[rodgersorgan] Re: Why is the soft 16' Pedal Stop borrowed from the Swell?
- From: DAVEBETTYINFLSUN@xxxxxx
- To: rodgersorgan@xxxxxxxxxxxxx
- Date: Thu, 27 Mar 2003 00:22:52 EST
Bravo for the 16' Bourdon Deux in the Pedal and it's Swell expression! May I
use this as a segue into Choir division expression possibilities? I find it
frustrating that the Choir division is not under it's own expression! This
division by itself needs its own expression when playing baroque music in
contrast with the Great(Great exposed and enclosed) and Swell division. The
solo registrations that can be created with the Choir division alone, or in
combination with the available secondary voices, midi and other coupled
voices are many indeed. Their sounds are so colorful and expressive: If only
we could control their volume! (Pardon my segue into the need for a Dulciana
and, or Flute Celeste, or something soft, on the Great: thereby expanding
the solo possiblities of the Swell, Solo and Choir divisions). (also true for
two manual instruments) My memory fails as to what music, but I recall
several occasions when I would set registrations at mid week rehearsal only
to find that on Sunday the tonality of the entire choir changed because of
added or absent choir members, not to mention weather conditions!
Registrations for choir anthems that sounded great at practice would often
have to be changed at Sunday warm-ups to "adjust" to the given composition of
voices that were present in the choir at that time. In Praise and
Thanksgiving, I applaud the Rodgers designers for the stop list present!
But, could some consideration be given to the need for more "choir
accompaniment friendly" stops? Perhaps in the form of a choir accompaniment
voice palette designed for use with the MIDI voices? I express this
suggestion because, for two years, I was fortunate to have shared the bench
with a fine musician/organist, Kathy Brogan, and a brand new 960D at All
Saints Catholic Church (New 1800 seat Worship Center) in Lakeville,
Minnesota. Under the very talented direction of the Music/Liturgy Director,
Tim Malone, we really put the 960D to the test! The new building with very
live acoustics, a 9' concert grand, the new Rodgers 960D with midi, a
combination of contemporary/priase, gospel and traditional hymnody, and
accompanying ensemble groups in the parish created a wonderful challenge to
all involved! With Jim Hocken, local Rodgers Representative and fantastic
voicer , {he knows how to do "Skinner strings" (Riverside church, New York),
and put "French Fire"( St. Suplice, Paris, France) into the Swell reeds! }
we were able to put together a cohesive, flexible and responsive sound, using
piano, organ, flutes, violins, guitars, trumpets, brass ensembles, midi,
tympani and percussion that was reverent, expressive and, most importantly,
supportive and complimentary to the prayerful needs of those who came to
worship. Pardon my verbiage, but is there anyone out there with similar
experiences, or ideas that would expand the choir accompaniment voices?
*
Frog Music Press Introduces two new books:
Hymn Tune and Classical Duets for Organ and Piano (or PR-300)
----
To unsubscribe or change mail delivery (digest, vacation)
go to www.frogmusic.com/rodgersmem.html
Other related posts:
