Download Rodgers i577 Owner`s manual

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The
"#st Century
Organ
Series
Playing the
Insignia™
&
Allegiant™
Rodgers Organs
Lauren Gadd
Noel Jones$ AAGO
Frog Music
Press
www!frogmusic!com
Insignia & Rodgers Organ are trademarks used with permission
of Rodgers Instruments LLC$ part of the Roland Group
frog music press
Acknowledgements
About the Authors
Thanks to Chad Perry, Rick Anderson and Dr.
Jeanine Cansler who liked the idea of a book
with music about playing the Insignia organs; to
Ed Wilson, Pete Buxton, Dan Miller and Rodney
Barbour who answered our questions; and to
Rodgers for creating the Insignia Series of
Organs.
Lauren Gadd and Noel Jones have been collaborating at Frog Music Press from East Tennessee
but fall back upon a multi-national background
in church music.
Lauren was born in England to an American
military family. Much of
her musical training
came from her
mother, a church
organist. Her later
musical education
involved classical
musical composition,
as well as walking
backwards while
leading her high school
marching band.
Also Available from Frog Music Press
The 21st Century Organ Series
Music for the Rodgers Organs
Instructional Music & MIDI Files
Playing MIDI Live at the Rodgers Organ& MX-200
Bach By Immersion
Playing the Rodgers Organ Series Books:
Playing the Insignia 537 Organs
Playing the Insignia Organs
Playing the Trillium Organs
Playing the PDI Organs
Using the MR-200 Sequencer
Lauren’s name is familiar to
many for her organ works in
Pedalpoint and other publications by LifeWay, who has recently released a
collection of her organ works called, Christ, We
Adore Thee. Lauren’s hobbies right now appear
to be adjusting from enjoying having children to
having a grandchild.
Music & MIDI Files
The Sampler
An Angelic Christmas
A MIDI Musical Christmas
Lent & Easter
Classical Harmonies
Heritage Hymns
Hymn Tune Preludes & Offertories
Sacred Aria & Chorales of J.S. Bach
Royal Ceremonial & Wedding Music
Visit our website at: www.frogmusic.com, home
of the Rodgers Organ Users Group
Noel spent time in a military band (cymbals and
piano in the dance band) in Germany, after
studying organ in New York City. He remained
in Europe, studying in Germany and Italy,
working as a conductor and vocal coach in
musicals and opera.
Register this book at: www.frogmusic.com/
insignia.html for free updates. Order more copies
at your Rodgers Dealer or www.frogmusic.com
Back in the United States he began designing
and doing tonal finishing on organs and teaching
organists registration and MIDI skills. He is
studying Baroque Cello.
Questions: [email protected]
or call Frog Music Press: 423 887-7594
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Playing the Rodgers Insignia & Alleigiant Organs
Using this book.
For centuries organ builders have built organs and passed on inside information to the organist about
the organ that will be their musical partner. Every organ is built to a vision, a vision of the music that
the organ will be playing.
To help you explore the musical possibilities of this organ, we have created this book as a map
that explores places for you to go, things to see. Before taking a trip it is helpful to study a guide book
and get an idea of what you want to do when you get there. Some people find themselves in places
and then buy a guide book to figure out what they are seeing every day. This book works the same
way, it can serve as an introduction to the instrument or provide insight for the person who is already
playing an Insignia. .
What places are we going to visit? Rather than museums and coffee houses, we are going to
visit music. Music that we can play. Music that explores the sound of the voices of this organ.
You do not need to read this book or the owner’s manual to play the organ. It is designed as
a straightforward classical organ, built to AGO standards, which means that everything is laid out in a
logical place and that the console is ergonomically designed to ease playing of the manuals and pedals.
The AGO design was established in the mid 20th-century long before ‘ergonomic’ became a household word.
Organs which rely on electricity for power and control often have a window into the workings
of the organ, in this case we call it a Display Window. When you power the organ up, it displays a wait
message. When the organ is prepared for playing, the Transposer Window appears. This window
opens when told to, by you, to provide additional pipe organs sounds, orchestral voices such as Orchestral Oboe, Harpsichord, Trumpets and Timpani. The window also let’s you configure these voices
to suit the music you are going to be playing.
Why isn’t this all simpler? Why have a window? Anyone can operate a microwave to pop
popcorn and heat water for coffee. Microwave designers must get awfully frustrated designing a
cooking device that can assist in preparing gourmet feasts...when purchasers end up just using it to
pop popcorn. Microwave cookbooks gather dust, sitting on the shelf unread.
This organ has a display window to make going beyond the basics easy. Every change that you
wish to make in the window is simple as 1, 2, 3. You never go beyond three layers to get where you
are going. 1. Open the Window, 2. Choose the Option, 3. Select the Option. It’s that easy. It’s
designed to make it simple for you to make music.
Since this book was origianlly written, the Allegiant Organs have been introduced. There are a
few additions to the Allegiant, more piston memories, for example, otherwise they are identical with
the Insiginia in operation and everything in this book applies to them as well.
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1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
18
19
20
21
22
23
24
25
Understanding the Console Display ...................................................................... 5
Choosing Stops ...................................................................................................... 6
Echo Voluntary ........................................................................................... 7
General Cancel ...................................................................................................... 8
Manual and Pedal Couplers ................................................................................... 9
Allegro - Largo .......................................................................................... 10
Come, Christians ....................................................................................... 11
Reversible Pistons ................................................................................................ 13
Expression Pedals ................................................................................................ 14
Amazing Grace .......................................................................................... 15
Using Combination Pistons ................................................................................. 17
Kingsfold ................................................................................................... 18
Using Memory Banks ........................................................................................... 22
Elevation ................................................................................................... 23
Crescendo ............................................................................................................ 24
Crescendo Doxology Introduction ....................................................................... 26
Transposer ........................................................................................................... 27
Tremulants [and Celestes] ................................................................................... 28
Tremulando ............................................................................................... 31
The Orchestral Voice Display ............................................................................... 32
Just As I Am ............................................................................................. 33
Orchestral Voice Controls .................................................................................... 36
Orchestral Voice Keyboard Velocity .................................................................... 37
I Need Thee Every Hour .......................................................................... 38
Orchestral Voice Fixed Velocity ........................................................................... 40
Trumpet Fanfare ....................................................................................... 41
Orchestral Voice Expression Velocity .................................................................. 42
God Is So Good ........................................................................................ 43
Using the Foot Switch ......................................................................................... 45
Prelude in C, Bach .................................................................................... 46
Using the Bass Coupler ....................................................................................... 49
Chapel Meditation .................................................................................... 50
Using the Melody Coupler ................................................................................... 51
When Morning Gilds the Sky .................................................................... 52
Making Voice Palette™ Selections ....................................................................... 54
Créche ...................................................................................................... 55
Temperaments ..................................................................................................... 58
Toccata per l’Elevazione ............................................................................ 59
Expression Levels ................................................................................................ 62
A Day of Rest ........................................................................................... 63
Room Modeling ................................................................................................... 65
On Jordan’s Stormy Bank ........................................................................ 66
Praeludium ............................................................................................... 68
The MIDI Voice Display ........................................................................................ 70
Appendix
Organ Piston Default Settings
Organ Registration Blank Charts
Suggested Registrations
PR-300 MIDI Basic Keyboard Chart
Organ Stop Dictionary
User Menus
Index
The Users Menu, PR-300 MIDI Basic Keyboard Chart, Cresecendo and Tutti Chart within the Appendix are ©Rodgers Instruments LLC and
they, along with the terms Insignia™, PR-300 and Rodgers Organs™ appear here with the kind permission of Rodgers Instruments LLC.
