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82-480: It was initially designated as multi-function centre to house offices, a hotel and restaurant, shops, a large concert hall with one of the largest concert organs in Europe (92 stops , built by Walcker Orgelbau ) at that time. The building was partially destroyed by bombing during World War II but was reconstructed by 1953. Until 1984, a paternoster lift by Schindler operated in the building. Between 2001 and 2013,

164-407: A German building or structure is a stub . You can help Misplaced Pages by expanding it . Concert organ In music , the organ is a keyboard instrument of one or more pipe divisions or other means (generally woodwind or electric ) for producing tones. The organs have usually two or three, up to five, manuals for playing with the hands and a pedalboard for playing with the feet. With

246-516: A church and a concert organ became harder to draw. In the late 19th century and early 20th century, symphonic organs flourished in secular venues in the United States and the United Kingdom, designed to replace symphony orchestras by playing transcriptions of orchestral pieces. Symphonic and orchestral organs largely fell out of favor as the orgelbewegung (organ reform movement) took hold in

328-468: A console to produce the sounds or deliver the sound samples. Touch screen monitors allows the user to control the virtual organ console; a traditional console and its physical stop and coupler controls is not required. In such a basic form, a virtual organ can be obtained at a much lower cost than other digital classical organs. Mechanical organs include: The wind can also be created by using pressurized steam instead of air. The steam organ, or calliope ,

410-413: A digital or electronic organ that generates the sound with digital signal processing (DSP) chips, or a combination of pipes and electronics. It may be called a church organ or classical organ to differentiate it from the theatre organ , which is a different style of instrument. However, as classical organ repertoire was developed for the pipe organ and in turn influenced its development, the line between

492-612: A distinctive tremolo , became the most popular. Though originally produced to replace organs in the church, the Hammond organ, especially the model B-3, became popular in jazz , particularly soul jazz , and in gospel music . Since these were the roots of rock and roll , the Hammond organ became a part of the rock and roll sound. It was widely used in rock and popular music during the 1960s and 1970s by bands like Emerson, Lake and Palmer , Procol Harum , Santana and Deep Purple . Its popularity resurged in pop music around 2000, in part due to

574-415: A drummer and a third instrumentalist (either jazz guitar or saxophone). In the 2000s, many performers use electronic or digital organs, called clonewheel organs , as they are much lighter and easier to transport than the heavy, bulky B-3. Performers of 20th century popular organ music include William Rowland who composed "Piano Rags"; George Wright (1920–1998) and Virgil Fox (1912–1980), who bridged both

656-443: A few cases where space for pipes is limited, making extension and/or unification necessary. Borrowing 16′ manual ranks for the pedal division is more widely employed because of the expense and space requirements of 16′ stops and the versatility this allows. The pitch produced by an organ pipe is a function of its length. All else equal, longer pipes produce lower-pitched notes, and shorter pipes are higher in pitch. An organ stop uses

738-497: A given pipe is inversely proportional to its length (half the length = double the pitch), meaning that a 4′ stop speaks exactly one octave higher than an 8′ stop. Likewise, a 2′ stop speaks one octave higher than a 4′ stop. Conversely, a 16′ stop speaks one octave below an 8' stop; and a 32′ stop speaks one octave below a 16′ stop. Octave pitch lengths used in actual organs include 64′, 32′, 16′, 8′, 4′, 2′, 1′, 1 ⁄ 2 ′, and 1 ⁄ 4 ′. Example: Ranks that do not speak at

820-408: A given rank of pipes. The slider has small holes drilled in it, one for each pipe in the rank. When the stop is set such that pipes are inactive, the holes are misaligned with the pipes, preventing the air from flowing up into the pipes above. When the stop is set such that the pipes are active, the slider moves over, aligning the holes with the pipes, allowing air to reach them. Because the slider chest

902-465: A mixture is denoted by a Roman numeral on the stop knob; for example, a stop labeled "Mixture V" would contain five pipes for every note. So, for every key pressed, five different pipes sound (all controlled by the same stop). A mixture made of octaves and fifths is called a 'quint mixture', while a mixture made of octaves, fifths, and a major third is called a 'tierce mixture'. As a rule, the fifths and thirds of mixtures are tuned pure in relation to

