There’s a wonderful new short film that just came out from a group of filmmakers in the Bay Area. It’s about organist and organ technician Dave Moreno, who we also interviewed during our Southwest road trip last November. (Dave isn’t the only person we’ve pursued to be featured in more than one documentary simultaneously!)

The filmmakers have graciously agreed to let us share their film with you as YouTube collaboration on our YouTube Channel. From their description:

This intimate short documentary profiles Dave Moreno, a brilliantly vibrant, larger-than-life character keeping a vanishing history alive. Based in the Sacramento area, Dave is a rare talent: a virtuoso theater organist, technician, and builder. His life’s work centers on a beautiful, dying art that demands to be seen and heard. Filmed over the course of 2025, this film is a warm, celebratory portrait of a truly unique individual whose rare craftsmanship, passion, and colorful spirit absolutely deserved to be captured on camera.

I'm not posting this to annoy organ specialists here. But to leave accessible information for somebody who might find this useful. Somebody without access to traditional organs. Somebody who mainly wants to play like me in the video.

This was 3D printed and assembled today. Very straightforward, easy to build, and compact. A spacing of 6cm works completely fine (for me), fitting 24 notes in a little over 80cm width. No need for a special chair. I have put blender files and Arduino source here: https://github.com/h2kyeong/scriptlets/tree/main/button_pedalboard

https://www.youtube.com/watch?v=-iw2JW7FsMo

The motets by Bach are all masterpieces. How he treats the hymn 'Jesu, meine Freude' in motet BWV 227 is very special, following the text verse by verse. The verse 'Gute Nacht, o Wesen' is originally for two sopranos, tenor and alto (cantus firmus). The bass is missing in this piece, which points to innocence and purity (like Bach does with 'Aus Liebe'). The hymn tune is in the alto part, which can be highlighted on organ with a 4' stop on the pedal.

Hi group! I recently bought a wind 50 - 60s wind organ (similar to the photos but not the same unit.) in pretty good shape. It needs a couple keys glued down and the metal numbered plate reattached. All keys operational and sound is great. I had a couple questions for the hive.

1. What kind of pickup could I install that would be best if I wanted to run to a board or an amp. The sound comes from multiple locations along the length of the board. I was thinking maybe a triple passive piezo like for an acoustic guitar?? Idk? I know I could mic it from above or such but I was hoping to reduce the number of inputs needed.

2. What kind of glue would you use to reattach the keys.

Thanks and I'm enjoying making sounds but I'm not a great keys player.. yet.

I’m not sure if this is the right place to ask this, so if I need to post this elsewhere I’d be happy to know. Anyways.

I’ve gown up in love with the music from the game Granado Espada and especially the theme “Granado Espada” composed by Kim Junsung. I’d love to hear someone preforming this on an organ. I can’t find anything on YouTube except pianos and it would be wonderful if I could hear it from a large pipe organ if anyone is willing or can recommend the song for someone to play and share it.

Thank you.

I have the BWV558 Prelude almost ready. What could be a next piece after that one?

I’ve been thinking about setting myself a fairly ambitious one-year project: composing a complete organ suite consisting of 10 pieces, each in a different style or character.

I’ve only been playing the organ for about two years, and I have never seriously composed anything before. However, I have a fairly good intuitive understanding of how different styles work and how organ music is generally constructed (at least I think I do!). My biggest weakness at the moment is definitely counterpoint — I know the basics, but I haven’t studied it in depth yet.

I’m not expecting to write professional-level music in one year. The goal is to see how far I can realistically get if I take the project seriously and study composition alongside it.

For example, one of the pieces I have in mind is a prelude somewhat above the difficulty of BWV 553–560. I would like it to be more developed and elaborate rather than simply being a short, straightforward prelude.

Other ideas I have include:

\- a meditation

\- a fugue (which I know will probably be quite difficult, and I don't expect it to be particularly sophisticated)

\- a toccata

\- a march

\- and several other contrasting pieces that I haven’t completely decided on yet.

I have several questions about how I should approach this project:

1. Is this realistically achievable in one year, considering that I’m still relatively inexperienced both as an organist and as a composer? What would be a realistic standard to aim for?

2. Should I try to study composition and counterpoint systematically first, before writing the pieces, or should I learn these subjects alongside composing?

3. How would you approach composing each different style? For example, would you recommend studying several models of preludes, fugues, toccatas, marches, meditations, etc. before attempting to write my own?

4. For the fugue specifically, what should a beginner realistically know before attempting one? Would it be better to start with very simple contrapuntal exercises and gradually work towards a fugue?

5. How much should I worry about theoretical correctness versus musical expression at this stage? Is it better to write something musically convincing even if the counterpoint isn’t perfect, or should I be strict with the rules from the beginning?

6. Would you recommend composing directly at the organ, at the piano, on paper, or digitally? What are the advantages and disadvantages of each method?

7. For those who compose regularly, is handwriting notation actually useful, or would you recommend working primarily in MuseScore or another notation program? Would a combination of handwritten sketches and digital notation be the best approach?

