
of
the
organ.
The
register
Crescendo
Pedal
(located
to the
right
and
slightly
above the
expression
pedals)
affects
the
volume
of
the
organ
in
a
different
manner,
by
progressively
adding
stops
in a
predetermined
order.
This
device
does
not
affect
the
stops
already
set
up on the
organ,
but
merely
adds
to
them.
The
inartistic
use
of
these
devices
is
to
be
guarded
against.
"Pumping"
of
the
Expression
and
Crescendo
Pedals
results
in asound
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
(upper
row)
accomplishes
the
same
thing. An
indicator
light
(FF)
shows
when
this
mechanism
is
on.
GREAT
TO
PEDAL REVERSIBLE
This
console
accessory
operates
mechanically
in the
same
manner
as
the
Sforzando
Piston,
in
that
the
piston
or
toe
stud
can
turn
the
Great
to
Pedal
8'
Coupler
on
or
off.
SETTERBOARD COMBINATION ACTION
The
standard
combination
device
on the
Providence
is
a
setterboard
type
com-
bination
action.
This
combination
action
vis
ibly
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
s.witches
for
each
piston
belonging to
that
division.
Any
switch
moved to the
right
will
bring
on
the
stop
it
represents
when
that
manual
-9-
piston
is
depressed.
The
pistons
located
to the
left
of the
Great
Manual
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 1
's,
2's,.
etc.
CAPTURE COMBINATION ACTION
This
optional
system
provides
for
general
pistons
(affecting the
entire
instru-
ment)
that
are
completely
independent
of
the individual
manual
pistons,
and
are
fully
adjustable.
This
type
of
action
operates
as
follows: (1) the
stops
are
set
by hand to
produce
the
registration
that
is
to be
retained;
(2)
the
piston
marked
SET
(left end
of
the Choir
Piston
Rail) is
depressed;
(3)
while
holding
the SET
Piston
in, the
piston
on which
that
combination
of
stops
is
to
be
retained
is
pressed
also;
(4)
the
piston
on which the
stops
are
to be
set
is
re-
leased;
(5)
the SET
Piston
is
released.
The
new combination
is
now
programmed
into the
magnetic
memory
of
the combination
action,
and
will
remain
there
until
removed
by
setting
of anew combination.
This
action
can
also
be
operated
in a
"hold-and-set"
fashion,
if
it
is
desired
to
change
just
one
or
two
stops
in
acombination.
This
is
done by
depressing
the
piston
on which the combination
is
set.
You will notice
that
there
is
a
cycling
process
occuring
while you hold the
piston
in, indicated by the
slight
recurrent
movement
of the
stop
controls.
To change individual
stops,
it
is
only
necessary
to move them by hand (while holding the
piston
in)
and
hold
them
in the new
position
for
one
complete
cycle
of the
action
(about a
second).
The
memory
of the action will then
re-program
itself
to
accommodate
the
new
positions
of
the
stops.
A
locking
lighted
switch
prevents
unauthorized
changing
of
the combinations without
your
knowledge.
TOWER SPEAKER SYSTEM
As
standard
equipment, the
Providence
is
prepared
for
the
use
of
the
Rodgers
Outdoor
Tower
Speaker
System.
This
system
is
operated
by the loclting key
switch
on the
right
side
of the
console,
and
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
an
adjustable
constant
volume.
-10-
SOME ADDITIONAL DESIGN ELEMENTS OF THE RODGERS
Console
Specifications
All of the
console
dimensions
conform
to the
specifications
set
by the
American
Guild of
Organists.
The
three
61-note
overhanging
manuals
are
precisely
placed,
both in
relation
to
each
other
and in
relation
to the
pedalboard.
The
pedalboard
is
a
standard
A. G.
o.
32-nooo,
concave
and
radiating
clavier,
with the
expression
pedals
placed
as
per
A. G. O.
specifications.
Leveling
Glides
To
assure
optimum
performance
and
life
of
the moving
parts
in the
console,
it
should always be
"square."
Uneven
floors
tend to
distort
the
case
over
a
period
of
time,
and
extreme
stresses
will
damage
the
casework
and
equipment.
The
level
ing 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.
The
Rodgers
Organ
Is
Completely
Transistorized
Each
note of
each
organ
set
of
voices
is
produced
separately
by an individual,
solid-
state
voice
generator.
It
is
this
independence
of
voices
that
is
largely
responsible
for
the wide
acceptance
of
the
Rodgers
tone quality. In addition,
stop
switching, coupling,
and keying
are
all
accomplished
through the
use
of
solid
state
switches
which
eliminate
literally
hundreds
of
contacts
and moving
parts.
