Allen MDS Theatre III

[toodles]

I'm getting a "new to me" Allen MDS Theatre III organ coming soon. In looking over the voicing chart, it is interesting to note how Allen forced their "straight organ" design to mimic a unified approach for most of this theatre Organ. As such, each stop really is independent--whether that is bad or good depends upon your viewpoint.

Nevertheless, the Theatre III is the earliest Allen to adopt a stoplist that looks like a unit organ with most reeds (post horn, trumpet, tuba, saxophone, and vox humana) at both 16 and 8 ft pitches. Quite a different approach from the ADC-4600, the model it replaced in their lineup, where many of those stops are only available at a single pitch. It makes it easier to follow tradition theatre organ registration.

[myorgan]

Congratulations, Toodles! It's nice to see an older theatre organ making it into the hands of a person who will use it well. You can be sure I'll be picking your brain when I manage to get one for myself. I'm holding out for 2^nd touch.

Thank you for keeping us posted.

Michael

[toodles]

As is so often the case with Allen, later similar models tend to have less than prior versions. The MDS Theatre III is packed with a lot of voices that later were included on much bigger models.

I'm not sure I have enough skill to use 2nd touch to its best advantage.:->

[beel m]

Congratulations on your new "baby," toodles, and enjoy!

[jbird604]

Sounds like fun!

[Benny McNair]

I'm a liturgical organist, but I own an Allen MDS-TH3 organ at home. I really enjoy Theatre voicing an theatre organ. Are there any recommendations for registration suitable for theatre organ music on the Allen MDS-TH3?

[toodles]

Devtronix did a demo tape with Everett Nourse, and he demonstrated some nice TO registrations that I copies down. Some are good for single note melodies and some for chorded melody lines. Here's that list. Note that when using tubas and trumpets with a few tibias (like tuba 8 with tibia 4) try it with trem on the tibia but off on the tuba. It can make some nice sounds that way.

Theatre Organ Registrations.pdf

[toodles]

I should mention the somewhat "standard" registration for open harmony. Open harmony is achieved by using both hands to play the melody in chords--generally 3 note, with the root note on top; the middle note of the chord is played an octave lower; top note and a 6th below are played with the right had, and the middle note on the left hand. The standard registration for this is tibia clausas at a skipped pitch interval; for example, Tibias 16 & 4; or 8 and 2. You can add Vox humana at a sinlge pitch or at 2 consecutive octaves, so:

Tibia 8, 2, Vox 16, 8
Tibia 8, 2, Vox 8, 4
Tibia 8, 2, Vox 8

Saxophones can generally be used instead of Vox Humanas for a stronger registration.

All of these are traditionally always with Trems on.

[myorgan]

Open harmony is achieved by using both hands to play the melody in chords--generally 3 note, with the root note on top; the middle note of the chord is played an octave lower; top note and a 6th below are played with the right had, and the middle note on the left hand.

Your 2nd sentence confused me a bit. Do you mean the middle note of the root position triad, or the middle note of the first inversion triad? In the case of the former with the directions you've given, the notes don't work out. In the case of the latter, the middle note of the first inversion triad would be the 5th of a chord. In that case, it is "open harmony" as you stated above, but the 5th of the chord would always be in the left hand.

Just trying to sort this out in my mind. Is what I've written below correct?

Michael

[toodles]

As you have notated.

[myorgan]

Hmmm. I'll have to try that sometime!

Michael

[andyg]

It's almost standard practice to 'roll' around some of these open harmonies, of course. Basic rule is that the melody note usually moves discretely, while the lower two harmony notes are rolled with fingered glissandi.

The glissandi are also often used when playing 5 note block chords with both hands. The right hand plays 4 notes and the left hand doubles the melody an octave lower, or perhaps on the third manual, if there is one. Same rule applies, the melody is left alone, with the lowest two notes rolling - obviously some of the right hand notes are omitted during the roll. Works with all sorts of registrations, big or small.

Some people like this style, others don't! I had two theatre organ mentors, one showed me how to do this, the other was aghast! But the second did grudgingly say that 'the audience will love that'.

[myorgan]

Andy,

Are you describing portamento on the organ? I always thought it was called portamento (rather than black-note or white-note glissani), and that it moved chromatically from one note to another. I know I'm revealing my ignorance of theatre organ technique, but this thread is giving details I've so sorely missed in past posts on the topic.

Thank you all!

Michael

[toodles]

I believe the Great Jesse Crawford created the style using the chromatic gilssando but it was before he got classical organ "religion". It is definitely a popular style approach.

Also, it works for relatively slow music rather than up tempo songs.

[Admin]

Commonly referred to as the Crawford Roll.