Notes

¹The Gamba is based on muted cello samples from the SHARC Timbre Database, with additional modifications. Visit the SHARC website at http://sparky.parmly.luc.edu/sharc/to explore the fascinating collection of data and sound samples for almost all the instruments of the Western symphony orchestra.

²The Principals in this combination are those used on the Grand Orgue, of relatively normal scale.

³The Principals on the Positif are derived from samples of the modern concert flute. As a result, they provide an interesting contrast with the Principals of the Grand Orgue. The sound is equivalent to a flue pipe of relatively narrow scale, voiced close to overblowing, thus producing a sound that is richer and somewhat dense. Where possible, this difference in scale has been exploited in the construction of the stops assigned to the Positif in the JEUX SoundFont.

⁴The Viola is based on samples from the SHARC database, though considerably modified. See Note 1, above.

⁵The Principals in this combination are those on the Positif, of relatively narrow scale.

⁶The Krummhorn rank is based on recordings of actual instruments, and has the strong raspy sound characteristic of the Renaissance instrument.

⁷The Cromorne rank, distinct from the Krummhorn rank, is a standard modern reed stop, with a much smoother quality than the samples used for the Krummhorn.

⁸The Cor Anglais is based on samples from the SHARC database, producing very interesting results when used as a solo stop. See Note 1, above.

⁹The Schalmei might better be termed Hautbois, as it is based on a particularly mellow Oboe note from the SHARC database, somewhat modified. It is intended mainly as a treble solo. We could go so far as to consider this rank as a divided "Basson-Hautbois" (found in many historic French organs), even though the same sample is used through the entire range. The perceived timbre difference is strictly an aural artefact, albeit a very useful one. See Note 1, above.

¹⁰The Orlos is a kind of Regal sometimes found on Spanish organs. The sample used here seems a good approximation. This stop was introduced in JEUX version 1.1, and replaces the Dulcian of the original release, which was based on a muted trumpet sample. In fact, the sounds are similar in terms of overtone structure, but the new stop should be far more useful.

¹¹The Clarines (plural of Clarin, Spanish name for the higher, brighter trumpet stops) are included in the JEUX SoundFont to simplify registration of Spanish organ music. The combination used here is equivalent to Trompette 8 + Clairon 4.

¹²The Jeu de Cromorne IV provides a realization of a fairly typical usage from the late 17th Century: Cromorne 8', Bourdon 8', Prestant 4', and Nazard 2 2/3'. As the Cromorne is here assigned to the Positif, the Prestant uses the logical narrow-scaled pipes of that manual, as described in Note 4, above.

¹³Spanish organs frequently provide two flue choruses, one of normal scale (Lleno is one name for this), and one of wider scale, the Nazardos. The realization used here adds 16', 2', 1 1/3', 1', and 2/3' ranks to the standard Nazard III recipe. While I know of no organ with so many ranks of Nazardos, the sound seems useful and appropriate.

¹⁴The Jeu de Tierce V is a realization of a typical recipe for use in pieces labeled "Tierce en Taille" etc. The registration differs from the standard Cornet 5 in that the 4' and 2' ranks are principals instead of flutes (in this case, using the narrow-scale ranks assigned to the Positif, see Note 5, above). The Jeu de Tierce and Cornet had many uses, with or without tremulant, in "Dialogues", fugues, etc. Where the Jeu de Tierce does not seem strong enough, the Sesquialtera II or Larigot may be added.

¹⁵The Jeux Doux here includes 16', 8', and 4' bourdons, a combination that seems to balance fairly well in most situations where "jeux doux" would be specified in an original registration. Typically, this would be against a strong solo registration on the Grand Orgue or Récit, such as Grand Cornet, Jeu de Tierce, Dessus de Trompette, Basse de Trompette,etc. Other possibilities for "jeux doux" include Gedackt 8' + 4', Gedackt 8' + Prestant 4', etc., dictated by the (presumed) good taste and discretion of the performer.

¹⁶The Piffaro is the Italian equivalent of the Flute Celeste, using pipes of principal scale. Some trickery is involved in this implementation. The real pipes for Piffaro sometimes had a double mouth, one a little lower than the other,producing the characteristic slow heterodyne beats from a single rank.

¹⁷The Voix Humaine IV is a realization of a fairly typical French recipe from the late 17th Century, seemingly intended to soften the effect of the Vox Humana rank (a regal), while at the same time increasing its volume. The recipe used here adds Gedackt 8' + 4' and Nazard 2 2/3', with a mild tremulant. Similar combinations are called for in a few German registrations that have survived.

¹⁸The Trompetta de Batalla is derived from a tuba sample. It seems a reasonable substitute for the stop found on Spanish organs.

¹⁹The Gros Cromorne 8' is based on an "enhanced" sample from actual bass krummhorns. A more typical classic French registration would have used something like our Jeu de Cromorne, though there is precedent for Cromorne ranks of exceptional power in France.

²⁰The Basse de Trompette 16' is based on a sample from a French organ. However, most classic French organs probably did not have a Trompette of this scale. Instead, the pieces labeled "Basse de Trompette" could employ a registration such as Trompette 8' + Bourdon 8' + Prestant 4' to achieve the required gravity, if the Trompette alone was too weak. Suitably toned down, the Basse de Trompette 16' sample also powers the Posaune 16' in the JEUX SoundFont.

²¹The "Gobletflöte" is a fanciful rank assigned to the Echo manual, derived from the sound produced by a large wine glass I found in my kitchen. I suppose the traditional warning should be repeated here, part of the lore of the Glass Harmonica, as I heard it from Bruno Hoffmann. The vibrations of the glass, transmitted through the wet fingertips, are supposed to travel up the nerves of the arm to the spinal chord and thence to the performer's brain, where they will inevitably cause madness after a long time. I do not know if Bruno ever suffered from this effect, but he certainly enjoyed recounting this story to his audiences. The Gobletflöte rank produces a very ethereal sound.

²²The Resultant 32' depends on the phenomenon of the "difference tone". It is composed of bourdons at 16' and 10 2/3', capable of giving the effect of a registration of 32' + 16' + 10 2/3'. Much depends on the speaker system,and the effect is rather subtle.

²³The Fagotto is based on bassoon and contra-bassoon samples from the SHARC database.

²⁴The Zimbelstern stop is implemented so that the effect of starting and stopping the rotation of the "star" can be heard. It uses 7 tuned bells, and is transposable to all keys. The MIDI notes 60-71 generate the effect of the Zimbelstern starting up and continuing for as long as the note lasts. If the note is followed by the corresponding MIDI note one octave lower (i.e., MIDI notes 48-59), the Zimbelstern will be heard to slow down and come to a stop.

²⁵The Nachtigal stop is found all over Europe, though there is not a lot of information on how it was used. The JEUX SoundFont features two actual male Nightingales singing from opposite sides of the virtual organ case. Our Nightingales can sing in any key, but their natural range is somewhere around Middle C, MIDI note 60. By playing much lower notes, MIDI note 48 or lower, one may begin to appreciate the complexity of their song! The song continues in stereo for as long as the MIDI note lasts. When the note is released, the song fades gradually away. The effect seems particularly à propos in certain passages of the Handel organ concertos.