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984-520: A mutation stop gives the answer as to what pitch the rank sounds. For example, a stop labeled 2 + 2 ⁄ 3 ′ (or one-third of 8′) has three times the frequency; i.e., the interval of a twelfth above unison pitch. This third harmonic (G) (twelfth, quint, qvinta, rorkvint, or nazard [nasard]) is the most-common pitch, followed by the fifth harmonic (E) (tierce [terz or ters on some organs]) ( 1 + 3 ⁄ 5 ′) and sixth (G) (larigot, nasat) ( 1 + 1 ⁄ 3 ′), with rarer examples from higher in

1066-426: A pipe organ would not be a possibility. Far smaller and cheaper to buy than a corresponding pipe instrument, and in many cases portable, they have taken organ music into private homes and into dance bands and other new environments, and have almost completely replaced the reed organ. The Hammond organ was the first successful electric organ , released in the 1930s. It used mechanical, rotating tonewheels to produce

1148-734: A prominent place in the liturgy of the Catholic Church . Subsequently, it re-emerged as a secular and recital instrument in the Classical music tradition. Early organs include: Medieval organs include: The pipe organ is the largest musical instrument . These instruments vary greatly in size, ranging from a cubic meter to a height reaching five floors, and are built in churches, synagogues, concert halls, and homes. Small organs are called " positive " (easily placed in different locations) or " portative " (small enough to carry while playing). The pipes are divided into ranks and controlled by

1230-429: A rank of pipes is denoted by a number on the stop knob. A stop which speaks at unison pitch, or "native pitch", is known as an 8′ (pronounced "eight-foot") stop. This nomenclature refers to the approximate length of the longest pipe in a rank of open pipes . In a rank of stopped pipes , the lowest pipe is about 4 feet long, but because it sounds at unison pitch, it is also known as an 8′ stop. The octave sounded by

1312-556: A rank to sound, they operate the corresponding control at the console, allowing wind to flow to the pipes. Likewise, the organist can deny wind to the pipes by operating the same control in the opposite direction. Common stop controls include stop knobs , which move in and out of the console, and stop tabs , which toggle back and forth in position. Some organs, particularly smaller historical organs from England , Spain or Portugal , feature divided registers , in which there are two stop knobs for certain ranks. One stop knob will control

1394-417: A set (rank) of pipes of graduated lengths to produce the range of notes needed. Stops with pipes tuned to sound the pitch normally associated with the keys (i.e. the pitch of the same keys on a piano ) are called "unison stops". Other stops use pipework that is longer or shorter than that of unison ranks to speak at a fixed interval above or below unison pitch ("octave pitch" or "mutation pitch"). The pitch of

1476-416: A single or multiple ranks. While nowadays one speaks of "drawing" a stop to select a particular rank or set of ranks, the earliest organs were constructed with all ranks "on" by default. The mechanism for operating the stops varies widely, but the principle is the same: the stop control at the console allows the organist to select which ranks of pipes will sound when a key is pressed. When the organist desires

1558-410: A single short keyboard to huge instruments with over 10,000 pipes . A large modern organ typically has three or four keyboards ( manuals ) with five octaves (61 notes) each, and a two-and-a-half octave (32-note) pedal board . Wolfgang Amadeus Mozart called the organ the "King of instruments". Some of the biggest instruments have 64-foot pipes (a foot here means "sonic-foot", a measure quite close to

1640-443: A solo line well into acoustic space against an accompaniment using stops in the main organ case; such Sesquialteras are therefore particularly associated with Lutheran chorale-based organ repertoire. Sesquialteras are often distinguished from Cornet stops because whereas Cornets (especially French examples) use wide-scaled, flute-toned pipes, Sesquialteras were generally made from narrower, principal-toned pipes (though this distinction

1722-581: Is especially associated with French organ builders, who used Cornets with particular regularity especially through the Eighteenth and Nineteenth centuries, since French chorus reed stops (Trompette, Bombarde, Clairon) are very strong in the bass (having un-weighted tongues) but, when on low wind pressures, comparatively weak further up the compass; the Cornet was therefore used to strengthen the treble ranges of these chorus reed stops. A characteristic example of this use

