Rodgers Scarborough 110 User manual

Owner's Guide
OBOUGD 110
1905-021 RODGERS INSTRUMENTS, LLC, IDLLSBORO, OREGON

SCARBOROUGH 110
The design of the Rodgers Scarborough 110 is a skillful blend of space-age
technology with the finest traditions of the centuries-old art of organ building.
From a compact and reliable solid-state console emanates a full ensemble of
voices suited to the interpretation of traditional organ literature from all periods
as well as service music of the contemporary devotional service.
Incorporated in the organ's design are the· elements necessary for practice and
teaching, making the Scarborough 110 an ideal instrument for school or studio.
The purpose of this owner's manual is to explain the musical resources available
on the Scarborough 110 and to give some registration suggestions that suit the
printed registrations ·of an organ score.
The unique sound of the organ is created by four basic families of organ tone,
sounding at many pitch levels in various combinations. These combinations
produce a phenomenon known as ensemble. To accomplish the art of creating
a fine organ ensemble, there must be many pitch and tone sources interacting
upon one another. Go.od ensemble demands that all voices add their particular
tonal characteristics to form a cohesive sound. This is accomplished in such a
manner that no one voice projects itself obtrusively upon the other voices, which
would completely destroy the objective in mind.
There are traditional concepts governing the relationships between and within
the various families of tone. These are used by the Rodgers Organ Company
as guidelines for determining the tonal finishing of all our organs.
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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.
The modern organ console is a miracle of convenience and practicality, due to
the process of evolution that produced it. The combination of two 61-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 specified by the American Guild of Organists.
GREAT MANUAL - lower keyboard
The Great division is constituted of the best development of the Principals on
the entire organ. Supplemented by Flutes at 8', 4', and 2' this division is the
tonal backbone
of the organ, essential to properly lead congregational singing.
Included in the Great division are supporting stops at 8'; an 8' Gemshorn and
8'
Flute Celeste II are primarily used for softer accompaniments. The
percussions (Harp and Carillon) are also located in the Great.
SWELL MANUAL - ueper keyboard
The Swell division on the Scarborough 110 is unusually complete providing the
Principals at 8' and 4' and a two rank mixture to complement the entire Swell
division. The Flutes range from 16' (tenor C) through 2' with two mutations.
A string and separate two rank string celeste stop provide the lush Romantic
color. There are two reed stops to provide both the chorus and solo reed
sound. The entire Sweli"division complements the Great division adding to
the
total ensemble when coupled to the Great creating a rich and vibrant sound.
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PEDAL CLAVIER
The Pedal division provides a complimentary base on which the entire tonal
mass of the organ rests. It contains a w'ide dynamic range of stops at the
traditional pitch levels. Foundation stops begin at 16' ascending to the 2'
Flute and crowned with a two-rank mixture for maximum clarity of the pedal
line. The Pedal 16' Fagotto provides a powerful and colorful reed that rounds
out the entire division.
CHOffi ORGAN
Organ music very often has registrations calling for a third manual, the Choir
manual. This division derives its name from its traditional function of
accompanying the church choir. For this purpose, the Choir division contains
light Principals and Flutes to provide a light fabric of well organized sound
against which voices may be placed. The light Flutes provide the articulate
sounds associated with the Positiv division of the Baroque organ.
In many two manual organs the stops of this division are neglected. On the
Scarborough 110, however, the characteristic sounds of the Choir division
are distributed among the Swell and Great divisions placed for maximum
flexibility for the needed contrasts that the Choir division provides.
The mutations on the Swell make ideal colorings to the 8' Rohr Flute (Swell),
giving the proper foil against the Principals of the Great for Baroque ensembles.
The 8' Flute Celeste II (Great) provides the flavor of a Choir celeste stop.
The Harp used with the 8' Flute Celeste II (Great) gives an accompaniment
called for in much of the late American Romantic literature.
There is much emphasis placed on the word "contrapuntal" and for very good
reason. The organ, piano, harpsichord, and other keyboard instruments are
the only instruments where more than one note can be played, and sustained,
at one time. For this reason the most popular type of composition used for
the organ involves several melodic lines occuring simultaneously. The
standards of this type of composition demanded that the lines must complement
each other harmonically as well as melodically. Since the melodic lines moved
against each other, this style of composition derived the name "counterpoint",
and the motion was called contrapuntal.