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1
Understanding the Console Display
Device
Console Display
Console Display
When the organ is powered on the Console Display lights and reads:
RODGERS i557/577
Once it completes automatic diagnostic procedures you will see the window
display change to read:
TRANSPOSER Ø
This indicates that all is well with the organ and you can now play.
This display window is used in many ways. It is your window into the workings
of the organ. At this point it indicates that the organ transposer is set to the
default neutral position Ø.
Reach over to the right and grasp the SELECT knob. Turn it one click to the left
and note that the Console Display now reads:
TRANSPOSER -1
The organ will now play everything one-half step lower than written automatically. To reset the organ to normal pitch, find, and using your right thumb,
push the General Cancel piston p underneath the lower keyboard on the
right. The Console Display will now read:
TRANSPOSER Ø
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2
Choosing Stops
Device
Using Rocker Tablets and Drawknobs
Rocker Tabs
To activate a stop:
Press the bottom half of the rocker tab until the light comes on, then release. The stop will return to vertical position, and remain lit.
To silence a stop:
Press the top half of the rocker tab until the light goes off, then release.
The stop will return to vertical position
Drawknobs
To activate a stop:
Pull the drawknob until the light goes on, then release. The stop will remain lit.
To silence a stop:
Push the drawknob until the light goes off, then release.
The Music:
The Echo Voluntary contrasts the sounds of a Flute and String Celeste. In a
work like this, it is customary to pause between phrases, giving you time to
change the stops, and to enhance the echo effect.
Advanced Technique: Choose the Great Gedeckt 8’. Play this piece differently by going to the Great
Keyboard whenever the music indicates playing the Swell Bourdon.
You will find that most of the time when playing church organ you will be using
both hands on the same keyboard, especially when playing hymns. To give a
correct balance to all voices in the music, unless there is a melody to be brought
out by reaching with one hand to another manual.
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Echo Voluntary
Organ
˙˙
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17
22
Noel Jones
∑
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3
General Cancel
Device
Piston p
Canceling Stops
Use your right thumb to press the p piston. Pistons are arranged so that they
fall under the thumb when your fingers are over the keys above, making it
simple to reach under the manual with the thumb to make changes.
Organists make a habit of clearing all stops using the General Cancel Piston at
the end of each piece.
General Cancel also automatically resets the Transposer to Ø.
Using the General Cancel Piston helps eliminate those embarrassing moments
during prayer and sermons when you accidentally brush a key, drop a hymnal
onto the keyboard, or step on a pedal while getting off the bench.
However, if you use the Crescendo Pedal option, described later, the General
Cancel will not clear it, leaving the Crescendo Pedal Activated.
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4
Manual and Pedal Couplers
Device
SW to GT Rocker Tab
SW to PD Rocker Tab
GT to PD Rocker Tab
Using Couplers
Each keyboard of the organ has stops for voices of different tone colors and
pitches. The stops are there to turn the sounds on and off. Couplers make it
possible for you to select stop voices from two or more manuals and combine
them all together on one manual.
The Allegro-Largo shows how you can mix stops from the same tone family,
the flutes, from two different manuals together on the lower Great manual by
using a coupler. Select the GT Bourdon 8’ and the SW Blockflöte 2’. Now push
the SW TO GT Coupler Rocker Tab and you have Flutes 8’ and 2’ on the
Great.
Come, Christians is an example of combining choruses of sounds from the
Swell to the Great, another common use of the Manual Couplers. Choose the
SW Basson 16’ and Oboe 8’, the Great Principal 8’, Octave 4’. Super Octave
2’ and Mixture IV. Set the Subbass 16’ and the Great to Pedal Coupler. Add
the SW to GT Coupler when indicated in the piece.
When balancing sounds, you will see that there are sufficient stops in the
pedal to balance against the manuals. However it is also musically pleasing to
couple the manual stops you are playing to the Pedal, adding a 16’ Pedal stop
to give depth.
On occasion, a piece may call for a 4’ Reed stop in the pedal. In this case,
select the Voice Palette™ (more on this later) Krummhorn 4’ in the Great, add
the GT to PD Coupler and then play the manual parts on the Swell.
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Allegro/Largo
œ œœœœœœœœœ œ œ œœœœœœœœœ œ œ œœœœœœœ œ œ
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Come Christians, Join to Sing
MADRID
Traditional Spanish melody
b 4
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f
GT
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5
Reversible Pistons
Device
Great Chime Piston
Tutti Piston & Toe Stud
Reversibles:
Reversible Pistons go back and forth between on and off. Push once, it’s on,
push again it’s off.
The Great Chimes are chosen by pushing the CHIMES piston below the Great
Manual. To play Chimes, push CHIME. When finished push CHIME again and it
will be canceled. It will also cancel with the p.
The Great Chime Piston will set to combination pistons.
The Tutti brings on a full organ stop combination, useful when you need full
organ in a hurry. Press it again or p when finished. The list of stops for the
Tutti is in the Appendix.
Chimes are most often played alone, on the Great, with accompaniment on
the Swell Manual, using the Swell Viole Celeste II or the Swell Voice Palette™
Flute Celeste II. You can achieve a nice effect by adding the Swell to Great
Coupler, so that the Swell Stops are also heard playing the chime melody.
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6
Expression Pedals
Device
Expression Pedals
Divided Expression
Some organists are faced with divided expression pedals for the first time
when they play an Insignia Organ. While these are sometimes called Volume
Pedals, they do much more than simply make the sounds louder and softer.
Divided Expression Pedals open up the possibility of providing solo or accompaniment voices on either manual.
In pipe organs, some or all pipes are enclosed in boxes that have wooden
shutters connected to the expression pedals in the console.
These shutters act to control the amount of sound that enters the room, but
also change the perceived tone color of the pipe sound, as the pipes begin to
sound brighter as the expression pedal is depressed and then mellower as
the pedal is retired to its closed position.
The Rodgers Insignia has Balanced Divided Expression, the left pedal expression pedal controlling the Great and Pedal Stops, and the right expression
pedal the Swell Stops. Balanced means that the pedals can be adjusted and
they will stay where you put them, making two-footed playing on the Pedalboard
possible.
When you wish to increase the level of both divisions at once, center your foot
so it is centered on the space between the two expression pedals so you can
control them both at the same time.
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Amazing Grace
Swell Viole Céleste II
Great Principal
8’
Pedal Subbass 16’
Sw. to PD
& b 43 œ œ .
j
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?b 3 ∑
4
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Traditional American melody
-
Organ
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7
Using Combination Pistons to Select Registrations
Device
Thumb Pistons Numbered 1-8
Using Thumb Pistons: Pistons permit the saving of stop settings for instant recall when needed.
Pistons are arranged so that they fall under the thumb when your fingers are
over the keys above, making it simple to reach under the manual with the
thumb to make changes.
Practice playing a chord on the manual and reaching under the keyboard and
selecting a piston with your thumb while keeping your fingers poised in playing
position.
To set pistons:
Select the stops and couplers that you wish to save. Hold SET and then push
a Combination Piston. The stop setting you have chosen is now saved.
