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In music, the organ is a keyboard instrument of one or more Pipe organ or other means (generally woodwind or electric) for producing tones. The organs have usually two or three, sometimes up to five or more, manuals for playing with the hands and a Pedal keyboard for playing with the feet. With the use of registers, several groups of pipes can be connected to one manual.
The organ has been used in various musical settings, particularly in classical music. Music written specifically for the organ is common from the Renaissance to the present day. , the most traditional type, operate by forcing air through pipes of varying sizes and materials, each producing a different pitch and tone. These instruments are commonly found in churches and concert halls, where they have long been associated with liturgical music and grand ceremonial occasions.
Mechanical or electronic systems are used by non-pipe organs to emulate the sound of pipe organs.
The pipes are divided into ranks and controlled by the use of Organ stop and combination pistons. Although the keyboard is not expressive as on a piano and does not affect dynamics (it is binary; pressing a key only turns the sound on or off), some divisions may be enclosed in a swell box, allowing the dynamics to be controlled by shutters. Some organs are totally enclosed, meaning that all the divisions can be controlled by one set of shutters. Some special registers with free reed pipes are expressive.
It has existed in its current form since the 14th century, though similar designs were common in the Eastern Mediterranean from the early Byzantine period (from the 4th century AD) and precursors, such as the Water organ, have been found dating to the late Hellenistic period (1st century BC). Along with the clock, it was considered one of the most complex human-made mechanical creations before the Industrial Revolution. Pipe organs range in size from a single short keyboard to huge instruments with over 10,000 organ pipe. A large modern organ typically has three or four keyboards (manuals) with five octaves (61 notes) each, and a two-and-a-half octave (32-note) Pedal keyboard.
Wolfgang Amadeus Mozart called the organ the "King of instruments". The King of Instruments - National Catholic Register Some of the biggest instruments have 64-foot pipes (a foot here means "sonic-foot", a measure quite close to the English measurement unit) and it sounds to an 8 Hertz frequency fundamental tone. Perhaps the most distinctive feature is the ability to range from the slightest sound to the most powerful, plein-jeu impressive sonic discharge, which can be sustained in time indefinitely by the organist. For instance, the Wanamaker organ, located in Philadelphia, US, has sonic resources comparable with three simultaneous symphony orchestras. Another interesting feature lies in its intrinsic "polyphony" approach: each set of pipes can be played simultaneously with others, and the sounds mixed and interspersed in the environment, not in the instrument itself.
Most services also include solo organ repertoire for independent performance rather than by way of accompaniment, often as a prelude at the beginning the service and a postlude at the conclusion of the service.
Today this organ may be a pipe organ (see above), a digital or electronic organ that generates the sound with digital signal processing (DSP) chips, or a combination of pipes and electronics. It may be called a church organ or classical organ to differentiate it from the theatre organ, which is a different style of instrument. However, as classical organ repertoire was developed for the pipe organ and in turn influenced its development, the line between a church and a concert organ became harder to draw.
Theatre organs tend not to take nearly as much space as standard organs, relying on extension organ (sometimes called unification) and higher wind pressures to produce a greater variety of tone and larger volume of sound from fewer pipes. Unification gives a smaller instrument the capability of a much larger one, and works well for monophonic styles of playing (chordal, or chords with solo voice). The sound is, however, thicker and more homogeneous than a classically designed organ. In the US the American Theater Organ Society (ATOS) has been instrumental in programs to preserve examples of such instruments.
Keyboard pieces that predate Beethoven may usually be as easily played on a chamber organ as on a piano or harpsichord, and a chamber organ is sometimes preferable to a harpsichord for Basso Continuo playing as it is more suitable for producing a sustained tone.
The chord organ was invented by Laurens Hammond in 1950. Laurens Hammond, Encyclopædia Britannica Online, 2009 - His later inventions included the chord organ (1950, i.e. Hammond S-6 chord organ). It provided chord buttons for the left hand, similar to an accordion. Other reed organ manufacturers have also produced chord organs, most notably Magnus from 1958 to the late 1970s.
Though originally produced to replace organs in the church, the Hammond organ, especially the model B-3, became popular in jazz, particularly soul jazz, and in gospel music. Since these were the roots of rock and roll, the Hammond organ became a part of the rock and roll sound. It was widely used in rock and popular music during the 1960s and 1970s by bands like Emerson, Lake and Palmer, Procol Harum, Santana and Deep Purple. Its popularity resurged in pop music around 2000, in part due to the availability of that were light enough for one person to carry.
From the 1940s up until the 1970s, small organs were sold that simplified traditional organ stops. These instruments can be considered the predecessor to modern portable Musical Keyboard, as they included one-touch chords, rhythm and accompaniment devices, and other electronically assisted gadgets. Lowrey organ was the leading manufacturer of this type of organs in the smaller (spinet) instruments.
In the 1960s and 1970s, a type of simple, portable electronic organ called the combo organ was popular, especially with pop, Ska (in the late 1970s and early 1980s) and rock bands, and was a signature sound in the rock music of the period, such as The Doors and Iron Butterfly. The most popular combo organs were manufactured by Farfisa and Vox.
