Philipps / Wurlitzer Orchestrions

Philipps Pianella / Wurlitzer PianOrchestra
Tracker-Bar Scales

Introduction

The tracker scales described below are the result of many, many years of study and hands-on experience by this author and others dealing with and restoring Wurlitzer PianOrchestras and Philipps Pianellas (Wurlitzer imported and sold Philipps Pianella orchestrions under the Wurlitzer brand). Both original Wurlitzer and Philipps scale sticks and notations made from surviving instruments with all of their original tubing intact have contributed to the homogenized blending of what has been learned and shared below. However, getting to this point required a sorting out process that lasted many years, partly because in the quest to learn there were instances in when acquired information seemed to come from what should have been an authoritative source, but that, instead, did not perfectly coincide with original factory information or turned out to have major inaccuracies that led to a period of frustrating confusion as to what might be correct, or not. Facilitating this confusion was the fact that even original factory information was not always perfectly consistent, it occasionally displaying minor differences in terminology. Eventually, however, with continued investigative diligence the truth of the matter seemed to become self-evident. Nonetheless, there remain some differing opinions, past and present, as to the “correct” usage of a few register control functions and undefined tracker bar positions.

Regular / Style 17 PianOrchestra (Pianella P.) Tracker Scale

The Regular (or early style PianOrchestra styles) and the style 17 PianOrchestra scale are one and the same. Once the Mandolin PianOrchestra (Pianella Mandolinen, or P.M.) and Concert PianOrchestra (Pianella Cäecilia, or P.C.) line was introduced, each with their own unique tracker scale, music rolls for the earlier type PianOrchestra (Pianella, or "P.") styles were thereafter titled "Regular PianOrchestra," rather than "The PianOrchestra," their original designation. Then later on, when the Style 17 PianOrchestra continued to be sold alongside the more sophisticated Mandolin and Concert PianOrchestra styles, the music roll title "Style 17 PianOrchestra" seems to have replaced the "Regular PianOrchestra" title designation. The Regular / Style 17 rolls are noteworthy in their use of separate bell-note perforations. This feature allowed independent use of the bells, rather than always playing them in unison with the piano (and/or along with any other register that was turned on), as was the case for all the later model Mandolin and Concert PianOrchestras.

According to Wurlitzer catalogue literature, the largest of the Regular PianOrchestras boasted 165 pipes, producing violin, clarinet, flute, piccolo, violoncello, and saxophone. Apparently it had a rank of reed pipes, the single rank probably being termed as clarinet for the upper compass and saxophone for the lower range. With only two tracker bar register control functions, it is anybody's guess how the registers were tubed to control the pipes in the largest style.

Most surviving Regular / Style 17 PianOrchestra music rolls are either the very early, somewhat fragile, red paper rolls perforated in Germany, or the later red paper rolls perforated by Wurlitzer in North Tonawanda, New York. Only a relatively few of the later and very durable Wurlitzer green paper rolls are known to exist. By dating the tunes on these green paper music rolls, it is apparent that style 17 music rolls continued to be sold up through 1915, and probably later, although Style 17 sales were probably limited to old unsold stock, as the Regular and Style 17 models by this time had became obsolete.

Tracker position 11: Tracker bar perforation #11 is not used on any of the known style 17, Mandolin, or Concert series PianOrchestras, although occasional references to its use have been noted on various Philipps and Wurlitzer tracker scales for these instruments. Some models of the Regular PianOrchestra (the very early circa 1903-1907 machines) featured "automatic" mechanical figures on the front of the case, such as a bandleader, which "kept time to the music." I have noted references to tracker bar hole #11 as "Director," "Bandleader," "mechanical figure" or "automatic figure" for the Regular PianOrchestra, as well as for later style 17, Mandolin, and Concert models, too. Thus, tracker bar hole #11 is labeled "automatic figure," although that particular function for hole 11 cannot yet be proven beyond any shadow of doubt.

Tracker positions 28 and 51: These two positions interrupt the otherwise continuous musical scale represented by the tracker bar. Art Reblitz has noted that these two positions coincide with the piano action brackets in the 61-note keyboardless piano used by Philipps. Thus, he concludes, it appears as though during the very early years of production Philipps must have used deck boards with valves where there were no piano pneumatics, using the "extra" valves for controls, instead of placing these control valves in a separate box. Other manufacturers occasionally did the same thing, except that they did not arrange these functions on the music roll so as to interrupt the note scale.

