Quimby Pipe Organs, Inc.,
Warrensburg, Missouri
SkyRose Chapel, Rose Hills
Memorial Park, Whittier, California
Opus 46
SkyRose Chapel, in the Rose Hills Memorial Park, Whittier,
California, is located on a hill overlooking Los Angeles and the San Gabriel
and Sycamore Valleys. SkyRose Chapel is situated within beautifully landscaped
gardens that also do duty as a cemetery--SkyRose Chapel is the largest funeral
chapel in the world. Renowned architects Fay Jones and Maurice Jennings designed
SkyRose Chapel to be built of oak, Oregon redwood, bouquet canyon stone,
Douglas fir, and glass in a contemporary A-frame style that is at home in the
hills which the afternoon sun turns a vibrant rose color. SkyRose Chapel has
become popular as an attractive venue for weddings as well as for funerals.
The installation of a pipe organ in SkyRose Chapel had
always been the dream of Dennis Poulsen, Chairman of the Board of Rose Hills
Memorial Park. This dream was researched and brought to fruition by Mr. Poulsen
and Bruce Lazenby, Vice President of Engineering of Rose Hills Memorial Park.
The Rose Hills Foundation selected Quimby Pipe Organs, Inc.,
to build the pipe organ for the strikingly lovely SkyRose Chapel. The Quimby
pipe organ, Opus 46, has 65 ranks together with harp and chimes spread over
four manuals and pedal. The distinctly American design is eclectic in
conception and enables the instrument to perform a wide range of service and
organ literature. Messrs. Poulsen and Lazenby requested Michael Quimby, Tonal
Director, to design a tonal specification that would handle the diverse musical
demands required for funeral services, weddings, and recitals.
The instrument contains an unusually high proportion of
celeste ranks, and also a very high proportion of color reeds. The reeds in the
Solo division include several historic Skinner and Aeolian-Skinner ranks--the
Tuba Mirabilis (1924), French Horn (1946), English Horn (1946) and Corno di
Bassetto (1946). These ranks are included in the pipe organ on their original
windchest and reservoir. Also noteworthy are the 1924 Deagan "Class
A" Chimes and the restored 1929 Skinner Harp, both on their original
restored electro-pneumatic actions.
The electric blowers winding the organ amount to a total of
eleven and one-half horsepower, supplying wind at pressures ranging from
4" for the Choir division to 15" for the Tuba Mirabilis. There are
fourteen reservoirs and four schwimmers. The main chests, built by Quimby Pipe
Organs, Inc., are slider windchests built to the original Blackinton design
fitted with electro-pneumatic pallets. The Swell, Choir and Solo divisions have
68-note chests, providing additional topnotes for use with the octave couplers.
Electro-pneumatic unit chests are used for the offsets and extended ranks.
Quimby Pipe Organs' Opus 46 is located in an elevated
gallery near the rear of SkyRose Chapel. The visual presentation of the pipe
organ is of oak casework containing thirty-eight zinc façade pipes with
gold-colored mouths drawn from the Pedal 32' Principal and Great 16' Violone
ranks that are placed on platforms of escalating heights above the floor of the
gallery as well as nine oak pipes positioned along the side of the case. The
longest façade pipe, approximately 26' in length, is low G of the 32' Principal. The wood pipes along the side of the case are part of the Pedal 16' Bourdon rank. The Pedal 32' Posaune is full length, and is located behind the exposed wood pipes.
Quimby Pipe Organs' woodworkers constructed the case and
console in their workshop. Quimby Pipe Organs' designer and woodworkers
designed the oak organ case and console in consultation with Fay Jones and
Maurice Jennings in order to ensure an appearance in harmony with the
architecture of the Chapel. Harris Precision Products, Inc., of Whittier,
California, manufactured the console components and shipped them across the
country to Warrensburg where Quimby's woodworkers installed them in the
console. The console was then shipped back with the organ to Whittier! The
instrument is controlled by a multiplex relay with MIDI, including full
playback capability, and a combination action with 99 memory levels.
style="mso-spacerun: yes"> There are eight pistons to each
division and eighteen general pistons, together with three ensemble pistons,
three programmable Crescendo settings, and numerous reversibles.