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1804-1543: Is labeled with the name of the rank it controls. In general, that label gives the organist two vital pieces of information about the rank of pipes in question: This is an example of a pipe organ stoplist , showing both common stop names and conventional formatting. Within each division, flues are listed before reeds , then low to high pitch, then louder to softer stops within a pitch level. Separate celeste stops are next to their corresponding normally-tuned stops. Reed stops are often labeled in red on stop knobs or tabs. GREAT Prestant 16′ Prestant 8′ Gemshorn 8′ Chimney Flute 8′ Principal 4′ Harmonic Flute 4′ Twelfth 2 + 2 ⁄ 3 ′ Super Octave 2′ Mixture IV Trumpet 8′ Clarion 4′ Tremulant Swell to Great SWELL Bourdon 16′ Open Diapason 8′ Stopped Diapason 8′ Salicional 8′ Voix Céleste 8′ Octave 4′ Röhr Flute 4′ Nazard 2 + 2 ⁄ 3 ′ Block Flute 2′ Tierce 1 + 3 ⁄ 5 ′ Cymbale III Contra Fagotto 16′ Trompette 8′ Hautbois 8′ Vox Humana 8′ Tremulant PEDAL Subbass 32′ Open Diapason 16′ Subbass 16′ Lieblich Gedeckt 16′ Octave 8′ Bourdon 8′ Choral Bass 4′ Rausch Quinte II Posaune 16′ Tromba 8′ Great to Pedal Swell to Pedal Organ pipes fall into five broad categories: Percussion stops (often referred to as "toy counters" or "toy stops"), unlike other organ stops, are not aerophones , but actual embedded percussion instruments (although they may still be actuated by

1886-435: Is placed in a small room, that this diminutive organ can fill with sound. It is often confined to chamber organ repertoire, as often the organs have too few voice capabilities to rival the grand pipe organs in the performance of the classics. The sound and touch are unique to the instrument, sounding nothing like a large organ with few stops drawn out, but rather much more intimate. They are usually tracker instruments, although

1968-413: Is somewhat less widely observed in 20th-century organs than earlier organs). Sesquialteras therefore often have a sharper sound than Cornets. Pipe ranks have particular names, which depend on a number of factors ranging from the physical and tone attributes of the pipes in that rank, to the country and era in which the organ was manufactured, to the pipes' physical location within the organ. Each stop knob

2050-522: Is the classic French registration known as the 'Grand Jeu': a combination of Trompettes, Clairons and Cornets, together with the Prestant (by contrast the 'Plein Jeu' does not include cornets). In French organs, when an 8 ft Bourdon was used with 4′ and 2′ stops plus a Nasard and Tierce the resulting ensemble was known as a 'Cornet Décomposée' (often confused with the 'Cornet Séparée' described above) since it had

2132-490: The French Classical school also flourished. François Couperin , Nicolas Lebègue , André Raison , and Nicolas de Grigny were French organist-composers of the period. Bach knew Grigny's organ output well, and admired it. In England, Handel was famous for his organ-playing no less than for his composing; several of his organ concertos, intended for his own use, are still frequently performed. After Bach's death in 1750,

2214-576: The Hammond organ have an established role in a number of popular-music genres, such as blues, jazz, gospel, and 1960s and 1970s rock music. Electronic and electromechanical organs were originally designed as lower-cost substitutes for pipe organs. Despite this intended role as a sacred music instrument, electronic and electromechanical organs' distinctive tone – often modified with electronic effects such as vibrato , rotating Leslie speakers , and overdrive – became an important part of

2296-438: The integrated circuit enabled another revolution in electronic keyboard instruments. Digital organs sold since the 1970s utilize additive synthesis , then sampling technology (1980s) and physical modelling synthesis (1990s) are also utilized to produce the sound. Virtual pipe organs use MIDI to access samples of real pipe organs stored on a computer, as opposed to digital organs that use DSP and processor hardware inside

2378-555: The 14th century, though similar designs were common in the Eastern Mediterranean from the early Byzantine period (from the 4th century AD) and precursors, such as the hydraulic organ , have been found dating to the late Hellenistic period (1st century BC). Along with the clock , it was considered one of the most complex human-made mechanical creations before the Industrial Revolution . Pipe organs range in size from

