The Case

It has the same exact size as the original, and it is made of cedar wood. The ornamentation, carvings and moldings have been reproduced using cedar wood of a different color.

The instrument

The “machinery” has been designed after the model, applying the traditional Castilian techniques which have shown the best endurance over the last 250 years. It has one slider windchest, made of first-class quality cedar wood; the sliders are made of walnut.

The windchest is chromatic, and every stop is split. The grooved blocks link this sequence of notes with the piping’s pattern in the front.

It has also a small grooved block for the Violón bass notes, and a raised small windchest for the Corneta. Made of very dry and clean cedarwood, they are grooved on both sides, and all possible friction points are secured with tanned sheep-skin called “Baldés”, traditionally used in Castilian organs.

The action

The key action is very simple with roller board with iron arms or bracillos.

It has wrought iron registry action and wooden pull and connecting rods.

All the parts have been built following the model and using similar wood, although some traditional techniques have been overriden in order to preserve the security and stability of the action, like the use of wrought nails for fixation of the upper-boards and sliders in the windchest.

The keyboard

The keyboard is made of bone, for the natural notes, and blackwood, with the original’s slight decoration, and the keys are of very dry pine wood. Its dimensions do not follow any historical standard, since there was none at the time of the organ’s construction. However, there is certain uniformity in the width of the octave.

The keys lenght is very short and the pulling point is always as close to the hand as it was possible. The actioning is thus of the maximum smoothness, precise and sensitive. The console’s window fits very close and, like is traditional in small Iberian organs, and the insertion of the music stand is quite difficult.

La Tubería

The piping is the area in which it has been sought the deepest approach to the principles and development of its original construction. Although Juan de Inés worked with great austerity, he preserved the quality and restraint of his predecessors. All the piping is made of a 50% tin and lead alloy, of a fair thickness and a solid construction. The ‘one size’ principle is kept for each family of labial stops.

The replica complies faithfully with all the parameters found in the original. The metal is cast over cloth, and the pipes have been hand planed, always at cross direction to the pipe’s lenght, as it was traditionally done.

Metal sheets casting and forging, and pipe construction. The languids are made of lead and they keep a constant angle in all the sets. The reed ranks are arranged in the front, set in “W”, with their horn bells.
The shallots have welded lids, as it is the normal use in this school.

The bellows

There is one wedge bellows “one yard wide and two long”, as it was traditionally used, with six folds. They are all made of cedar wood and white “Baldés” tanned sheep-skin.

The harmonization
El diapasón se ha determinado a 440Hhz a 21º para poder tocar junto a   instrumentos  modernos.

The harmonization and tuning must collect all the efforts put into the construction of the single parts of the organ, for they are the ultimate goal of all that work. The main lines and the details in the original model have been kept, in order to obtain the right character in all the stops, both separately and as a whole. The tuning pitch has been set in 440 Hz at 21ºC so that it can be played along modern instruments and the wind pressure in 40 mm w.c. The harmonization of all the piping was made with open foot. The temperament is the modified 1/5 comma meantone. The timpani in D and A may be used as pedal note for these tones. The Clarín Opus III is the third organ we’ve built for this project, and it is a replica of the organ in Marugán (Segovia).

The construction of the organ has been carried out according to the traditional techniques of the 18th century, using cedar and walnut wood, tanned sheep-skin, bone keyboards, traditional making of the pipes, metal casting, handmade wrought, and the parameters and harmonization of the pipes were made off the original model.