technology

Modern Technology

in Practical Musicianship

as an Aid to Perceptual Training

and A Precursor of Vocational skills

INTRODUCTION

By 'modern technology' I refer to these devices for sound production or sound synthesis which, unlike either traditional orchestral instruments or the pianoforte with centuries of evolution, depend upon the scientific advancement of the post-war years for their existence. Whether they be classified as electronic keyboards, synthesizers, mellotrons, digital sequencers or time control systems is unimportant. Within this survey they should be regarded primarily as 'operable machines'.

Here we must employ the principle of parallelism ⁽¹⁾ to understand that the necessary skills involved in the operation of such are similar to those demanded in industrial machine practice, the variance being the measure of the degree difference between the two modes of final manifestation (i.e. the end product obtained).⁽²⁾ The constant in all areas is, of course, the human factor - the operator or pupil who is the operator of the future. This fact will most likely prevail for many decades to come as there still remains in industry very large numbers engaged on repetitive production tasks which require manual skills but which are not deemed skilled occupations. ⁽³⁾Technological improvements, however much they reduce dependence on manpower, often leave the operator as the final arbiter in determining quantitative and qualitative levels of output attained. ⁽⁴⁾Similar to industrial practices which require specialist knowledge in addition to certain skills, the utilization of modern technology on the musical front also demands prerequisite knowledge.⁽⁵⁾
From this point onwards I shall continue to juxtapose industrial and musical factors.

Although these skills and knowledge are applied industrially as a standard sequence, the application of such in a performance upon musical 'machines' possesses the additional complication of the constant variation of basic elements, i.e. all pieces of music are essentially different because of their unique order of pitched notes, respective note values and groupings. Here also we have the phenomenon of the operator decoding a graph (musical score) while performing fine digital skills.

e.g.

]
could be viewed as:-

where AB = pitch degrees of the diatonic scale and AC = seconds

01. Williamson, Dr. J.J. "An outline of the Principles and Concepts of Metaphysics" (Hastings 1967)
02. ibid.
03. Seymour, W. Douglas "Operator Training in Industry"(Institute of Personnel Management 1959)
04. ibid.
05. ibid.

BASIC SUBJECT KNOWLEDGE

The essentials of staff notation (the position of notes on the 5-line stave, the length of these notes and the grouping patterns) constitute the minimum necessary and meaningful information which, in the musical field, initiate digital activity.⁽¹⁾Again contemporary technology can provide the motivation for this pre-practical phase of musicianship, as the rudiments just described may be learned via a series of computer programs that convey the audible signal in addition to the visual signals. ⁽²⁾The learner is thus being made aware constantly of the individual constituents of the end product even at this embryonic stage - a necessary feature in the music industry, as the end product is essentially sonic.^{01.

Crossman, E.R.F.W. & Seymour,

W.D. "The Nature and Acquisition of

Industrial Skills (University of

Birmingham 1957).

02. vide "Audio-Visual productions

computer programs - Autumn 1986.

THE

PERCEPTUAL COMPONENT OF SKILLS}It has been recorded that it is those therbligs* (elements of movement in motion study) involving the most perception which change most as the overall performance improves. ⁽¹⁾The high concentration of the element of perception (auditory, visual and tactile) in practical musicianship is only too obvious but, for those with marginal knowledge of the subject, this will be demonstrated shortly by the industrial technique of skills analysis.

* The word 'therblig' when read backwards spells' gilbreth', he who was at the cutting edge of motion study in the early 20th century. A therblig is an observable fact in this science e.g. grasp, hold, release, reach, move, stop, change direction etc. and are key descriptors in micro-motion study. I have found this technique (the recording by video camera) not only revealing but rewarding when applied to a student teacher in training who is preparing to perform a 'crit' lesson with one particular class. When the lesson is reviewed by the student, it is amazing how fast faults such as 'dead points' are quickly eradicated.

It can be shown that the time required for a body movement depends upon its perceptual characteristics as well as its spacial characteristics.⁽²⁾The recognition of the importance of the perceptual component in skilled performance has indeed led to the development of Perceptual Study - a counterpart of Motion Study.⁽³⁾

This of course demonstrates why musical tempi of a rapid bravura nature are found to be far more exacting in terms of performance, concentration and stress than tempi of a much slower rate.   For example during a Toccata in nature of a perpetuum mobile where the tempo is 138 crotchets (whole beat notes) per minute or 2.3 per second, the right hand execution of a continuum of semiquavers (¼ beat notes) will be 9.2 per second. Even at 8 per second over a period of 6 to 8 minutes is a feat in itself, without having to vary the pitch (spacial location of a note) of each note constantly.