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On any instrument other than the keyboard instruments, it requires more than
one
performer to perform this style of music. With this advantage that the
keyboard performer has, it is no wonder that the greatest amount of composi-
tions were written for the keyboard instruments.
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THE MUSICAL RESOURCES OF THE SCARBOROUGH 110
PRINCIPAL STOPS
The term "Principal" is a "new term" for Diapason which, incidentally, has
been used for centuries as a label for this quality of organ tone. This tone is,
in fact, the principal sound that identifies an organ from other musical instru-
ments. Since the Principal has no orchestral counterpart , it is unique to the
organ. The Principal sound is the natural sound that is produced by open
metal flue pipes in a pipe organ. Principals have a fundamental tone which provides
a foundation for the entire ensemble, yet possess sufficient harmonics to give
character and life to their sound." The necessity and usefulness of the Principal
Stops is evident when we_examine the stoplist of the Scarborough 110.
The Principals are the most characteristic sound of the Great division, therefore
are best developed in this division. The 8' Principal, 4' Octave, 2- 2/3' Twelfth,
2' Fifteenth, and Mixture II comprise the Principal Chorus on the Great division.
The Swell division Principals are subordinate to the Great, thus being less
prominant in sound and found only at 8' and 4' topped with their own two-rank
mixture voiced to blend with the entire Swell division.
The Pedal Principals provide the foundation to support the manual tonal mass
as well as providing independent clarity and definition to carry an independent
and important line in contrapuntal music. Therefore, the Pedal division has
the Principals at 16', 8', 4', and a two-rank mixture voiced to ensemble with
the entire Pedal division.
FLUTE STOPS
The Flute stops of the organ are characterized by limited harmonic development
and, as such, are good foundation builders. The Flutes are imitative of the
orchestral flute in the higher ranges and in the lower range provide a deep,
solid bass.
The Flutes on the Scarborough 110 have a definite "stopped" quality of sound.
This is a very hollow sound enabling the Flutes to combine with other stops on
the organ without creating a thick, muddy sound. The Flutes in the Great
division support the Principal Chorus as well as complementing each other
for a softer combination than the bold Principals. The 8' Bourdon, 4' Flute,
and 2' Piccolo comprise the Great Flute Chorus. The 8' Flute Celeste I I is
softer than the 81 Bourdon, activating two sound sources, one tuned slightly
sharper than the other, which creates a warm, undulating sound useful for
accompaniment work.
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The Swell Flutes supplement the Swell Principals at 8' and 4', with the 16'
Lieblich Gedeckt for added reinforcement to the manual texture and a 2' Piccolo
for brightness. Two mutations, a 2-2/3' Nazard and 1-3/5' Tierce are useful
for light Baroque combinations and provide the imaginative organist with
additional color to solo combinations when used in good taste.
The Pedal Flutes give a soft to medium loud foundation ascending from 16'
to 2' providing clarity to the pedal line.
THE STRING FAMILY
The warm and delicate sound of organ strings has provided a sound specified
by many organ composers to be used in a particular portion of their compositions
to bring out the maximum beauty of that section. Strings, as they are known
in the organ, trace their best merits of design to the French Romantic school
o! organ building. The String is a close relative to the Principal, containing
more harmonic development and less fundamental than the Principal, resulting
in a soft, lush, delicate sound.
The Swell division contains two strings, the 8' Salicional and the 8' Voix
Celeste I I. The Salicional is useful as an accompanying voice and an ensemble
stop when used with the Flutes. The Voix Celeste II is constructed of two
string voices, one tuned slightly sharper than the unison pitch, creating an
undulation (slow beating) sound. (The sound was said to resemble heavenly
voices -- hence it received the name Voix Celeste.) The Celeste is the
frosting on the cake, and is best suited for soft passages or wherever
called for. The Celeste is not recommended for full combinations because
of the pitch difference.