Pistons are notated on the music score by a circled numeral: q If a memory
other than M1 (which is the default, turn-on bank) is to be chosen, it will appear just before to the piston number: M2 r
Advanced Uses:
Note that there may be numbered Toe Studs that are duplicates of some of the
Manual Pistons for your use.
MIDI Voices and Voice Palette™ Stops may also be saved to Combination
Pistons by themselves or along with organ stops.
Kingsfold shows the ease of playing using pistons. Practice pushing pistons in
rhythm so that stop changes come during silent moments between beats.
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frog music press
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frog music press
8
Using Memory Banks
Device
Memory Bank Piston
Memory Banks
When you power up the organ Memory Bank 1 of the Combination pistons
is activated by default. Other Memory Banks can be selected and more pistons set and saved on them. The i557 has two banks [M1, M2] the i577 has
four [M1, M2, M3, M4].
Some organists save all Sunday Morning settings on one memory and use the
other Memory Banks for Wedding Music, MIDI voices, or other combinations.
Memory Banks can be locked by pressing and holding the Memory Bank
Piston of the Bank that you want to save. Look at the Display. After a few
seconds it will show either:
MEMORY BANK # LOCKED
or
MEMORY BANK # UNLOCKED
Rotate the ALPHA dial to change the readout on the menu. When finished,
press the General Cancel [0]. The Memory Bank status will remain set as
you have left it.
In Elevation, begin with Piston 5 from Memory Bank 1, then change on the last
page to Memory Bank 2, Piston 6. You will find that changing the Memory
Bank while playing does not affect the stops. The stops only change when you
push the Combination Pistons numbered 1 - 8.
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frog music press
Elevation
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9
Crescendo Pedal
Device
Crescendo Rocker Tab
Expression Pedals
Optional Crescendo
Before the days of our modern Combination Action Pistons, the Crescendo
Pedal was a valuable registration tool because you could use it to add stops
while playing . However, it was difficult to judge how far to push to get the level
of stops you wanted and have it occur at the exact musical points you had
chosen.
The Insignia offers an optional Crescendo Pedal. Select the Crescendo Rocker
Tab, and the left expression pedal will now control both the Swell and Great,
the right expression pedal becomes a Crescendo Pedal.
The Crescendo Doxology Introduction indicates how the Crescendo Pedal might
be used [indications in grey] and alternately how pistons can be used in place
of the Crescendo Pedal to give you exact control over the stop increases while
playing. When you are finished, be sure to retire the Crescendo Pedal by
deselecting the Rocker Tab or pushing General Cancel p. Otherwise, you will
find yourself playing other stops than what you have selected on the rocker
tabs or pistons.
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frog music press
Crescendo Doxology Introduction
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10
Transposer
Device
Console Display and Select Knob
Changing Keys
The Transposer has existed for centuries on keyboard instruments. Early organists used the Mutation Stops on the organ to transpose. The pitch standard as we know it, A=440, was not established until recently, and is still not
adhered to in all circumstances. In early times, the choral music was often
written using choir pitch, which was as much as the interval of a fourth or fifth
higher than organ pitch. Organists dealt with this by using Mutations in place of
8’, 4’ and 2’ stops.
Instruments were also built with transposing keyboards that would slide from
right to left to make playing in different keys simpler.
The Transposer raises the pitch of the organ pitch by half steps. Rotate the
Select Knob to the right or left. When done playing, push General Cancel p to
reset the Transposer to Ø.
General Cancel p automatically clears all stops and resets the Transposer to
Ø.
If you are playing an offertory in A flat immediately followed by the Doxology
in G, you may find the juxtaposition of the two keys rather jarring. To avoid
this, lower the offertory music from A flat to G by setting the TRANSPOSER to
-1. When you complete the hymn, push General Cancel p, and then the
piston for the Doxology, and continue on.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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frog music press
Doxology Transition
Organ
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frog music press
11
Device
Tremulants [and Celestes]
Swell Tremulant
Great Tremulant
Tremulant II
Viole Celeste II
Flute Celeste II
Pitch-Altering Devices The Tremulants and Celeste Stops both deal with pitch variations that can
entrance the ear, but they do it in two radically different ways.
Tremulants vary the wind supply to the pipe in a pulsing manner, causing it to
lower and then rise back to pitch over and over again.
Each Manual has its own Tremulants. In addition there is one more Tremulant in the General Stop Division, the Tremulant II. This Tremulant is usually
adjusted to be more extreme in rate and depth than the Manual Tremulants
and affects both manuals.
Celeste Stops utilize two pipes per key, one tuned slighty out of tune to the
entire organ and its partner. Play a note on a Celeste and you hear three
pitches...the low, the high and the pulse between them, which sounds the frequency of the out of tuneness, usually one or two pulses per second.
Celeste Stops often have ‘Celeste’ in their name, but can also be identified by
the Roman Number II shown on an 8’ or 4’ stop. Usually a Roman Numeral
signifies the number of pipes in a mixture or combination mutation stop such
as the Sesquialtera. On stops without fractional identification, it is another
indication for a Celeste.
Celeste Stops and Tremulant Stops are not recent inventions. L’arte organica
by Costanzo Antegnati, published in 1608, describe how to use both. J.S.
Bach seems to never have indicated Tremulants in the few works of his that
have stop suggestions in his hand, but we know that he did require that one be
fixed on an organ before he played it.
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frog music press
Tremulando
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12
The Orchestral Voice Display
Rocker Tabs:
Orchestral Voices
ORCH/
MIDI
SWELL
ORCH/
MIDI
GREAT
ORCH/
MIDI
PEDAL
Each Manual and the Pedalboard has certain Orchestral Voices which can be
played by simply pressing the bottom of the ORCH/MIDI Rocker Tab for that
division.
To select a voice other than the one set by default, hold SET, and while continuing to hold SET push the Bottom of the Rocker Tab ORCH/MIDI stop you
wish to change. It will light and the Display will then show the voice that is
currently activated.
Rotate the Alpha dial to make a new selection.
Exit this menu by pressing p.
The new voice you have selected will remain available at that ORCH/MIDI
stop until you change it or push a piston that engages a different voice on that
stop. You may choose other organ stops without affecting your choice of
Orchestral Voice. This new voice may be saved to a combination piston for
future use. Choosing a Piston with a different Orchestral Voice for that manual
will change it to the one saved on the piston.
For Just As I Am, select Memory bank 1, Piston 1, press and turn off the Swell
Viole Celeste stop. Hold SET and select ORCH/MIDI SWELL. The Display will
show what voice will be playing on the Swell. Roll the Alpha dial while watching the Display to see the voices. You can try each one when it appears. We
recommend the Oboe as a good choice for this piece.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
##
frog music press
Just As I Am
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13
Orchestral Voice Controls
ORCH/ MIDI
Choices
The Orchestral Voice Division of the Insignia Organ brings musical sounds to
the organ keyboard that can react to the intensity of your touch and be sustained as well.
After you have selected an Orchestral Division Voice, hold SET and click the
Select knob to the right to explore how you can play these voices.
Keyboard Velocity
You can choose whether or not the voices play louder or softer depending on
the speed with which you depress the keys, or adjust it to play a set volume, or
to respond to the adjustment of the expression pedal for that division.
Foot Switch
The Left Expression Pedal is fitted with an on and off switch you can activate
with the toe of your shoe, by pressing to the left. This switch can be set to
sustain sounds, like the right pedal on a piano; hold chords like the Sostenuto
Middle Pedal on the piano; or play softer, like the left una corda pedal on the
piano. The Foot Switch can be set to control Orchestral Voices on any Manual
including the Pedals.