2460-420: The 20th-century organ repertoire. Organ was also used a lot for improvisation , with organists such as Charles Tournemire , Marcel Dupré , Pierre Cochereau , Pierre Pincemaille and Thierry Escaich . Some composers incorporated the instrument in symphonic works for its dramatic effect, notably Mahler , Holst , Elgar , Scriabin , Respighi , and Richard Strauss . Saint-Saëns 's Organ Symphony employs

2542-497: The Brooklyn Dodgers, hired baseball's first full-time organist, Gladys Goodding . Over the years, many ballparks caught on to the trend, and many organists became well-known and associated with their parks or signature tunes. Organ stop An organ stop is a component of a pipe organ that admits pressurized air (known as wind ) to a set of organ pipes . Its name comes from the fact that stops can be used selectively by

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2624-608: The Choir organ), typically starting at 17.19.22 and then breaking back to 12.15.17 further up the compass and intended to be used in the chorus to help blend reed and flue stops together. By contrast, the Dutch, German and Scandinavian Sesquialteras of the seventeenth and eighteenth century were solo stops (typically 12.17), often (though by no means exclusively) found in the Rückpositiv division, from whose gallery-edge case position they could project

2706-448: The Cornet and so the quint and tierce ranks can be placed anywhere in the configuration. For example, the configurations: 15.17.19, 17.19.22, and 19.22.24 are all equally valid as the configurations for a Sesquialtera. Sesquialtera stops can be solo or chorus stops. The British Victorian Sesquialtera was often the only Mixture stop on a given department (usually the Great or Swell organ; rarely

2788-739: The English measurement unit) and it sounds to an 8  Hz frequency fundamental tone. Perhaps the most distinctive feature is the ability to range from the slightest sound to the most powerful, plein-jeu impressive sonic discharge, which can be sustained in time indefinitely by the organist. For instance, the Wanamaker organ , located in Philadelphia , US, has sonic resources comparable with three simultaneous symphony orchestras. Another interesting feature lies in its intrinsic " polyphony " approach: each set of pipes can be played simultaneously with others, and

2870-637: The Hammond organ include Bob Dylan , Counting Crows , Pink Floyd , Hootie & the Blowfish , Sheryl Crow , Vulfpeck , Sly Stone and Deep Purple . In the United States and Canada, organ music is commonly associated with several sports, most notably baseball , basketball , and ice hockey . The first baseball team to introduce an organ was the Chicago Cubs , who put an organ in Wrigley Field as an experiment in 1941 for two games. Ebbets Field , home of

2952-463: The Tibia pipe family as its foundation stops and the regular use of a tremulant possessing a depth greater than that on a classical organ. Theatre organs tend not to take nearly as much space as standard organs, relying on extension (sometimes called unification) and higher wind pressures to produce a greater variety of tone and larger volume of sound from fewer pipes. Unification gives a smaller instrument

3034-429: The addition of extra pipes to the high and/or low ends of a rank in order to allow that rank to be borrowed by higher and/or lower stops. Unification and borrowing (duplexing) is mostly related to pipe organs with physical pipes; however, some (older) electronic organs also used unification and duplexing to expand the tonal resources of a limited number of synthesized virtual ranks. While unification and extension increase

3116-482: The availability of clonewheel organs that were light enough for one person to carry. In contrast to Hammond's electro-mechanical design, Allen Organ Company introduced the first totally electronic organ in 1938, based on the stable oscillator designed and patented by the company's founder, Jerome Markowitz. Allen continued to advance analog tone generation through the 1960s with additional patents. In 1971, in collaboration with North American Rockwell, Allen introduced

3198-601: The building was subject to a major reconstruction, redevelopment and refurbishment at the cost of 69 million euro. The building is currently used as the town hall for the Gelsenkirchen city council and about 450 of its employees. The Hans-Sachs-Haus and the nearby Musiktheater im Revier are part of the Industrial Heritage Trail . 51°30′40″N 7°05′34″E  /  51.5110°N 7.0927°E  / 51.5110; 7.0927 This article about

3280-573: The capability of a much larger one, and works well for monophonic styles of playing (chordal, or chords with solo voice). The sound is, however, thicker and more homogeneous than a classically designed organ. In the US the American Theater Organ Society (ATOS) has been instrumental in programs to preserve examples of such instruments. A chamber organ is a small pipe organ, often with only one manual, and sometimes without separate pedal pipes that