Mandolin (P.M.) and Cäecilia/Concert (P.C.) Tracker Scales

There are some common terms used by Philipps and Wurlitzer to describe musical instrumentation that differs from standard pipe-organ usage. For instance, what did Wurlitzer mean when they described a PianOrchestra as having Brass Trombones, French Horns or Saxophones? Did they use reed pipes to create the tonal representations for each of these three orchestral instruments, as might be assumed from the advertising, or not? For answers to these kinds of questions, please see the page on Pianella/PianOrchestra Musical and Pipework Terminology.

* PM Tracker position 1: Tracker hole #1 is still subject to a degree of interpretation, with a DeRoy scale stick referring to it as "Flagotten," an apparent misspelling of Fagott, which is equivalent to Bassoon. There are two known surviving Philipps P.M. ("Mandolinen") type Pianellas with a rank of reed pipes that utilize this tracker position, as follows: (1) Philipps Modell 15 Pianella containing a bass rank of bassoon pipes--the only known P.M. specimen with a register solely devoted to a set of bass pipes (the larger P.C. or Concert Pianellas normally contained bass ranks). (2) In the only known Philipps Model 34 "Luxus" (style 34-A Mandolin PianOrchestra, the largest in the imported Wurlitzer Mandolin PianOrchestra series) tracker position #1 is used for Clarinet pipes. Wurlitzer Mandolin PianOrchestra rolls use perforation #1 frequently, and rarely, if ever, perforation #2, which, according to the DeRoy scale is for Clarinet. If the largest imported Mandolin series machine was the 34A, for instance, having only one reed voice, a clarinet, it would make sense for Wurlitzer to only use perforation #1, since that is how the largest Mandolin series machine was tubed, omitting any use of perforation #2, no matter whether it might have officially been intended by Philipps for a clarinet, or not.

** PM Tracker position 2: Wurlitzer Mandolin PianOrchestra rolls rarely, if ever, use this hole. One Philipps scale stick notes it as "Clarionet," another as Clarinette. There is a 4' organ reed stop known as Clarionet, which is tonally more correctly associated with a bright trumpet sound than that of a clarinet. Moreover, the term Clarinet has occasionally been mislabeled as Clarionet, adding to any confusion. All considered, it is highly likely that tracker position #2 was originally intended to control a Clarionet toned rank of reed pipes, providing a definite musical contrast to the softer sounding clarinet pipes. In actual practice, examining the surviving P.M. machines, tracker hole #2 was never used (blocked off behind the tracker bar), even when a Clarinet rank was present. See "PM Tracker position 1," above.

*** PC Tracker position 14: In the three surviving (two style 32 and one style 32A) Concert PianOrchestras, the actual instrumentation contains either a rank of clarinet pipes or oboe pipes, but not both types simultaneously, although the Wurlitzer catalogue description lists these machines as containing both clarinet and oboe voices. In the three observed Concert PianOrchestras, tracker position #14 is tubed to turn on a rank of 30 metal Quintadena pipes, which are a beautifully toned flute voice. However, an old, unsubstantiated tracker bar scale by a Wurlitzer distributor in Dallas, Texas, suggests the possibility that this position might have been used to control a clarinet voice in instruments containing both actual clarinet and oboe reed pipes.

Tracker positions 28 and 51: These two positions interrupt the otherwise continuous musical scale represented by the tracker bar. Art Reblitz has noted that these two positions coincide with the piano action brackets in the 61-note keyboardless piano used by Philipps. Thus, he concludes, it appears as though during the very early years of production Philipps must have used deck boards with valves where there were no piano pneumatics, using the "extra" valves for controls, instead of placing these control valves in a separate box. Other manufacturers occasionally did the same thing, except that they did not arrange these functions on the music roll so as to interrupt the note scale.

Tracker Scale Deviations: If the original tracker bar tubing is intact, and the register connections for a particular machine do not precisely conform to the appropriate above scale, it does not necessarily mean the instrument is incorrectly tubed. For instance, an instrument, such as the style 40 PianOrchestra with only two ranks of pipes, may have two or more tracker bar holes teed together. A rank of harmonic flutes might conceivably use either the flute or the piccolo register perforation, or both, the similarly voiced registers teed together. While this kind of arrangement may not "correctly" utilize or perfectly fulfill the intent of the music roll, it does cause pipes of a similar voice to sound, rather than leave a "hollow" or "dead" passage in the music. In machines with a single rank of pipes, the usual solution is to omit any register control, leaving the pipework turned on continuously.