Touch
The keyboard is set to respond to Normal key speed or pressure. You may find
it responds better to your touch-sensitive playing in Heavy or Light Mode.
To set Touch:
1. Hold SET and select the ORCH/MIDI stop you wish to set
2. Rotate the Alpha Dial until the Display reads TOUCH.Divided Expression
Pedals open up the possibility of providing solo or accompaniment voices on
either manual.
3. Select LIGHT, NORMAL or HEAVY
This setting can be saved along with the Orchestral Voice on a piston.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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14
Velocity KBD
Orchestral Voice Keyboard Velocity
The default setting for Velocity is KBD, which means that the Orchestral Voice
you are playing will respond to variations of touch as a piano would.
All of the pistons set on default Memory Bank 2 are set to KBD velocity. If you
find when playing that certain notes stick out, you may be more comfortable
setting a different Velocity setting that will ignore touch pressure differences
and play at an even level.
However, KBD does offer some wonderful musical effects. Play with a light
touch on the Swell on Piston 6 Memory Bank 2 and then increase the pressure, creating a crescendo of choral sound over the organ stops you are playing.
Choose ORCH/MIDI GREAT and select the Nylon Guitar. Play I Need Thee
Every Hour with expression, using the Great Expression Pedal to vary the overall volume, and your finger pressure to bring out individual notes.
Roll chords to give the effect of rolling chords.
After you learn to use the Foot Switch Sustain feature in a few pages, come
back and play this again, using the Foot Switch to let the sound of the guitar
strings ring out.
Helpful Note:
These stops control either Orchestral Voices from within the organ or MIDI
Voices from external voices. It is helpful to keep them separate in your mind
and refer to them as Orchestral Voices (ones in the organ) or MIDI Voices.
(playing from an external MIDI Module). By refering to them in this manner it
can save a lot of confusion.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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I Need Thee Every Hour
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15
Orchestral Voice Fixed Velocity
Using Fixed Velocity
To reset from KBD to Fixed Velocity Settings:
Setting a fixed velocity does two things:
It sets the level of the voice in relation to other voices or stops.
It also locks in the attack characteristic of a voice at that level. The higher the
level, the more attack is heard. Strings and Brass are examples of voices that
display definite attack characteristics.
1. Hold SET and select the ORCH/MIDI stop to be changed.
2. Roll ALPHA Dial to VELOCITY KBD
3. With cursor change KBD to a number from 2 - 127
2 is very soft, 127 is the loudest. Setting the Velocity in this manner balances
the stop to other voices and stops being used. The voice is no longer affected
by touch playing same level at all times, just like an organ stop and will respond
to the expression pedal for its division.
This setting can be saved along with the Orchestral Voice on a piston.
To play Trumpet Tune:
Set the stops for the Trumpet Tune.
Select:
Memory Bank 2
Select:
Piston 7
PEDAL
Remove All Organ Stops
GREAT
Remove All Organ Stops
Then change the Velocity from KBD to at Numerical Value:
ORCH/MIDI PEDAL
ORCH/MIDI SWELL
ORCH/MIDI GREAT
VELOCITY 100
VELOCITY 100
VELOCITY 80
This makes the Harpsichord softer in relation to the Trumpet and Timpani,
creating a more authentic balance between the voices.
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Trumpet Tune
Fanfare
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16
Orchestral Voice Expression
Velocity Expression
To change Velocity from KBD to Expression.
Setting to Velocity Expression assigns the attack level and volume level of the
stop to the position of the Expression pedal for that division.
1. Hold SET and select the ORCH/MIDI stop to be changed.
2. Roll ALPHA Dial to VELOCITY KBD or number.
3. With cursor change KBD or number to EXP.
It will no longer respond to your touch like a piano keyboard. Now it will respond to the expression pedal for its division, On voices like the Trumpet, the
attack level will also increase and decrease with the use of the Expression
pedal for that division.
This setting can be saved along with the its Orchestral Voice on a piston.
To play God Is So Good:
Select:
Select:
Add:
Memory Bank 2
Piston 6
Swell to Great
Then change the Velocity to EXP
ORCH/MIDI GREAT
ORCH/MIDI SWELL
EXP
EXP
As you play you will notice more attack as you increase the Expression level
as you play the Harp on the Great. The Choir Aahs on the Swell, which are
coupled to the Great, will increase in volume with the Expression pedal, giving
an eveness to the sound that is sometimes difficult to achieve with Velocity set
to KBD.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
+!
frog music press
God is So Good
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17
Using the Foot Switch
Device
Foot Switch
On the left expression pedal there is a switch you activate by putting pressure on it with the left side of your shoe.
This pedal is programmable for each Orchestral Voice. It will not
sustain Organ Stops.
To change the way the Foot Switch affects the sound:
1. HOLD SET and select an ORCH/MIDI Division Rocker Tab.
2. HOLD SET and rotate Select Knob clockwise to FootSwitch
3. Rotate the Alpha Dial to choose between OFF, SUST, SOST or SOFT.
The piston recommended for the Prelude in C has the Foot Switch
programmed with SUST (Sustain) for the Piano on the Great.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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frog music press
19
Using the Bass Coupler
Device:
Bass Coupler Rocker Tab
The Bass Coupler reads the bottom note you are playing on the Great Keyboard and plays that note using the Pedal Stops you have chosen.
This is useful when you find a pedal part too difficult to play, or because you
need to play a hymn in a short period of time and don’t have time to learn the
pedal part.
It also makes it easier for a pianist who is filling in at the organ, to play the
organ and provide a solid bass line without using the pedals.
Chapel Meditation gives us an opportunity to try the Bass Coupler and explore ways to make our music interesting. There is a tremendous need for
short pieces of music in a church service. But what can you do when the piece
is too short?
Select the piston recommended for the Chapel Meditation, add Bass Coupler,
and play it through once at a medium volume with both hands on the Swell
Keyboard. Then repeat it with both hands on the Great Keyboard, using more
expression. When you reach the end, go back and repeat it on the Swell very
softly.
What the congregation will hear is a light verse, followed by a fuller verse with
depth from the added bass line due to the Bass Coupler, and then a quiet
echo verse from the Swell.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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frog music press
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frog music press
20
Using the Melody Coupler
Device
Swell Melody on Great
Soloing a Melody
The Swell Melody Coupler takes the highest note you are playing on the Great
and couples the Swell to it, playing whatever stops you might have selected. It,
like the Bass Coupler, reacts to the way you play. If you play very smoothly,
the coupler may not pick up the notes consistently. For that reason, use it on
bright energetic hymns with articulate touch.
For When Morning Gilds the Sky register:
Memory 2
Piston 7
Retire:
ORCH/MIDI PEDAL
ORCH/MIDI GREAT
Follow the Manual suggestions in the music, adding the Swell Melody Coupler when indicated.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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frog music press
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frog music press
21
Making Voice Palette™ Selections
Device
Stops with “Dots”
Voice Palette™ Stops These are additional organ stops which can be chosen by holding SET and
activating a stop with a dot on its face. To play a Tierce on the Swell, hold SET
and select MIXTURE IV. Look at the display, and while viewing, rotate the
ALPHA dial until the name changes to Tierce.
