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extremely numerous. In this respect, there were some remarkable
anticipations of the 'orchestral' organ of the Liszt period; but the wind
pressure was still much lower and the attack much more positive. The
eighteenth century civilised the organ; the nineteenth transformed it.
The twentieth has made remarkable amends, with a large and growing
number of excellent new organs built on baroque principles and well
informed organists to make good use of them.
Even with low wind pressure, tracker action can grow heavy, but has
the great advantage of feeling more alive to the player than e ither
pneumatic or electric.
(b) What we know of baroque registration suggests that bold contrasts continued to be more in favour than gradations. A baroque original
is likely to be rich in mixtures (stops combining intervals not unison or
octave — e.g. tenths or twelfths) and mutations ( in ducing one such
interval, and therefore having the effect of m i \ i u n when added to
foundation stops). These lend themselves to colourings rather than t...
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This document was uploaded on 03/14/2014 for the course MUS 352 at Azusa Pacific.
- Spring '14