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Stuck At Home In The Snow, I'm Bored - Stoplist Time, Anybody?


Guest Voix Mystique
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Guest Voix Mystique

The Machine has garbled the title - it should read "a coherent scheme of no more than 30 ranks"...

 

Here's mine, for what it's worth...

 

Pedal

1) Violone 16

2) Bourdon 16

3) Principal 8 (Ext. 1)

4) Flute 8 (Ext. 2)

5) Choral Bass 4 (Ext. 4)

6) Contra Posaune 16

7) Trumpet 8 (G.O.)

 

Choir

8) Stopped Diapason 8

9) Lieblich Flute 4

10) Nasard 2 2/3

11) Recorder 2

12) Tierce 1 3/5

13) Cromorne 8

 

Great

14) Bourdon 16

15) Open Diapason 8

16) Wald Flute 8

17) Principal 4

18) Harmonic Flute 4

19) Fifteenth 2

20) Mixture III 19.22.26

21) Trumpet 8

 

Swell

22) Lieblich Gedact 8

23) Viole d'orchestre 8

24) Voix celeste 8 TC

25) Gemshorn 4

24) Flageolet 2

23) Sesquialtera III 17.19.22

24) Bassoon 16

25) Cornopean 8

26) Hautboy 8

 

The action to the manuals would be assisted tracker, with the pedals electro-pneumatic - would this render the transmission of the G. O. Trumpet to the Pedal impossible, I wonder?

 

Any comments? Any ideas of your own?

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Guest Voix Mystique
Today's challenge part 1 is to complete the sentence

 

"design a coherent scheme of no more than 3"

 

(unless I'm being hugely obtuse?)

 

 

Agh! I put in '30 ranks', but evidently The Machine has crunched that up and spat it out...

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Here's something warm and French to cheer myself up:

 

Pedal

Contrebasse 16'

Soubasse 16'

Quint 10 ⅔'

Flûte 8'

Flûte 4'

Bombarde 16'

Trompette 8'

 

Grand Orgue

Bourdon 16'

Montre 8'

Flûte harmonique 8'

Gambe 8'

Prestant 4'

Flûte 4'

Piccolo 2'

Fourniture IV 15, 19, 22, 26

Trompette 8'

Clairon 4'

 

Récit

Bourdon 8'

Salicional 8'

Voix céleste 8'

Flûte conique 4'

Octavin 2'

Cornet III 12, 15, 17

Basson-Hautbois 8'

Voix-humaine 8'

tremblant

Usual couplers

Mechanical action and a Sub-octave to the Récit.

 

Sorry I couldn't fit a Cromorne in.

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You are lucky it's rapidly getting considerably worse in Brighton and even the crematorium has shut down.

 

Malcolm

 

WARNING Belgian humor on: * What do 'hem with the stuff, then ? Are they piling them up

up until the white bears arrive from the Arctic sea to eat the meat ?* :) Belgian humor off.

 

A 30 ranks ? I must have that in my files. I come back in one minute. We have much snow here

as well and to go out would equals joining the "meat for bears" pile.

 

Here is it. I apologize it is mostly in my regional mother language:

 

HOOFDWERK

 

Principaal 16'

Gedekt 16'

Open Diapason I Worcester (Leathered, after W... Scales, or rather its variable halving rate)

Open Diapason II ( for the Diapason Chorus)

Open Diapason III (smaller scale)

Gedekt 8' (ext)

Octaaf 4'

Mixtuur 2 2/3'- 2'- 1 1/3'- 1'

Scharpp 1'-4/5'- 1/2'

 

ACHTERWERK (expr) ("Behind division", enclosed in a swellbox)

 

Traversfluit 8'

Aeoline 8'

Vox coelestis 8'

Harmoniefluiteke 4'

Fugara 4'

Kornett 3-5r:

2 2/3'- 2'- 1 3/5'

(first break) 4'- 2 2/3'- 2'- 1 3/5'

Puis 5 1/3'- 4'- 3 1/5'-2'

puis 8'- 5 1/3'- 4'- 3 1/5'

puis 10 2/3'- 8'-6 2/5'- 5 1/3'- 4'

Klarinette 8' (Free reeds)

 

VERWERK ("Fernwerk"), Enclosed, in aother part of the building

 

Flauto dolce 8'

Flauto coelestis 8'

Dolce 4'

Harmonia aetherea 3r 2 2/3'- 2'- 1 3/5', Dolce pipes

Vox humana 8'

 

BLOKSKE (enclosed,as an Oberwerk, above the Achterwerk)

 