What comes to mind immediately is the final Toccata from the Suite Gothique for organ by Léon Boëllmann but here I must inform the reader that the left hand is contemporaneously performing at 2.3 notes per second and on many occasions the hands exchange the distribution of notes.   Meanwhile the rather pungent theme is played frequently on the pedals at a more sedate pace culminating in both feet playing the theme in octaves at the termination, all limbs being occupied simultaneously.

Fortunately I have never requested a Motion Study engineer to attempt a rigorous analysis of such a performance just described (with the guaranteed ensuing nervous breakdown) but, to demonstrate the complexity of execution by a performing musician, I have included the skills analysis which follows of a percussion player playing but ONE note during the performance of a piece of music on a tuned percussion instrument such as a xylophone or vibraphone where even the complementary interaction of a second hand is omitted.
01. Seymour, W.D. "Manual Skills and Industrial Productivity" (Journal of The Institute of Production Engineers 1954)
^{02

.Crossman, E.R.F.W. "Perceptual

Activity in Manual Work" (Research

1956)}03. ibid.

^{SKILLS ANALYSIS}

Primary Factors	Secondary Factors	Therblig

1.0 interpretation of visual symbol relating to pitch ............ ..	mid-term memory of the key signature as a control	unavoidable delay by both hands
1.1 interpretation of visual symbol relating to rhythm ......	mid-term memory of the time signature as a control	idem
1.2 interpretation of any auxiliary symbol relating to pitch e.g. b, bb, # or x	mid-term memory of key signature as a control	idem
1.3 interpretation of visual symbol relating to modification of pace e.g. rall, accell, tempo primo	mid-term memory of general pace as a control e.g. adagio, andante, religioso	idem
1.4 interpretation of visual symbol relating to change of dynamics e.g. cresc, dim, subito piano	mid term memory of prevailing dynamic e.g. p, mf, f	idem
1.5 interpretation of visual symbol relating to variation in touch e.g. marcato, staccato	mid-term memory of the style e.g. legato, brilliante	idem

^{1.0 to 1.5

refer to the READING of the printed

note and the performance

instructions. These factors

are stored in the short-term memory.}

2.0 hiatus for transfer of visual attention from musical score and the interpretative domain to the instrument and kinaesthetic domain	............................................................................... .............. .................	right hand moves to the note to be played
2.1 translation of the 2 dimensional symbol + judgement of the interval (the distance between the previous note and the present) and the direction of pitch flow into the 3 dimensional spacial realm of the instrument and the kinaesthetic domain	... ... ... ... ..
2.2 selection of the note to be played. (short-term memory of the symbol read)	mid-term memory of the short keys employed via the key signature	unavoidable delay as right hand hovers over the note to be played
2.3 selection of hand posture to determine the degree of leverage to create sound (the short-term memory of any auxiliary sign modifying dynamics or pace)	mid-term memory of prevailing dynamic level	slight uplift of hand in anticipation of the downward stroke

^{2.0

to 2.3 refer to the technique of

NOTE SELECTION and muscular

preparation prior to executing sound

production.}

3.1 visual & kinaesthetic control of pitch i.e. correct note to be played + short-term memory of the symbol read	mid -term memory of the keys in use governed by the key signature .............................	downward movement of hand
3.2 kinaesthetic control of rhythm - i.e. the correct length of note + any required modification (all via the short-term of the symbol) with AUDITORY MONITORING	mid-term memory of the prevailing pace + regular accentuation governed by the time signature	last fine movement of the fingers of right hand to cause the note to sound
3.3 kinaesthetic control of dynamic level - short-term memory of any symbol modifying the previous sound produced	mid-term memory of prevailing dynamic level	idem

^{3.0 to 3.3 refer to the decision

making prior to physical action

causing the note to sound.}^{4.0 ALL THE ABOVE , if group

musicianship is involved, must

conform to the sounds emitting from

other instruments of the

group. Now emerges a further

complication - fragmentation of both

concentration and auditory

monitoring to ensure sensitivity to

other performers' emission of sound

and, therefore, group cohesion.

5.0 hiatus for transfer of

concentration from the 3 dimensional

domain back to the realm of visual

symbolism and sensory readjustment

in preparation for the next note.}

Let it be remembered that the above in its ENTIRETY , from 1.0 to 5.0 may take ONE milli-second to perform. Due to progressive training in practical and theoretical musicianship and the establishment of inbuilt conditioned reflexes which ensure a reasonably proficient level of performance, this sequence will be in point of fact instantaneous. In addition to the rapidity of the sequence, the following sequence will be in no wise identical as each note that follows in the score (graph) will be different with perhaps differing dynamic level and pace in execution. Where an accidental occurs in the score (an instruction to play a note NOT within the current key scale) a momentary conflict must occur between short-term and mid-term memory. In brief, each sequence displays a mutation which is on-going and kaleidoscopic until the final note of the score is played.

