Rodgers Trilogy User manual

OWNER MANUAL.
TRILOGY &328
~odgfJtb Organ Company .... Hillsboro, Oregon
PIN 1905-216
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S P E 'C I F I C A Tol 0 N S
The Rodgers Trilogy is acomplete three-manual organ,
with three 51-note overhanging and tilted organ key-
boards and a32-note concave and radiating pedal
clavier. Classic in tonal design, the Trilogy includes
diapason, flute, and
string choruses; divided tremulants,
chitt, Carillon and Harp; balanced expression; Great
to
Pedal, Swell to Pedal, and Swell to Great couplers.
With three organ keyboards and 32-note pedal board,
the Trilogy provides the flexibility and proper tonal dis-
tribution for the most demanding church music.
With all its resources,
the Trilogy is extremely compact.
The console, which contains all the independent and
individuallytuned tone generators, takes less wall space
than
the average spinet piano. When space is at apre-
mium, the Trilogy is available with -a self-contained,
wide-range multiple speaker system. No console modi-
fications are required
for external speaker installations.
DOUBLE-TOUCH
PRESET PISTONS
Each of the four preset pistons automatically sets up
acombination of stops for all three manuals and the
pedal. Touching apiston lightly will add
that combina-
tion to whatever stopboard and preset combinations
are afready on. Pressing apiston more
firmly will cancel
all preset combinations except the one being pressed.
The general cancel piston will clear all preset combina-
tions, leaving only those stops set up on the stop board.
Standard console
equipment includes illumination for
music rack, stop board. and pedal.
CONSOLE DIMENSIONS
Width
0: 00' • 0 •• _ • _ 0 _ 0 0 0 0 •• _ • 0 o ••• _ ••• _. 531 ,4"
Depth (without pedal) 0 •• _ 00 0 0 •••• 0 ••• _ ••• 29~"
Height 0" _ •• _ 0 _ ••••• 0 0 •• _ 0 0 •• 0 0 0 0 0 • 0 _ 0 45
1
h"
ALL RODGERS INSTRUMENTS ARE GUARANTEED FOR
FIVE YEARS.
RODGERS ORGAN COMPAN.Y
HILLSBORO, OREGON
....
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DOUBLE-TOUCH PRESET
PISTONS
4
Pistons (General)
1General Cancel
BALANCED ,EXPRESSION
PEDAL
,;,
-ECHO
Echo
Tre~ulant
Main Off
, , Echo On
";" .
16' Diapason
16' Bourdon
16' Lieblich Gedeckt
·8' Octave'
8' Flute
PEDAL
.. ..: ..
CHOIR
8' Gedeckt
,8' Quintade (w/chiff)
8' Dulciana
,"4' Flute
2-2/3' Nazard
,
,- 2' Piccolo -
I-3iS'Tierce '"0 Great to Pedal Coupler
,," 8',Clarinet ._0 Swell to ~edal Coupler
-' .::t.: ,: -~"~' ,::r~~;'~oi~nt:-:,Light?,;;. :<".,
, , , " ',: .. ,Tremulant-'-Full· '
<,.". ':
. ~ .
, Tremulant
8' Geigen Diapason
8' Rohrflute
8' Salicional
4' Geigen Octav!!
4' Nachthorn
4' Salicet
8' Trumpet
8' Oboe
SWELL
......
GREAT
16' Lieblich Gedeckt
8' Open DiapaSon
8' Bourdon
4' Octave
4' Flute
2' Super Octave '
Mixture II
Swell to Great Coupler-
Full Chorus
.. . ...,.~

