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5

The best way to do this would be to make the delay from the electronic keyboard controllable so the player can choose whether to have a delay and if so, how much.


4

You might delay the electronic component a bit, yes. But it won't need to be as much as 200ms. A mechanical ('tracker action') organ actually has less delay than you might imagine. https://www.ingentaconnect.com/content/dav/aaua/1968/00000020/00000004/art00003 The disadvantage to this classic type of mechanism is that the keys can be heavy, and everything ...


3

From experience, bass pedal notes must be relayed via a separate channel via woofer speakers that are not required to handle higher frequencies of manual stops. If a broad spectrum of sound is conveyed via a single speaker per channel, the bass pedal notes make the high frequencies "tizzy" due to intermodulation effects. In a pipe organ, pipes of ...


2

The tempo is adjusted to the acoustics of the room - faster for a dry room, slower in a wet (resonant) acoustic. Articulation helps - and a good set of reeds, which are extravagantly deployed in cathedral and basilica instruments. In English cathedrals, the organ is frequently on the 'screen' separating nave from the choir, essentially placing the organ in ...


2

You are the driver, you decide where and how to go! It sounds like it's someone's arrangement, and especially if it's a solo piece, you get to decide. You may want to revert to the original sound, you may decide to use a new one for the other part. It's up to you. If it's playing with others, it may be a different kettle of fish, and maybe the bandleader has ...


2

I haven't seen this type of notation before but it looks similar. My comments probably ramble as I and guessing what is meant. Your picture is similar to the "Rule of the Octave" which is an exercise in harmonizing ascending and descending scales. In this case, the text says that the scale is in the melody (seems useful to me; I harmonize melodies ...


2

My first thought was that 3 and 5 both meant root position (perhaps clarifying the soprano pitch). But this results in blatant parallel octaves in two spots: With the F–G–A soprano, the "IV 3" being in root position results in a simultaneous F–G–A bass. And we see something similar with the A–G–F soprano. Based on the other voice exchanges in ...


1

These are two different notations: arabic numbers refer to basso continuo roman numerals provide a hint of how to interpret basso continuo. Normally basso continuo is written together with the bass line. In this exercise the student is supposed to write the bass line and the other voices based on the soprano line, basso continuo numbers and hints from ...


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