3362-479: The classical and religious areas of music. Church-style pipe organs are sometimes used in rock music . Examples include Tangerine Dream , Rick Wakeman (with Yes and solo), Keith Emerson (with The Nice and Emerson, Lake and Palmer ), George Duke (with Frank Zappa ), Dennis DeYoung (with Styx ), Arcade Fire , Muse , Roger Hodgson (formerly of Supertramp ), Natalie Merchant (with 10,000 Maniacs ), Billy Preston and Iron Butterfly . Artists using

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3444-408: The development of the electronic organ. It generated its sounds using reeds similar to those of an accordion . Smaller, cheaper and more portable than the corresponding pipe instrument, these were widely used in smaller churches and in private homes, but their volume and tonal range was extremely limited. They were generally limited to one or two manuals; they seldom had a pedalboard. The chord organ

3526-453: The fifth just above or fourth below the fundamental (e.g., Bourdon 16′), can create the impression of a stop an octave lower than the fundamental (e.g., Bourdon 32′), saving the space and money otherwise needed for larger bass pipes; such an effect is termed a resultant . This is a list of some mutation stops. Certain stops called mixtures contain multiple ranks of pipes above unison pitch, usually octave and fifths. The number of ranks in

3608-505: The full compass; they generally play from either Middle C, or Tenor C, to the top. In British and French organs before the Victorian period, this allowed the Cornet stop to be raised up within the case relative to the other pipes of the Great organ around it for better projection; this is known as a 'Mounted Cornet' in English and 'Cornet Séparée' in French. Though used throughout Europe, the Cornet

3690-514: The fundamental. For thirds, the 14 cent discrepancy between the just and equal tempered interval is large enough to introduce noticeable beating in chords, and tierce mixtures became uncommon with the abandonment of meantone temperaments . Mixtures have numbers that correspond to the pitch they make. For example, a mixture configured as: 12.15.19.22 contains, at its lowest note, the following ranks: 2 + 2 ⁄ 3 ′, 2′, 1 + 1 ⁄ 3 ′, 1′. Mixtures usually have 'breaks' to prevent

3772-409: The inconvenience to the builder of making very small pipes at the top of the compass. A common configuration for the breaks is that for every octave the mixture lowers by a fifth. A cornet organ stop is similar to a mixture, but they are primarily used as solo voices, though their sound is not imitative of the orchestral cornet. A cornet will always contain the fifth and major third, and, depending on

3854-412: The keyboard to which they are assigned: in most cases 61 pipes for a rank assigned to a manual and 32 pipes for a rank assigned to the pedal. Over the course of the history of the pipe organ, there have been several different designs by which stops are actuated. In the longest-standing design, known as the slider chest , there is a strip of material (typically wood) called a slider which fits underneath

3936-607: The middle of the 20th century, and organ builders began to look to historical models for inspiration in constructing new instruments. Today, modern builders construct organs in a variety of styles for both secular and sacred applications. The theatre organ or cinema organ was designed to accompany silent movies . Like a symphonic organ, it is made to replace an orchestra. However, it includes many more gadgets, such as mechanical percussion accessories and other imitative sounds useful in creating movie sound accompaniments such as auto horns, doorbells, and bird whistles. It typically features

4018-417: The modern builders are often building electropneumatic chamber organs. Keyboard pieces that predate Beethoven may usually be as easily played on a chamber organ as on a piano or harpsichord, and a chamber organ is sometimes preferable to a harpsichord for continuo playing as it is more suitable for producing a sustained tone. The pump organ , reed organ or harmonium, was the other main type of organ before

4100-481: The most important organist-composers before 1650. Influenced in part by Sweelinck and Frescobaldi, the North German school rose from the mid-17th century onwards to great prominence, with leading members of this school having included Buxtehude , Franz Tunder , Georg Böhm , Georg Philipp Telemann , and above all Johann Sebastian Bach , whose contributions to organ music continue to reign supreme. During this time,

4182-429: The number of ranks, may contain octaves, and more rarely the minor seventh, and ninth. Cornet pipes are made of metal and voiced as flutes; the 8′ rank is usually made of stopped metal pipes. The ranks will be justly tuned to reinforce the fundamental. The most common configuration of ranks for an 8′ fundamental is as follows: II = 12.17; III = 12.15.17; IV = 8.12.15.17; V = 1.8.12.15.17. Cornet stops do not usually play