S P E 'C I F I CAT ION S
THE RODGERS 32-B GUARANTEE COVERS ALL
PARTS, COMPONENTS,
AND WORKMANSHIP
FOR FIVE YEARS.
The Rodgers 32-B console
equipment includes: lock-
ing'roll-top and matching organ bench; 6-piston preset
combination action, including the sforzando; and
illumination for the music rack, stop-board, and pedal
clavier.
All the independent and individually tuned
tone generators are contained in the organ console.
W-4,50
31;;{"
18~"
32"
Console
59"
48"
29Ya"
56Ya"
48"
DIMENSIONS
Width
Depth
(Without Pedal)
Height
(Without Music Rack)
TONE CABINETS
Two Rodgers Wide-Range Tone Cabinets make up the
basic speaker
complement for the 32-B. Each Wide-
Range Tone
Cabinet contains two 12" cone speakers,
a
mid-range horn-type speaker, and atweeter, in addi-
tion to the crossover network and 50-watt all-transistor
amplifier. Two controls in each tone cabinet make it
possibleto adjust the organ according to the acoustical
characteristics of individual installations.
With three 61-note overhanging and tilted organ key-
boards and a32-note concave and radiating pedal
clavier, all console dimensions
of the Rodgers 32-8
comply with the standards set by the American Guild
of Organists. The authentic classic design of the 32-8
includes diapason, flute, string and reed choruses:
independent Flute and String Celestes; Chiff; Carillon
and
Harp; Divided Expression; Great to Pedal, Swell
to Pedal, and Swell to Great Couplers,
RODGERS ORGAN COMPANY
HILLSBORO, OREGON
.. ~:-'
PRESET COMBINATION
ACTION
4 Pistons (General)
1
General Cancel
-".
SFORZANDO PISTON
AND TOE STUD
EXPRESSION PEDALS
1. Great &. Choir
2. Sweil &. Pedal
,.
.,
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Great tp Pedal Coupler
Swell
to Pedal Coupler
16'
Diapason
16' Bourdon
16' Lieblich Gedeckt
16' Dulciana
8' Octave
8' FI~te c, ... '
8' Geinshorn
16' Trombone
PEDAL
y.. :' ': ..
<~'Harp -.;.
,Carillon
Tremulant
CHOIR
8' Viola
8' Gedeckt
8' Ouintade (w/chiff)
8' Dulciana
4' Flute
2-2/3' Nazard
2' Piccolo
1-3/5' Tierce
l' Fife
, .. 8'.Clarinet
Tremulant
,:,-
~ •• -#- . ..',
8' Geigen Diapason
8' Rohrflute
8' Salicional
8' Voix Celeste
8' Flute Celeste
4' Geigen Octave
4' Nachthorn .
4' Salicet"
.8' Trumpet
8'. Oboe
4' Clarion
SWELL
Full Choru's . ,
Swell
to Great Coupler
GREAT
16' Lieblich Gedeckt
8'
Open Diapason
8' Bourdon
4' Octave
4' Flute
2-2/3' Twelfth ,
2' Super
Octave
2' Piccolo
Mixture
III

THE RODGERS MODELS 32-B AND 325 (THE TRILOGY)
In their basic design and layout, the Rodgers Models 32- B and Trilogy 3.l,'e
complete, three-manual church organs, capable of supplying the ordinary
needs of the church service as well as the occasional performance of more
demanding recital and concert works. Incorporated in their design are the
elements necessary for practice and teaching work, expanding the usefulness
of these instruments to . include schools and studios. Authentic and complete ,
the Rodgers is often found in the homes of serious organ students and devotees
of classical organ literature.
This booklet is far from exhaustive in exploring the total range of tone color
and versatility of these two instruments. However, you will find much that
will be useful to you. If you have further questions, do not hesitate to ask
your local Rodgers representative. He will be more than glad to assist you
with additional registration hints, with the selection of a competent organ
instructor, or ideas to help you to enjoy to the fullest the broad musical re-
sources· of the 32- B and Trilogy.
1

2
THE MUSICAL RESOURCES OF THE MODEL 32- BAND THE TRILOGY
THE- VOICE FAMILIES OF THE ORGAN
(DIAPASONS,
FLUTES, STRINGS AND REEDS)
THE DIAPASON FAMILY
The sound which most of us associate with the organ is Diapason tone, the very
foundation of the organ. The importance of this stop is often emphasized by the
use of the word "principal" to denote it. The Diapason is non-imitative, it is
unique to the organ alone, and it has enough foundational tone to enable it to
blend well with, and add strength to, the ensemble. At the same time, it pos-
sesses enough harmonic development to add brilliance and life. The usefulness
of this type of tone becomes apparent as one looks at the stoplist of the 32- B or
Trilogy. On -the-Great manual, Diapasons are present at 8', 4', and 2' pitches.
There is also a Mixture, which corroborates the upper harmonics of the Diapa-
sons and adds the final touch of brilliance to the Diapason Chorus. In the Swell
division, the Diapason tone becomes less bold, more in keeping with the roman-
tic nature of the Swell Organ. These Diapasons are called Geigen Diapasons.
In the Pedal Organ, the Diapasons are present at 16' and 8' pitches, to provide
foundation and firmness for that division.
THE FLUTE FAMILY
The Flute tones of the organ are characterized by an almost complete lack of
harmonic development, and as such are good foundation builders. In the Great
division, they complete the ensemble and give it a fuller sound. The light
Choir Flutes with their mutation pitches are useful as a contrapuntal foil to the
Great, as well as being able to synthesize many interesting solo effects. The
Baroque "chiff' , accent is also available on the Choir Flutes, adding sparkle to
the works of Bach and his contemporaries. The Swell Flutes characteristically
possess greater harmonic development than the flutes on the rest of the organ,
but they still have the "covered" sound of the Flute Family. 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 quiet ensemble playing.
THE STRING FAMILY
This sound was introduced into the organ rather late in its development: in the
early part of the 19th century. It is an imitative sound, closely associated with
the sound of an orchestral string section. The string family of organ stops pos-
sesses a soft tone, with a keen edge and a limited amount of foundation pitch.