Members of Quimby Pipe Organs, Inc., who made significant
contributions to the construction of the SkyRose instrument included Doug
Christie, Chris Emerson, Charles Ford, Johanna Harrington, Eric Johnson, Kevin
Kissinger, Brad McGuffey, Michael Miller, Gary Olden, Michael Quimby, Wayne
Shirk, Stan Sparrowhawk, Elizabeth Viscusi, and Randy Watkins.
Dr. Frederick Hohman presented the pipe organ to the public
in the dedicatory recital of the SkyRose organ on Saturday, September 20th,
1997.
--Quimby Pipe Organs, Inc.
GREAT (unenclosed)
16'
style='mso-tab-count:1'> Violone
(1-14 façade)
8'
style='mso-tab-count:1'> Diapason
(1-7 from Ped Principal)
8' style='mso-tab-count:1'> Principal
8'
style='mso-tab-count:1'> Violoncello
(ext)
8'
style='mso-tab-count:1'> Harmonic
Flute (1-12 from 8' Bdn)
8' style='mso-tab-count:1'> Bourdon
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Koppel
Flute
22⁄3' style='mso-tab-count:1'> Quint
2'
style='mso-tab-count:1'> Super
Octave
11⁄3' style='mso-tab-count:1'> Mixture IV
16'
style='mso-tab-count:1'> Bombarde
(ext)
8'
style='mso-tab-count:1'> Tuba
Mirabilis (Solo)
8'
style='mso-tab-count:1'> Trompette
Harmonique
8' style='mso-tab-count:1'> Trumpet
8'
style='mso-tab-count:1'> Cromorne
(Choir)
4'
style='mso-tab-count:1'> Clarion
Harmonique
Tremolo
Chimes
(Solo)
8'
style='mso-tab-count:1'> Harp
(Solo)
Tower
Chimes (prepared for)
MIDI
on Great
SWELL (enclosed)
16' style='mso-tab-count:1'> Gedeckt
8'
style='mso-tab-count:1'> Gedeckt
(ext)
8' style='mso-tab-count:1'> Viola
8'
style='mso-tab-count:1'> Viola
Celeste
8' style='mso-tab-count:1'> Salicional
8'
style='mso-tab-count:1'> Voix
Celeste (GG)
4' style='mso-tab-count:1'> Principal
4' style='mso-tab-count:1'> Nachthorn
4'
style='mso-tab-count:1'> Viola
(ext)
4'
style='mso-tab-count:1'> Viola
Celeste (ext)
22⁄3' style='mso-tab-count:1'> Rohr Nasat
2' style='mso-tab-count:1'> Octave
2' style='mso-tab-count:1'> Flageolet
13⁄5' style='mso-tab-count:1'> Tierce
2'
style='mso-tab-count:1'> Plein
Jeu IV (2' rank from Octave)
16' style='mso-tab-count:1'> Hautbois
8' style='mso-tab-count:1'> Trompette
8'
style='mso-tab-count:1'> Hautbois
(ext)
8'
style='mso-tab-count:1'> Vox
Humana
8'
style='mso-tab-count:1'> Vox
Mystique (Vox Humana, box closed)
4'
style='mso-tab-count:1'> Clarion
(ext)
Tremolo
Chimes
(Solo)
MIDI
on Swell
CHOIR (enclosed)
16'
style='mso-tab-count:1'> Silver
Flute (1-12 digital)
8'
style='mso-tab-count:1'> Flauto
Mirabilis (Solo)
8'
style='mso-tab-count:1'> Gamba
(Solo)
8'
style='mso-tab-count:1'> Gamba
Celeste (Solo)
8'
style='mso-tab-count:1'> Rohr
Flute
8' style='mso-tab-count:1'> Gemshorn
8'
style='mso-tab-count:1'> Melodia
(1-12 from Rohr Flute)
8'
style='mso-tab-count:1'> Silver
Flute (ext)
8'
style='mso-tab-count:1'> Silver
Flute Celeste (TC)
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Orchestral
Flute (Solo)
4'
style='mso-tab-count:1'> Spitz
Flute
4'
style='mso-tab-count:1'> Silver
Flute (ext)
22⁄3' style='mso-tab-count:1'> Nazard
2' style='mso-tab-count:1'> Octave
2'
style='mso-tab-count:1'> Block
Flute