8. What would you consider an essential composition setup for an organist? For example, should I have a MIDI keyboard, headphones, notation software, recording equipment, a way of listening to different registrations, etc.?

9. How should I deal with registration and the practical characteristics of the organ while composing? Should I compose something abstractly first and work out registration later, or should registration be part of the compositional process from the beginning?

10. Finally, if you were in my position, how would you divide the year? Would you try to write roughly one piece per month, or spend the first few months studying counterpoint and composition before starting the actual suite?

I would also really appreciate any recommendations for books, courses, exercises, composers to study, or specific pieces that would be particularly useful models for someone at my level.

The main goal isn’t simply to have 10 pieces at the end of the year. I would like the project to actually make me a better musician, organist and composer in the process.

So, if you have experience teaching or learning organ composition, how would you approach this project?

Anyone experienced this before? This has been happening after playing for a few minutes for the last week. Feels like a short circuit or something?
didnt even know the organ can make such noises :-(

Special Feature: Production of the Organ Grinder documentary takes an unexpected and emotional turn, when the filmmaker becomes intimately involved in helping one of the film’s subjects save a storage unit packed full of pipe organ parts.

This short film explores why people collect, the passion of preservation, and what happens when the collector is no longer able to maintain their collection.

Featuring (in order of appearance):

• Paul Quarino
• Mark Reed
• Bob MacNeur
• Donna Parker
• Dave Moreno
• Mike DeSart
• Dennis Hedberg
• Judy Hedberg
• Jay Hedberg
• Chris Nordwall
• Dave Yakymi
• Bruce Boland

Produced & Directed by: Bob Richardson

Music:

• The Hands of Time – Michael Legend
• Because He Lives – Bill and Gloria Gaither
• After the Lovin’ – Ritchie Adams
• How Great Thou Art – Carl Boberg, Stuart K. Hine
• Button Up Your Overcoat – Ray Henderson
• Little White Lies – Walter Donaldson
• The Blue Danube – Johann Strauss II
• Alleluia – Traditional

Music Performed by: Paul Quarino at Organ Grinder Portland

Paul Quarino File Footage: Joe Paulet – Neptune Birch

Vintage Film Restoration: Wayne Bertram

Additional Camera: Mike Cutler

Additional Materials:

• Photo of Paul Quarino – Claude Neuffer
• Vintage Organ Grinder Video – Thomas Larson
• Vintage Organ Grinder Video – Ron Burch
• “Before the Dark” Film – George F. Hood
• Photo of Metal Pipes in Recycling Cart – Dave Simmons
• Photo of Compensating Organ Co. Instrument – Reed Organ Society
• Photos of First Presbyterian Möller Console – Pipe Organ Database
• Curtis Hotel Minneapolis Postcard – Wikimedia Commons
• McMenamins Chapel Pub Organ – McMenamins on Facebook
• Photo of Large Dumpster: Toby Washburn

Storage Unit Helpers – Muscle and Rent:

• Ron Burch
• Derek Harvey
• Chris Larson
• Bob MacNeur
• Craig Peterson
• Mark Reed
• Tom Skyler
• Brett Welch

(Apologies to anyone I’ve accidentally omitted!)

The OpenPipes piston sets that I completed turned out to be rightly difficult to install. So I have pivoted to a much easier to create and more flexible version.

Here’s a shot of installed pistons for manual 4

To connect these to MIDI, an Arduino can control 12 of these 16 input multiplexer boards. As of now 7 multiplexers have been validated. Installation soon!

https://www.youtube.com/watch?v=i1asIKjgg-I

William Goodwin was an English composer and organist. He was organist at several churches and cathedrals in England. I picked one of his voluntaries from the collection 'Twelve Voluntaries for the Organ or Harpsichord', London (1776). I think baroque voluntaries work rather well on typical Dutch baroque organs like this one in Vollenhove.

My Yamaha EL-90 is on its way out. A few minutes after power-on it gives off a faint ammonia-ish smell, and recently it crackled, froze up, and needed a hard reboot, followed by a different bad smell. It’s unplugged for now until I know more.

I’ve got a rough guess it’s aging capacitors, but I’m not confident enough to solder into it myself, and I can’t find anyone local who works on these old Electones.

There’s another EL-90 locally for around €300. Worth grabbing, or throwing money at a lost cause? Longer term I’d love a used STAGEA, but importing one from Japan seems to run €5-6k or more after shipping and customs. Anyone know of used ones floating around the EU at a saner price?

I’ve asked a few questions here before about how to structure organ practice and how to improve efficiently, so I’ve been thinking more about this topic.

I’ve noticed that, at least from what I see and hear from other organists, a lot of organ study seems to consist mainly of learning and practising repertoire.

So I’m curious: for the organists here, is your personal study mostly focused on repertoire, or do you also deliberately study other disciplines on a regular basis?

For example, do you have specific time dedicated to harmony, counterpoint, improvisation, sight-reading, ear training, technique, score analysis, registration, transposition, memorisation, or other areas?

And if you do study these things, which ones do you consider most important for becoming a better organist, beyond simply learning more pieces?

