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.
-1-
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.
-2-
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.
-3-
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.
-4-
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.
-5-
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.
-6-
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.
-7-
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.
-8-
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
-9-
Preset
1
Preset
2
Preset
3
PRESET
COMBINATIONS
SWELL
8'
Rohrflute
8'
Salicional
4'
Flute
8'
Geigen
Principal
8'
Salicional
4'
Flute
2'
Piccolo
8'
Geigen
Principal
8'
Salicional
4'
Octave
2'
Piccolo
Mixture
IT
GREAT
8'
Principal
4'
Flute
8'
Bourdon
8'
Gemshorn
4'
Octave
2'
Piccolo
8'
Principal
8'
Bourdon
4'
Octave
4'
Flute
2'
Fifteenth
Mixture
II
PEDAL
16'
Lieblich
Gedeckt
8'
Flute
16'
Bourdon
8'
Flute
8'
Gemshorn
4'
Flute
161
Principal
8'
Octave
4'
Choralbass
2'
Piccolo
SOME REGISTRATION HINTS FOR THE SCARBOROUGH 110
The
following guides to
stop
selection
are
for
the
Scarborough
110
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.
-10-
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
81 &
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',
41, & 21
11.
Full
Great
to
Mixtures
-11-
RODGERS REGISTRATION
8'
Bourdon
8'
Principal
or
8'
Gemshorn
4'
Flute
8'
Gemshorn
8'
Principal
81
Bourdon
8'
Gemshorn
8'
Bourdon
4'
Octave
8'
Bourdon
4'
Flute
8'
Bourdon
4'
Octave
2'
Fifteenth
81
Principal
8'
Bourdon
4'
Flute
8'
Principal
4'
Octave
2-
2/3'
Twelfth
2'
Fifteenth
8'
Principal
8'
Bourdon
4'
Octave
4'
Flute
2-2/3'
Twelfth
2'
Fifteenth
2'
Piccolo
Add
Mixture
I I
to
the
above
SWELL
DIVISION
Some
of
the
sugg~stions
below
are
given
for
use
as
ensemble
choruses,
and
a
few
useful
solo
combinations
are
also
included.
PUBLISHED SUGGESTION
1.
Strings
2.
String
Celeste
3
..
Flute
8'
4.
Flutes
81 &
4'
5.
Foundations
81
6.
Foundations
8'
&
4'
7.
Swell
Foundation
Chorus
8.
Full
Swell
9.
Full
Swell
to
Mixtures
1
o.
Solo
Reed
M F
11.
Cornet
(Classic
solo
stop)
-12-
RODGERS REGISTRATION
8'
Salicional
8'
Voix
Celeste
II
8'
Rohr
Flute
81
Rohr
Flute
4'
Flute
8'
Geigen
Principal
8'
Rohr
Flute
8'
Geigen
Principal
8'
Rohr
Flute
4'
Octave
4'
Flute
8'
Geigen
Principal
8'
Rohr
Flute
4'
Octave
4'
Flute
2'
Piccolo
Above +
8'
Trompette
Add
Mixture
I I
to
above
8' Oboe
8'
Rohr
Flute
4'
Flute
2-2/3'
Nazard
2'
Piccolo
1-3/5'
Tierce
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
161
voices
provides
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
81 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'
P
4.
Foundations
16' and
8'
F
5.
Foundations
16',
8',
and
4'
6.
Full
Pedal
-13-
RODGERS REGISTRATION
161
Lieblich
Gedeckt
16'
Lieblich
Gedeckt
8'
Flute
16'
Bourdon
8'
Octave
16'
Bourdon
8' Octave
8'
Flute
16'
Principal
16'
Bourdon
8'
Octave
8'
Flute
4'
Choralbass
16'
Principal
16'
Bourdon
8'
Octave
81
Flute
4'
Choralbass
2'
Flute
(optional)
16'
Fagotto
Mixture
II
CHOIR REGISTRATIONS
When
registrations
for
Choir
Organ
are
encountered,
the
following
suggestions
may
be
helpful.
The
first
is
for
the
Choir
in
an
accompaniment
function ;
the
second
for
Baroque
or
Positiv
registrations.
Choir
Accompaniment
(use
with
Diapason/Flute
Chorus
Tab
depressed)
PUBLISHED
SUGGESTION
1.
Choir
Strings
2.
Unda
Maris
8'
3.
Choir
Strings
and
Flutes
4.
Choir
Accompanimental
chorus
Choir
Positiv
RODGERS REGISTRATION
Great
- 81
Gemshorn
Great
-
8'
Flute
Celeste
II
Great-
8'
Gemshorn
4'
Flute
Great
-
8'
Bourdon
8'
Gemshorn
4'
Flute
The
following
suggestions
are
for
Baroque
registrations.