(This division has its own manual, but each stop can be played on any other Manual or the Pedal)

 

Quint ( extension) 5 1/3'- 2 2/3'- 1 1/3'

Terts (Ditto) 3 1/5'- 1 3/5'- 4/5'

Septième ( Ditto) 2 2/7'- 1 1/7'

Tromba (Ditto) 16-8-4

Trompette 8' (french)

 

 

PEDAAL

 

Prinzipal 16'

Kontrabass 16' (From HFW)

Subbass 16'

Zartbass 16' (Gedekt HFW)

Hintersatz 16 (from HFW)-10 2/3- 8 (From HFW)- 6 2/5'- 8 (From HFW)- 4 (From HFW)

Octaaf 8' (ext)

Gedekt 8' (From HFW))

Superoctaaf 4' (ext)

Posaune 16' (Wood, leathered, less powefull than the 16' Tromba)

 

Best wishes,

Pierre

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Here's something warm and French to cheer myself up:

 

Pedal

Contrebasse 16'

Soubasse 16'

Quint 10 ⅔'

Flûte 8'

Flûte 4'

Bombarde 16'

Trompette 8'

 

Grand Orgue

Bourdon 16'

Montre 8'

Flûte harmonique 8'

Gambe 8'

Prestant 4'

Flûte 4'

Piccolo 2'

Fourniture IV 15, 19, 22, 26

Trompette 8'

Clairon 4'

 

Récit

Bourdon 8'

Salicional 8'

Voix céleste 8'

Flûte conique 4'

Octavin 2'

Cornet III 12, 15, 17

Basson-Hautbois 8'

Voix-humaine 8'

tremblant

Usual couplers

Mechanical action and a Sub-octave to the Récit.

 

Sorry I couldn't fit a Cromorne in.

I could live with that, as I could with Voix Mystique's scheme (Welcome back, by the way!), but I would miss a Trompette on the Récit. The Hautbois would need to be more of a Petit Trompette, or perhaps drop the GO Clairon. I would also have a preference for a double string, Violonbasse, rather than a Bourdon on the GO.

 

Without wishing to go over old ground, having been brought up on a 1939 Compton (Still in good voice after 70 years with no major rebuild) I believe some intelligent extension could add a lot of value with 30 ranks.

 

JC

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I could live with that, as I could with Voix Mystique's scheme (Welcome back, by the way!), but I would miss a Trompette on the Récit. The Hautbois would need to be more of a Petit Trompette, or perhaps drop the GO Clairon. I would also have a preference for a double string, Violonbasse, rather than a Bourdon on the GO.

 

Without wishing to go over old ground, having been brought up on a 1939 Compton (Still in good voice after 70 years with no major rebuild) I believe some intelligent extension could add a lot of value with 30 ranks.

All good ideas. My instinct is for the 16' stopped flute over the string but I could be converted.

 

My immediate regret is only having the Gambe on the G.O. to accompany the Cornet or the Voix-humaine. I originally had a Bourdon 8' on the G.O. (and a different flute on the Récit) and deleted it to get down to 30 ranks; probably better to lose the Clairon. Or the Ped. Quint.

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Google tells me that's 110 miles east of here, and we are currently bathed in winter sunshine. So much for worsening conditions. I'm hoping this is making the ones who stayed at him a little more guilty, but I doubt it!

 

'Went to Hampshire - school closed, snow etc. then back to Somerset - now snow here too! 'Got my points for being the farthest flung member of staff and one of the few who managed to get in. 'Took Mrs AJ out for breakfast instead - her day off and kids at school locally.

 

Someone wanted a 3 stop spec. I think - here it is - only with 5 - 'bit like one of the Willis Scudamore types - I could work with it on a Sunday at our village PC!!

 

 

GREAT

Open Diapason 8

Stopped Diapason 8

Principal 4

 

Octave

 

 

SWELL

Cornopean 8

 

 

PEDAL

Bourdon 16

 

 

Swell to Great

Swell to Great Sub

Swell to Pedal

Great to Pedal

 

All mechanical - maybe a few composition pedals - non balanced Swell.

 

A :) :) :unsure::huh:

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Having played on Saturday morning for a crematorium service where the second "hymn" (for a Scottish lady) was "O my love is like a red, red rose" I suggest that Patrick tomorrow could sing "We'll keep a welcome in the hillside" for the alfresco service he is taking. It will take his mind off the Arctic conditions!

 

Malcolm :):):unsure:

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All good ideas. My instinct is for the 16' stopped flute over the string but I could be converted.

