Rodgers Scarborough 110 Bedienungsanleitung

Owner's

Guide

OBOUGD

110

1905-021 RODGERS INSTRUMENTS, LLC, IDLLSBORO, OREGON

SCARBOROUGH 110

The

design

of the

Rodgers

Scarborough

110

skillful

blend of

space-age

technology

with

the

finest

traditions

the

centuries-old

art

organ

building.

From

compact

and

reliable

solid-state

console

emanates

a full

ensemble

voices

suited

to the

interpretation

traditional

organ

literature

from

all

periods

well

service

music

the

contemporary

devotional

service.

Incorporated

in the

organ's

design

are

the·

elements

necessary

for

practice

and

teaching,

making

the

Scarborough

110

ideal

instrument

for

school

studio.

The

purpose

this

owner's

manual

explain

the

musical

resources

available

on the

Scarborough

110 and to give

some

registration

suggestions

that

suit

the

printed

registrations

·of

organ

score.

The

unique sound of the

organ

created

four

basic

families

organ

tone,

sounding

many

pitch

levels

various

combinations.

These

combinations

produce

a phenomenon known

ensemble.

accomplish

the

art

creating

a fine

organ

ensemble,

there

must

many

pitch

and tone

sources

interacting

upon one

another.

Go.od

ensemble

demands

that

all

voices

add

their

particular

tonal

characteristics

form

cohesive

sound.

This

accomplished

such

manner

that

no one

voice

projects

itself

obtrusively

upon the

other

voices,

which

would

completely

destroy

the

objective

mind.

There

are

traditional

concepts

governing

the

relationships

between

and within

the

various

families

tone.

These

are

used

by the

Rodgers

Organ

Company

guidelines

for

determining

the tonal

finishing

all

our

organs.

-1-

THE CONSOLE

the

art

organ

building

has

evolved

over

the

centuries,

certain

features

the

instrument

have

become

less

standard

organists,

by a

process

elimination,

gradually

culled

out

''innovations"

that

served

practical

function and

merely

got

the

way.

The

modern

organ

console

miracle

convenience

and

practicality,

due

the

process

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

written,

without

compromise.

addition,

the

various

tone

colors

are

conveniently

available,

distributed

into

divisions

according

their

traditional

functions in

the

organ.

Incidentally,

all

Rodgers

Church

Organs

adhere

rigidly

to the

specifications

for

console

standardization

specified

by the

American

Guild

Organists.

GREAT MANUAL -

lower

keyboard

The

Great

division

constituted

the

best

development

of the

Principals

the

entire

organ.

Supplemented by

Flutes

8',

4',

and

this

division

is the

tonal backbone

the

organ,

essential

properly

lead

congregational

singing.

Included in the

Great

division

are

supporting

stops

8';

Gemshorn

and

Flute

Celeste

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

unusually

complete

providing

the

Principals

8' and

and a two

rank

mixture

complement

the

entire

Swell

division.

The

Flutes

range

from

16'

(tenor

through

with

two

mutations.

string

and

separate

two

rank

string

celeste

stop

provide

the

lush

Romantic

color.

There

are

two

reed

stops

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

rich

and

vibrant

sound.

-2-

PEDAL

CLAVIER

The

Pedal

division

provides

complimentary

base

which

the

entire

tonal

mass

the

organ

rests.

contains

a w'ide

dynamic

range

stops

the

traditional

pitch

levels.

Foundation

stops

begin

16'

ascending

to the

Flute

and

crowned

with

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

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

provide

light

fabric

well

organized

sound

against

which

voices

may

placed.

The

light

Flutes

provide

the

articulate

sounds

associated

with

the

Positiv

division

of the

Baroque

organ.

many

two

manual

organs

the

stops

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

Rohr

Flute

(Swell),

giving the

proper

foil

against

the

Principals

of the

Great

for

Baroque

ensembles.

The

Flute

Celeste

(Great)

provides

the

flavor

Choir

celeste

stop.

The

Harp

used

with

the 8'

Flute

Celeste

(Great)

gives

accompaniment

called

for

much

the

late

American

Romantic

literature.

There

much

emphasis

placed

the

word

"contrapuntal"

and

for

very

good

reason.

The

organ,

piano,

harpsichord,

and

other

keyboard

instruments

are

the only

instruments

where

than

one note

can

played,

and

sustained,

one

time.

For

this

reason

the

most

popular

type of

composition

used

for

the

organ

involves

several

melodic

lines

occuring

simultaneously.

The

standards

this

type of

composition

demanded

that

the

lines

must

complement

each

other

harmonically

well

melodically.

Since

the

melodic

lines

moved

against

each

other,

this

style

composition

derived

the

name

"counterpoint",

and

the

motion

was

called

contrapuntal.