13⁄5' style='mso-tab-count:1'> Tierce
1'
style='mso-tab-count:1'> Mixture
III
16' style='mso-tab-count:1'> Cromorne
8'
style='mso-tab-count:1'> Trompette
Harmonique (Great)
8'
style='mso-tab-count:1'> Cromorne
(ext)
4'
style='mso-tab-count:1'> Clarion
Harmonique (Great)
8'
style='mso-tab-count:1'> Tuba
Mirabilis (Solo)
Tremolo
Chimes
(Solo)
8'
style='mso-tab-count:1'> Harp
(Solo)
4'
style='mso-tab-count:1'> Celesta
(Solo)
MIDI
on Choir
SOLO (enclosed)
16'
style='mso-tab-count:1'> Contra
Gamba (1-12 digital)
8'
style='mso-tab-count:1'> Flauto
Mirabilis
8'
style='mso-tab-count:1'> Gamba
(ext)
8'
style='mso-tab-count:1'> Gamba
Celeste
4'
style='mso-tab-count:1'> Orchestral
Flute
4'
style='mso-tab-count:1'> Gambette
(ext)
8'
style='mso-tab-count:1'> English
Horn
8'
style='mso-tab-count:1'> French
Horn
8'
style='mso-tab-count:1'> Corno
di Bassetto
8'
style='mso-tab-count:1'> Tuba
Mirabilis
4'
style='mso-tab-count:1'> Clarion
Tuba (ext)
Tremolo
8' style='mso-tab-count:1'> Harp
4'
style='mso-tab-count:1'> Celesta
(ext)
Tower
Chimes (prepared for)
Chimes
(20 tubes)
MIDI
on Solo
PEDAL (unenclosed)
32'
style='mso-tab-count:1'> Sub
Principal (1-7 digital, 8-31 façade)
32'
style='mso-tab-count:1'> Contra
Bourdon (1-12 digital)
16'
style='mso-tab-count:1'> Principal
(ext)
16'
style='mso-tab-count:1'> Violone
(Great)
16'
style='mso-tab-count:1'> Bourdon
(ext)
16'
style='mso-tab-count:1'> Gamba
(Solo)
16'
style='mso-tab-count:1'> Gedeckt
(Swell)
16'
style='mso-tab-count:1'> Silver
Flute (Choir)
8'
style='mso-tab-count:1'> Octave
(ext)
8'
style='mso-tab-count:1'> Violoncello
(Great)
8'
style='mso-tab-count:1'> Viola
Celeste II (Swell)
8'
style='mso-tab-count:1'> Bourdon
(ext)
8'
style='mso-tab-count:1'> Gedeckt
(Swell)
4'
style='mso-tab-count:1'> Choral
Bass
4'
style='mso-tab-count:1'> Bourdon
(ext)
22⁄3' style='mso-tab-count:1'> Mixture IV
32'
style='mso-tab-count:1'> Contra
Posaune (full length, ext Great Trumpet)
32'
style='mso-tab-count:1'> Contra
Basson (1-12 digital, ext Swell Hautbois)
16'
style='mso-tab-count:1'> Posaune
(ext Great Trumpet)
16'
style='mso-tab-count:1'> Bombarde
(Great)
16'
style='mso-tab-count:1'> Hautbois
(Swell)
16'
style='mso-tab-count:1'> Cromorne
(Choir)
8'
style='mso-tab-count:1'> Tuba
Mirabilis (Solo)
8'
style='mso-tab-count:1'> Trumpet
(Great)
8'
style='mso-tab-count:1'> Trompette
Harmonique (Great)
8'
style='mso-tab-count:1'> Hautbois
(Swell)
4'
style='mso-tab-count:1'> Clarion
(ext Great Trumpet)
4'
style='mso-tab-count:1'> Hautbois
(Swell)
4'
style='mso-tab-count:1'> Cromorne
(Choir)
Chimes
(Solo)
MIDI
on Pedal
Lively-Fulcher Organbuilders, Alexandria, Virginia
St. Olaf Catholic Church,
Minneapolis, Minnesota
In 1997, Fr. John Forliti, Pastor of St. Olaf Church,
appointed Dr. Merritt Nequette and a parish committee to lead an organ project
at the church. The committee enlisted the services of Jonathan Biggers as organ
consultant. After a thorough study, Lively-Fulcher Organbuilders of Alexandria,
Virginia was chosen to build the new instrument which was installed and
completed in July, 2001.