 

My immediate regret is only having the Gambe on the G.O. to accompany the Cornet or the Voix-humaine. I originally had a Bourdon 8' on the G.O. (and a different flute on the Récit) and deleted it to get down to 30 ranks; probably better to lose the Clairon. Or the Ped. Quint.

Yes, indeed. The Bourdon 8' on the GO would be a valuable addition and the whole scheme would then be just the job for lots of lovely Franck! I think my liking for soft manual doubles comes from the experience of muddy 16' Bourdons voiced more for the pedal than the manual.

JC

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Guest Patrick Coleman
Having played on Saturday morning for a crematorium service where the second "hymn" (for a Scottish lady) was "O my love is like a red, red rose" I suggest that Patrick tomorrow could sing "We'll keep a welcome in the hillside" for the alfresco service he is taking. It will take his mind off the Arctic conditions!

 

Malcolm :rolleyes::lol::P

 

We will have four splendid hymns (including Blaenwern and Aberystwyth) at the Funeral Mass, as well as my own renderings of parts of the Plainsong proper, so when (if) we get to the cemetery it'll be the funeral sentences (said!) and words of committal and the only word I'll be tempted to sing will start with an F!

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Who can resist a stoplist on a cold winter's day? I took a chance here which might not work in practice. If only I had the resources to build it and find out!

 

Grand-Orgue

Quintaton 16'

Montre 8'

Flûte Harmonique 8'

Violoncelle 8'

Bourdon 8'

Prestant 4'

Flûte 4'

Grosse Tierce 3 1/5'

Doublette 2'

Fourniture IV

Trompette 8'

Cromorne 8'

 

Récit

Flûte Traversière 8'

Viole de Gambe 8'

Voix Céleste 8'

Flûte Octaviante 4'

Nasard 2 2/3'

Octavin 2'

Tierce 1 3/5'

Trompette Harmonique 8'

Basson-Hautbois 8'

Voix Humaine 8'

 

Pédale

Contrebasse 16'

Soubasse 16'

Flûte 8'

Flûte 4'

Bombarde 16'

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Here's my two penn'orth

 

Hoofdwerk

 

Prestant 16 vt

Prestant 8 vt

Holpijp 8 vt

Viola da Gamba 8 vt

Octaaf 4 vt

Fluit 4 vt

Octaaf 2 vt

Mixtuur IV

Cornet III

Trompet 16 vt

Trompet 8 vt

 

Rugwerk

 

Prestant 8 vt

Roerfluit 8 vt

Fluit Travers 8 vt

Octaaf 4 vt

Fluit Dous 4 vt

Superoctaaf 2 vt

Flageolet 1 vt

Mixtuur III

Trompet 8 vt

Dulciaan 8 vt

 

Pedaal

 

Prestant 16 vt

Subbass 16 vt

Octaaf 8 vt

Fluit 8 vt

Octaaf 4 vt

Mixtuur IV

Bazuin 16 vt

Trompet 8 vt

Klairon 4 vt

 

Tremolo RW (foot lever)

Couplers HW-RW, Ped-HW, Ped-RW

Manual Compasses C - d'''

Pedal Compass C - d'

Temperament: Werckmeister III

Usual number of pistons (i.e. none).

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The Machine has garbled the title - it should read "a coherent scheme of no more than 30 ranks"...

 

Here's mine, for what it's worth...

 

Pedal

1) Violone 16

2) Bourdon 16

3) Principal 8 (Ext. 1)

4) Flute 8 (Ext. 2)

5) Choral Bass 4 (Ext. 4)

6) Contra Posaune 16

7) Trumpet 8 (G.O.)

 

Choir

8) Stopped Diapason 8

9) Lieblich Flute 4

10) Nasard 2 2/3

11) Recorder 2

12) Tierce 1 3/5

13) Cromorne 8

 

Great

14) Bourdon 16

15) Open Diapason 8

16) Wald Flute 8

17) Principal 4

18) Harmonic Flute 4

19) Fifteenth 2

20) Mixture III 19.22.26

21) Trumpet 8

 

Swell

22) Lieblich Gedact 8

23) Viole d'orchestre 8

24) Voix celeste 8 TC

25) Gemshorn 4

24) Flageolet 2

23) Sesquialtera III 17.19.22

24) Bassoon 16

25) Cornopean 8

26) Hautboy 8

 

The action to the manuals would be assisted tracker, with the pedals electro-pneumatic - would this render the transmission of the G. O. Trumpet to the Pedal impossible, I wonder?

 

Any comments? Any ideas of your own?

