Began in Narthex,
pointed out that it is not a separate room from the nave,
looked at the facade pipes from the Aeolian antiphonal
Move to nave;
discussed Akoustolith,
effects of gothic details on acoustics
long, smooth reverb
speech reinforcement initially and since treatment
choosing seat for ideal early/reverb balance
Ascend to Flentrop:
N. European, early 18th cent in design
mechanical action,
need for stop pullers in performance
basic categories of stops (flue, reed),
16’ max,
horizontal trumpets,
bell and whistle effects
discuss locations of organs within churches historically,
advantages of having every pipe speak directly down axis of nave
evolution of uses of pipe organs in religious contexts
Move to Memorial Chapel and Brombaugh
have Graham demonstrate plainchant from one end of nave
as people walk length of nave
Tuscan, earlier style, (16th - 17th cent.)
rapieno group of Italian style stops
levers recall spring chests, stop knobs for added upper manual ranks etc.
quarter-comma meantone (demo with “Beneath the Cross”)
Zach plays Flentrop positive
pipe substitution levers Eb/D#, G#/Ab
short octave (not intonational split keys)
Regal (have discussed the original instrument)
advantages of small instrument speaking into relatively intimate space,
but one coupled to long-reverberant nave
End in choir with Aeolian: 19th - 20th cent
acoustic differences between nave and choir
electropneumatic, so pipes can be anywhere
organs began to be designed with orchestral approach
many facade pipes don't speak
acoustical consequences of distinct pipe chambers
and their connections to nave and choir
shuttered chambers — adjusting loudness and/or timbre;
use in liturgical sequence music (ethereal, distant, etc.)
combination presets and couplers: mechanical devices —> memory
(mention Goodson Chapel organ design)
slightly mistuned pairs of ranks
trumpet vs. trumpet-like sound obtained by combining ranks
“strings”
32’ ranks, incl reed
specialty/percussion stops
interesting solo stops