The technical characteristics of the instrument are the same to those of the organs built in Castile throughout the 18th century, having similar dimension, arrangement of the secret, key action and touch, as well as bellows and wind pressure. The pipe work matches that of the 18th century organs in terms of alloys, construction technique, carvings and all the details that bring us closer to that style.
Inspired by certain Castilian instruments, it is not an exact copy of any of them but all the ornamentation is documented in these cases.
The techniques are the traditional ones and the sizes and colors are obtained from the best organ cases in our environment.
Constructed in selected and dry pinewood.
The simple action of the Castilian organs has as result a soft and precise touch.
It has roller boards, direct hooking of the trackers, and ventillas (windchest valves) glued to the rear end of the keys.
Slider windchest, chromatic layout. Built in one piece and made of pinewood of high quality.
The distribution of the wind to the facade’s pipe work is done with the traditional and efficient channel boards. These carry the minas (interior galleries) in the wood and are closed with baldés (sheep tanned leather).
The metal was cast expressly for this project and brushed manually, following the custom and features of a certain Castilian school: Francisco Ortega.
50% Sn-Pb (tin-lead) metal alloy.
Four bajos del Flautado, stopped and made of wood.
The cutting of the pipe work achieved the exact length necessary for tuning and the stopped pipes have welded lids.
Horizontal reeds with canillas (little brass channels) with welded lids.
Trumpet-shaped horizontal reeds.
Two wedge bellows superimposed with six folds. Arranged for manual action and with fan and valve for normal use.
Harmonization and tuning
Harmonization attempts to recreate the character of the style we intend.
The importance of the tuning pitch and the temperament in this instrument lies in leaving it in similar conditions to those of the organs in which its music was developed.
The classic meantone temperament, used in Castile until well into the 19th century, will allow for the interpretation of this repertoire, giving meaning to the color of each tonality, as well as for a deep study of this complex and controversial aspect in terms of research.