This extreme development of harmonic partials allows this sound to blend
easily into quieter ensembles, giving them a "singing" quality, like the
sound of violins in the symphony orchestra. This tone quality is placed
on the Swell manual, where it is most useful in producing romantic sounds.
Broader, more Diapason-like strings are also on the Choir manual as aids
to the accompaniment function of that division.
On the 32- B there is an extra set of tone generators, playable on the Swell
manual, creating the Celeste effect. An organ Celeste is created by setting
precisely-tuned oscillators against purposely sharp-tuned oscillators. His-
torically, the resulting undulating "beat" is said to resemble "celestialvoices,"
hence the stop name "Voix Celeste. 'I This gently undulating sound is unequalled
in adding warmth and emotional depth to organ tone. The compass of the Celeste
rank is from tenor C to c2.
In pipe organs, all of the above tone qualities (Diapasons, Flutes and Strings)
are derived from a pipe sotmd caused by a vibrating column of air set in mo-
tion by the action of air impinging on a knife-like edge on the upper part of
the pipe mouth. These pipes and their resultant sounds are classed collec-
tively under the name Flue Stops.
THE REED F AlVllL Y
Pipe organ Reed Stops make use of the vibrations of a brass reed tongue .
against a fixed shallot, the resulting impulses being qualified and given
tonal shape by a resonator placed above the reed assembly. Reeds are
of two basic types, solo and chorus reeds. - The Solo Reeds are of an imi-
tative orchestral character, best used when standing alone in amelodic
line. The Clarinet and Oboe belong to this category. The Chorus Reeds,
such as the Trumpet on the Trilogy and the additional Clarion and Trom-
bone on the 32- B may be used in a solo capacity, but are voiced for the
purpose of adding "fire" to the full"Diapason and Flute Chorus, due to the
extreme harmonic development of these stops. The 16' Trombone in the
Pedal adds" snarl" and percussiveness to the Pedal Ensemble.
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GREAT
SPEAKING
AND NON-SPEAKING STOPS ON THE TRILOGY
CHom
16' Lieblich Gedeckt
8' Open Diapason
8' Bourdon
4' Octave
4' Flute
2' Super Octave
Mixture II
Swell to Great Coupler
Full Chorus
SWELL
8' Geigen Diapason
8' Rohrflute
8' Salicional
4' Geigen Octave
4' Nachthorn
4' Salicet
8' Trumpet
8' Oboe
8' Gedeckt
8' Quintade (w /chiff)
8' Dulciana
4' Flute
2-2/3' Nazard
2' Piccolo
1-3/5' Tierce
8' Clarinet
Tremulant - Light
Tremulant - Full
Harp *
Carillon *
PEDAL
16' Diapason
16' Bourdon
16' Lieblich Gedeckt
8' Octave
8' Flute
Great to Pedal Coupler
Swell to Pedal Coupler
(* Optional)
4
Tremulant
DOUBLE-TOUCH PRESET PISTONS
4
Pistons (General)
1 General Cancel
BALANCED EXPRESSION PEDAL
ECHO
Echo Tremulant
Main Off
Echo On
(Console provision for addition
of Leslie Tremulant to Flutes)