The organ was inaugurated in a series of concerts in 2002
beginning with a service of blessing by Archbishop Harry J. Flynn, Archbishop
of St. Paul and Minneapolis, and organ recital performed by Dr. Lynn Trapp,
director of worship and music, organist, at St. Olaf Church, on February 9,
2002. A hymn text by Delores
Dufner, OSB was commissioned for the occasion.
The series of inaugural concerts featured a recital and
masterclass by Swiss organist, Guy Bovet; a program of organ and contemporary
music with Twin Cities artists; Pipedreams Live hosted by Michael Barone of
Minnesota Public Radio and performers of the Liturgical Organists Consortium;
field days for elementary students to learn about the king of instruments; and
an organ and orchestra concert with Jonathan Biggers, organist, and the Kenwood
Chamber Orchestra, orchestra in residence at St. Olaf Church, conducted by Ken
Freed. This concert included the premiere of a commissioned work for organ and
orchestra composed by Richard Proulx.
The instrument has 61 stops and 67 ranks (49 independent
registers) playable over five divisions, Grand Orgue, Récit Expressif,
Positif Expressif, Bombarde and Pédale. The manual and pedal key actions
make use of electric slider windchests and the stop action is electric, complete
with state of the art combination action, 256 levels of memory and a sequencer.
The wind supply is regulated by a traditional bellows system linked to the wind
chests by wooden wind lines. The console is built in a low profile, curved jamb
configuration to enhance the organist's ability to follow the liturgy and
conduct the choir. The console has natural keys covered in bone and sharp keys
of solid ebony. The internal layout of the divisions within the organ case
places the Positif Expressif centrally in the lower middle of the case and the
Grand Orgue above that with the Récit Expressif behind the Grand Orgue.
The Bombarde reeds are located in the Positif box and the Pédale
division is divided on either side of the manuals and behind the 16-foot pedal towers
in the case. Wood pipes were made in the organbuilders' workshop and metal
pipes were made to their specifications in Germany.
The casework, constructed of African mahogany, takes its
inspiration from the contemporary architecture of the room and has simple
Scandinavian design elements yet a firm traditional layout. The façade
pipes are made of 72% tin and include pipes from the Grand Orgue Montre 16',
Montre 8' and Pédale Montre 8'. The organ is completely housed within
its own freestanding casework and because of the deep gallery around three
sides of the room is positioned at the front center of the church. A
Cymbelstern stop is provided on the instrument and the church's tower bells can
be played from the Récit keyboard.
The design of the pipe shades for the instrument is tied to
the rich traditions associated with St. Olaf. They are made of basswood with
patterns of dragons, eagles and serpents which are found in the Book of Kells.
These designs are slightly earlier than King Olaf's time, but they are strong
Scandinavian symbols from the period. The cross piercing the crown is based on
an 8th-century piece made for St. Rupert. The crown motif was specifically
chosen to represent St. Olaf and the crosses and crowns are covered with
24-carat gold leaf.
The tonal inspiration for the instrument is firmly based in
19th-century France but is designed and voiced with a broad literature base in
mind. The Tutti is robust to support large choirs, orchestra, and the singing
of a capacity crowd of worshipers. The organ has a wide variety of soft colors
as well. The broad foundation tone of the 8-foot stops and thick-walled
expressiveness of the Récit and Positif boxes ensure the accompanimental
versatility necessary for the performance of choral and solo literature. The
warm yet clear broadly scaled principal chorus work, blended with the mutations
and reed colors associated with Clicquot and Cavaillé-Coll, make for a
versatile medium for the main body of the organ literature. The voicing and
blending of individual stops coupled with the color requirements of French,
German and English literature allow the convincing performance of a wide range
of literature. This instrument is not meant as a copy of any one style nor is
it intended to be a collection of styles trying to do everything, but rather is
intended to be a modern instrument of the 21st century speaking with its own
voice.
--Lynn Trapp
GRAND ORGUE
16' style='mso-tab-count:1'> Montre
8' style='mso-tab-count:1'> Montre
8'
style='mso-tab-count:1'> Flûte
à cheminée
8'
style='mso-tab-count:1'> Flûte
harmonique
8' style='mso-tab-count:1'> Violoncelle
4' style='mso-tab-count:1'> Prestant
4'
style='mso-tab-count:1'> Flûte
ouverte
22⁄3' style='mso-tab-count:1'> Quinte
2' style='mso-tab-count:1'> Doublette
2'
style='mso-tab-count:1'> Fourniture
V
8' style='mso-tab-count:1'> Trompette
4' style='mso-tab-count:1'> Clairon
Tremulant
Octaves
graves
Récit
sur G.O.