1. Hold SET
2. Select stop with dot.
3. Rotate Alpha Dial to change from MIXTURE to TIERCE.
This stop will play the Voice Palette™ Tierce until you either:
• Turn the organ OFF.
• Use the Alpha dial to set it back to Mixture using the same process as above.
• Push a piston that has the Mixture saved to it.
• Hold SET and then hit p while the window shows TRANSPOSER.
To play Creche using a Sesquialtera, set the Swell Bourdon 8’, Nazard 2 2/3’,
and the Tierce 1 1/3; on the Great set the Principal 8’ and the Gemshorn 8’ [a
Voice Palette™ stop stored behind the Gedackt 8’ on the Great], Great to
Pedal and the Violone 16’ in the Pedal. Try using the Swell Tremulant as well.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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frog music press
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22
Device
Temperaments
Display
Select Knob
Hold SET and turn the SELECT Knob to the Left. Stop when the display reads
TEMPERAMENTS. Rotate the Alpha Dial until you reach the Temperament you
wish to use.
The Temperament remains in effect until you turn the power off or set the
Temperament to another setting.
Early Music for Manuals, by Frog Music, explores using Temperaments and
style in Early Music, with many music examples for playing.
Taken from Early Music for Manuals Toccata per l’Elevazione should be played
upon the Great Principal 8’ and Swell Geigen Principal 8’, Swell to Great Coupled,
using Meantone Temperament.
Play it first in normal Equal Temperament. Equal Temperament means that all
intervals are equally out of tune, the tuning used on Modern Pianos.
When Frescobaldi wrote this piece, Meantone Tuning was very common. Certain intervals are more in tune than others and the composers wrote music
that explores the music effect of the tuning differences. Dissonant chords
appear on dissonant intervals, consonant chords (major, for example) appear
on more in tune intervals. This music takes on a completely different character
when played using temperaments such as Meantone, for which it was intended.
Music up until and even after Bach was not written to be played in today’s
Equal Temperament. Rather, other tunings like Kirnberger and Werckmeister
were used to temper certain harsh intervals. No attempt was made to ‘correct
tuning’ by setting all intervals to the exact same numerical tuning in use today.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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frog music press
Toccata per l'Elevazione
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frog music press
23
Expression Levels
Device:
Minimum Expression
Expression
It is possible to widen the dynamic range of the instrument making it possible
to play even softer.
The default setting is NORMAL, meaning that the organ expression pedals
produce the normal volume change of a pipe organ. This is very important to
when interfacing a digital organ with pipes.
Some pipe organs have a wider range of expression due to the design of the
swell boxes (a generic term for any pipe division enclosure), the acoustics of
the room and other factors. Rodgers provides two additional levels of expression control that can be set by the user. They add more room to the soft end
of the range, permitting the organ to play softer without making any change to
the high volume level set by the Master Volume.
To widen the Expression range: Press and hold SET and rotate the Select
Knob until the display shows the name of a Division (SW, GT, or PD) and the
word Expression. Use the Select Knob to choose which division or expression
setting [NORMAL, ppp or pppp] you wish to change. Make the levels in all
divisions match before saving this by holding SET, and, while holding SET, press
and hold p until the display reads:
AUDIO SAVE OK
PRESS CANCEL
If you do not wish to save this change to the Audio Settings, press p.
A Day of Rest will sound lovely with the expanded Expression levels possible
with pppp. Follow the dynamic markings carefully.
Note that the melody that starts on the second page has been written an
octave lower than normal on the Great so that you will be playing the Krummhorn 4’ in its 8’ register. It is also possible to play flutes 8’ & 2’ on the Great by
selecting Bourdon 16’ & Spitzflote 4’ and playing an octave higher.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
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frog music press
Swell
Viole Céleste II
8’
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24
Device
Room Modeling
Display
Select Knob
Hold SET and turn the Select Knob to the left until the Display Screen reads
ROOM TYPE or WALL TYPE. Room Modeling adjusts the sound of the organ
to optimum acoustical settings for the music you wish to play.
If you are playing in a room in your home, studio or church that has dry
acoustics...meaning little reverberation, depth and warmth of sound...you can
use Room Modeling to improve the sound and playability of the organ in that
acoustical environment using Room Modeling.
If you are practicing in a small room for a concert to be played in a large reverberant cathedral, you may find it useful to set the organ Room Modeling to
match the room you will be performing in. Most music written for the organ
has been composed for organs in rooms with natural reverberation, carrying
the sound of the organ throughout the building. Often churches built from
modern building materials and comfortable appointments, including carpeting
and pew cushions, make playing the organ in them more like playing the piano
without a sustain pedal!
For that reason, Room Modeling has become an important part of music making at the organ. The settings for Room Modeling each have a different effect:
Room Type creates reverberation patterns; Wall Type affects the type of sound
reflection; and Ambience Depth controls how much of this you hear.
Try setting each of the three controls independently. Some find that they
prefer strong Room Type and Wall Type settings and little depth...others find
the prefer other balancing of these parameters.
The two works that follow have been chosen to give you some music to use to
test and set up Room Modeling to your taste. Setting Room Modeling should
be done taking into consideration playing pieces with light registrations as well
as ones with heavy, massive chords.
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%,
frog music press
On Jordan's Stormy Banks
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25
The MIDl Voice Display
Device
Rocker Tabs:
MIDI Voices
External MIDI Voice Modules can be used with the Insignia Organs.
MIDI Cables
External MIDI Keyboards or Voice Modules can be played from the Insignia
Organs by connecting the organ and MIDI device using MIDI Cables. Always
remember to connect each cable from MIDI OUT to MIDI IN. If you are only
playing MIDI voice from the Organ, you only need to use one cable from MIDI
OUT on the ORGAN to MIDI IN on the MIDI Device.
AUDIO Cables
The Audio, that is the sound, of the MIDI Device can be played through the
organ by connecting cables from the MIDI Device that terminate in mono 1/4’
phone plugs into the AUDIO L & R INPUT Jacks on the MIDI Board.
ORCH/
MIDI
SWELL
ORCH/
MIDI
GREAT
ORCH/
MIDI
PEDAL
Choosing MIDI Voices To select a MIDI voice hold SET and then push the TOP of the Rocker Tab for
the MIDI Stop (shown as ORCH/MIDI above) you wish to change. The ORCH/
MIDI stop will begin to flash. Release both. General MIDI (GM) tones or voices
can be selected by touching keys that match the number assignments of the
voice, as displayed on the chart on the next page. The stop will cease flashing
when it is programmed to play. The Insignia Owner’s Manual goes into detail
about using MIDI Voices. From the Insignia Console and the Display Window
you can select and save to pistons MIDI Control Settings for voices that include: Octave Shift, Velocity, Foot Switch, Pan, Reverb, Expression, and Velocity Sensitivity.
Orchestral Voices from the Organ are not playable when the stop is used for
MIDI voices. You can toggle back and forth between ORCH and MIDI voices
while playing.
You may also couple Swell stops to the Great and then set UNISON OFF,
freeing the Swell keyboard for playing MIDI Voices as the Swell Stops will be
silent. You can still play the Swell stops on the Great because of the SW to GT
Coupler.
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26
Piston Combination Memory Banks
Resetting Memory Bank Defaults
Default Pistons
The Insignia Organs arrive from the factory with Pipe Organ Stop combination
on Memory Bank 1, Pistons that include Orchestral Voices on Memory Bank 2.
The following pages list the factory settings. Additional pages are provided for
storing your personal piston settings.