These
combinations
are
best
used
in
contrapuntal,
as
opposed
to
chordal,
music.
PUBLISHED
SUGGESTIONS
1.
2.
Positiv
Flutes
81
Combinations
of
Flutes
without
Mutations
-14-
RODGERS REGISTRATION
Great-
8'
Bourdon
Swell
-
8'
Gedeckt
Great-
8'
Bourdon,
4'
Flute
Swell
-8'
Gedeckt,
4'
Flute
8'
Gedeckt,
2'
Piccolo
8'
Gedeckt,
4'
Flute,
2'
Piccolo
Choir
Positiv,
continued
3.
Combination
of
Flutes
with
Mutations
Swell-
8'
Gedeckt,
2-2/3'
Nazard
8'
Gedeckt,
2-2/3'
Nazard,
2'
Piccolo
8'
Gedeckt,
4'
Flute,
2-2/3'
Nazard
8'
Gedeckt,
4'
Flute,
2'
Piccol
2-2/3'
Nazard
8'
Gedeckt,
1-3/5'
Tierce
8'
Gedeckt,
4'
Flute,
1-3/5'
Tierce
8'
Gedeckt,
2-2/3'
Nazard,
1-3/5'
Tierce
Note:
The
Principals
of
the
Great
and
Swell,
especially
at
higher
pitch
levels,
add
brilliance
to
the
above
registrations.
The
combinations
are
many
and
varied.
FULL
ORGAN REGISTRATIONS
The
following
are
suggested
full
organ
registrations
for
the
Scarborough
110,
reflecting
specific
musical
styles.
Baroque
Ensembles
1.
Soft
Swell:
8'
Rohr
Flute,
4'
Flute
Great:
8'
Gemshorn,
2'
Piccolo
Pedal:
16'
Lieblich
Gedeckt,
8'
Flute
2.
MF
Swell: 8'
Gedeckt,
2'
Piccolo
Great:
8'
Bourdon,
4'
Octave,
2-2/3'
Twelfth,
2'
Fifteenth
Pedal:
16'
Lieblich
Gedeckt,
8'
Octave,
4'
Choralbass
3.
F
Swell:
8'
Gedeckt,
4'
Octave,
2-2/3'
Nazard,
2'
Piccolo
Great:
8'
Bourdon,
4'
Octave,
2'
Super
Octave,
Mixture
I I
SW
to
GT
Pedal:
16'
Bourdon,
8'
Flute,
8'
Octave,
4'
Choralbass
-15-
Romantic
Ensembles
(Use
with
Diapason/Flute
Chorus
Tab
depressed)
1.
Celeste
ensemble
Play
melody
on
Great
2.
Solo
Oboe
with
Celestial
Harp
accompaniment
HYMN REGISTRATIONS
1.
MP-
MF
2.
MF-
F
-16-
GREAT:
8'
Flute
Celeste
II
4'
Flute
Swell
to
Great
SWELL:
8' Voi.x
Celeste
I I
PEDAL:
16'
Bourdon
8'
Flute
Main
Tremulant
optional
Swell:
Great:
8'
Oboe
8'
Flute
Celeste
II
Harp
Pedal:
161
Bourdon
SWELL:
8'
Rohr
Flute
8'
Salicional
4'
Flute
GREAT:
8'
Bourdon
81
Gemshorn
4'
Flute
Swell
to
Great
PEDAL:
161
Bourdon
8'
Flute
Swell
to
Pedal
SWELL:
81
Geigen
Principal
8'
Rohr
Flute
4'
Octave
4'
Flute
GREAT:
8'
Principal
8'
Bourdon
4'
Octav
4'
Flute
2.
(Continued)
3.
F-
FF
PEDAL
:
16'
Principal
81
Octave
SWELL:
GREAT:
8'
Flute
4'
Choralbass
8'
Geigen
Principal
81
Rohr
Flute
4'
Octave
4'
Flute
2'
Piccolo
Mixture
II
8'
Principal
8'
Bourdon
4'
Octave
4'
Flute
2-2/3'
Twelfth
2'
Fifteenth
2'
Piccolo
Swell
to
Great
PEDAL:
16'
Principal
16'
Bourdon
81
Octave
81
Flute
4'
Choralbass
Swell
to
Pedal
The
Swell
in
the
above
scheme
could
by
played
without
Pedal,
possibly
on
the
next
to
the
last
verse
of
the
hymn.
During
that
time,
the
Great
Mixture
and
the
Pedal
16'
Fagotto
could
be
added
for
a
brilliant
and
grand
accompaniment
to
the
last
verse,
which
would
be
played
back
on
the
Great
Manual
with
Pedal.
-17-
THE
CARE AND MAINTENANCE
OF
THE RODGERS SCARBOROUGH 110
CARE AND MAINTENANCE
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.
CONSOLE AND PEDALBOARD
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,
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.
-18-
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