The
amplifiers
in the
Rodgers
Organ
are
located
in the
speaker
cabinets
themselves,
eliminating
the need
for
running
hazardous
voltages
over
long
distances.
The
amplifiers
are
of alOO-watt
power
transistor
type,
requiring
neither
a
warm-up
time
or
the
periodic
replacement
of
tubes,
two
problems
common
to
tube-type
amplifiers.
Activity
and
Air
Sound
The
Providence
is prOVided with
devices
to
insure
that
each
note on the
organ
has' the
necessary
wind-blown
quality,
rather
than a
sterile
"electronic"
sound.
Hold anote on the
8'
Great
Principal,
and
notice
first
of
all
that
a
slight
amount
of
"breathiness"
is
present.
This
is
similar
in
nature
to the sound
of
the
turbulence
that
occurs
at
the mouth
of
a
speaking
pipe.
This
same
turbulence,
however,
gives
rise
to
another
phenomonen.
The
upper
harmonics
in the sound
of
an individual
-11-
pipe
are
actively
varying
as
the pipe
responds
to the action
of
a
never-too-
stable
wind supply. The fundamental
pitch
of the
pipe,
however,
remains
almost
rock-steady.
This
type of activity
is
also
incorporated
in the tone
production
system
of
the
Providence.
Both the Activity and
Air
Sound
are
completely
adjustable,
and
are
controlled
by
a
small
switch
under
the
right
side
of the Choir Manual
(or
in the
Setterboard
Drawer).
-12-
SOME
REGIST~TION
SUGGEST,IONS FOR THE RODGERS
PROVIDENCE
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
mus
ic
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
of
the
music
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
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
registration
sets
that
involve the
entire
organ,
given
as
the
basis
for
certain
specific
styles
and
periods
of
musical
culture.
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
of
an
art
as
manual
selection
(probably
even
more,
since
the
Pedal
division
must
often
balance
dynamically
with
all
three
manual
divisions).
In
most
organ
playing,
the
Pedal
is
simply
used
to prOVide the foundation (bass)
for
manual
work.
The
use
of
16'
voices
prOVides the
subharmonics
necessary
to
under-gird
the
manual
tonal
structure.
-13-
PUBLISHED
SUGGESTION SUGG
ESTED
INTERPRETATION
1.
Light
16'
Pedal
16'
Lieblich
Gedeckt
2.
Soft
Foundations
16'
&
8'
P
16'
Lieblich
Gedeckt
or
16'
Violone
8'
Flute
or
8'
Violone
3.
Foundations
16'
&
8'
MP
16'
Subbass
8'
Flute
or
Violone
8'
4.
Foundations
16'
&
8'
MF
16'
Subbass
16'
Violone
8'
Octave
or
8'
Violone
8'
Flute
5.
Foundations
16'
&
8'
F
16'
Principal
16'
Subbass
16'
Violone
8'
Octave
8'
Flute
4'
Choralbass
6.
Pedal
F
32'
Contra
Violone
16'
Principal
16'
Subbass
16'
Violone
8'
Octave
8'
Flute
8'
Violone
4'
Choralbass
Mixture
II
8'
Trompette
7.
Pedal
FF
(Full
Pedal)
All
Pedal
Stops
If
additional
support
for
upperwork
in
the
Pedal
is
needed,
the
Great
to
Pedal
Coupler
is
generally
used.
The
Swell
to
Pedal
is
used
either
to
place
the
soft
Swell
voices
on
the
Pedal
or
the
Full
Swell
on the
Pedal.
The
Choir
to
Pedal
is
used
for
additional
MF
support
to the
pedal
division,
or
to
place
the
Krummhorn
on
the
pedal
for
solo
work
as
in
Trios
or
Chorale
Preludes.
-14-
PUBLISHED
SUGGESTION
GREAT
DIVISION
SUGGESTED
INTERPRETATION
1.
Flutes
8'
8'
Bourdon
2.
Flutes
8'
&
4'
8'
Bourdon
4'
Spillfltlte
3.
Foundations
MP
8'
Principal
4.
Broad
Foundations
MF
8'
Principal
8'
Bourdon
5.
Foundations
8'
&
4'
MF
8'
Principal
8'
Bourdon
4'
Octave
4'
Flute
6.
Light
Foundations
8'
4'
2'
8'
Principal
4'
Octave
2'
Piccolo
7.