-3-

On any

instrument

other

than the keyboard

instruments,

requires

than

one

performer

perform

this

style

music.

With this advantage

that

the

keyboard

performer

has,

wonder

that

the

greatest

amount

composi-

tions

were

written

for

the keyboard

instruments.

-4-

THE

MUSICAL RESOURCES

THE SCARBOROUGH 110

PRINCIPAL

STOPS

The

term

"Principal"

"new

term"

for

Diapason

which,

incidentally,

has

been

used

for

centuries

label

for

this

quality

organ

tone.

This

tone

is,

fact,

the

principal

sound

that

identifies

organ

from

other

musical

instru-

ments.

Since

the

Principal

has

orchestral

counterpart

unique to the

organ.

The

Principal

sound

the

natural

sound

that

produced

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

give

character

and

life

their

sound."

The

necessity

and

usefulness

the

Principal

Stops

evident

when we_examine the

stoplist

the

Scarborough

110.

The

Principals

are

the

most

characteristic

sound

the

Great

division,

therefore

are

best

developed

this

division.

The

Principal,

Octave,

2/3'

Twelfth,

Fifteenth,

and

Mixture

comprise

the

Principal

Chorus

on the

Great

division.

The

Swell

division

Principals

are

subordinate

the

Great,

thus

being

less

prominant

sound

and found only

8' and

topped

with

their

own

two-rank

mixture

voiced

blend

with the

entire

Swell

division.

The

Pedal

Principals

provide

the

foundation

support

the

manual

tonal

mass

well

providing

independent

clarity

and

definition

carry

independent

and

important

line

contrapuntal

music.

Therefore,

the

Pedal

division

has

the

Principals

16',

8',

4',

and a

two-rank

mixture

voiced

ensemble

with

the

entire

Pedal

division.

FLUTE

STOPS

The

Flute

stops

the

organ

are

characterized

limited

harmonic

development

and,

such,

are

good foundation

builders.

The

Flutes

are

imitative

the

orchestral

flute in the

higher

ranges

and

the

lower

range

provide

deep,

solid

bass.

The

Flutes

on the

Scarborough

110

have

definite

"stopped"

quality

sound.

This

very

hollow

sound

enabling

the

Flutes

combine

with

other

stops

the

organ

without

creating

thick,

muddy

sound.

The

Flutes

the

Great

division

support

the

Principal

Chorus

well

complementing

each

other

for

softer

combination

than

the

bold

Principals.

The

Bourdon,

Flute,

and

Piccolo

comprise

the

Great

Flute

Chorus.

The

Flute

Celeste

I I

softer

than

the

Bourdon,

activating

two

sound

sources,

one tuned

slightly

sharper

than

the

other,

which

creates

warm,

undulating

sound

useful

for

accompaniment

work.

-5-

The

Swell

Flutes

supplement

the Swell

Principals

and

4',

with

the 16'

Lieblich

Gedeckt

for

added

reinforcement

to the

manual

texture

and a

Piccolo

for

brightness.

Two

mutations,

2-2/3'

Nazard

and

1-3/5'

Tierce

are

useful

for

light

Baroque

combinations

and

provide

the

imaginative

organist

with

additional

color

solo

combinations

when

used

in good

taste.

The

Pedal

Flutes

give a

soft

medium

loud foundation

ascending

from

16'

providing

clarity

to the

pedal

line.

THE

STRING FAMILY

The

warm

and

delicate

sound of

organ

strings

has

provided

a sound

specified

many

organ

composers

used

particular

portion

their

compositions

bring

out

the

maximum

beauty

that

section.

Strings,

they

are

known

the

organ,

trace

their

best

merits

design

the

French

Romantic

school

organ

building.

The

String

relative

to the

Principal,

containing

harmonic

development

and

less

fundamental

than the

Principal,

resulting

soft,

lush,

delicate

sound.

The

Swell

division

contains

two

strings,

the

Salicional

and the 8' Voix

Celeste

I I.

The

Salicional

useful

accompanying

voice

and

ensemble

stop

when

used

with

the

Flutes.

The

Voix

Celeste

constructed

of two

string

voices,

one tuned

slightly

sharper

than

the

unison

pitch,

creating

undulation

(slow

beating)

sound.

(The

sound

was

said

resemble

heavenly

voices

hence

received

the

name

Voix

Celeste.)

The

Celeste

the

frosting

on the

cake,

and

best

suited

for

soft

passages

wherever

called

for.

The

Celeste

not

recommended

for

full

combinations

because

the

pitch

difference.

The

Gemshorn

placed

tonally

between

the

Principals

and the

Strings,

thus

classifying

a Hybird Stop.

has

fundamental than the

Strings,

resulting

in a fine

voice

for

building

soft

foundation

combinations.

located

in the

Great

division

and

the

Pedal

division.