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4264-464: The organ into sets according to note and timbre . A set of pipes producing the same timbre for each note is called a rank , while each key on a pipe organ controls a note which may be sounded by different ranks of pipes, alone or in combination. The use of stops enables the organist to selectively turn off ("stop") certain ranks in order to produce different combinations of sounds, as opposed to hearing all sounds simultaneously. A stop may be linked to

4346-410: The organ more as an equitable orchestral instrument than for purely dramatic effect. Poulenc wrote the sole organ concerto since Handel's to have achieved mainstream popularity. Because the organ has both manuals and pedals, organ music has come to be notated on three staves . The music played on the manuals is laid out like music for other keyboard instruments on the top two staves, and the music for

4428-521: The organ's prominence gradually shrank, as the instrument itself increasingly lost ground to the piano . Nevertheless, Felix Mendelssohn , César Franck , and the less famous A.P.F. Boëly (all of whom were themselves expert organists) led, independently of one another, a resurgence of valuable organ writing during the 19th century. This resurgence, much of it informed by Bach's example, achieved particularly impressive things in France (even though Franck himself

4510-435: The organist; each can be "on" (admitting the passage of air to certain pipes), or "off" ( stopping the passage of air to certain pipes). The term can also refer to the control that operates this mechanism, commonly called a stop tab , stop knob , or drawknob . On electric or electronic organs that imitate a pipe organ, the same terms are often used, with the exception of the Hammond organ and clonewheel organs , which use

4592-499: The pedals is notated on the third stave or sometimes, to save space, added to the bottom of the second stave as was the early practice. To aid the eye in reading three staves at once, the bar lines are broken between the lowest two staves; the brace surrounds only the upper two staves. Because music racks are often built quite low to preserve sightlines over the console, organ music is usually published in oblong or landscape format. Electronic organs and electromechanical organs such as

4674-448: The predecessor to modern portable keyboards , as they included one-touch chords, rhythm and accompaniment devices, and other electronically assisted gadgets. Lowrey was the leading manufacturer of this type of organs in the smaller (spinet) instruments. In the 1960s and 1970s, a type of simple, portable electronic organ called the combo organ was popular, especially with pop, Ska (in the late 1970s and early 1980s) and rock bands, and

4756-583: The purpose of borrowing at different pitches is a relatively recent development. Extension and unification are heavily used in theatre organs to produce the maximum number of voices from a minimal number of pipes. It is still typical to see a significant amount of unification and duplexing in practice organs and small church organs. Traditionally, less use has been made of extension in large church organs and those designed for classical music, with authorities tending to regard borrowing in general and extension in particular as things to be avoided if possible, except in

4838-577: The same composition as a standalone Cornet stop. Occasionally Cornets are supplied based on a 16′ fundamental (16′, 8′, 5 + 1 ⁄ 3 ′, 4′ and 3 + 1 ⁄ 5 ′), though the individual ranks are more usually configured as separate stops (for example the Grande Tierce 3 + 1 ⁄ 5 ′ and Grand Nasard 5 + 1 ⁄ 3 ′ supplied by the Isnard brothers at St Maximin, Provence). Cornet stops in 32′ are also known, as they are able to approximate

4920-408: The same pipes instead of having their own. Part of an organist's training is to detect unification and duplexing and to create registrations that take them into account. Nonetheless, heavy unification can create issues for visiting artists with limited practice times, or those improvising compositions. Borrowing between manuals occurs in English organs from about 1700, but extension of pipe ranks for

5002-517: The same rank of pipes. For example, an 8′ Gedeckt may also be made available as a 4′ Gedeckt, either on the same or a different manual. When both of these stops are selected and a key (for example, C 3 ) is pressed, two pipes of the same rank will sound: the pipe normally corresponding to the key played (C 3 ), and the pipe one octave above that (C 4 ). Borrowing or duplexing refers to one rank being made available from multiple stop knobs, often on different manuals or pedal. Extension refers to