Philipps Jazz-Band Piano Tracker Scale

The Philipps Jazz-Band Pianos make use of a modified version of the Philipps Pianella Mandolinen (P.M.) music rolls originally introduced circa 1904, the Jazz-Band music roll identified by a 10,000 series roll number. These 10,000 series music rolls featured jazz band arrangements popular during the mid to late 1920s. Philipps reportedly stopped cutting the older and previously standard Pianella Mandolinen (P.M.) rolls once production of the newer 10,000 series of P.M. rolls commenced, possibly around 1926, when the Jazz-Band keyboard style pianos were introduced. For the newly revised 10,000 series P.M. roll variation, the function of certain control and percussive related tracker bar holes were substantially changed or modified.

The Philipps Super Jazz-Band Orchestra was mentioned in the 1927 Philipps 50-year celebration booklet and described as: “This technical masterpiece replaces a first-class jazz band of 12 artists. It consists of an excellent cross-string piano, harmonium, several violins, cello, string bass, lotus flute, Clarinets, saxophones, and complete jazz band drums.” This was probably the Model 4 Jazz-Band Piano. Then, in the March 1, 1929, issue of Zeitschrift fur Instrumentenbau (on page 502), it is stated that Philipps was showing its interested parties the new Philipps Jazz-Band Model 4a (the character “a” indicating the installation of an automatic roll changer). It is speculated that the Jazz-Band Models 1 through 3 used the same upright piano style case, while the Model 4, due to the much larger complement of pipework voices, may have had an modified or enlarged case.

The original Philipps Mandolinen (P.M.) scale is shown at left (for the purpose of conveniently comparing the two variations of the P.M. tracker scale) but with a grayed background to put the main focus on the Jazz-Band Piano tracker scale. What follows below is a Philipps Jazz-Band Piano tracker scale courtesy of Thomas Richter and Art Reblitz, and verified during the restoration of two Philipps Model 2 Jazz-Band Pianos by Art Reblitz. Please keep in mind that the applicability of this tracker scale is limited to the Modell 1 and Modell 2 Jazz-Band Pianos. If and when the examination of Modell 3 and Modell 4 Jazz-Band Pianos takes place, currently unknown tracker bar hole functionality can be determined.

Tracker bar notes for the Philipps Jazz-Band Piano:

Expression and Registers:

• TB Hole #9: The crash cymbal has two beaters, a smaller reiterating beater that plays from tracker bar hole #9, and a larger (single stroke) beater that plays along with the main bass drum beater from tracker bar hole #85.
• TB Hole #11: Sforzando, or accent for swell shutters, piano, and percussive trapwork (chain type perforation).
• TB Hole #51: This perforation occurs at the beginning of the music along with other registration functions, but it is shorter than the other register “on” controls, which suggests that it might have been intended to perform some sort of cancel operation. Both Jazz-Band Pianos with full instrumentation (restsored by Art Reblitz) had this tracker bar tube extended into the top part of the cabinet where it had been cut off, so its destination and function is unknown. The function of the perforation could be for accenting something, as it sometimes occurs at the same time as hole #11 (Sforzando accent). It is probably not for the drums and trapwork because accent #11 is used by itself for accents during drum solos.
• TB Hole #77: Gradual crescendo for piano vacuum regulator, piano hammer rail, drum and trapwork vacuum regulator, and swell shutters.
• TB Hole #78: Gradual decrescendo for piano vacuum regulator, piano hammer rail, drum and trapwork vacuum regulator, and swell shutters.
• TB Hole #79: Saxophone reeds on. (Cello pipes on for conventional Pianella Mandolinen P.M. rolls.)
• TB Hole #82: Not used. Tracker bar tubing junction has original factory plug. (Hammer rail down for conventional Pianella Mandolinen P.M rolls.)
• TB Hole #83: Not used. Tracker bar tubing junction has original factory plug. (Drum expression loud for conventional Pianella Mandolinen P.M. rolls.)