Bas
ic
Foundation
Chorus
8'
Principal
4'
Octave
2'
Fifteenth
8.
Full
Great
without
Mixtures
8'
Principal
8'
Bourdon
4'
Octave
4'
Spillfltlte
2-2/3'
Twelfth
2'
Fifteenth
2'
Piccolo
9.
Full
Great
to
Mixtures
Add
Fourn
iture
III
to
above
10.
Full
Great
+
16'
Add
16'
Gemshorn
to
above
-15-
PUBLISHED SUGGESTION
SWELL
ORGAN
SUGGESTED INTERPRETATION
1.
Strings
8'
8'
Voix
Celeste
n
2.
String
Chorus
8'
Voix
Celeste
II
4'
Swell to Swell
3.
Celeste
Chorus
8'
Voix Ce
les
te II
8'
Flute
Celeste
II
4' Swell to Swell
4.
Flute
8'
8'
Hohl
Flute
5.
Solo
Flute(s)
8'
Hohl
Flute
4'
Harmonic
Flute
Tremulant
(Optional)
6. Foundations 8'
8'
Geigen
Diapason
7. Foundations
MP
8'
Geigen
Diapason
8'
Hohl
Flute
4'
Harmonic
Flute
8. Foundations
MF
8'
Geigen
Diapason
8'
Hohl
Flute
4'
Prestant
4'
Harmonic
Flute
2'
Flau
tino
9.
Reeds
8'
&
4'
8'
Trompette
4'
Clairon
10.
Reed
Chorus
16'
Contra
Fagotto
8'
Trompette
4'
Clairon
Plein
Jeu
III (Optional)
11.
EUII
Swell to
Mixtures
8'
Geigen
Diapason
4'
Prestant
2'
Flau
tino
Plein
Jeu
III
8'
Trompette
4'
Clairon
12. EUll Swell +
16'
Add
16'
Contra
Fagotto
to
above
-16-
PUBLISHED SUGGESTION
CHOIR
ORGAN
SUGGESTED
INTERPRETATION
1.
Choir
Strings
8'
Gemshorn
Celeste
II
2.
Choir
Flute
8'
8'
Gedeckt
3.
Choir
soft
Foundations
8'
Gemshorn
8'
Gedeckt
4.
Foundations
8' &
4'
MF
8'
Gemshorn
8'
Gedeckt
4'
Nachthorn
4'
Principal
(Optional)
5.
Choir
Foundation
Chorus
8'
Gemshorn
8'
Gedeckt
4'
Principal
4'
Nachthorn
2'
Blockfltlte
l'
Siffltlte
6.
Full
Choir
to
Mixtures
Add
2-2/3'
to
above
7. Solo
Reed
8'
Krummhorn
8. Second Solo
Reed
(Cor
Anglais)
Add
4'
Nachthorn
or
2-2/3'
Nazard
to
8'
Krummhorn
-17-
CHom
POSITIV
The
following
are
Baroque
registrations
and
require
the
Great/Choir
Flute
Chiff
in
the
"ON"
position.
These
combinations
are
best
for
contrapuntal
music
as
op-
posed
to
harmonic
(chordal)
music.
.PUBLISHED SUGGESTION SUGGESTED
INTERPRETATION
1.
Pas
itiv
Flute
8'
Great/
Choir
Chiff
"ON"
8'
Gedeckt
2.
Positiv
Flutes
8'
&
4'
3.
Foundations
5.
Solo
Combinations
without
mutations
8'
Gedeckt
4'
Nachthorn
8'
Gedeckt
4'
Principal
4'
Nachthorn
2'
Blockfl6te
8'
Gedeckt
4'
Nachthorn
l'
Siffltlte
8'
Gedeckt
2'
BlockfltJte
8'
Gedeckt
l'
Siffltlte
8'
Gedeckt
2'
BlockfltJte
l'
Siffltlte
6.
7.
Solo
Combinations
with
mutations
A.
Class
ic
French
Cornet
B.
For
German
Cornet
change
4'
Nachthorn
to
4'
Principal
Other
Combinations
with
mutations
-lR-
8'
4'
2-2/3'
2'
1-3/5'
8'
4'
2-2/3'
l'
8'
2-2/3'
1-3/5'
Gedeckt
Nachthorn
Nazard
Bloc
kfltJ
te
Tierce
Gedeckt
Nachthorn
(Optional)
Nazard
SiffitJte
Gedeckt
Nazard
Tierce
(Optional)
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