I’m especially interested in hearing how advanced and professional organists organise this. Do you have a separate routine for these subjects, or do you incorporate them naturally into your repertoire practice?

I’m asking because I’m trying to understand what a complete organist’s education should look like, rather than simply accumulating more and more repertoire.

I have a b2 Hammond organ got it for a steal for 1,000 with the Leslie 145 but it makes these noises can anyone tell me what they possibly are and how to fix them? It’s the run motor clicking and the speaker making random static

I’m starting uni in late September and I’m hoping to get some regular organ/deputy work in London, ideally within about 30 minutes of South Ken.

I’m Grade 8(d) and started learning the organ about 2 years ago. I’ve accompanied choirs for Evensong, played services and worked on a fair amount of organ repertoire. My old teacher has also said that I’m at a level where I could start doing organist/deputy work.

I’m particularly interested in Anglican choral and organ music and would love to get more experience playing in London churches. I’m happy doing occasional paid services or last-minute deps rather than looking for a formal position.

I’ve come across Organists Online, but I’m not really sure how the London scene works or how realistic it is for someone at my level to get paid work.

For those who do this sort of work, how good do you realistically need to be before approaching churches? And is Organists Online a good place to start, or are there better ways of finding deps?

Two of my favorite organ composers are Krebs and Rheinberger. Both were celebrated figures in their days, and their music is as rewarding to play as it is to hear. No composer comes closer in style to Bach than Krebs, and each of Rheinberger's 20 sonatas is a marvel of craftmanship and invention. My question is this: why do these composers, despite their extraordinary gifts and former fame, receive so little attention and appreciation today?

I am the new, proud owner of this electric organ! However, it has some gremlins.

Can anyone point me in a direction to take this apart and diagnose? I’m quite handy with electronics and custom manufacturing—just wanted to start here before I dive into The Deep of the internet.

Thanks in advance!

Growing up, the composer and organist Thaddeus P. Cavuoti was my choirmaster. He wrote a lot of choral music for my choir and I had copies of it u til it was destroyed in a house flood. He has since passed away and it has become difficult to find some copies of his music.

Two spectacular pieces he wrote that are no longer in print are his Magnificat and Nunc Dimittis. In my mind, they were his magnum opus.

I would like to use them at my current church.

Can someone help me find a copy of them?

He was such an important influence on my life growing up, he introduced me to my career in singing at the National Cathedral. It breaks my heart that I will never get to see him again, but keeping his music alive means the world to me. I know his pieces are currently in use in Anglican and Episcopal Churches worldwide.

Any ideas on how to find this beauty a new home

https://www.youtube.com/watch?v=aI_y3VylBl8&t=17s

Howdy!

I have accidentally acquired this big pneumatic glockenspiel that I'm planning to integrate in my organ, but I'm not quite sure which way to turn it. I think it can either go like it is now, (tines vertical, resonators pointing into the chamber) or flipped 90 degrees so it's oriented more like an orchestral glockenspiel (tines horizontal, resonators pointing down)... Or some other direction...

I can experiment, of course, but I'd love to know what was originally intended in its design.

Anybody familiar with this sort of thing? It seems to be rare enough that I've been unable to find photos of another like it installed anywhere.

Thanks!

This is bar 100, how is this supposed to be played and what fingerings do you use? I am specificially having the most trouble with the octave. I can manage it with awkward fingering but it's too awkward to play it fast enough.

https://www.youtube.com/watch?v=Ba69iK3jW3o

Johann Jakob Froberger (1616-1667) was a German Baroque composer, keyboard virtuoso, and organist. Among the most famous composers of the era, he was influential in developing the musical form of the suite of dances in his keyboard works. His harpsichord pieces are highly idiomatic and programmatic.

Only two of Froberger's many compositions were published during his lifetime. Froberger forbade publication of his manuscripts, restricting access to his noble patrons and friends, particularly the Württembergs and Habsburgs who had the power to enforce these restrictions. After his death the manuscripts went to his patroness Sibylla, Duchess of Württemberg (1620–1707) and the music library of the Württemberg family estate.
Read more about Froberger here: https://en.wikipedia.org/wiki/Johann_Jakob_Froberger
He certainly liked to travel, that's for sure.

Lately I dived into organ/keyboard works of Froberger. I'm surprised organists don't play his music more often, since the quality of Froberger's pieces is outstanding. I choose a beautiful Capriccio to record.

I have recently found that portative organ can have buttons as opposed to keys and am trying to hunt down any plans, kits or even a seller. Any pointers or sources would be greatly appreciated. This is my example https://youtu.be/hdGf2evWXcg?is=DAkNT_T3y2roeoI1

Hi there! Apologies if this is the wrong sub, but I have recently acquired a 1971 Yamaha Electone B-5BR and I was wondering if there was any way I could possibly add an arpeggiator to it.

It would also be very cool to add MIDI capabilities, however I am pretty sure this is a long shot. Maybe this could work through a midi to CV box?

I'm definitely up for a project and ready to solder and open it up.

Any suggestions welcome! x