Rodgers Deseret 115 Bedienungsanleitung

-0

ROILERS

Two

Manual

Organs

Deseret

115

OWNER'S GUIDE

RODGERS INSTRUMENTS CORPORATION

member

the

Roland

Group

TABLE

CONTENTS

RODGERS

DESERET

115

OWNER'S

MANUAL

Introduction

• • • • • • • • • • • • • • • •

••

.•

·..

•

11.

• •

. . .......

The

Console

•••••••

Great

Manual

•

Swell

Manual

• • • •

Pedal

Clavier

Supplements

•••

The

Musical

Resources

the

Deseret

115

. . • •

Principal

Stops

. • • • • • • •

Flute

Stops

•••

. • • • • •

The

String

Family

• • •

••

•

The

Reed

Stops

••••••••••

Mixtures

. • • •

Mutations

•••

Tremulant

• • •

Chiff

• • • • • • •

Couplers

. . . . . . . . . . . . .

r .

Speaking

Stops

the

Deseret

115

••

Double-Touch

Preset

Pistons

Some

Registration

Hints

•••

• • •

......

•.

The

Care

and

Maintenance

the

Rodgers

Deseret

115

. . . . . . . . . . .

Some

Registration

Hints

(Cont'd)

Great

Division

Swell

Division

Pedal

Division

Choir

Registrations

Combination

Registrations

Romantic

Ensembles

. . . .

Console

and

Pedalboard

Keyboards

and

Stop

Tabs

Additional

Design

Elements

o£

the

Deseret

115

. . . . . .

Console

Specifications

Leveling

Glides

. . . .

Speaker

System

. . . . .

Rodgers

Transposer

•

......

. . . .

· . .

. . . . .

• •

• • •

....

· • •

I,:

, I

I ,

I "

1'\

["J

1,1

Rodgers

Warranty

. . . . . . . . . . . . . . . .

[

-~:,'~'~:'

·c

··l

DESERET

115

The

design

the

Rodgers

Deseret

115

skillfully

blends

space-age

technology

with

the

finest

traditions

the

centuries-old

art

organ

building.

From

compact

and

reliable

solid-state

console

emanates

full

ensemble

voices

suited

the

interpretation

traditional

organ

literature

well

service

music

the

contemporary

de-

votional

service.

Incorporated

the

organ's

design

are

the

elements

necessary

for

practice

and

teaching,

making

the

Deseret

115

ideal

instrument

for

school

studio.

The

purpose

this

owner's

manual

explain

the

musical

resources

available

the

Deseret

115

and

suggest

some

registration

ideas

that

suit

the

printed

organ

score.

The

unique

sound

the

organ

derived

from

four

basic

families

organ

tone,

many

pitch

levels

and

various

combinations.

These

combinations

produce

phenome-

non

known

"ensemble

•

accomplish

the

art

creating

fine

organ

ensemble,

there

must

many

pitch

and

tone

sources

interacting

with

one

another.

Good

ensemble

demands

that

voices

add

their

particular

tonal

characteristics

form

cohesive

sound

such

manner

that

one

voice

projects

itself

obtrusively

upon

another.

There

are

traditional

concepts

governing

the

relation-

ships

between

and

within

the

various

families

tone.

These

concepts

are

used

The

Rodgers

Organ

Company

guidelines

for

the

tonal

finishing

all

our

organs.

1.1

I,-

·-r

[

-,U

THE

CONSOLE

the

art

organ

building

evolved

over

the

centuries,

certain

features

the

instrument

have

become

less

standard,

organists,

process

elimination,

gradual-

culled

out

the

"innovations"

that

served

purpose.

The

modern

organ

console

manual

convenience

and

practicality.

The

combination

two

6l-note

beveled

(and

tilted)

keyboards

and

the

32-note

concave

and

radiating

p~dalboard

gives

the

organist

considerable

flexibility

perform

organ

music

written,

without

compromise.

addition,

various

tone

colors

are

conveniently

available,

distributed

among

divisions

according

usual

design.

All

Rodgers

Church

Organs

adhere

console

specifi-

cations

standardized

the

American

Guild

Organists.

