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What are those?

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  • What are those?

    Does anyone know what those are? I see a swell pedal but I don't know what the other three thibgs do. I have just started practicing on this particular organ and wanted to know what these are and if I should use them or just forget about them.

  • #2
    They look like couplers - manual I to pedals, manual II to pedals, manual II to 1. Where is this organ?
    -- I'm Lamar -- Allen TC-4 Classic project, 1899 Kimball project
    -- Rodgers W5000C, Roland RD300NX, DS-61/88, FA-06 - Conn 643 Theater - Hammond M3
    -- Public domain hymn search: https://songselect.ccli.com/search/r...t=publicdomain


    • #3
      It is found in this church: https://sv.m.wikipedia.org/wiki/Stef...kan,_Stockholm

      what registers would you use for a simple hymn?
      the vertical line with subbas is obviosly the pedal registers.
      My accordion just have five register switches and now all of this on the organ.
      And if you were to play a melody on the pedal what pedal register would you use.
      I am going there tomorrow for practicing. I know I shoould ask my teacher but I will only see him in a week. I need your advice before that.


      • #4
        Thank you for the photos; they are very helpful.

        On the stop knobs, "P" stands for "Pedal", "H" stands for "Hauptwerk" (probably the lower manual), "B" stands for "Brustwerk" or "Brustpositiv" (probably the upper manual).

        Your questions are legitimate, but are still too broad to be satisfied with a simple answer.

        "what registers would you use for a simple hymn?"
        -- That all depends on what the hymn is, what the words of a particular verse say, how many people you are accompanying (if any), etc.

        "the vertical line with subbas is obviosly the pedal registers."
        --- You are correct. The stops or registers are also arranged with the flues at the top and the reeds at the bottom of each row. Within the flues, the largest/lowest stops are at the top.

        "My accordion just have five register switches and now all of this on the organ. "
        --- Your accordian also has only one 'manual'; this organ has three keyboards. Just imagine that it's three accordians stacked on top of each other (one for your feet and two for your hands) and each with its own stops/registers.

        [I should add that in this context, 'stops' and 'registers' are basically the same, though there may be slight differences in understanding, depending on which language you speak.]

        "And if you were to play a melody on the pedal what pedal register would you use."
        --- Similar to your first question, it all depends. Different compositions will expect different sounds for a solo -- gentle or strong, and pitched at the top, middle or bottom of the harmony.

        One of my first organ advisers (I don't call her a teacher because she didn't actually give me any lessons) told me to simply play, try different things (she used the word "experiment") , and listen carefully.
        By the way, Silken Path is correct - those are couplers.


        • #5
          It is difficult to make suggestions without hearing the organ in the room, but here is what I would suggest you try.

          For the hymn, you could try this:

          Huvudverk Rörflöjt 8' Principal 4' Pedal Subbas 16' Gedackt 8'

          If you need more organ, I would add Bröstverk Principal 2' Koppel I/P II/P II/I

          Next I would probably add Bröstverk Nasat 1 1/3'

          Next Huvudverk Mixtur 3-4 chor

          Next Pedal Fagott 16'

          For a pedal solo, I would use the Pedal Skalmeja 4' or possibly the Nachthorn 2' Another possibility would be the Huvudverk I Principal 4' Koppel I/P with your hands playing on the Bröstverk with the Gedackt 8'

          I hope it goes well.

          My home organ: Content M5800 as a midi controller for Hauptwerk


          • #6
            I put together a spreadsheet of the stoplist with each stop on a separate row and a few columns to enter useful information. I print that out and take it with me when I get to try out a new instrument.

            When I go play the instrument, I spend time listening and experimenting with each stop. On the spreadsheet that I printed, I will write down a description of what each stop sounds like (stringy, bold, nasal, typical, hollow, etc.), how loud the stop sounds relative to the other stops on the organ (I assign a number between 0 and 100), whether any stops share the same ranks, which stops are enclosed in the swell box, and any other idiosyncrasies that I notice about the organ. The idiosyncrasies include: notes/pipes that don't play, notes/pipes/ranks that are out of tune, ranks that might not extend the full compass (stop at TC or not reach high C, etc.), notes/pipes that are prone to ciphering or overblowing, whether the wind system can keep up with full organ, ranks that are particularly awesome, etc.

            After that, I try out some different registration styles to see how the stops blend. Using my sheet, I'll try to find the quietest registration the organ can do. I'll try to find the loudest registration (and which stops are not really required for it). I also try to figure out typical middle of the range ensemble registration. After that, I try out a few solo registrations (prominent solo stop on one manual with quieter accompaniment stops on the other manual and pedal). If I find any registrations that are particularly interesting or useful, then I write them down in the printed spreadsheet.

            If I have time after that, I might try adapting some of the songs I've learned to the organ just to see how well the organ's offerings accommodate different music.

            Usually, at this point, I have a decent feel for what the organ can do and what I can expect from it. I've also taken enough notes that I can think about questions to try and answer or other registrations/ideas to try the next time I play on the instrument.
            Last edited by samibe; 05-30-2019, 12:04 PM.
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            • #7
              My understanding:
              manual 1 to pedal,
              manual 2 to pedal,
              manual 2 to manual 1