The Gemshorn is placed tonally between the Principals and the Strings, thus
classifying it as a Hybird Stop. It has more fundamental than the Strings,
resulting in a fine voice for building soft foundation combinations. It is
located at 8' in the Great division and in the Pedal division.
In the pipe organ, all of the above tone qualities (Principals, 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.
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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 nature. Chorus reeds blend in with the Foundation Chorus,
completing the total full ensemble.
The 8' Trompette in the Swell division and the 16' Fagotto in the Pedal
division are the chorus reeds of the Scarborough llO. They add the fire
to the total ensemble that the brass section adds to the orchestra.
The Swell 8' Trompette is most useful as a solo stop for processionals.
The 8' Oboe is a solo stop of a definite orchestral nature, voiced softer
than the Trompette for use in delicate passages.
The Pedal 16' Fagotto is used for the Full Pedal, adding the necessary power
to complement the Full Organ of the Swell and Great divisions.
MIXTURES
Mixtures are composed of sets of fractional pitches, and are used to clarify
and extend the upper harmonic structure of the organ ensemble. They are
used principally in fuller registrations to put a brilliant and pitch-defining
top on the mass of lower pitched sound.
The Scarborough 110 has three mixtures, each consisting of two ranks
voiced to complement their specific division. Each mixture has its own
separate level control, allowing adjustments to be made according to the
requirements of the room in which the organ is placed.
MUTATIONS
Mutations are non-unison pitched stops whose purpose is to add color to solo
combinations. These stops are the salt and pepper of registration and should
be freely experimented with and used to their best advantage.
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The 2-2/3' Twelfth (GREAT) is a Principal stop pitched one octave and a
major fifth above the unison ( 8') pitch, where it accentuates that particular
harmonic of the 8' tone. It is normally used with the Principals at 8', 4',
and 2'.
The 2-2/3' Nazard (SWELL) is the same pitch as the Twelfth, but is a Flute
voice. When added to the 8' Rohr Flute (SWELL) the hollow quality of the
"stopped flute" becomes more apparent because of the reinforcement of that
particular harmonic of the 81 pitch.
The 1-3/5' Tierce is a Flute pitched two octaves and a major third above the
unison ( 8'). It should be used very sparingly for maximum effect.
TREMULANTS
There are three tremulant controls on the Scarborough 110. The MAIN
TREMULANT
places a light tremulant on the entire organ. This is adjustable
both as to speed and depth. The two other controls affect the Leslie unit.
When the DIAPASON/FLUTE CHORUS tab is placed "on", the Diapason
(Principal) channel is mixed with the Flute channel. The Flute channel
is then affected by the Leslie which is then rotating at the slow speed.
When the Flute TREMULANT FULL is placed "on", the tremulant turns on
to
fast speed. The Diapason (Principal) channel is dropped from the Flutes
and the Flutes are raised in level to give the proper effect and balance sought
when the Leslie fast tremulant is on.
CHIFF
The "Chiff" tab affects only the manual Flutes and Pedal Flutes 81 and
above. The Chiff is the characteristic attack that a flue pipe has when the
air strikes the lip. This percussiveness gives much definition to the pitches
and enhances the tonal flexibility of the organ.
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TONE FAMILY
PRINCIPALS
FLUTES
STRINGS
REEDS
MIXTURES
CELESTES
PERCUSSIONS
SPEAKING STOPS ON THE SCARBOROUGH 110
GREAT MANUAL
8' Principal
4'.0ctave
2' Fifteenth
8' Bourdon
4' Flute
2' Piccolo
8' Gemshorn
Mixture I I
8'
Flute Celeste I I
Harp
Carillon
SWELL MANUAL
8' Giegen Principal
4' Octave
PEDAL CLAVIER
16' Principal
8' Octave
4' Choralbass
16' Lieblich Gedeckt (Tenor C) 16' Bourdon
8' Rohr Flute
16' Lieblich Gedeckt
4' Flute
8' Flute
2' Piccolo
4' Flute
2' Flute
8' Salicional
8' Gemshorn
8' Trompette
16' Fagotto
Oboe
Mixture I I
Mixture I I
8' Voix Celeste II
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