Resetting to Default
To erase any pistons settings you have done and return to the default factory
piston settings, press and hold M1. When the display shows the locked or
unlocked status of the Memory Bank, press and hold SET until the display
changes to read:
MEMORY 1 FACTORY DEFAULT
Release both pistons.
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Factory Default Pistons - Memory Bank 1
Voice Palette Stops are in Italics.
MEMORY BANK 1
1 2 3 4 5 6 7 8 Piston
PEDAL
Principal*
16'
Violone
16'
Subbass
16' ● ● ● ● ● ● ● ● Bourdon
Octave
8'
Gedeckt
8'
Trumpet
8'
Choral Bass
4'
Posaune
16'
Basson
16'
Great to Pedal
Swell to Pedal
1 2 3 4 5 6 7 8 Piston
SWELL
Geigen Principal
●
8'
●●●●
8'
● ● ● Viole Celeste II
8'
●
8' ●
Flüte Celeste II
● Prestant
●
● ● ● ● ● Bourdon
8'
● ● ● Viola
●●●
1 2 3 4 5
GREAT
4'
Flauto Traverso
4'
Nazard
2 2/3'
● Blockflote
2'
● ● Plein Jeu IV
16'
Violone
16'
Principal
8'
Rohrflöte
8'
Gemshorn
8' ●
● ● ● ● Octave
●●●
4'
Spitzflöte
4'
Super Octave
2'
● ● ● Quintflöte
●
●
1 1/3'
● ● Mixture IV
● ● ● ● ● Tierce
1 3/5'
Basson
16'
Hautbois
8'
Trumpet
4'
● Krummhorn
4'
Tremulant
Chimes
Swell Unison Off
Tremulant
ORCH/MIDI Swell
ORCH/MIDI Grea
at
Velocity
Velocity
Velocity
Foot Switch
Foot Switch
Foot Switch
Piano
Piano
Piano
Harpsichord
Rotary Organ
E. Piano*
Acoustic Bass
Detuned E. Piano**
Detuned E. Piano
o*
Fingered Bass
Violin
Harpsichord
16' Pizz Strings
Slow Violin
Warm Pad*
16' Syn Strings
Cello*
Fantasia
Pizz Strings
Flute
Chorus Organ
Strings
Oboe
Tubular Bells*
Brass
Clarinet
Glockenspiel*
Timpani
Multi-Reed
Nylon Guitar
External MIDI
Trumpet
Harp
French Horn
Strings
GENERAL
Brass
Slow Strings
Tremulant II
Choir Aahs
Rich Choir
Crescendo
Warm Strings*
Boy Choir
External MIDI
External MIDI
*577
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
$!
8'
● Clairon
Swell to Great
al
ORCH/MIDI Peda
●●
●●●●
●●●
frog music press
Factory Default Pistons - Memory Bank 2
Voice Palette Stops are in Italics.
MEMORY BANK 2
1 2 3 4 5 6 7 8 Piston
PEDAL
1 2 3 4 5 6 7 8 Piston
SWELL
Principal i577
16'
Violone
16'
Subbass
16'
● ● Bourdon
8'
Octave
8'
● ● Viole Celeste II
8'
Gedeckt
8'
● ● Flüte Celeste II
8'
Trumpet
8'
Choral Bass
Geigen Principal
16'
Basson
16'
8'
Prestant
●
●
●
4'
Nazard
2 2/3'
Blockflote
Swell to Pedal
16'
● Principal
8'
Rohrflöte
8'
Gemshorn
8'
● Octave
4'
● Spitzflöte
4'
Super Octave
2'
Quintflöte
● Plein Jeu IV
Great to Pedal
16'
Violone
4'
● Flauto Traverso
4'
Posaune
● Bourdon
8'
● ● Viola
●●
1 2 3 4 5
GREAT
2'
1 1/3'
Mixture IV
1 3/5'
Tierce
Basson
16'
Hautbois
8'
Trumpet
8'
Clairon
4'
Krummhorn
4'
Tremulant
Chimes
Swell Unison Off
Tremulant
Swell to Great
al
ORCH/MIDI Peda
Velocity1
Foot Switch2
Piano
ORCH/MIDI Swell
ORCH/MIDI Grea
at
K K K K K K K K Velocity
K K K K K K K K Velocity
S X X X X X X X Foot Switch
X X X X X X X X Foot Switch
●
Piano
●
Harpsichord
●
Acoustic Bass
Fingered Bass
●
●
●
Harpsichord
Warm Pad*
Cello*
Strings
Oboe
Brass
Clarinet
External MIDI
Chorus Organ
●
●
Tubular Bells*
●
● Multi-Reed
Glockenspiel*
●
Nylon Guitar
●
Trumpet
●
Harp
Strings
● Slow Strings
Brass
●
Tremulant II
Choir Aahs
Crescendo
Warm Strings*
Boy Choir
Rich Choir
External MIDI
External MIDI
1VELOCITY K=KBD
2FOOTSWITCH S=SU
UST, X=O
OFF
F
●
Fantasia
●
French Horn
GENERAL
E. Piano*
Violin
Flute
S X S S X
●
Detuned E. Piano
o*
Slow Violin
Pizz Strings
Timpani
●
Rotary Organ
Detuned E. Piano**
16' Pizz Strings
16' Syn Strings
Piano
K K K K K
*577
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
$#
●
frog music press
Charts for documenting your pistons.
Memory 1 2 3 4
Piston
1 2 3 4 5 6 7 8 Piston
PEDAL
1 2 3 4 5 6 7 8 Piston
SWELL
Principal i577
16'
Violone
16'
Viola
Subbass
16'
Bourdon
1 2 3 4 5
GREAT
Geigen Principal
8'
Bourdon
16'
8'
Violone
16'
8'
Principal
8'
Octave
8'
Viole Celeste II
8'
Rohrflöte
8'
Gedeckt
8'
Flüte Celeste II
8'
Gemshorn
8'
Trumpet
8'
Prestant
4'
Octave
4'
Choral Bass
4'
Flauto Traverso
4'
Spitzflöte
4'
Posaune
16'
Nazard
Basson
16'
Blockflote
Great to Pedal
Plein Jeu IV
Swell to Pedal
Tierce
2 2/3'
2'
Super Octave
Quintflöte
2'
1 1/3'
Mixture IV
1 3/5'
Basson
16'
Hautbois
8'
Trumpet
8'
Clairon
4'
Krummhorn
4'
Tremulant
Chimes
Swell Unison Off
Tremulant
Swell to Great
al
ORCH/MIDI Peda
ORCH/MIDI Swell
ORCH/MIDI Grea
at
Velocity
Velocity
Velocity
Foot Switch
Foot Switch
Foot Switch
Piano
Piano
Piano
Harpsichord
Rotary Organ
E. Piano*
Acoustic Bass
Detuned E. Piano**
Detuned E. Piano
o*
Fingered Bass
Violin
Harpsichord
16' Pizz Strings
Slow Violin
Warm Pad*
16' Syn Strings
Cello*
Fantasia
Pizz Strings
Flute
Chorus Organ
Strings
Oboe
Tubular Bells*
Brass
Clarinet
Glockenspiel*
Timpani
Multi-Reed
Nylon Guitar
External MIDI
Trumpet
Harp
French Horn
Strings
Brass
Slow Strings
GENERAL
Tremulant II
Choir Aahs
Rich Choir
Crescendo
Warm Strings*
Boy Choir
External MIDI
External MIDI
Permission is granted to reproduce this page for your use.