GREAT
SPEAKING
AND NON-SPEAKING STOPS ON THE 32-B
CHOIR
16' Lieblich Gedeckt
8' Open Diapason
8' Bourdon
4' Octave
4' Flute
2-2/3' Twelfth
2' Super Octave
2' Piccolo
Mixture III
Swell to Great Coupler
Full Chorus
SWELL
8' Geigen Diapason
8' Rohrflute
8' Salicional
8' Voix Celeste II
8' Flute Celeste II
4' Geigen Octave
4' Nachthorn
4' Salicet
8' Trumpet
8' Oboe
4' Clarion
Tremulant
COMBINATION ACTION
4- Piston Double-Touch Preset Action
(or optional Setterboard Combination
Action 17- Pistons)
1 General Cancel
8' Viola
8' Gedeckt
8' Quintade (w/chiff)
8' Dulciana
4' Flute
2-2/3' Nazard
2' Piccolo
1-3/5' Tierce
I' Fife
8' Clarinet
Tremulant
Harp
Carillon
PEDAL
16 'Diapason
16' Bourdon
16' Lieblich Gedeckt
16' Dulciana
8' Octave
8' .Flute
8' Gemshorn
16' Trombone
Great to Pedal Coupler
Swell to Pedal Coupler
SFORZANDO PISTON AND TOE STUD
EXPRESSION
PEDALS
1. Great and Choir
2. Swell and Pedal
ECHO PROVISION
Console provided with tabs for
control of an Echo Division,
which can be added at any time.
5

6
THE THREE- MANUAL CONSOLE
As the art of organbuilding has evolved over the centuries, certain features of the
instrument have become more or less standard as organists, by a process of elim-
ination, gradually have culled out "innovations" that served no real practical function
and merely got in the way. It is thus that tradition has given us the three-manual
organ, and most organ literature has been written for three 61-note keyboards and
a 32-note pedalboard. You have probably noticed that nearly all music written for
the organ contains registration notes for Swell, Great, Choir and Pedal. Adapting
these pieces to the two-manual organ is cumbersome at best, often involving rapid
registration changes and difficult "cross-hand" techniques, an unwieldy compromise
of the composer's intent. In two-manual organs the missing tonal division, if it is
supplied at all, must be distributed somewhere among the stops of the two manuals.
This, of course, is a compromise sometimes made in the name of economy.
Three manuals of 61 notes each and afull 32-note pedalboard give the organist all
the necessary flexibility to interpret organ music the way the composer intended.
In addition, the various tone colors are conveniently available, distributed into di-
visions according to their traditional function in the organ. It may be well, at this
point, to give a short description of the tonal "palette" and function of the various
divisions.
THE GREAT ORGAN -- Center Keyboard
This division is the backbone and main substance of the organ. It is character-
ized by the unique Diapason sound, available at various pitches. This Diapason
Chorus, backed up by a chorus of softer Flutes and crowned by the Mixture,
constitutes the principal support to congregational singing in the church. All
of the other divisions of the organ relate in some way to the Great Organ. An
example is the Swell to Great coupler, to make the Swell voices playable on the
Great manual.
THE SWELL ORGAN -- Top Keyboard
This division contains the more romantic and imitative sounds. There is the
Geigen Diapason Chorus, somewhat less assertive than the Great Diapason
Chorus, and derived from a tone source independent of the Great Diapasons.
There is a quiet String Chorus for soft ensemble playing, and a Flute Chorus
of a different harmonic structure than the Great or Choir Flutes. In the 32- B,
the Strings and Flutes have celestes provided for them, adding warmth and
depth to this division. The Reeds of this manual consist of an imitative Oboe,
used in a solo capacity, and a Chorus Trumpet, used as an ensemble builder
in the full organ. The Swell is named for its being an expressive division,
having the ability to "swell" in volume as the expression pedal is opened. On
the 32-B, this manual is further separated from the other two manuals by
having its own expression, independent of the others.