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5084-410: The same strength due to using the same set of pipes. Straight reed choruses (16′, 8′ and 4′) have the luxury of ranks with different timbres, whereas a unified reed chorus has voices that are identical. Playing with all stops out on a heavily unified/duplexed organ may result in chords that sound thinner or emphasize higher harmonics on some notes more than others, due to notes in different octaves using

5166-555: The series, such as the " septième " or " septima " ( 1 + 1 ⁄ 7 ′) and " none " ( 8 ⁄ 9 ′). There's also an 8 ⁄ 15 ′ Major 7th which when C 4 is played sounds a B 7 below the top C 8 of a piano. Mutations usually sound at pitches in the harmonic series of the fundamental, and except when derived from unified ranks , are always tuned pure . Some organs contain mutations that are overtones of 16′ or 32′ to create difference tones , e.g., quint-bass 10 + 2 ⁄ 3 ′. Such "helper ranks" that sound at

5248-453: The slight imperfections in tuning. Hybrids , starting in the early 20th century, incorporate a few ranks of pipes to produce some sounds, and use electronic circuits or digital samples for other sounds and to resolve borrowing collisions. Major manufacturers include Allen , Walker, Compton , Wicks, Marshall & Ogletree, Phoenix, Makin Organs, Wyvern Organs and Rodgers . The development of

5330-480: The sound of a 32′ reed stop without the using pipes of the same bulk or expense (as used for example by John Compton at Wakefield Cathedral, England). A Sesquialtera (or Sexquialtera) is similar to a Cornet in that it always contains a fifth and major third (justly tuned), though they normally extend to the whole range of the compass. They also rarely go beyond IV ranks, the most common being found at II or III ranks. They are not necessarily as uniform in configuration as

5412-639: The sound of pipe organs. Predecessors to the organ include: The organ is a relatively old musical instrument , dating from the time of Ctesibius of Alexandria (285–222 BC), who invented the water organ . It was played throughout the Ancient Greek and Ancient Roman world, particularly during races and games. During the early medieval period it spread from the Byzantine Empire , where it continued to be used in secular (non-religious) and imperial court music, to Western Europe , where it gradually assumed

5494-468: The sound of popular music. The electric organ, especially the Hammond B-3, has occupied a significant role in jazz ever since Jimmy Smith made it popular in the 1950s. It can function as a replacement for both piano and bass in the standard jazz combo. The Hammond organ is the centrepiece of the organ trio , a small ensemble which typically includes an organist (playing melodies, chords and basslines),

5576-475: The sound waveforms. Its system of drawbars allowed for setting volumes for specific sounds, and it provided vibrato-like effects. The drawbars allow the player to choose volume levels. By emphasizing certain harmonics from the overtone series, desired sounds (such as 'brass' or 'string') can be imitated. Generally, the older Hammond drawbar organs had only preamplifiers and were connected to an external, amplified speaker. The Leslie speaker , which rotates to create

5658-532: The sounds mixed and interspersed in the environment, not in the instrument itself. Most organs in Europe, the Americas, and Australasia can be found in Christian churches. The introduction of church organs is traditionally attributed to Pope Vitalian in the 7th century. Due to its simultaneous ability to provide a musical foundation below the vocal register, support in the vocal register, and increased brightness above

5740-449: The term " drawbar ". The term is also sometimes used as a synonym for register , referring to rank(s) of pipes controlled by a single stop. Registration is the art of combining stops to produce a certain sound. The phrase "pull out all the stops" , which once only meant to engage all of the voices on the organ, has entered general usage, for deploying all available means to pursue a goal. Organ pipes are physically organized within

5822-433: The tonal resources and flexibility of the organ, greater care needs to be taken by the organist in registering the organ, particularly when the composition requires many notes to sound at the same time. In a non-unified organ, voices are scaled for their intended job. As an example, the octave (4′) diapason is generally of a smaller scale and softer than the corresponding 8′ diapason rank, whereas in unification they would be of

5904-536: The unison or some octave of the unison pitch are called mutation stops, or sometimes "aliquots". They are rarely used on their own; rather, they are combined with unison stops to create different tone colors. A typical and distinctive sound of the organ is the cornet , composed of a flute and ranks making up its first four overtones , sounding 8′, 4′, 2 + 2 ⁄ 3 ′ (labeled 3′ on some German and Swedish organs), 2′, and 1 + 3 ⁄ 5 ′ (or 1 + 1 ⁄ 2 ′ on some German organs). The sounding length of