Positif
sur G.O.
Bombarde
sur G.O.
POSITIF EXPRESSIF
8' style='mso-tab-count:1'> Montre
8' style='mso-tab-count:1'> Bourdon
8'
style='mso-tab-count:1'> Flûte
douce
8'
style='mso-tab-count:1'> Flûte
celeste
4' style='mso-tab-count:1'> Prestant
4'
style='mso-tab-count:1'> Flûte
conique
22⁄3' style='mso-tab-count:1'> Nazard
2' style='mso-tab-count:1'> Doublette
2'
style='mso-tab-count:1'> Quarte
de nazard
13⁄5' style='mso-tab-count:1'> Tierce
11⁄3' style='mso-tab-count:1'> Larigot
1'
style='mso-tab-count:1'> Fourniture
IV
8' style='mso-tab-count:1'> Trompette
8' style='mso-tab-count:1'> Cromorne
Tremulant
Octaves
graves
Récit
sur Positif
Bombarde
sur Positif
Positif
unison off
RÉCIT EXPRESSIF
16' style='mso-tab-count:1'> Bourdon
8' style='mso-tab-count:1'> Diapason
8'
style='mso-tab-count:1'> Viole
de gambe
8'
style='mso-tab-count:1'> Voix
céleste
8'
style='mso-tab-count:1'> Cor
de nuit
4' style='mso-tab-count:1'> Prestant
4'
style='mso-tab-count:1'> Flûte
octaviante
2' style='mso-tab-count:1'> Octavin
2'
style='mso-tab-count:1'> Plein
Jeu IV
22⁄3' style='mso-tab-count:1'> Cornet II
16' style='mso-tab-count:1'> Basson
8'
style='mso-tab-count:1'> Trompette
harmonique
8' style='mso-tab-count:1'> Hautbois
8'
style='mso-tab-count:1'> Voix
humaine
4'
style='mso-tab-count:1'> Clairon
harmonique
Tremulant
Octaves
graves
BOMBARDE (floating)
16'
style='mso-tab-count:1'> Tuba
magna (ext)
8'
style='mso-tab-count:1'> Tuba
mirabilis
4'
style='mso-tab-count:1'> Cor
harmonique (ext)
8'
style='mso-tab-count:1'> Cornet
V (tg)
PÉDALE
32'
style='mso-tab-count:1'> Contre
soubasse (electronic)
16'
style='mso-tab-count:1'> Grosse
flûte
16'
style='mso-tab-count:1'> Montre
(G.O.)
16' style='mso-tab-count:1'> Soubasse
16'
style='mso-tab-count:1'> Bourdon
(Récit)
8' style='mso-tab-count:1'> Montre
8'
style='mso-tab-count:1'> Flûte
(ext)
8'
style='mso-tab-count:1'> Bourdon
(ext)
4'
style='mso-tab-count:1'> Prestant
(ext)
4'
style='mso-tab-count:1'> Flûte
ouverte (ext)
22⁄3' style='mso-tab-count:1'> Fourniture IV
32'
style='mso-tab-count:1'> Contre
bombarde (ext)
16' style='mso-tab-count:1'> Bombarde
16'
style='mso-tab-count:1'> Basson
(Récit)
8' style='mso-tab-count:1'> Trompette
4'
style='mso-tab-count:1'> Clairon
(ext)
Tirasse
Bombarde
Tirasse
G.O.
Tirasse
Positif
Tirasse
Récit
G.O./Positif manual transfer
Chimes sur G.O.
Tower Bells sur Récit
Cymbelstern
Pedal & Manual pistons coupled
Sequencer
Weston Harris and Thomas J. McDonough, Organ Crafters of
Los Angeles, have completed a
three-manual, 38-rank organ at St. Augustine By-the-Sea Episcopal Church, Santa
Monica, California. The organ
incorporates elements from the church's previous organ built in 1967 by Abbott
and Sieker Organ Builders as well as the historic Möller/Estey organ at
Bridges Hall of Music, Pomona College (recently replaced by Fisk Opus 117).
Other pipework was donated from the private collection of Mr. Joseph Horning, a
prominent Los Angeles organist and organ consultant who died in 2000.