THE CHOIR ORGAN -- Bottom Keyboard
Typically a lighter sound, named for the fact that this division most often
accompanies the church choir. To this end, it has light flutes and strings
to provide an ideal fabric of sound against which the voices of the choir may
be placed. The Choir division of the Rodgers Organ serves the additional
function of a Positiv, or Baroque manual. The light Flutes and mutations,
together with the Chiff (Baroque Accent), provide a counter-voice for the
more assertive Great division. The Choir is also important as accompani-
ment for the solo voices of the other divisions. The percussions (Harp and
Carillon) are also located on this manual.
THE PEDAL ORGAN -- Pedal Keyboard
This division, consisting mostly of flue stops, is the foundation on which
the tonal mass of the qrgan rests. The two couplers assure that the neces-
sary upper work is available when more definition is needed in the pedal
melody line. The 16 I Trombone in the 32- B Pedal adds an additional per-
cussiveness to the full Pedal registration.
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COUPLERS, PERCUSSIONS, TREMULANTS, AND NON-SPEAKING STOPS
COUPLERS
There are three couplers on the 32-B and the Trilogy, Swell to Great, Swell
to Pedal, and Great to Pedal. The Swell to Great coupler is used principally
for combining the romantic voices (principally the Chorus Reeds) with the
Great Organ for greater brilliance and body in full organ effects. The Pedal
couplers furnish the necessary upper pitches to the Pedal, and give it greater
definition.
-PERCUSSIONS
The
Carillon is derived from a cluster of sustained Flute part:ials, assembled
about agiven pitch so as to duplicate the harmonic structure of tuned bells.
The Harp is another sustained voice, suggestive of steel bars being struck by
small felt hammers. When used in arpeggios, it is most useful.
CHIFF
The 8' Quintade (Chiff tab on earlier models) on the Choir is used when the
Baroque accent is desired on the Choir Flutes. When depressed, it adds the
12th momentarily to each note as it is keyed. This effect is simultaneously
added to all Choir Flutes and mutations.
TREMULANTS
There are three tremulants on the Trilogy; two on the 32-B. The one con-
trolled by the tab on the Swell places a tremolo on all of the Diapason, Reed,
and String voices, as well as the Swell Flutes. The Great and Choir Flute
Tremulant is controlled by the Tremulant stop key on the Choir. The Trilogy
has two tremulants for these Flutes, Light and Full. In addition, the Echo
controls on the Trilogy provide for the addition of a Leslie vibrato effect on
the Great and Choir Flutes.
FULL CHORUS CONTROL
This
tab, when depressed, slightly detunes the Flute generator set and the
Main generator set. This imparts a "sound in motion" effect to any music
played when the Flutes are used in combination with the Diapason or Strings.
The resulting effect is slower than a celeste, but has much of the same warmth
of tone as a celeste.

c.
EXPRESSION PEDALS
The Trilogy is equipped with a balanced expression pedal which controls the'
volume level of the entire organ. The 32- B is provided with divided expres-
sion, which is controlled by the two expression pedals. The left pedal (marked
Great) controls the volume level of the Great and Choir divisions. The right
pedal (marked Swell) controls the level of the other divisions of the organ.
SFORZANDO PISTON
On the Model 32-B, the button marked "sforz" when pressed, brings on the
full organ instantly. Pressing the button again cancels this action. The toe
stud to the right of the expression pedals accomplishes the same thing.
PRESET COMBINATION ACTION
On
the 32- B and the Trilogy, the standard combination device is a blind, general
preset-type action. There are five Preset Pistons and one Cancel Piston. Each
Preset Piston has "Double Touch" -- a special feature of this combination action.
For increased flexibility and ease of playing, the "first touch" (light pressure) is
additive and turns on the preset combination, adding it to whatever stops are al-
ready set up on the stopboard as well as to any other presets that are on. The
"second touch" (slightly heavier pressure) is progressive and cancels all presets
except the piston being pushed. The "second touch" does not affect any stops set
up manually on the stopboard. The General Cancel Piston (0) will cancel all pre-
set combinations. Some earlier models had additive presets without "Double Touch." ..
Fifteen different combinations are possible:
1
1 - 2
1 - 2 - 3
1-2-4
1-2-3-4
1-3-4
1-3
1-4
2
2 - 3
2-3-4
2-4
3
3-4
4
Stops may also be added manually from the stopboard. The following preset'
combinations are arranged in ascending dynamic order from 1 through 4. A
panel of lights .(c.ombons) on the .stop r.ail indicate.s..which-Ereset Pistons are
on. Here are the stops pre-wired at the factory for each piston:
MODEL: TRTI..OGY
PISTON #1
GREAT
8' Open Diapason
4' Flute
SWELL
8' Rohrflute
4IN achthorn
CHOIR
8' Gedeckt
8' Dulciana
PEDAL
16' Lieblich Gedeckt
9