The foregoing analysis which describes the reading and playing of ONE NOTE on an instrument with unrefined technology should now be compared with a corresponding operation on the industrial front. Only then may one attempt to appreciate the perceptual complexity within the musical skills analysis which infinitely transcends that of the industrial. To clarify adequately the description of this comparator - the operation of a power press dextrainer in an off-the-job training situation, an illustration of the machine together with the operator's hand positions are given followed by a skills analysis.

SKILLS ANALYSIS⁽¹⁾

LEFT HAND	VISUAL	RIGHT HAND

positions plate #1 on press anvil	monitoring	grasps plate #2 in container
releases hold on plate #1	idem	unavoidable delay
changes direction to press guard	idem	idem
grasps press guard	idem	idem
moves press guard to closed position		moves plate #2 to front of guard
unavoidable delay	check for amber light ON	unavoidable delay
idem ..	checks press operation as R. foot operates press pedal	idem ..
idem	check for green light ON	idem
moves press guard to open position		idem
releases hold on press guard		idem
changes direction to anvil	monitoring	idem
grasps plate #1	idem	idem
lifts plate #1 from anvil	idem	idem
changes direction to left of anvil	idem	idem
releases hold on plate #1	idem	idem
changes direction to container	idem	moves plate #2 over anvil
grasps plate #3 in container	idem	positions plate #2 on press anvil

Thereafter the sequence is repeated.

While the foregoing sequence is repeated, the operations of each hand are, of course, interchanged. Thus an alternate rhythmic sequence is obtained by both hands, the right foot remaining a constant as the target time slowly approximates average worker speed. Work stamina is built from 15 minutes, 30 minutes, 1 hour, 2 hours to one half-shift runs. ⁽²⁾

Here the case for the enhanced complexity of the musical analysis must rest, the common sense of the reader leading her/him to the obvious conclusion.

As perception is an acquired characteristic,⁽³⁾the earlier the adolescent is exposed to such training techniques the better will be her/his toleration of perceptual acceleration should entry to an industrial environment be the choice of career on completion of formal education. The validity of auditory analogies in musical training is simply established as many machine prompts such as 'press operating mode' or 'safety on' are indicated by bell or buzzer. In operations such as drilling, reaming or turning, the auditory sense can be part of the operator's perceptual scenario. Indeed the forward-thinking Dundee Training Group had this auditory approach well established by the mid 1960s when machines were adapted to emit such an alternative signal in addition to braille instructions on the machine casing of capstan lathes to accommodate blind operatives.

01 Gentles, E.M. "Training the Operator - A Practical Guide" (Institute of Personnel Management 1969) Analysis
expanded by M.G.B. Young to include all possible therbligs and perceptual factors to form a micromotion study.
02 Gentles, E.M. "Training the Operator - A Practical Guide" (Institute of personnel Management 1969)
03 Hebb D.O. "The Organisation of Behaviour" (Wiley 1966)

MULTI PURPOSE MACHINE WORK

Multi purpose machines are employed in a variety of industries but especially in metal cutting, woodworking and garment manufacture. For the operators of such, the problem of variability is considered obvious and outstanding.⁽¹⁾Of course we are concerned here with a change from ONE function to ANOTHER on the same machine.

Let us examine the multi purpose nature of the musical machine where one may not only change functions but also operate two or three functions SIMULTANEOUSLY! An illustration follows to assist the reader in appreciating the design and multi-functionality of a typical musical machine.

Although the standard of notes in print in the above illustration is illegible due to the reduction in size of the image, the pointer lines reveal the variety of c. 25 individual control systems to vary and mix sounds, reverberation, depth & speed of vibrato, volume, chord settings, rhythm banks, presets and in some cases recording devices.

Should one read my paper " The augmentation of a two manual pipe organ with a Casio CZ1000 digital synthesizer housed within the organ chamber to mask the 'beam' effect", what is revealed is the mixing of sound waves, octave & sub octave and the mutation effects of adding 'nazard' /'tierce' pitches in combination plus vibrato 'in' and 'out'. Although certain synthesizers under examination have a mini computer in situ to aid the musician-programmer, the pipe organ, now centuries old, was the original synthesizer long before modern technology had seen the light of day. However to a standard commercial electronic keyboard for an average adolescent with the following three functions engaged simultaneously:-

Melodic Work

This involves the playing of a melody (tune) on the upper two thirds of the machine keyboard, selecting and changing tonal qualities with the right hand via the controls during a hiatus in the operation due to breaks between musical phrases etc..