©!""# Frog Music Press • #$"% Terrace View Drive • Knoxville& TN #$'() • www*frogmusic*com
$+
frog music press
Charts for documenting your pistons.
Memory 1 2 3 4
Piston
1 2 3 4 5 6 7 8 Piston
PEDAL
1 2 3 4 5 6 7 8 Piston
SWELL
Principal i577
16'
Violone
16'
Viola
Subbass
16'
Bourdon
1 2 3 4 5
GREAT
Geigen Principal
8'
Bourdon
16'
8'
Violone
16'
8'
Principal
8'
Octave
8'
Viole Celeste II
8'
Rohrflöte
8'
Gedeckt
8'
Flüte Celeste II
8'
Gemshorn
8'
Trumpet
8'
Prestant
4'
Octave
4'
Choral Bass
4'
Flauto Traverso
4'
Spitzflöte
4'
Posaune
16'
Nazard
Basson
16'
Blockflote
Great to Pedal
Plein Jeu IV
Swell to Pedal
Tierce
2 2/3'
2'
Super Octave
Quintflöte
2'
1 1/3'
Mixture IV
1 3/5'
Basson
16'
Hautbois
8'
Trumpet
8'
Clairon
4'
Krummhorn
4'
Tremulant
Chimes
Swell Unison Off
Tremulant
Swell to Great
al
ORCH/MIDI Peda
ORCH/MIDI Swell
ORCH/MIDI Grea
at
Velocity
Velocity
Velocity
Foot Switch
Foot Switch
Foot Switch
Piano
Piano
Piano
Harpsichord
Rotary Organ
E. Piano*
Acoustic Bass
Detuned E. Piano**
Detuned E. Piano
o*
Fingered Bass
Violin
Harpsichord
16' Pizz Strings
Slow Violin
Warm Pad*
16' Syn Strings
Cello*
Fantasia
Pizz Strings
Flute
Chorus Organ
Strings
Oboe
Tubular Bells*
Brass
Clarinet
Glockenspiel*
Timpani
Multi-Reed
Nylon Guitar
External MIDI
Trumpet
Harp
French Horn
Strings
GENERAL
Brass
Slow Strings
Tremulant II
Choir Aahs
Rich Choir
Crescendo
Warm Strings*
Boy Choir
External MIDI
External MIDI
*577
Permission is granted to reproduce this page for your use.
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Charts for documenting your pistons.
Memory 1 2 3 4
Piston
1 2 3 4 5 6 7 8 Piston
PEDAL
1 2 3 4 5 6 7 8 Piston
SWELL
Principal i577
16'
Violone
16'
Viola
Subbass
16'
Bourdon
1 2 3 4 5
GREAT
Geigen Principal
8'
Bourdon
16'
8'
Violone
16'
8'
Principal
8'
Octave
8'
Viole Celeste II
8'
Rohrflöte
8'
Gedeckt
8'
Flüte Celeste II
8'
Gemshorn
8'
Trumpet
8'
Prestant
4'
Octave
4'
Choral Bass
4'
Flauto Traverso
4'
Spitzflöte
4'
Posaune
16'
Nazard
Basson
16'
Blockflote
Great to Pedal
Plein Jeu IV
Swell to Pedal
Tierce
2 2/3'
2'
Super Octave
Quintflöte
2'
1 1/3'
Mixture IV
1 3/5'
Basson
16'
Hautbois
8'
Trumpet
8'
Clairon
4'
Krummhorn
4'
Tremulant
Chimes
Swell Unison Off
Tremulant
Swell to Great
al
ORCH/MIDI Peda
ORCH/MIDI Swell
ORCH/MIDI Grea
at
Velocity
Velocity
Velocity
Foot Switch
Foot Switch
Foot Switch
Piano
Piano
Piano
Harpsichord
Rotary Organ
E. Piano*
Acoustic Bass
Detuned E. Piano**
Detuned E. Piano
o*
Fingered Bass
Violin
Harpsichord
16' Pizz Strings
Slow Violin
Warm Pad*
16' Syn Strings
Cello*
Fantasia
Pizz Strings
Flute
Chorus Organ
Strings
Oboe
Tubular Bells*
Brass
Clarinet
Glockenspiel*
Timpani
Multi-Reed
Nylon Guitar
External MIDI
Trumpet
Harp
French Horn
Strings
GENERAL
Brass
Slow Strings
Tremulant II
Choir Aahs
Rich Choir
Crescendo
Warm Strings*
Boy Choir
External MIDI
External MIDI
*577
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frog music press
Charts for documenting your pistons.
Memory 1 2 3 4
Piston
1 2 3 4 5 6 7 8 Piston
PEDAL
1 2 3 4 5 6 7 8 Piston
SWELL
Principal i577
16'
Violone
16'
Viola
Subbass
16'
Bourdon
1 2 3 4 5
GREAT
Geigen Principal
8'
Bourdon
16'
8'
Violone
16'
8'
Principal
8'
Octave
8'
Viole Celeste II
8'
Rohrflöte
8'
Gedeckt
8'
Flüte Celeste II
8'
Gemshorn
8'
Trumpet
8'
Prestant
4'
Octave
4'
Choral Bass
4'
Flauto Traverso
4'
Spitzflöte
4'
Posaune
16'
Nazard
Basson
16'
Blockflote
Great to Pedal
Plein Jeu IV
Swell to Pedal
Tierce
2 2/3'
2'
Super Octave
Quintflöte
2'
1 1/3'
Mixture IV
1 3/5'
Basson
16'
Hautbois
8'
Trumpet
8'
Clairon
4'
Krummhorn
4'
Tremulant
Chimes
Swell Unison Off
Tremulant
Swell to Great
ORCH/MIDI Peda
al
ORCH/MIDI Swell
ORCH/MIDI Grea
at
Velocity
Velocity
Velocity
Foot Switch
Foot Switch
Foot Switch
Piano
Piano
Piano
Harpsichord
Rotary Organ
E. Piano*
Acoustic Bass
Detuned E. Piano**
Detuned E. Piano
o*
Fingered Bass
Violin
Harpsichord
16' Pizz Strings
Slow Violin
Warm Pad*
16' Syn Strings
Cello*
Fantasia
Pizz Strings
Flute
Chorus Organ
Strings
Oboe
Tubular Bells*
Brass
Clarinet
Glockenspiel*
Timpani
Multi-Reed
Nylon Guitar
External MIDI
Trumpet
Harp
French Horn
Strings
GENERAL
Brass
Slow Strings
Tremulant II
Choir Aahs
Rich Choir
Crescendo
Warm Strings*
Boy Choir
External MIDI
External MIDI
*577
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Insignia 557 - 577 Stop Registration Ideas
SWELL SOLO VOICES
1. Sesquialtera
----------------------------------------------------------Swell
Bourdon
8’
Nazard
2 2/3’
Tierce
1 1/3’
Great
Gemshorn
Pedal
Violone
GT to PD
2. Synthetic Oboe
Pedal
Subbass
GT to PD
Great
Gemshorn
Pedal
Subbass
GT to PD
4. Bassoon
-----------------------------------------------------------
6. Trumpet
Swell
Geigen Principal
Prestant
Plein Jeu IV
8’
16’
Great
Trumpet
Pedal
Violone
Gedackt
SW to PD
8’
8’
4’
8’
16’
8’
----------------------------------------------------------Swell
Bourdon
8’
16’
Great
Krummhorn
Down One Octave
Pedal
Subbass
SW to PD
----------------------------------------------------------Swell
Basson
16’
Up One Octave
Great
Rohrflöte
8’
8. Chimes
Pedal
Subbass
GT to PD
16’
GREAT SOLO VOICES
7. Krummhorn
Pedal
Subbass
GT to PD
8’
16’
----------------------------------------------------------Swell
Hautbois
8’
Great
Gemshorn
----------------------------------------------------------Swell
Bourdon
8’
Flauto Traverso
4’
Nazard
2 2/3’
Blockflöte
2’
Tierce
1 1/3’
8’
----------------------------------------------------------Swell
Viola
8’
Tierce
1 1/3’
Great
Rohrflöte
3. Oboe
5. Cornet
16’
----------------------------------------------------------Swell
Flüte Céleste II
16’
Great
Chimes
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4’
frog music press
Insignia 557 - 577 Stop Registration Ideas
Pedal
Subbass
SW to PD
WARM STOPS
9.