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

motion

the

action

of wind

impinging

on a

knife-like

edge

the

upper

part

the

pipe

mouth

common

toy

whistle

operates

this

way).

These

pipes

and

their

resulting

sounds

are

classed

collectively

under

the

name

Flue

Stops.

-6-

THE

REED STOPS

Pipe

organ

Reed Stops

make

use

of the

vibrations

brass

reed

tongue

against

slotted

brass

tube,

called

·a

shallot.

The

resulting

impulses

wind

are

qualified

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

single

melodic

line,

and

are

generally

imitative

orchestral

nature.

Chorus

reeds

blend

with

the Foundation

Chorus,

completing

the

total

full

ensemble.

The

Trompette

the Swell

division

and the 16'

Fagotto

the

Pedal

division

are

the

chorus

reeds

the

Scarborough

llO.

They

add the

fire

the

total

ensemble

that

the

brass

section

adds

to the

orchestra.

The

Swell

Trompette

most

useful

solo stop

for

processionals.

The

Oboe

solo

stop

of a

definite

orchestral

nature,

voiced

softer

than

the

Trompette

for

use

delicate

passages.

The

Pedal

16'

Fagotto

used

for

the

Full

Pedal,

adding the

necessary

power

complement

the

Full

Organ

of the Swell and

Great

divisions.

MIXTURES

Mixtures

are

composed

sets

fractional

pitches,

and

are

used

clarify

and

extend

the

upper

harmonic

structure

the

organ

ensemble.

They

are

used

principally

fuller

registrations

put

brilliant

and

pitch-defining

top on

the

mass

lower

pitched

sound.

The

Scarborough

110

has

three

mixtures,

each

consisting

two

ranks

voiced

complement

their

specific

division.

Each

mixture

has

its

own

separate

level

control,

allowing

adjustments

made

according

to the

requirements

of the

room

which

the

organ

placed.

MUTATIONS

Mutations

are

non-unison

pitched

stops

whose

purpose

to add

color

solo

combinations.

These

stops

are

the

salt

and

pepper

registration

and should

freely

experimented

with

and

used

their

best

advantage.

-7-

The

2-2/3'

Twelfth

(GREAT)

Principal

stop

pitched

one

octave

and a

major

fifth above the

unison

(

8')

pitch,

where

accentuates

that

particular

harmonic

the

tone.

normally

used

with

the

Principals

8',

4',

and

2'.

The

2-2/3'

Nazard

(SWELL)

the

same

pitch

the Twelfth,

but

Flute

voice.

When added to

the

Rohr

Flute

(SWELL) the hollow

quality

the

"stopped

flute"

becomes

apparent

because

of the

reinforcement

that

particular

harmonic

the 81

pitch.

The

1-3/5'

Tierce

Flute

pitched

two

octaves

and a

major

third

above the

unison

(

8').

should

used

very

sparingly

for

maximum

effect.

TREMULANTS

There

are

three

tremulant

controls

the

Scarborough

110.

The

MAIN

TREMULANT

places

light

tremulant

the

entire

organ.

This

adjustable

both

speed

and

depth.

The

two

other

controls

affect

the

Leslie

unit.

When

the

DIAPASON/FLUTE

CHORUS

tab

placed

"on",

the Diapason

(Principal)

channel

mixed

with

the

Flute

channel.

The

Flute

channel

then

affected

by the

Leslie

which

then

rotating

the

slow

speed.

When the

Flute

TREMULANT

FULL

placed

"on",

the

tremulant

turns

fast

speed.

The

Diapason

(Principal)

channel

dropped

from

the

Flutes

and

the

Flutes

are

raised

level

give

the

proper

effect

and

balance

sought

when

the

Leslie

fast

tremulant

on.

CHIFF

The

"Chiff"

tab

affects

only

the

manual

Flutes

and

Pedal

Flutes

81 and

above.

The

Chiff

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

the

organ.

-8-

TONE

FAMILY

PRINCIPALS

FLUTES

STRINGS

REEDS

MIXTURES

CELESTES

PERCUSSIONS

SPEAKING

STOPS

THE

SCARBOROUGH 110

GREAT

MANUAL

Principal

4'.0ctave

Fifteenth

Bourdon

Flute

Piccolo

Gemshorn

Mixture

I I

Flute

Celeste

I I

Harp

Carillon

SWELL

MANUAL

Giegen

Principal

Octave

PEDAL

CLAVIER

16'

Principal

Octave

Choralbass

16'

Lieblich

Gedeckt

(Tenor

16'

Bourdon

Rohr

Flute

16'

Lieblich

Gedeckt

Flute

Piccolo

Flute

Salicional

Gemshorn

Trompette

16'

Fagotto

Oboe

Mixture

I I

Mixture

I I

Voix

Celeste

-9-

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