Harmonic Work

Here the left hand is operational on the lower third of the keyboard to provide the harmonic foundation of chordial work - three to four notes at any given time. Again the combination of keys constantly changes as the harmonies of the piece change.

Rhythmic Work

These controls require to be activated and changed from time to time, again DURING operating to provide the automated rhythm section which is a major feature of refined musical technology. To return briefly to perception, we can listen to sounds and pick out particular features (of melody) which become 'the figure'. The background against which the figure is observed (harmony & rhythm) is known as 'the ground'.⁽²⁾I should certainly hope that when employing this contrived jargon, Dennis Child was speaking for example of the harsh sound of a workman's steel tool against a cast iron manhole cover while the general background of traffic provided a subtle continuum of sound. Should he have been making ill advised forays into the realms of music, however, he should have realised that a 'figure' is a but a small part of a phrase and a 'ground' makes a musician think of basso ostinato, passacaglia and chaconne!

Nevertheless, I must cease to castigate Dennis Child and continue to utilise his jargon to sate the average psychologist. In the situation presently discussed, however, we have the phenomenon of the figure (melody) for the right hand with constant auditory and tactile monitoring against a ground A (harmony) for left hand - also with auditory and tactile monitoring and a ground B (rhythm) which, like a conveyor belt, controls and dictates the operator's output quantitatively, demanding constant auditory monitoring with perhaps occasional manual adjustment. To this formula we must add the ongoing interpretation of a graph (musical score).

Here is controlled perceptual fragmentation par excellence together with two-handed simultaneous operating skills which, if a detailed breakdown were attempted by an industrialist, would become a skills analyst's nightmare!

01 Seymour, W.D. "Operator Training in Industry" (Institute of Personnel Management 1969)
02 Child, Dennis "Psychology and the Teacher" (Holt, Rinehart and Winston 1973)

GROUP MACHINE WORK

The constant demand for higher productivity has led in recent years to an increasing use of automated machines in groups.⁽¹⁾This, although noted at least a century ago in the jute industry's weaving sheds and spinning mills of Dundee, a city and industry which sported more millionaires per acre than anywhere else in Europe, has become the norm in a number of industries and, within varying economic climates, is becoming an essential factor in company profitability. Is such a fragmentation of personal attention a problem for the operator?

Any musician who is a keyboard executant, whether rock musician or cathedral organist, would most certainly answer in the negative. It is possible for an adolescent who is by no means a specialist to perform on two or three musical machines simultaneously. Experiments of this nature were found to be highly successful with one group of fifteen year old boys c. 1982 when the writer was evolving methods of enhancing interest in the operating process. When ensemble work was introduced, this group of students became so absorbed in the work, taking over the 'counting in' with a silent bar prior to commencement, that their determination to achieve perfection caused the work to continue unconsciously unabated for one hour after the end of the period and the day!

It has been said that if a trainee is subjected to a full work load as soon as possible he learns to adjust himself earlier to the ultimate pattern of distribution of attention.⁽²⁾On could argue to the contrary, having personally seen this happen in the musical field in musicians and especially singers where a voice has been ruined, that it may appear impressive to show how a young novice performs in advance of her/his years all to the glory of the teacher. Nevertheless it can be the case of a star burning too bright and too intense that a total burn-out is the final scenario. One must insist that a steady systematic programme of training in all new situations is the correct way forward to encourage and protect ego enhancement and operational stability in the individual.

To return to group machine work, the setting under consideration here appears as follows:-
One synthesizer at desk top level, one synthesizer five inches above base level and one keyboard c. 10 inches above base level. Here is a picture of the writer with such an arrangement in his office, his virtual organ loft is centre and far right was his real organ loft at Perth Cathedral.

01 Seymour, W.D. "Operator Training in Industry" (Institute of Personnel Management 1959)

EPILOGUE

^{Little

mention has been made of sound

synthesis as a scientific operation

within this paper. I now

remedy this with a brief inspection

of the synthesizer as a

machine. Unlike the electronic

keyboard with its function as

a multi-purpose device, the

synthesizer often has no immediate

sounds to place at the disposal of

the operator. Such

synthesizers require to be

programmed in advance of playing,

although these voices may be mutated

in the course of playing. What

is involved is the practical

application of the knowledge of

sound waves and their shaping to

musical requirements - a logical

sequella of theoretical work

assimilated in the curriculum of

physics. Here are the basic

waves used in synthesizing

instrumental voices:-}

1 saw tooth   2 square   3 pulse   4 double sine
5 saw pulse   6 resonance #1   7 resonance #2   8 resonance #3

and the ADSR graph for sound manipulation

Attack - Decay - Sustain - Release

Common synths:-


Korg	Casio	Yamaha	Roland

and the sequencer/rhythm machine:-

The advances in musical technology since the 1970s has now made it possible to interface the synthesizer with the computer as a revolutionary tool in musical creativity. Here the constant audio-visual monitoring of creative experimentation or composition is now factual with a print-out of the results instantly available in the form of the musical score - a essential feature of the music departments of every school, college and university.