PISTON #2
GREAT SWELL CHam
PEDAL
8'
Bourdon
8'
Geigen Diapason
8' Dulciana
16' Bourdon
4'
Flute
4'
Geigen Octave 4'
Flute
PISTON #3
8'
Open Diapason
8'
Salicional
8' Gedeckt 16'
Lieblich Gedeckt
4'
Octave
4' Salicet
2'
Piccolo 8'
Flute
4'
Flute
2'
Super Octave
PISTON #4
8'
Bourdon
8'
Geigen Diapason
8'
Gedeckt 16'
Lieblich Gedeckt
4'
Octave
8'
Rohrflute
4'
Flute 16'
Bourdon
2'
Super Octave
8'
Trumpet
2'
Piccolo 8'
Octave
Mixture II
MODEL:
32-B
PISTON #1
GREAT SWELL CHam PEDAL
8'
Open Diapason
8' Rohrflote
8' Gedeckt
16'
Lieblich Gedeckt
4'
Flute
4' N achthorn 8' Dulciana
PISTON #2
8'
Bourdon
8'
Geigen Diapason
8'
Viola
16'
Bourdon
4'
Flute
4'
Geigen Octave
4'
Flute 8'
Flute
2'
Piccolo
PISTON #3
8'
Open Diapason 8'
Salicional
8' Gedeckt
16'
Lieblich Gedeckt
4' Octave 4'
Salicet
4'
Flute
16'
Dulciana
4'
Flute
2'
Pic'colo 8'
Gemshorn
2'
Super Octave
PISTON #4
8' Bourdon
8'
Geigen Diapason
8'
Dulciana
16'
Diapason
4'
Octave
8' Trumpet 4'
Flute
16'
Bourdon
2'
Piccolo
2'
Piccolo
8'
Octave
10 Mixture III
I'
Fife
8'
Flute

Preset Combination Actions have been laid out primarily for use in church liturgy
rather than for the performance of concert literature.
PISTON #=1
GREAT MANUAL -Useful for the introduction of larger hymns, for the first voices
of a quiet hymn, and occasionally for choir responses.
SWELL MANUAL - Provides an answer to the above, or it can be coupled to the
Great to broaden that registration.
CHam MANUAL - Provides a soft background to the Great.
THE PEDAL -Set to balance the above registrations.
PISTON #=2
GREAT MANUAL - Provides a clear Flute Chorus for lighter music and with solo
choral work.
SWELL MANUAL - The Diapason at 8' and 4' provide the foundation -- ~ither when
used alone for choir work or when coupled to the Great for
congregational singing.
CHom MANUAL - The most basic registration for lighter hymns.
THE PEDAL -Set to balance the above registrations.
PISTON #=3 -
GREAT MANUAL -
The basic Diapason Chorus for most hymns of a larger sort.
SWELL MANUAL - Provides only the light strings, particularly useful for a quick
transition from soft meditation to the Great hymn organ.
CHam MANUAL - Imitation of the Flute Chorus of Great Piston #=2.
THE PEDAL - Set to balance the above registrations.
NOTE: These registrations may be broadened by adding either
Piston #=2 or #=1.
PISTON #=4
GREAT MANUAL - Useful for final verses of hymns, especially when there has
been a gradual build-up, verse by verse, through the Great
registrations on the other pistons (above). The Swell to Great
Coupler adds greater claritY, bringing the reed sound from
the Swell.
11

12
SWELL MANUAL -
Provides the Swell Reeds, notably the distinctive sound of the
Solo Trumpet.
CHOIR MANUAL Provides an answering chorus of lighter flutes. On the 32--B,
this chorus is capped by the 1t Fife.
THE PEDAL Set to balance the above registrations.
NOTE: The addition of Piston #1, #2 or #3 will strengthen
and broaden the thinner registrations of Piston #4.
SETTERBOARD COMBINATION ACTION
On
the setterboard models of the 32-B (32-Bc), the combination action moves
the stop tabs affected and is adjustable by means of the setterboard located in
a drawer underneath the Choir Manual. This unit contains a switch for each
stop in a division, and a set of these switches for each manual piston belonging
to that division. Any switch moved to the right will bring on the stop it repre-
sents when that manual piston is pressed. The pistons located to the left of
the Great manual pistons are collective general pistons and are duplicated by
Toe Studs to the left of the expression pedals. Each general piston brings on
. all of the stops in all divisions that are set on pistons with the same number,
i. e. all the 1t s, 2 IS, etc.

