Change (organ)

The changes constitute a family of plays specific to the Orgue which have like characteristic not to produce the played note, but a Harmonique of the note. They are thus plays transposing instruments. They are more rarely called also, but, aliquot.

The most known changes and most current, that one practically finds on all the instruments, are the Nasard and the Tierce. The Nasard produces a Quinte and the Tierce produces a third . If one exploits the only play of Nasard a melody in major C, for example a simple range of major C, although the fingers play the 7 keys corresponding to the 7 notes of the range of C, i.e. C D semi F ground it if , the ear will hear ground it if C D semi fa# , i.e. the range of G major. In the same way with the third alone, if the range of C is played, one will hear the range of semi, since semi is the third (it is implied obviously that it is about the major third) of C.

the sets of changes have two essential functions in the art of registration:

  • They make it possible to reinforce the harmonics of the fundamental note to give him more power, of presence and to open the polyphony, to separate the voices, to emphasize the low ones.
  • They make it possible to add " couleurs" , to vary the stamps, to widen the sound pallet.

Table of the changes

  • H = First column, indicates the harmonic coefficient, it acts of a continuation of integer. A frequency ƒ Hz given, multiplied by this number N, gives the harmonic frequency nƒ Hz.

  • Position = second column indicating the position of the harmonic on the degrees of the range.
  • Note = third column, giving the exact or approximate note produced by the change when one inserts natural the Do key.
  • Fundamental = columns 4,5,6,7 and 8, giving the dedendum of each change calculated compared to one of the 5 fundamental ones (64, 32,16,8 and 4 feet). The column of the changes of 8 feet is surlignée because it is that which is used in the foundation of the organ stops.
  • French Names = column giving, when the play exists, the French name which is usually registered on the register, with the console.

The most common plays were surlignés in blue (or green in the column of 8 '). But that the majority of other plays are very rare, some should be stressed existing only in one specimen in the world!

The notes corresponding to each Harmonique are given only as an indication and are approximate. The harmonic range does not give all the notes of the diatonic range.

For example, the eleventh Harmonic, although near to the sub-dominant, does not enter the natural range. The relationship between the tonic and the Sous-dominante is of 4/3 whereas eleventh is of 11/8 (1,333 against 1,375). On the other hand others Harmonique S stick perfectly with the corresponding diatonic note: the third (implied major), the ninth and the fifth. It is not a chance if they are besides the Harmonique S most used in the organ stops.

The adjective large or large

One places the adjective large or large , sometimes large or large , in front of the name from certain changes when these plays speak one or two octave S lower than the change based on the harmonics of the 8 feet. One finds usually the names following: Large nasard, Large fifth, Great fifth, Large third, Large seventh, large ninth.

Italian names

The Italian changes of the organ are generally named with the number of their initial note, counted on the diatonic scale starting from the do1. They are almost exclusively built with pipes the principal ones and correspond in fact to rows of mixtures separated, the unit being called Ripieno. The acutest changes do not follow a scale of continuous progression but have recoveries, in order not to exceed the threshold of auditive acuteness.

Only Nazardo and Terza are built in theory with pipes of the family of the flutes and do not form part of Ripieno (mixture) but of Cornetto (Cornet).

The C-W communication varies however according to the organiers and the times. Here thus a table of equivalences (the names in Italic indicate rare or not very used plays):

See too

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