The foregoing, with its in-depth examination of the complexity of operation in both the mental and physical realms, demonstrates that musical technology has few equals as an aid to perceptual training. Indeed when viewed from the industrial standpoint rather than the musical, these products of modern technology would appear to stand supreme as precursors of vocational skills of both the perceptual and fine digital genres on account of the many facets of these skills being present within the one exercise, an exercise which to the adolescent can be not only an overt pleasure but also an invisible training programme in digital facility.

Although I have examined the subject of modern technology as an essential training medium in adolescence in preparation for facile digital operations within an industrial environment, a logical continuation of training in the realm of sound synthesis can be an essential for the more gifted student whose chosen future career may lie in the confines of the music industry whether the popular music field or the area of what I term academic music - the concert platform, composition or indeed the cathedral organ loft.

Granted this is more often called the realm of 'classical' music but I eschew the term as classical music is that which had its origins in th Classical Period of composition. Nevertheless, it must be recognised and freely admitted that in modern popular music one may find an academic approach, for example the work of the Yes Band which produced highly acclaimed compositions termed symphonic rock with well maintained form and high degrees of musicianship in 'concept' albums which are in actuality programmatic productions.

To this end, therefore, I examine the use of the synthesizer in a modest environment - the musical life of the large Parish Church whether Anglican or Presbyterian.

At one point in my career, the church at which I directed the music had a vary tasteful two manual pipe organ, its specification I give below.

Swell

Geigen Diapason
Stopped Diapason
Viol d'Orchestre
Voix Celeste
Principal
Fifteenth
Mixture
Contra Fagotto
Horn

8'
8.
8'
8'
4'
2'
3 rks
16'
8'

Great
lll
Double Diapason
Open Diapason
Violin Diapason
Stopped Diapason
Dulciana
Principal
Wald Flote
Fifteenth
Mixture
Trumpet

16'
8'
8'
8'
8'
4
4'
2'
3 rks
8'

Pedal
ll
Bourdon
Open Diapason
Principal
Bass Flute
Fifteenth

16' l
16'
8''
8'
4'

Couplers

Swell Super Octave
Swell Sub Octavet
Swell to Great
Swell to Pedal
Great to Pedal
Tremulant '

////

Although the instrument was built into a chamber on the North side of the chancel, it was so well voiced that the sound was uniform when heard from all points in the nave. No one could find fault with the combinations of stops, whether pp or ff, irrespective of the coupling of manuals. Such an instrument was a joy to play in chorus passages of organ works and indeed in the accompaniment of choir or congregational singing. What I did find somewhat wasteful was the inclusion of a 4' fifteenth on the pedal where the obvious extra rank should have been a 16' trombone.

What one finds lacking is the availability of colours for a solo voice passage. The Swell can provide the Gedackt and the Fagotto played at the 8ve accompanied by the Great Dulciana. The Horn (a robust mf with the box open) accompanied by the Great Stopped Diapason alone or with the 4' Flute is another possibility.

The Great Stopped Diapason and the Wald Flote singly are pleasing quiet solo voices as is the Violin Diapason in the tenor & alto registers. The Trumpet is very much a chorus reed and has no real nature to make a penetrating impact. Its solo voice is more in keeping with the more delicate trumpet work necessary in earlier 17th century works, e.g. de Grigny.

Oh, for a third manual of the choir/positif variety! But a major extension that this would entail would be economically prohibitive. Luckily I had the ideal answer - a digital synthesizer.   The one I employed was the Casio CZ1000 although a CZ3000 would have been preferable. Even today a synth. of this nature can be bought second-hand for £200 to £250.

Much has been written about the pipe organ v. the electronic organ and I certainly would agree with a fair proportion of comments but certainly not all.   Here are choice observations by Frank Iacino ⁽¹⁾:-

"Electronic organ speakers do not distribute sound in the same manner as organ pipes. The latter send out sound waves in all directions. Except for very low tones, speakers (including exponential horn types) are directional.

