How best to change registration ff to pp quickly?

Is there a strategy for quickly making very large dynamic registration changes such as that in the last few measures of Elgar's Nimrod (Enigma Variations Op. 36)? It goes, for example, from ff to pp "dim. molto" in less than two measures, a few seconds, while holding full chords with both hands and one foot.

I want the effect of sounds (stops) that simply "vanish" , stop changes that are not obvious, a loudness that just seamlessly diminishes as changes are made from a full organ with 16/8/4/2-foot flutes and reeds to perhaps a couple of soft flutes. I'm sure "it depends", but is there an order, a strategy for removing stops that generally works best at least as the starting point? (I'm working on this for the Salisbury sample set at the moment.)

Will appreciate any advice! (I'll still have to work out the mechanics for making the changes quickly, probably involves finally adding toe pistons?)

Barry Gerken

I would think a series of stored registrations in the sequencer would be th way to go. Then one advance piston in a convenient position is all you need either as a toe piston or a thumb piston easily accessed.

Thanks, Rob, but what I'm trying to figure out is: in what sequence should I remove the stops that are set for ff to get a smooth-sounding loudness reduction to pp? Start with 16' then 2'? Reeds first? Is there a good strategy or do I just have to just experiment? Trying to set good registrations continues to be my biggest learning "oppurtunity"!

Barry

see how Diane Belcher does it on a Quimby on youtube

A rough order is to remove subsequently - mixtures & strong reeds - 2' principals (octaves) - mutation stops & flutes 2' - 4' principals - 16' foundation stops - 4' flutes - soft reeds - 8' principals - 8' flutes, and you may end up with the strings.

As you say, it depends: mixtures are not always very loud and reeds are not always strong OR soft, etc. And of course the steps mentioned above may be divided in substeps.

That is exactly the kind of help I'm seeking, josq; thank you very much.

I think I may try to implement first with the Hauptwerk Master Crescendo feature, since I have a little-used crescendo pedal available. It's been a while since I browsed the User Guide; what a wealth of features for controlling and changing registrations (and many other things as well)!

Barry

Is there a strategy for quickly making very large dynamic registration changes such as that in the last few measures of Elgar's Nimrod (Enigma Variations Op. 36)? It goes, for example, from ff to pp "dim. molto" in less than two measures, a few seconds, while holding full chords with both hands and one foot.
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Barry Gerken

I just started to learn that and have not reached page 2! My copy has rit. dim. tuba off and a new chord on the pp.

I have used programmed pistons for this sort of thing in the past.

Which organ?

If it were Hereford, I'd lose, in this order (assuming full swell, full great, full pedal):

Two big pedal reeds
Great 16' reed
Great 4' reed
Great 8' reed
Great big mixture (if you use it, I don't)
Swell 16 and 4 reeds
Pedal Trombone
Great 16' flues
32' rumble
OD1
Great "proper" Mixture (I say proper 'cos it was Willis I)
then down through the upper work starting with swell mixture, Great fifteenth.

I have the pedal top G and F# setup to fire the sequencer. For the end of Nimrod I just sit on the chord and do 14 taps on the top G to drop from absolutely full to almost nothing without moving my hands. And yet still I managed to get *something* wrong!

EDIT: Reply to bomb20.

I'm working from an arrangement by Pierre Gouin, which likely I found on IMSLP; no mention of tuba! I also normally use thumb pistons to make combination changes, but this requires quite a few (I'm about to try figuring it out) changes in a very short period of time, while having both hands and one foot full of keys. Could probably make changes with foot piston(s), but don't yet have those, so think crescendo pedal looks worth a try, even if not an authentic part of the Salisbury organ. If you haven't yet heard it, OrganistWPC has an excellent performance on Contrabombarde, which was part of what inspired my look at this. He/she also references a performance of Barber's Adagio for Strings, which I'm also working on, by Randall Mullins -- truly inspiring, and another registration challenge!

Barry

Thanks Adrian. Excellent help! I'm on Salisbury, the organ with most swell controls in my stable, but should be able to find some closeness with your Hereford advice. And of course I hadn't thought of using the "spare" pedals for sequencer; great idea.

Barry

Have a look at the video from Diane Meredith Belcher. It is very quiet at the start.

I have the arrangement by W.H.Harris published by Novello, I have simpler versions but thought this was a great challenge to try. Your version is similar until later in the piece.