SOME REGISTRATION HINTS FOR THE 32-B AND THE TRILOGY
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 music 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 had at his disposal. Therefore, names of some stops would be meaning-
less on some instruments. The way to get to know the 32- B and the Trilogy is to
experiment freely with the sounds of the instruments, and the following 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 musical practice.
PEDAL DIVISION
The term IlAppropriate Pedal
ll
often appears on suggested registrations. The
suggestion seems obvious at first, but Pedal stop selection is as much 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 provides the subhar-
monies necessary to undergird the manual tonal structure.
PUBLISHED SUGGESTION
1. Light 16' Pedal
2. Soft 16' & 8'
3. Basic MP to MF Pedal
4. Foundations 16' & 8'
5. Foundations 16' & 8'
6. Full Pedal
32-B
TRILOGY
16' Lieblich Gedeckt
16'
Lieblich Gedeckt
16'
Lieblich Gedeckt 16'
Lieblich Gedeckt
8' Flute or Gemshorn
8'
Flute
16' Bourdon
16'
Bourdon
8' Flute (Gemshorn)
8'
Flute
16'
Bourdon, Dulciana
16'
Bourdon
8' Octave, Gemshorn
8'
Octave
16'
Diapason, Bourdon
16'
Diapason,
Bourdon
8' Octave, Flute
8' Flute
16'
Diapason, Bourdon,
16'
Diapason, Bourdon
Trombone
8'
Octave, Flute
8' Octave, Flute,
Gemshorn
13

Pedal Division ( Cont'd)
When Pedal upper voices are needed in the above suggestions, the Pedal couplers
are used. Most generally used is the Great to Pedal coupler, since the stops set
on the Great usually determine the basic dynamic strength of the organ.
In some of the more complex forms of contrapuntal music, the Pedal is often called
upon to furnish a distinctive third VOice, such as in Trio Sonatas and Chorale Pre-
ludes. The Pedal couplers make available all of the Great and Swell upper work and
Reeds required by this style of music.
GREAT DIVISION
The Great is used in general church music for hymns and major anthem and solo ac-
companiments.
Primarily intended for ensemble or homophonic texture, the Great
is played "both hands" in these functions.
PUBLISHED SUGGESTION
32-B TRILOGY
1.
Flutes 8' 8'
Bourdon 8'
Bourdon
2. Light Foundation 8' 8'
Open Diapason 8'
Open Diapason
4'
Flute 4'
Flute
3.
Broad Foundation 8'
8'
Open Diapason,
8'
Open Diapason,
Bourdon
Bourdon
4.
Light Foundation 8' & 4'
8'
Bourdon 8'
Bourdon
4' Octave
4' Octave
5. Light Foundation 8', 4',
8'
Bourdon 8'
Bourdon
& 2' 4' Octave
4' Octave
2'
Piccolo
4'
Flute
6.
Foundation 8', with
8'
Open Diapason 8'
Open Diapason
Flutes 4' & 2'
4'
Flute 4'
Flute
2'
Piccolo
7.
Basic Diapason Chorus
8'
Open Diapason,
8'
Open Diapason,
8',4', &2' Bourdon
Bourdon
4' Octave
4' Octave
2'
Super Octave, 2'
Super Octave
Piccolo
14
8. Full Foundation Chorus 8' Open Diapason,
"Bourdon
4' Octave, Flute
2-2/3' Twelfth
2' Super Octave,
Piccolo
8' Open Diapason
Bourdon
4' Octave, Flute
2' Super Octave

Great Division (Cont'd)
PUBLISHED SUGGESTION
9. Full Great to Mixtures
10. Full Great + 16'
32-B
Add mixture to the
above.
Add 16' Lieblich
to the above.
SWELL DIVISION
TRIT...OGY
Add mixture to the
above.
Add 16' Lieblich
to the above.
A considerable amount of registration for the Swell Division will be given directly
in the form of solo type registration. The suggestions below are given for use as
ensemble choruses in music of a romantic nature.
PUBLISHED SUGGESTION
1. Strings 8'
(Gamba, Violone)
2. Swell Flutes 8'
3. Strings 8' &4 '
4. Flutes 8' & 4'
5. Foundations 8' &4'
6. String Chorus
7. Flute Chorus
8. Reeds 8' &4 '
9. Full Swell
32-B
8' Salicional
8' Rohrflute
8'
Salicional
4'
Salicet
8' Rohrflute
4' Nachthorn
8' Geigen Diapason
4' Geigen 6ct~ve or
Nachthorn
Voix Celeste II
4' Salicet
Flute Celeste II
4' Nachthorn
8'
Trumpet
4'
Clarion
8'
Geigen Diapason,
Rohrflute
4'
Geigen Octave,
Salicet
8' Trumpet
4' Clarion
TRIT...OGY
8' Salicional
8'
Rohrflute
8'
Salicional
4' Salicet
8'
Rohrflute
4' Nachthorn
8' Geigen Diapason
4' Geigen Octave or
Nachthorn
8' Salicional
4' Salicet
( Tremulant)
8'
Rohrflute
4' Nachthorn
8' Trumpet, Oboe
8' Geigen Diapason,
Rohrflute
4'
Geigen Octave,
Salicet
8' Trumpet, Oboe
15

