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57

The main point of weighted keys are that they give more feel for the dynamic response of a piano-like instrument. Specifically, weighted keys make it so that gentle playing only results in gentle velo, i.e. low dynamic level. To play forte on a weighted keyboard, you literally need to put in some force, and that makes sense for the performance. With an ...


39

A so-called "tracker action" organ keyboard, where there is a direct mechanical connection between the key and the valve that lets air into the pipes to play the notes, has a very distinctive feel that is completely different from a piano "hammer action" and from the "dead" feel of a cheap spring-loaded keyboard. The force to start pressing the key down is ...


30

A piano doesn't have weighted keys to "feel premium", but because the hammer is part of how the piano works. The hammer isn't part of how an organ works, so it doesn't have weighted keys. the general consensus is people consider weighted keys to feel more "premium" If you're talking about a keyboard to trigger a piano or piano-like sound, there's ...


19

The different manuals are assigned to different stop combinations. By pulling out different stops, different sets of pipes sound when you press a key (or pedal). Having more than two manuals allows the performer to rapidly switch from stop-combination to another, or to make the left and right hands sound different. In addition, the different manuals can be ...


19

They refer to divisions (manuals) of the organ: Grt. for Great (French 'Grand Choeur', German 'Hauptwerk') and Sw. for Swell (French 'Grand Orgue', German 'Schwellwerk'). For English, American and German organs, in a two-manual configuration, the lower manual is the Great, and the top manual is the Swell. French organs usually have the Swell at the bottom. ...


15

Your suspicion that this is a learned skill is correct -- and this even applies when performing as a soloist! The organist must learn to disregard the timing information coming to their ears, and execute playing technique all relative to what their internalized musical image (and fingers and feet) are telling them. Also consider that (especially with ...


15

It indicates which staves the registration instruction apply to. But in fact your particular example seems confusing, because it indicates different stops for the two manual staves, even though the arrows link them together. And it doesn't make much practical sense to have the solo played on a single 4' flute (sounding an octave higher than written) ...


13

If you make the assumption that the voices don't cross, and that the accidentals apply to the voices individually, things seem to fall into place. In the second half of bar 59, if the lower voice is G flat and the upper is G natural, the lower voice has the pattern Eb F Eb F Gb Eb Gb Eb Gb G which has some logic to it. Similarly in bar 61, if the upper ...


12

You have to distinguish between playing transcriptions of organ music and practicing for later playing of organ music on an actual organ. The first was much in vogue in the 19th and early 20th century, when the church lost influence and keyboard virtuosos wanted to preserve the repertoire of the old masters (mainly Bach), without forcing their audience away ...


12

So you can play two, or three, or four different sounds at the same time. Like a split-keyboard on a synthesizer. Note that many professional keyboard players have several keyboards on stage that they can play at the same time. Regarding old-world pipe organs, there are many aspects of European churches that are meant to be grand, impressive, imposing, and ...


12

Here's the argument for bar 59's altered unison's soprano being G natural (and thus alto G flat). In the whole piece, voices never cross. At least not more than a semitone in cases like these, so it would be statistically odd to have only those as voice crossings. Simpler to say that none were intended at all. In bars 58-60, soprano traces out G natural ...


10

I found the below footnote in a transcription on IMSLP: It translates: I think that one could play the + sign, as a 'pinched' lower mordent. Where this is first notated, it applies to the sign above a single note in the right hand, however, there are further places where the same notation is used on chords, and below the notes, without further comment ...


9

Yes, dynamic changes are predominantly achieved by choosing different stops. No, baroque music virtually never specifies which precise stops to pull. The most you can expect is something general such as "Sur les flûtes", or "organo pleno" - and even this doesn't mean what you might think (almost never "all existing stops", usually something more like "stops ...


9

The Hammond organ is what is called an analog additive synthesizer (see http://en.wikipedia.org/wiki/Additive_synthesis) and it works by adding together sine waves that are multiples of the base frequency. A sine wave alone sounds like a whistle or a dull flute, but the more you add up the more interesting the sound can get. The Hammond organ features ...


9

Just to add to @MattL's answer... Great and Swell are usually assigned to different manuals. (Although they can be linked by couplers.) The Great manual will usually be assigned to principal stops, or as this page describes it, the Great manual usually: contains the meat and potatoes of the organ: the principal chorus. The Swell manual will be linked ...


9

For instance on one guitar A = 442 and on the other A = 467, will they sound okay together? There will be a beat frequency of about 25 Hz between them, which would be annoying to most ears. So generally I think the best answer here is "no". None of my guitar players ever get to exactly 440 on open A. I'm not sure what you mean by "exactly", but it ...


9

The "c" is a "slide", which would be played as F# G# A (starting on the beat). That would then be followed by the mordent, so the whole ornament would be F# G# A G# A played (approximately) as four 32nd-notes followed by a 16th. But that sounds pretty crude musically, because the collision of the F# on the beat in the bass and treble. The "slur" is ...


8

Important addition to Daves answer: Note, that an organ does not support touch dynamics. As soon as you press the key you get the sound, no matter how soft you touch. To achieve different dynamic levels you need another, weaker or stronger registered manual. By the way, this is also the reason for harpsichords having more than one manual.


8

Generally speaking, a minority of Bach scholars question the piece's attribution. Christoph Wolf, who is for many the top Bach authority does not question the piece's attribution at all. For what it's worth, the mark's against Bach's authorship can mostly be explained away. There is no direct evidence against his authorship, unlike some other works where ...


8

They represent the number of syllables that fit to the lines of the tune. Thus, any hymns with the same series of numbers can be sung to any other (with the same numbers). And vice versa.


8

Organists are one of the very few groups of musicians who have to learn not to listen to what they are playing, because (except for situations where a detached playing console is in the middle of the building) what they hear while playing has no resemblance to what the audience is hearing. Even with a relatively small pipe organ with the console "built in" ...


7

It has to be said. Find a teacher! Yes, even at your tender years. After all the experience you say you have, an awful lot of what you think you don't know is probably in there, hiding, at the moment. A teacher will, in a very short time, re-align all the information you've been using for many years, and make it all blindingly obvious to you. You'll probably ...


7

Cents and Hertz are two different scales. Hz increase exponentially between notes, while cents are a linear compression of the same increase. You can't convert cents to Hz. There are 100 cents between any A and adjacent A#. But you can’t really make a similar statement in Hz. There will be a different number of Hz between A2 and A#2 and A3 and A#3. Cents ...


6

The Hammond B3 is by far the Blues organist's instrument of choice. Why? Hammond organ is the first electronic organ that uses "mechanical tonewheels that rotate in front of electromagnetic pickups." Yes, all the additive synthesis stuff is important but more importantly is how it is implemented by mechanical means, and uses 'drawbars' to mix and blend the ...


6

In addition to what everyone else said, having more manuals making it easier for the organist to change sounds quickly but, also, each manual is called a division and all the pipes for that manual are generally in its own location. Here is a recording I made utilizing all the divisions rapidly. This isn't a good recording in that the camera which also ...


6

To make an electronic organ sound like a conventional pipe organ, the most important component is the sound reproduction itself. Even on your tiny one-manual ten-stop instrument, a full 8-note chord can sound 80 pipes simultaneously. On a larger instrument, there may be several hundred individual pipes sounding together. In contrast to this, an electronic ...


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