Conn-Selmer and Rodgers, dominant in the market for larger instruments, also made electronic organs that used separate oscillators for each note rather than frequency dividers, giving them a richer sound, closer to a pipe organ, due to the slight imperfections in tuning.
Hybrids, starting in the early 20th century, Synthetic Radio Organ Church Diagram French Print 1934, The ILlustration Newspaper of 1934, Paris incorporate a few ranks of pipes to produce some sounds, and use electronic circuits or digital samples for other sounds and to resolve borrowing collisions. Major manufacturers include Allen Organ, Walker, Compton, Wicks, Marshall & Ogletree, Phoenix, Makin Organs, Wyvern Organs and Rodgers.
Virtual pipe organs use MIDI to access samples of real pipe organs stored on a computer, as opposed to digital organs that use DSP and processor hardware inside a console to produce the sounds or deliver the sound samples. Touch screen monitors allows the user to control the virtual organ console; a traditional console and its physical stop and coupler controls is not required. In such a basic form, a virtual organ can be obtained at a much lower cost than other digital classical organs.
The wind can also be created by using pressurized steam instead of air. The steam organ, or calliope, was invented in the United States in the 19th century. Calliopes usually have very loud and clean sound. Calliopes are used as outdoors instruments, and many have been built on wheeled platforms.
During this time, the French Classical school also flourished. François Couperin, Nicolas Lebègue, André Raison, and Nicolas de Grigny were French organist-composers of the period. Bach knew Grigny's organ output well, and admired it. In England, Handel was famous for his organ-playing no less than for his composing; several of his organ concertos, intended for his own use, are still frequently performed.
After Bach's death in 1750, the organ's prominence gradually shrank, as the instrument itself increasingly lost ground to the piano. Nevertheless, Felix Mendelssohn, César Franck, and the less famous A.P.F. Boëly (all of whom were themselves expert organists) led, independently of one another, a resurgence of valuable organ writing during the 19th century. This resurgence, much of it informed by Bach's example, achieved particularly impressive things in France (even though Franck himself was of Belgian birth). Major names in French Romantic organ composition are Charles-Marie Widor, Louis Vierne, Alexandre Guilmant, Charles Tournemire, and Eugène Gigout. Of these, Vierne and Tournemire were Franck pupils.
In Germany, Max Reger (late 19th century) owes much to the harmonic daring of Liszt (himself an organ composer) and of Wagner. Paul Hindemith produced three organ sonatas and several works combining organ with chamber groups. Sigfrid Karg-Elert specialized in smaller organ pieces, mostly chorale-preludes.
Among French organist-composers, Marcel Dupré, Maurice Duruflé, Olivier Messiaen and Jean Langlais made significant contributions to the 20th-century organ repertoire. Organ was also used a lot for improvisation, with organists such as Charles Tournemire, Marcel Dupré, Pierre Cochereau, Pierre Pincemaille and Thierry Escaich.
Some composers incorporated the instrument in symphonic works for its dramatic effect, notably Gustav Mahler, Gustav Holst, Edward Elgar, Scriabin, Respighi, and Richard Strauss. Saint-Saëns's Organ Symphony employs the organ more as an equitable orchestral instrument than for purely dramatic effect. Francis Poulenc wrote the sole organ concerto since Handel's to have achieved mainstream popularity.
Because the organ has both manuals and pedals, organ music has come to be notated on three musical staff. The music played on the manuals is laid out like music for other keyboard instruments on the top two staves, and the music for the pedals is notated on the third stave or sometimes, to save space, added to the bottom of the second stave as was the early practice. To aid the eye in reading three staves at once, the bar lines are broken between the lowest two staves; the brace surrounds only the upper two staves. Because music racks are often built quite low to preserve sightlines over the console, organ music is usually published in oblong or landscape format.
The electric organ, especially the Hammond organ B-3, has occupied a significant role in jazz ever since Jimmy Smith made it popular in the 1950s. It can function as a replacement for both piano and bass in the standard jazz combo. The Hammond organ is the centrepiece of the organ trio, a small ensemble which typically includes an organist (playing melodies, chords and basslines), a drummer and a third instrumentalist (either jazz guitar or saxophone). In the 2000s, many performers use electronic or digital organs, called , as they are much lighter and easier to transport than the heavy, bulky B-3.
Church-style pipe organs are sometimes used in rock music. Examples include Tangerine Dream, Rick Wakeman (with Yes and solo), Keith Emerson (with The Nice and Emerson, Lake and Palmer), George Duke (with Frank Zappa), Dennis DeYoung (with Styx), Arcade Fire, Muse, Roger Hodgson (formerly of Supertramp), Natalie Merchant (with 10,000 Maniacs), Billy Preston and Iron Butterfly.
Artists using the Hammond organ include Bob Dylan, Counting Crows, Pink Floyd, Hootie & the Blowfish, Sheryl Crow, Vulfpeck, Sly Stone and Deep Purple.
The first baseball team to introduce an organ was the Chicago Cubs, who put an organ in Wrigley Field as an experiment in 1941 for two games. Ebbets Field, home of the Brooklyn Dodgers, hired baseball's first full-time organist, Gladys Goodding. Over the years, many ballparks caught on to the trend, and many organists became well-known and associated with their parks or signature tunes.
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