GREAT

MANUAL

Lower

Keyboard

The

Great

Division

constitutes

the

most

complete

de-

velopment

Principal

sounds,

supplemented

flutes

8',4',2',

and

1-1/3'.

This

Division

the

tonal

back-

bone

the

organ,

essential

leading

congregational

singing.

Included

this

division

are

stops

(8'

Gemshorn

and

Flute

Celeste

II)

primarily

used

for

softer

accompani-

ment.

color

reed,

the

Krumrnhorn,

also

found

here.

articulate

sounds

associated

with

the

Positiv

Division

the

Baroque

organ.

the

Deseret

115,

characteristic

sounds

the

Choir

Division

are

distributed

among

the

Swell

and

Great

Divisions.

The

mutations

the

Swell

act

ideal

colorings

various

combinations

and

foil

Baroque

cOmbinations.

The

Flute

Celeste

(Great)

suggests

Choir

celeste-effect.

There

much

emphasis

today

the

word

"contrapuntal",

and

for

very

good

reason.

Keyboard

instruments

such

the

organ,

piano,

and

harpsichord,

are

the

only

instruments

where

than

one

note

can

played,

sustained,

one

time.

For

this

reason,

the

most

typical

kind

music

written

for

the

organ

involves

several

melodic

lines

occuring

simultane-

ously.

The

standards

this

type

composition

demand

that

the

lines

complement

each

other

harmonically

well

melodically.

Since

the

melodic

lines

move

against

each

other,

this

style

composition

called

"counterpoint",

and

the

motion

called

"contrapuntal."

not

key-

board

instrument,

than

one

instrument

required

perform

this

style

music.

Therefore,

wonder

that

most

contrapuntal

music

written

for

keyboard

instru-

ments.

THE

MUSICAL

RESOURCES

THE

DESERET

115

PRINCIPAL STOPS

The

term

"Principal"

has

been

used

synonymously

for

"Prinzipal",

"Diapason",

and

"Prestant"

for

that

unique

quality

sound

which

characterized

organ

sound.

Since

the

principal

has

orchestral

counterpart,

unique

the

organ

and

the

natural

sound

produced

open

metal

flue

pipes

pipe

organ.

This

sound

provides

foundation

for

the

entire

ensemble,

and

the

importance

the

principal

stops

evident

when

examine

the

stoplist

the

Deseret

115.

The

Great

Division

evolves

around

this

Principal

sound.

The

Principal,

Octave,

Fifteenth

(super

octave),

and

Mixture

comprise

its

"Principal

Chorus".

The

Swell

Division

Principals

are

subordinate

the

Great,

thus

are

less

prominant

and

are

found

only

and

4',

and

mixture

voiced

appropriately.

The

Pedal

principals

provide

foundation

for

supporting

the

manual

tonal

mass,

well

clarifying

and

defining

independent

line

contrapuntal

music.

Principals

16',

8',4',

and

two-rank

mixture

complete

and

integrate

this

division.

FLUTE STOPS

The

flute

stops

characterized

limited

harmonic

de-

velopment,

are

also

good

foundation

builders.

Flutes

are

often

imitative

the

orchestral

flute

higher

range;

while

the

lower

range,

they

provide

deep

and

solid

bass.

The

flutes

the

Deseret

115

(the

Bourdon,'

Flute;

Piccolo,

and

Flute

Celeste

II)

have

definite

"stopped"

quality

sound.

This

hollow

sound

enables

them

combine

without

creating

thickness

muddiness.

Often

Great

flutes

may

used

interchangeably

with

Principals

for

varying

ensemble

possibilities.

The

Flute

Celeste

creates

warm,

undulating

sound

useful

for

accompaniment

work.

The

1-1/3'

Larigot

light

mutation

stop

for

contrapuntal

combinations.

The

Swell

Flutes

supplement

the

Swell

Princi-

pals

and

4'.

The

16'

Lieblich

Gedeckt

adds

weight

manual

texture;

the

Piccolo

Fife,

brightness.

Two

mutations,

2-2/3'

Nazard

and

1-3/5'

Tierce,

useful

for

Baroque

combinations,

provide

additional

color

and

solo

cOmbinations.

The

Pedal

flutes

(from

16'

2')

provide

soft

medium

loud

foundation,

and

clarity

the

linear

music.

r .

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