The church is located at the popular Third Street Promenade
at Santa Monica Beach Pier. The organ enjoys a high gallery placement in an
extraordinary acoustical setting. Given this exceptional location, the new
organ's tonal style is based largely on the 1948 Aeolian-Skinner organ of the
Salt Lake City Tabernacle, where Mr. Harris studied organ performance and
apprenticed in organbuilding. The voices are gentle, and choruses finely
layered.
The previous organ (see photo) was installed in 1967 as a
temporary instrument for the new church following the arson burning of the
church's historic 1867 building. The new organ case forms the Positiv Organ
featuring pipes from the Bridges Hall of Music (front tower pipes) and wood
Holzgedeckt pipes. The flute pipes were obtained from a burnt-out church in
nearby Venice, California. They were barely rescued--being quickly pulled from
their windchest just as the wrecking ball was knocking through the chamber
walls. The fire scarring on the pipes provides an extraordinary antique patina
for the new organ case design.
--Weston Harris
GREAT (enclosed)
8' style='mso-tab-count:1'> Diapason
8' style='mso-tab-count:1'> Bourdon
8'
style='mso-tab-count:1'> Augustine
Flute
8'
style='mso-tab-count:1'> Flute
Celeste
4' style='mso-tab-count:1'> Octave
4'
style='mso-tab-count:1'> Forest
Flute
22⁄3' style='mso-tab-count:1'> Twelfth
2' style='mso-tab-count:1'> Fifteenth
Mixture
IV
Cymbale
III
8' style='mso-tab-count:1'> Cromorne
8' style='mso-tab-count:1'> Trumpet
4' style='mso-tab-count:1'> Clarion*
Tremulant
Gt/Gt
16-4
SWELL (enclosed)
8'
style='mso-tab-count:1'> Geigen
Principal
8'
style='mso-tab-count:1'> Rohr
Flute
8' style='mso-tab-count:1'> Viola
8'
style='mso-tab-count:1'> Viola
Celeste (TG)
4' style='mso-tab-count:1'> Principal
4'
style='mso-tab-count:1'> Flute
d'Amour
2' style='mso-tab-count:1'> Octavin
11⁄3' style='mso-tab-count:1'> Mixture III
16'
style='mso-tab-count:1'> Bassoon
(1-12 extension)*
8' style='mso-tab-count:1'> Trompette
8' style='mso-tab-count:1'> Oboe
4' style='mso-tab-count:1'> Clarion
Tremulant
Sw/Sw
16-UO-4
POSITIV (unenclosed)
8' style='mso-tab-count:1'> Principal
8' style='mso-tab-count:1'> Holzgedeckt
4' style='mso-tab-count:1'> Principal*
4' style='mso-tab-count:1'> Gedeckt*
2' style='mso-tab-count:1'> Principal*
8'
style='mso-tab-count:1'> Oboe
(Sw)
8'
style='mso-tab-count:1'> Mounted
Cornet IV (TG)
Pos/Pos
Pos/Gt
Tower
Bells (8 Whitehall bells)
STATE TRUMPET (unenclosed)
16'
style='mso-tab-count:1'> State
Trumpet*
8'
style='mso-tab-count:1'> State
Trumpet
4'
style='mso-tab-count:1'> State
Trumpet*
Trumpet
to Gt
Trumpet
to Sw
Trumpet
to Pos
PEDAL (enclosed in Great)
32'
style='mso-tab-count:1'> Contra
Bourdon*
32'
style='mso-tab-count:1'> Dolce
Gedeckt*
16' style='mso-tab-count:1'> Principal
16' style='mso-tab-count:1'> Bourdon
16'
style='mso-tab-count:1'> Lieblich
Gedeckt (1-12 ext)*
8' style='mso-tab-count:1'> Diapason
8' style='mso-tab-count:1'> Bourdon*
8'
style='mso-tab-count:1'> Flauto
Dolce (Sw)
4'
style='mso-tab-count:1'> Choral
Bass*
4' style='mso-tab-count:1'> Flute*
32'
style='mso-tab-count:1'> Contra
Posaune*
16'
style='mso-tab-count:1'> Posaune
(1-12 extension Gt Trumpet)
16'
style='mso-tab-count:1'> Bassoon
(Sw)
8'
style='mso-tab-count:1'> Posaune
(Gt)
8'
style='mso-tab-count:1'> State
Trumpet*
4'
style='mso-tab-count:1'> Clairon
(Gt)
Full interdivisional couplers
*indicates unification