When a pipe organ vibrantly resounds in a large building, the tone is coming from many diverse sources in many different positions. These positions are three-dimensional, and it is this factor that creates the effect of "spatial dimension". This effect causes the sound to appear to be coming from everywhere at the same time. Consequently, the music floods the whole cubic dimension like a tidal wave.
        ll
When an electronic organ speaks, the tone comes from one or more tone cabinets. The directional effect is quite apparent and produces a "beam effect". This "beam effect" causes the tone to be irregular throughout the auditorium."
      ll
This is all indeed true in synthesized combinations. A badly amplified synthesized 'full swell' can be absolutely dreadful when compared with a pipe organ delivery.   Nevertheless many 'flue' combinations of electronic design can be enhanced by the number of speakers or a speaker of the Leslie variety which gives a much greater spread of sound to combat the 'beam effect'.   Where the synthesizer triumphs is in the provision of a single timbre, e.g. strings, flute, clarinet & orchestral oboe or a combination of two in a four channel machine, e.g. 8' clarinet and 2^2/3'nazard of the flute variety.   The placing of the amplifier in the centre of the organ chamber allows the solo voice to issue from the same area as the pipe accompaniment.
     ll
If one wishes further dissertation on the voicing of the organ pipe, the website by Colin Pykett provides a wealth of in-depth technicalities.   In his "How the Flue Pipe Speaks", Colin Pykett gives exactly what is required in voicing.

Frank Iacino gives the following definitive statement on voicing:-⁽²⁾

1. The rate of the tonal build-up and the change of the harmonic structure as the tone matures.
2. The degree of tonal steadiness and the shape of the harmonic structure
3. The rate of decay and the change of the harmonic structure during the decay process.
ll
Now this is exactly what governs the program in setting a synthesized voice - the attack of the sound (the transient in organ pipes), the sustain, the decay and the release of the note. This is termed the ADSR graph (attack, decay, sustain, release). What is added, however, is one complete rank/voice adjusted at the consol to take into account the reverberation in the building. Would that the pipe voicer had this facility to hand in organ building, thereby cutting both time and costs.

The above graph is laid down step by step for each voice singly or in combination. One can think of the Casio digital synthesizer's programming mechanism as its own inbuilt computer to manufacture the settings. As I have already stated, these voices should be built in the church and the organist's ear, as in the skills of a tuner, will force the synth to conform to the attack, decay, sustain and release of the organ pipes with the church's acoustics as a secondary factor. The volume of each program will depend whether it is reproducing a soft positif combination or a solo tuba. N.B. The volume of the amplifier will remain constant - it is the work of the synth program to determine the necessary volumes.

Below are a number of settings for the Casio range of synthesizers. We are concerned with the following basic steps in programming the synth. All of the settings are displayed on an LCD:-

Parameter Section

1. wave forms

.........a) sine wave - pure tone e.g. bourdon, flutes 8' & 4', piccolo
//////////////////

.........b) triangle wave - suitable for producing diapason ranks
//////////////////

.........c) square wave - suitable for bass clarinet & clarinet sounds
//////////////////

.........d) sawtooth wave - harsher than the above, suitable for orchestral oboe, cornopean, /////////////horn,trumpets, tuba, trombone, bombarde & contra bombarde
//////////////////

2. envelope settings

.........a) DCO (digital controlled oscillator) using 1 oscillator per voice allows 8 note
.............polyphony i.e. full chords ; 2 oscillators allows only 4 note polyphony - 4 note
chords.
.........b) DCW (digital controlled waveform) changes the timbre of the sound over time.
.........c) DCA (digital controlled amplitude) decides the volume required.

3. vibrato = the organ tremulant and can vary the rate per minute of vibrato and the depth.
4. octave = similar to the effect of an organ coupler - raises the pitch up or down one
octave.
5. detune = fine-tuning the note e.g. up a octave and a fifth to produce a nazard 2^2/3',
although/the synth requires this entry to be 1 octave and 07 notes (i.e.semitones).

^{The following are a

few examples of charts with all

the settings filled in to enable

the user to find a few voices

immediately as starters:-}

^{//Dulciana

8'}

MODU

_LATION

DET

UNE

VIB

RATO

OCT

AVE

line select

ring

noise

+/-

octv

note

fine

wave

delay

rate

depth

+/-

range

off

DCO1

DCO2

WAVE

FORM

WAVE

FORM

first

second

first

second

^{.............................................................}

Step	1	2	3	4	5	6	7	8	Step	1	2	3	4	5	6	7	8
Rate	50								Rate
Level	00								Level
Sust/End	end								Sus/End

^{//DCW 1..............................................................................................DCW

2}
^{//Key Follow: 0...................................................................................Key Follow:}

Step	1	2	3	4	5	6	7	8	Step	1	2	3	4	5	6	7	8
Rate	70	00							Rate
Level	30	00							Level
Sust/End	sus	end							Sus/End