Pedal
Subbass
Pedal
Subbass
16’
Pedal
Subbass
GT to PD
SW to PD
8’
13.
16’
----------------------------------------------------------Swell
Viole Celeste II
8’
Flauto Traverso
4’
Tremulant
Great
Violone
Gemshorn
Spitzflöte
Pedal
Subbass
GT to PD
SW to PD
----------------------------------------------------------Swell
Geigen Principal
8’
Bourdon
8’
Viole Celeste II
8’
Flauto Traverso
4’
Tremulant
Great
Principal
Gemshorn
SW to GT
Tremulant
8’
----------------------------------------------------------Swell
Viole Celeste II
8’
Great
Gemshorn
SW to GT
Tremulant
11.
12.
----------------------------------------------------------Swell
Flüte Céleste II
Great
Gemshorn
10.
16’
16’
16’
----------------------------------------------------------Swell
Viola
8’
Bourdon
8’
Viole Celeste II
8’
Hautbois
8’
Great
Principal
Rohrflöte
SW to GT
Pedal
Violone
Subbass
16
8’
4’
8’
8’
Gedackt
GT to PD
SW to PD
8’
8’
16’
16’
8’
16’
----------------------------------------------------------
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Tutti and Crescendo Stop Order
i557 and i577
The Tutti is non-programmable and has the following stop settings:
Pedal all stops plus Gt to Ped and Sw to Ped
Swell GP 8, B 8, O 4, 2, IV, B 16, H 8
Great P 8, G 8, O 4, SO 2, 1 1/3, IV, T 8, Sw-Gt
Crescendo has 8 non-programmable steps and has the following stop settings (each step
adds to the one before):
1 Sw. Viole Cel II, Ped. Subbass 16, Swell to Great 8
2 add Sw.Bourdon, add Gt. Gedackt/Rohrflote
3 remove Sw. Viole Cel II, add Sw. Geigen Princ, add Great to Pedal, add Gt.Principal 8
4 add Sw. Flauto Trav, add Gt. Spitzflote
5 add Sw. Prestant 4, add Gt. Octave 4, add Ped Violone
6 add Sw. Blockflote 2
7 add Gt. Super Octave 2, add Ped. Octave 8
8 add Gt. Quintflote 1 1/3, add Sw. Plein Jeu IV, add Ped. Choralbass 4
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Organ Stops
A Brief Overview
The art of organ registration may seem
complicated at first, but there are a few simple
things to remember: There are only four basic
sounds created by the organ: Principals, Flutes,
Reeds and Strings. Most sounds are Principals or
Flutes. The number on the stop tells the length of
the lowest pipe in the set, 8’ means that middle C
sounds middle C. A 4’ stop plays an octave higher
when middle C is played. Most keyboard stop
combination on the organ begin with one or more
8’ stops, the pedals with 16’s.
Almost all organ stop sounds are created
by windblown pipes. Most organ pipes are flue
pipes, large whistles, that split the column of air
at the mouth of the pipe to create sound.
A few organ stops, called reeds, have a
reed in the foot of the pipe that is vibrated by the
column of air, creating a sound that is amplified
and modified by the shape of the pipe above it.
Reed stops often have their names engraved in
red instead of black to visually identify them. The
remaining stops that do not use pipes are percussion stops such as chimes.
Organ stops can be solo stops, chorus
stops or a combination of the two. The four choruses of windblown pipes are Principals (often
called Diapasons). Flutes, Reeds and Strings.
Many two manual organs have a Great
Keyboard with a large Principal Chorus, a smaller
Flute Chorus and a Reed or two. The Swell Keyboard has a predominance of Flutes, a small Principal Chorus, a Reed Chorus and two or three reeds
and a String and String Celeste.
The Pedal Division provides the underpinning, the support, of the entire organ. It will have
16’ stops, which sound an octave lover than the
primary 8’ stop on the manuals. The 16’s are
commonly used with other stops from the pedal
division or with coupled stops from the manuals
to balance the pedal division in relationship to the
manuals. There are no hard and fast rules of organ stop choice, or registration, though there are
rules of thumb.
There are those that believe you should
never combine stops from the Flute and Principal
Choruses. Some say you should never use Tremulants. Some say that if you are going to play a
Flute 8’ with a Flute 2’ (which sounds two octaves
above the 8’) you must add a flute 4’ (sounding
an octave higher than the 8’) in between. When
you play the Allegro - Largo in this book, try adding the a flute 4’ (either the SW Flauto Traverso
or the Great Spitzflöte and see what you think.
As there are only 4 kinds of sounds, you
will find that within the families the sounds are
named in special ways. Though there are two different 4’ flutes on the organ, we have already seen
that one is called a Flauto Traverso and the other
a Spitzflöte. The choice of language in naming a
stop indicates that the Traverso is of Italian Origin
and the Spizflöte is German.
There is a complete stop guide for the Insignia™ Series of Organs in the Appendix that will
help you learn more about the stops.
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Index
A
Ambience Depth 66
AUDIO SAVE 63
MIDI Voice Modules 71
MIDl Voice Display 71
Minimum Expression 63
B
O
Bass Coupler 50
ORCH/MIDI 34, 37
Orchestral Division 37
Orchestral Voice Controls 37
Orchestral Voice Display 34
Orchestral Voice Expression 43
Ordering This Book 2
C
Celestes 32
Chimes 13
Combination Pistons 17
Console Display 5
Crescendo Pedal 26
Crescendo Stop Order 83
P
D
Pedal Coupler 9
Pedal Switch 46
Divided Expression 14
R
E
Registering For Updates 2
Resetting Memory Bank Defaults 73
Reversible Pistons 13
Room Modeling 66
Room Type 66
Equal Temperament 59
Expression 43
Expression Levels 63
Expression Pedals 14, 26
F
Factory Default Pistons 74, 75
Fixed Velocity 41
Foot Switch 37, 46
G
General Cancel 8
T
Temperaments 59
Thumb Pistons 17
Touch 37
Transposer 29
Tremulants 32
Tutti 13, 83
K
U
KBD 38
Keyboard Velocity 37, 38
Unison Off 70
Users Group 2
M
V
Manual Coupler 9
Meantone Temperament. 59
Melody Coupler 52
Memory Bank Defaults 73
Memory Banks 22
Voice Palette™ 55
W
Wall Type 66
Web Site 2
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