 

Ditch the pedal violone for an open diapason. Why not make the great double a contra-geigen or something like that and make it available on pedal to increase the variety of 16' tone? I think the pedal organ is lacking with just a bourdon and violone at 16'.

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Guest Voix Mystique
'Went to Hampshire - school closed, snow etc. then back to Somerset - now snow here too! 'Got my points for being the farthest flung member of staff and one of the few who managed to get in. 'Took Mrs AJ out for breakfast instead - her day off and kids at school locally.

 

Someone wanted a 3 stop spec. I think - here it is - only with 5 - 'bit like one of the Willis Scudamore types - I could work with it on a Sunday at our village PC!!

 

 

GREAT

Open Diapason 8

Stopped Diapason 8

Principal 4

 

Octave

 

 

SWELL

Cornopean 8

 

 

PEDAL

Bourdon 16

 

 

Swell to Great

Swell to Great Sub

Swell to Pedal

Great to Pedal

 

All mechanical - maybe a few composition pedals - non balanced Swell.

 

A :rolleyes::lol::P:huh:

 

It was 30 ranks, actually, just The Machine crunched it up.

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Guest Voix Mystique
Ditch the pedal violone for an open diapason. Why not make the great double a contra-geigen or something like that and make it available on pedal to increase the variety of 16' tone? I think the pedal organ is lacking with just a bourdon and violone at 16'.

 

 

I'd thought of this as being for a small to medium-sized parish church, and a Violone is often more flexible. The Bourdon on the Great is for French repertoire, where a Contra Geigen or Double Diapason would be too powerful.

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Who can resist a stoplist on a cold winter's day? I took a chance here which might not work in practice. If only I had the resources to build it and find out!

 

Grand-Orgue

Quintaton 16'

Montre 8'

Flûte Harmonique 8'

Violoncelle 8'

Bourdon 8'

Prestant 4'

Flûte 4'

Grosse Tierce 3 1/5'

Doublette 2'

Fourniture IV

Trompette 8'

Cromorne 8'

 

Récit

Flûte Traversière 8'

Viole de Gambe 8'

Voix Céleste 8'

Flûte Octaviante 4'

Nasard 2 2/3'

Octavin 2'

Tierce 1 3/5'

Trompette Harmonique 8'

Basson-Hautbois 8'

Voix Humaine 8'

 

Pédale

Contrebasse 16'

Soubasse 16'

Flûte 8'

Flûte 4'

Bombarde 16'

 

If you replace the 16' Quintaton with a Bourdon, and drop the 3 1/5' Tierce,

you should find your dream in about a dozen belgian churches, by Maurice Delmotte,

organs built between 1930 and 1940. Even the nomenclature is the same.

There are not many of them on the Web, but here is an example of one, but of smaller size:

 

http://orgue.free.fr/ob37.html

 

Pierre

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Guest Stanley Monkhouse

How about Dixon/Harrison at Clare College Cambridge? Or, perhaps better, Dixon/Norman and Beard at St James, Whitehaven? They both come in under 30 ranks, and St Bees is not much over.

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Some proposal here view like neo-classic french organs from the 60-70s...

 

My version (in the langage between french and german, like in my country of east from France).

 

I) Grand-Orgue (56)

01. Montre 16

02. Bourdon 16

03. Montre 8

04. Bourdon 8

05. Flûte majeure 8

06. Gemshorn 8

07. Viola di gamba 8

08. Prestant

09. Flûte amabile 4

10. Quinte 2 2/3

11. Fourniture V

* C : 2 2/3, 2, 1 1/3, 1, 2/3

* c : 4, 2 2/3, 2, 1 1/3, 1

* c' : 5 1/3, 4, 2 2/3, 2, 1 3/5

12. Fagott 16

13. Trompette 8

14. Clairon 4

 

II) Récit expressif (56)

15. Salicional 16

16. Lieblich gedackt 8

17. Salicional 8

18. Voix céleste 8

19. Flûte octaviante 4

20. Octavin 2

21. Carillon I-III

* C : 2 2/3

* c : 2 2/3, 1

* c' : 2 2/3, 1 3/5, 1

22. Cor anglais 16

23. Trompette mirabilis 8

24. Fagott-Oboe 8

25. Vox humana 8

 

Pédale (30)

26. Contrebasse 16 (open, wood)

27. Soubasse 16

28. Quintebasse 10 2/3

29. Octavebasse 8

30. Trombone 16

 

I/I (Barker on I), II/I, Suboctavkoppel II/I I/P, II/P, Trémolo II, mechanical combinations (PP, P, mF, F, FF), crescendo.

Mechanical notes traction, pneumatical stops traction.

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