CHOIR DIVISION
.Two sets of suggestions are given below for the Choir Division. The first is for
the Choir in an accompanimental function; the second for using the Choir as a
Positiv.
Choir Accompaniment
PUBLISHED SUGGESTION
1. Choir Flutes 8'
2. Choir Strings 8'
3. Unda Maris 8'
4. Choir Strings and Flutes
8' & 4'
5. Choir Accompanimental
Chorus
Choir Positiv
32-B
TRILOGY
8' Gedeckt
8'
Gedeckt
8'
Viola or Dulciana
8'
Dulciana
8'
Gedeckt, Dulciana 8'
Gedeckt, Dulciana
Full Chorus
Full Chorus
8'
Gedeckt, Viola
8'
Gedec kt, Dulc iana
4' Flute
4' Flute
Full Chorus
Full Chorus
8'
Gedeckt, Viola 8'
Gedeckt, Viola
4'
Flute
4'
Flute
2'
Piccolo 2'
Piccolo
Full Chorus
Full Chorus
The following suggestions are for Baroque registrations, usually employing the
Chill accent. These combinations are best used in contrapuntal, as opposed to
chordal music.
PUBLISHED SUGGESTION
32-B
TRILOGY
1.
Positiv Flutes 8'
8'
Quintade (w /chiff) 8'
Quintade (w/chiff)
2.
Combinations of Flutes
8'
Quintade (w /chiff)
8' Quintade (w/chiff)
without mutation stops 4' Flute
4'
Flute
8'
Quintade (w /chiff)
8' Quintade (w/chiff)
2'
Piccolo 2'
Piccolo
8'
Quintade (w /chiff)
l' Fife
8'
Quintade (w /chiff)
2'
Piccolo
l' Fife
16

PUBLISHED SUGGESTION
32-B
TRILOGY
3.
Combinations of Flutes
8'
Quintade (w /chiff)
8'
Quintade (w /chiff)
involving mutations
2-2/3'
Nazard
2-2/3' Nazard
8'
Quintade (w /chiff)
8'
Quintade (w /chiff)
4'
Flute
4' Flute
2-2/3'
Nazard
2-2/3 '
Nazard
8'
Quintade (w /chiff) 8'
Quintade (w /chiff)
2-2/3' Nazard
2-2/3' Nazard
2'
Piccolo
2'
Piccolo
8'
Quintade (w /chiff)
2-2/3' Nazard
2'
Piccolo
I' Fife
8' Quintade (w /chiff) 8'
Quintade (w / chill)
2'
Piccolo
2'
Piccolo
1-3/5' Tierce
1-3/5 '
Tierce
FULL ORGAN REGISTRATIONS
The following are suggested full organ registrations for the 32- B and Trilogy, with
an eye to specific musical styles.
Baroque Ensembles
1. Soft (TRILOGY & 32-B)
Swell: 8' Oboe
Great: 8' Bourdon, 2' Super Octave
Choir: 8' Dulciana, 2' Piccolo
Pedal: 16' Lieblich Gedeckt, 8' Gemshorn
2. MF (32-B)
Swell: 8' Geigen Diapason, 4' Geigen Octave, 4' Salicet, 4' Clarion
Great: 8' Bourdon, 4' Octave, 2' Super Octave, 2' Piccolo
Choir: 8' Quintade (w/chiff, 2-2/3' Nazard, I' Fife
Pedal: 16' Lieblich Gedeckt, 8' Octave, 8' Gemshorn, Swell to Pedal
17