Technical Library CONTINUO ORGAN III: Tuning the Continuo Organ Entire Contents Copyright © 2015 CBH

• As always, a stable environment provides a long-lasting tuning.
• Raise the organ on sticks to ensure sufficient cool air can reach the blower intake on the right bottom, particularly on carpeted floors.
• If possible, have the organ set up and turned on for a period prior to tuning.
• Contrary to string instruments which fall in pitch as temperature rises, wind instruments including organs rise with temperature: Always set the pitch of the organ lower to begin, lest it become too sharp for the ensemble.
• You will not be able to tune in wind drafts, or with people moving in close proximity (eg setting up an orchestra) because of the Doppler effect.
• Become familiar with the pipe layout: Most of the time spent tuning an unfamiliar organ will be finding which pipe is where. The layout pictured below is typical of the 3.5 rank continuo organ of the past decade or more. Earlier models have slight variation, especially with the lower pipes of the 8⁠´ and 4⁠´ ranks.
• Note that the intonation will be slightly altered after tuning if the flap is closed for playing softer.

ALWAYS ASCERTAIN THE KEYBOARD POSITION PRIOR TO TUNING SO THAT YOU ARE TUNING THE INSTRUMENT AT ITS CORRECT PITCH.

JIM KASSON

Tuning the continuo organ for a performance in the San Carlos Borroméo de Carmelo Mission

Tuning the Continuo Organ…

Organ tuners traditionally prefer to set their temperament from a Principal rank: Without a change of approach, they are likely to spend far too much time on this sort of small organ without obtaining a decent result. I tune in a somewhat unconventional manner, but the following method which I’ve developed over fifteen years works well:

1. Always set the temperament on the middle octave of the stopped 8⁠´. This is the basic voice of these small continuo organs, and depending on repertoire, it is sometimes even the only rank to be used during a performance.

2. The Klop can be tuned single-handedly while playing the keyboard with the left hand. There is good access to almost all the pipework through the top flap. The exceptions are the E–F♯ on the 8⁠´ (which require the treble panel to be removed); C (front panel) and C♯ (rear panel) on the 4⁠´; and C and C♯ on the 2⁠´ (rear panel). The panels should always be replaced and the tuning checked after those notes before proceeding.

3. There is not a lot of harmonic information available to the ear from the stopped wooden pipes, so the temperament is quickest set with an electronic tuner or app. Work from c' to c'', checking for those intervals which according to temperament may be pure, or have known or comparative rates.

4. Tune the treble up in octaves from the bearings octave.

5. Tune the bass down in octaves.

6. Add the 4⁠´, and tune it to the 8⁠´ of your c' to c'' bearings octave.

7. Leave the 8⁠´ ON, and tune the treble of the 4⁠´, always playing octaves to simulate the likely amount of wind drawn in actual playing, rather than tuning a single upperwork pipe to a single other pipe.

8. Tune the 4⁠´ down from c', again playing octaves.

9. Add the 2⁠´, and tune the bearings octave from c' to c'' in unison with the 8⁠´ + 4⁠´.

10. Leave both 8⁠´ + 4⁠´ ON, and tune the treble of the 2⁠´, again always playing octaves.

11. Tune the 2⁠´ down from c' likewise.

12. Add the Quint, and tune the bearings octave to all the other ranks.

13. Continue the Quint from c'' to the extreme treble, playing in octaves.

Please refer to the Temperament section of the Technical Library for background and instruction on setting a variety of historic temperaments.

CAREY BEEBE

Location of the pipes at A440 for tuning purposes in the Klop Continuo Organ

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