^{//DCA 1............................................................................................DCA

2}
^{//Key Follow: 0................................................................................Key Follow:}

Step	1	2	3	4	5	6	7	8	Step	1	2	3	4	5	6	7	8
Rate	70	00							Rate
Level	20	00							Level
Sus/End	sus	end							Sus/Emd

^{-o-o-o-o-o-o-o-o-o-o-o-o-}

^{//Flute 8' &

Tierce 13/5' with

tremulant}

///

MODU

LATION

TUNE

VIB

RATO

TAVE

line select

ring

noise

+/-

octave

note

fine

wave

delay

rate

depth

\++/-

range

1 + 2

off

^DCO1

^DCO2

^WAVE

^FORM

^WAVE

^FORM

^first

^second.

^first

^second.

^{...........................................................................//////}

Step	1	2	3	4	5	6	7	8	Step	1	2	3	4	5	6	7	8
Rate	50								Rate	50
Level	00								Level	00
sus/end	end								sus/end	end

^{//DCW 1.........................................................................................DCW

2}
^{//Key Follow: 0..............................................................................Key Follow: 0}

Step	1	2	3	4	5	6	7	8	Step	1	2	3	4	5	6	7	8
Rate	73	53	50						Rate	73	53	50
Level	99	85	00						Level	99	85	00
sus/end		sus	end						sus/end		sus	end

^{///DCA 1...............................................................................................DCA

2}
^{///Key Follow: 0...................................................................................Key Follow: 0}

Step	1	2	3	4	5	6	7	8	Step	1	2	3	4	5	6	7	8
Rate	70	60							Rate	70	60
Level	06	00							Level	25	00
sus/end	sus	end							sus/end	sus	end

^{-o-o-o-o-o-o-o-o-o-o-o-o-}

^{//Orchestral

Oboe 8'}

MODU

LATION

DET

UNE

VIB

RATO

OCT

AVE

Line Select

ring

noise

+/-

octave

note

fine

wave

delay

rate

depth

+/-

range

off

^//

DCO1

DCO2

WAVE

FORM

WAVE

FORM

first

second

first

second

^///

step

rate

level

sus/end

***

sus

end

sus/end

^///
^{.. DCW1......................................................................................,..............DCW2}
^{//Key

Follow: 9............................................................................,............Key Follow:}

step

rate

level

sus/end

***

end

sus/end

^/////
^{//DCA1..........................................................................................,,............DCA2}
^{//Key

Follow: 0..............................................................................,,..........Key Follow:}

step	1	2	3	4	5	6	7	8	step	1	2	3	4	5	6	7	8
rate	70	60							rate
level	20	00							level
sus/end	sus	end							sus/end

^{-o-o-o-o-o-o-o-o-o-o-o-o-o-}

^{//Tuba Mirabilis

8'}

MODU

LATION

DET

UNE

VIB

RATO

OCT

AVE

Line Select

ring

noise

+/-

octave

note

fine

wave

delay

rate

depth

+/-

range

1 + 2

off

^{////////////////////}

DCO1

DCO2

WAVE

FORM

WAVE

FORM

first

second

first

second

^//

step

rate

rate

level

sus/end

end

sus/end

end

^///
//DCW1..............................................................................................DCW2
//Key Follow: 4.................................................................................Key Follow: 4

step	1	2	3	4	5	6	7	8	step	1	2	3	4	5	6	7	8
rate	73	53	50						rate	73	53	50
level	80	90	00						level	80	90	00
sus/end	***	sus	end						sus/end	***	sus	end	/	/	/	/	/

^///
//DCA1.................................................................................................DCA2
//Key Follow: 3 ..................................................................................Key Follow: 3

step	1	2	3	4	5	6	7	8	step	1	2	3	4	5	6	7	8
rate	70	60							rate	70	60
level	99	00							level	70	00
sus/end	sus	end							sus/end	sus	end

-o-o-o-o-o-o-o-o-o-o-o-o-

Clarinet 8' & Tierce 1^3/5'
^//

MODU

LATION

DET

UNE

VIB

RATO

OCT

AVE

Line Select

ring

noise

+/-

octave

note

fine

wave

delay

rate

depth

+/-

range

1 + 2

off

^//

DCO1

DCO2

WAVE

FORM

WAVE

FORM

first

second

first

second

^//

step

rate

level

sus/end

end

sus/end

end

^////
^{DCW 1.........................................................................................DCW2}
^{//Key Follow: 0...............................................................................Key Follow 0}

step	1	2	3	4	5	6	7	8	step	1	2	3	4	5	6	7	8
rate	99	00	/	/	/	/	/	/	rate	73	53	50	/	/	/	/	/
follow	99	00	/	/	/	/	/	/	follow	99	85	00	/	/	/	/	/
sus/end		end							sus/end	/	sus	end