5986-457: The upper portion of the keyboard, and the other will control the lower portion of the keyboard. This arrangement allows the upper portion of the keyboard to sound a different registration than the lower portion, which lends a greater versatility to smaller organs, especially those with only one manual . Ranks which are neither divided nor extended (see below Unification, borrowing and extension ) generally contain as many pipes as there are keys on

6068-511: The use of hand stops and combination pistons . Although the keyboard is not expressive as on a piano and does not affect dynamics (it is binary; pressing a key only turns the sound on or off), some divisions may be enclosed in a swell box , allowing the dynamics to be controlled by shutters. Some organs are totally enclosed, meaning that all the divisions can be controlled by one set of shutters. Some special registers with free reed pipes are expressive. It has existed in its current form since

6150-708: The use of registers, several groups of pipes can be connected to one manual. The organ has been used in various musical settings, particularly in classical music . Music written specifically for the organ is common from the Renaissance to the present day. Pipe organs , the most traditional type, operate by forcing air through pipes of varying sizes and materials, each producing a different pitch and tone. These instruments are commonly found in churches and concert halls , where they have long been associated with liturgical music and grand ceremonial occasions. Mechanical or electronic systems are used by non-pipe organs to emulate

6232-404: The vocal register, the organ is ideally suited to accompany human voices , whether a congregation , a choir , or a cantor or soloist. Most services also include solo organ repertoire for independent performance rather than by way of accompaniment, often as a prelude at the beginning the service and a postlude at the conclusion of the service. Today this organ may be a pipe organ (see above),

6314-536: The world's first commercially available digital musical instrument. The first Allen Digital Organ is now in the Smithsonian Institution. Frequency divider organs used oscillators instead of mechanical parts to make sound. These were even cheaper and more portable than the Hammond. They featured an ability to bend pitches . From the 1940s up until the 1970s, small organs were sold that simplified traditional organ stops. These instruments can be considered

6396-412: Was a signature sound in the rock music of the period, such as The Doors and Iron Butterfly . The most popular combo organs were manufactured by Farfisa and Vox . Conn-Selmer and Rodgers , dominant in the market for larger instruments, also made electronic organs that used separate oscillators for each note rather than frequency dividers, giving them a richer sound, closer to a pipe organ, due to

6478-498: Was developed before the advent of electricity , it is inherently mechanical in nature. Many organs originally built with mechanical actuators have been retrofitted with electric actuators. Other common designs include the spring chest, the cone valve chest, and the Pitman chest. The term unification refers to the practice of expanding the tonal resources of an organ without adding more pipes by allowing several different stops to control

6560-529: Was invented by Laurens Hammond in 1950. It provided chord buttons for the left hand, similar to an accordion. Other reed organ manufacturers have also produced chord organs, most notably Magnus from 1958 to the late 1970s. Since the 1930s, pipeless electric instruments have been available to produce similar sounds and perform similar roles to pipe organs. Many of these have been bought both by houses of worship and other potential pipe organ customers, and also by many musicians both professional and amateur for whom

6642-472: Was invented in the United States in the 19th century. Calliopes usually have very loud and clean sound. Calliopes are used as outdoors instruments, and many have been built on wheeled platforms. The organ has had an important place in classical music , particularly since the 16th century. Spain's Antonio de Cabezón , the Netherlands' Jan Pieterszoon Sweelinck , and Italy's Girolamo Frescobaldi were three of

6724-751: Was of Belgian birth). Major names in French Romantic organ composition are Charles-Marie Widor , Louis Vierne , Alexandre Guilmant , Charles Tournemire , and Eugène Gigout . Of these, Vierne and Tournemire were Franck pupils. In Germany, Max Reger (late 19th century) owes much to the harmonic daring of Liszt (himself an organ composer) and of Wagner . Paul Hindemith produced three organ sonatas and several works combining organ with chamber groups. Sigfrid Karg-Elert specialized in smaller organ pieces, mostly chorale-preludes. Among French organist-composers, Marcel Dupré , Maurice Duruflé , Olivier Messiaen and Jean Langlais made significant contributions to

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