Extra Instruments:

• TB Hole #10: Orchestra bells with reiterating action, with the usual 13-note compass.
• TB Hole #79: Saxophone reeds, 19 notes, tracker bar holes 39 (Middle C) through 58 (F#). These play one octave lower than their associated piano and violin pipe notes. Jazz-Band Piano rolls often play extended notes, either melody or countermelody, arranged specifically for these 19 saxophone reeds.
• TB Hole #80: Violin pipes, the usual 30 notes, played from tracker bar holes 46 (G) through 76 (C). A tremolo mechanism operates whenever the violin pipes play.

Percussion:

• TB Hole #9: Loud reiterating wooden beater on crash cymbal for major accents. (Triangle for conventional Pianella Mandolinen P.M. rolls.)
• TB Hole #84: Early Jazz-Band Pianos: Tambourine. Late 1920s Jazz-Band Pianos: A pair of reiterating 7½” hi-hat (or charleston) cymbals for bright, medium, and loud accents.
• TB Hole #86: Reiterating beater on wood block. (Castanets for conventional Pianella Mandolinen P.M. rolls.)

Tracker positions 28 and 51: These two positions interrupt the otherwise continuous musical scale represented by the tracker bar. Art Reblitz has noted that these two positions coincide with the piano action brackets in the 61-note keyboardless piano used by Philipps. Thus, he concludes, it appears as though during the very early years of production Philipps must have used deck boards with valves where there were no piano pneumatics, using the "extra" valves for controls, instead of placing these control valves in a separate box. Other manufacturers occasionally did the same thing, except that they did not arrange these functions on the music roll so as to interrupt the note scale.

Philipps Pianella Modell P.E. Violinen Orchester -- No Wurlitzer Equivalent

As of this writing there are only two known specimens of this relatively small Philipps Pianella Modell P.E. Violinen Orchester, possibly introduced sometime around 1915 or 1916. Moreover, absolutely no catalogue information (or inferences to it) have to date been observed regarding this odd machine, nor does there seem to be any mention of it in the German trade journal Zeitschrift für Instrumentenbau. A plaque above the music roll access door simply reads: "Philipps - Pianella," The music rolls bear a Philipps label with a "P.E." music roll type designation.

The Philipps Pianella Modell P.E. Violinen Orchester plays the type P.E. music roll, which is the same exact width and hole spacing as (1) the early Philipps Pianella (Wurlitzer Regular/Style 17), (2) the Pianella Mandolinen (Wurlitzer Mandolin PianOrchestra), and (3) the Philipps Cäecilia (Wurlitzer Concert PianOrchestra) music rolls, but its tracker scale layout it is uniquely different. The piano plate is divided into two very distinct sections. On the left side is a 29 note piano, and on the right is a 17 note mandolin section with a reiterating ratchet type action, and there are separate music roll note sections for both the small piano and for the unique mandolin illusion.

The tracker scale shown below is derived from more than one source, and it has yet to be verified by a detailed examination of an extant specimen. The three separate but contiguous piano, violin pipe, and mandolin note scales are thought to be accurate, as are those tracker bar positions assigned to trapwork. However, there is doubt about the descriptive accuracy of certain control functions as noted in the tracker scale and accompanying notes shown below, and so please be aware that these control positions are subject to change as more information becomes available.

Tracker position #10: Tracker bar perforation #10 is noted as swell shutters fast, which causes the adjustable air-channel restriction that normally slows the speed of the swell shutters to be bypassed, allowing the swell shutters to then open or close quickly.

Tracker position #11: Tracker bar perforation #11 is designated "Forte" or loud on (and off with #6 general cancel), but the exact or extended function of this control hole is currently unknown.

Tracker position #12: Tracker bar perforation #12 is designated "Mandolin mechanism on (off with #6 general cancel)." The mandolin mechanism has what appears to be a damper mechanism that affects all mandolin notes. Thus, it is presumed that tracker bar hole #12 is for mandolin loud, while hole #6 general cancel returns the mandolin to its normally dampened or soft mode.

Tracker position #14: Tracker bar perforation #14 is designated "Forte" or loud on, but the exact or extended function of this control hole is currently unknown.

Tracker position 28: Tracker bar perforation #28 is noted as swell shutters slow. The slow speed rate is set by means of an adjustable throttling orifice, which is bypassed when tracker position #10 is used.

Credits:

Written by Terry Hathaway, with information provided by Terry Hathaway, Art Reblitz, Ron Cappel, Jens Wendel, Thomas Richter. and Walter Dahler.

References:

Hathaway & Bowers, Inc., scale sheets; and original Philipps and Wurlitzer tracker-bar scale sticks.

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