^{///DA1.................................................................................................DA2}
^{///Key Follow: 0.................................................................................Key Follow: 0}

step	1	2	3	4	5	6	7	8	step	1	2	3	4	5	6	7	8
rate	70	60							rate	70	60
follow	20	00							follow	20	00
sus/end	sus	end							sus/end	sus	end

-o-o-o-o-o-o-o-o-o-o-o-o-

^{How may one change a voice

with minimum of effort? To

change from a penetrating Tuba, all

that is required is to remove all

the DCO2, DCW2 & DCA2 settings

and reduce the DCA1 level from 90 to

60 thereby finding a far less

penetrating and more pleasant

trumpet e.g. to use in Handel's "The

trumpet shall sound".}

^{At DCA Step 1, the rate

= attack / level = volume}
^{DCA Step 2, the rate =

reverberation}

^{When building a reed

voice -}
^{DCW Step 2, rate

- the lower the integer, the more

reediness in the attack.}
^{DCW Step 2, level

- the higher the integer the more

sustained the reedy edge to the

tone.}

If one wishes no vibrato on a combination which has vib. inbuilt, simply flick the vib. button.

To return to the Casio CZ1000.   An opening was made in the organ console immediately above the Swell manual, the resulting aperture housing the synth keyboard. The removed panel could be replaced when the keyboard was not in use and fastened in situ by two clips.   A cable ran from the synth up the nearest pillar to the console, along the top of the rood screen and into the North chamber - all very well hidden.   The 200 watt amplifier was positioned in the centre, not the forefront, of the organ chamber and connected to a nearby socket.
ll
In this way I now had a third manual or, with the quick changing buttons of the synth, really a third and fourth manual.   Pedal sounds could be produced but these had to be played by the left hand duplicated by the organ pedals while the right hand coped with as many notes as was possible. The use of the pedal tones, therefore, had to be quite selective, e.g. the final line or lines of a hymn. The occasional chorale prelude, if of sufficiently sparse texture in the manual parts, allowed this also to be a possibility e.g. the chorale prelude "Vom Himmel hoch, da komm' ich her" by Bach.

Here now are the combinations that emitted from the synthesizer.   I was asked to do a demonstration recital to the local Society of Organists in Tayside and the members had to confess at the end of the evening that they felt that they had been listening entirely to pipework during the demonstration.   One observation - with all pipework blowing, the synthesized Tuba Mirabilis could scythe through the welter of sound like a great well-honed sword!

ll
CASIO CZ DIGITAL SYNTHESIZERS
ll
There is memory bank within the synthesizer marked 'Internal'
and a 'Cartridge' as a secondary memory, very
similar to a computer external flash drive.

As is usual in the organ world, I have given the reeds a red colour

Internal
/
Solo
/
1. Flute 8’
2. Concert Flute 4’
3. Tibia 8’
4. Tibias 8’ + 4’
5. Tibias 8’ + 2'
6. Krumhorn 8’
7. Krumhorn 8’ + Nazard 2^2/3
8. Vox Humana 8'

Cartridge
/
Positive

1. Dulciana 8’
2. Dulciana 8’ + Salicet 4’
3. Small Open Diapason 8
4. Flute 8’ + Nazard 2^2/3’
5. Flutes 8’ + 2’
6. Flute 8’ + Tièrce 1^3/5’
7. Flute 8’ + Septième 1^1/7'
8. Orchestral Oboe 8’

Internal Select
    /
Pedal
   /
1. Large Open Diapason 16’
2. Small Open Diapason 16’
3. Contra Dulciana 16’
4. Large Open 16’ + Octave 8’
5. Small Open 16’ + Gemshorn 8’
6. Contra Dulciana 16’ + Dulcet 8’
7. Large Open 16’ + Fifteenth 4’
8. Small Open 16’ + Salicet 4’
       /

Cartridge Select
     /
Solo: 1 to 4    Pedal: 5 to 8
    /
1. Cornopean 8’
2. Tromba 8’
3. Tromba 8’ + Clarion 4’
4. Tuba Mirabilis 8’      lll
5. Trombone 16’
6. Trombone 16’+ Tromba 8’
7. Bombarde 16’
8. Contra Bombarde 32’ +
        Bombarde 16’

At the present time I have a bank of synthesizers, digital and vector,
at home at the west end of 'the office' and here I settled on the
optimum colours of registration in collaboration with the
international recitalist, Michael Bonaventure Tomassi,
for organ works he commissioned me to compose
for the Edinburgh International festival.