PREFACE TO THE ENGL ISH EDITION.

M" O Sto s n for paper on rgan p , origi ally written a course

o f of lectmures to organists, was published by the desire of a com ittee teachers . In altering and enlarging the

o for riginal work the press , I was struck by the number

of on con struc and excellence literary works the organ , its

o ti n, preservation , and pitch . It is evident, however, that in these on ly a limited space cou ld be devoted to the

o f n -five . o rgan stops During a practice twe ty years , inter

- o spersed with numerous concert tours, and ccasional calls

o o s upon me as an expert, I have made rgan st p , their ff o d . peculiarity and ac ustic e ects, my special stu y

u o In working p this material, extending as it does vmer o v of divers pr inces musical science, I secured the welco e co - o i u perat on of several highly experienced colleag es .

B fo all ff P o Dr A o of f. . . e re others, I o er to r F rster,

B h for hi s erne, my warmest t anks kindness in stimulating and facilitating my studies by the loan of books on physical

an d t . a acoustics, by highly interes ing experiments I lso

W ish to offer my best thanks to the organ - builders wh o have thoroughly revised that portion of my work treatin g on - n the technicalities of organ buildi g . The kind acceptance of the dedication of the following “ technical work by the great author of the Sensations f Dr o f. . von H Tone, Pro elmholtz, was specially encouraging to me . I venture to hope that this mo dest work may find f f of n ew avour with all riends the organ, even in its

to English shape, and that it may serve increase their

u of n mber, and their interest in this the grandest all instruments .

B E NE WITZ ERL AND R , S ,

A ri l 1 8 8 8 p , . C O NT E NT S

Cor Anglais o mrn e C r o Cornet Corno Corno di Bassetto Cornopean Couplers Coupling Crescendo Cymbal

Diapason Differential Tones Dolce Double Bass Double Flute Double- stopped Bass Doublette D ulcet Carillon Dulcian Celestina Chalumeau Echo Clairon Echo Organ Claribella Elect ro -pneumatic Action Clarionet English Horn Clavaeoli na Equal Temperament Combinati ons of Stops Euphonium Combination Stops Evacuant Composition Coupler Composition Stops Composition Swell Pedal Concert Flute Contra- Bass Contra-Bourdon Contra - Trombone Contra- Violon Con ten ts .

Flauto Piccolo Flauto Traverso Flue Stops Flute Flute a chemin"e Flute Bass ’ Flute d Amour Flute Douce Flute Harmonique u Octa an Fl te vi te. Flute Principal Frein Harmonique Fugara Furniture

G Pasteboard amba w ‘ Pedal S ell Gred ackt Physharmonica Gei gen pri nci pal Piccolo Gemshorn Pi ffaro Gemsh orn qui n t Pneumatic Action Grand Bourdon P o o o Great Organ neumatic C mbinati n Pist ns Portun al Flute Principal Harmonia jEtheri a Probe Tin Harmonica Progressio Harmonica Bass Progressio Harmonica Harmonica Flute Prolongement Harmonic Flute Harmonic Trumpet Harmonics Harmonium Hautbois Hohlflote Horn

Intonation

J eux de Fonds Jubal Flute

L arigot L ieblich -Gedackt

Material for Pipes Measurement Melodia ets Cont n . xi

Stop Manuals Unda Mari s Stopped Diapas on S uabi le Vibrations S uavi al Viola Sub - Bass Violin Diapason Swell Violino Swiss Flute Violon Violone Temperament Violon Bass Terpodion Violoncello Tierce Voix C"leste Tone Colour V ox Angelica Tremulant V ox Human a Tromb a Trombone Waldfio te Trumpet Wienerflote Tuba Tuba Mirabilis Zartfiote

A.

A s ee S . coustic Tone. Quint

A u ee c ta . S Sharp

n n m i E o a a f [Ec l an li derives its e rom the harp . (A charming description of this ancient instrument is to be

’ found in Rad aus Lehre vom It is of soft string

S d on toned character, occurring in Germany and witzerlan

8 - f a o t . almost all l rge and small new rgans as an solo stop .

of It is considered to be the most delicate all stringed stops .

EEoli n a was 0 of The originally a metal st p, but as the art

intonation in modern organ - building is capable of making f the transition rom wood to metal quite imperceptible , it is permissible to construct the lower notes of wood in this and some o ther stops " This stop is sometimes met with as an

- l - f o f r O 8 ft r 6 t. l . o vo reed (see T p e , rgelbaukunst, . i .

or either like the Physharmonica, with a small bell .

Walcker for on , instance, has placed his new cathedral

1 - ft ZElod i con organ at Riga a 6 . (nearly related to the

T o o t ff f o of JEoli an ou b ain musical e ects r m the strings an harp, y expose

themto currents of air . This primitive instrument is made by glueing a thin - f o o to o o oo . o to s unding b ard an bl ng w den rame Fr m six ten catgut strings, ' o ov two br fi on t tuned in unis n , are then stretched er ges xed the shor ends

of f . a i n o n o 0 a of o the rame Pl ced an pen wi d w in an perture a t wer, o to of W or o li an bliquely the current air, the ind harp will give out th e o f o o o m st beauti ul harm ni us s und s. o the r an to s 2 An Explan ati on f O g S p .

‘ o on lina) , as a reed the second manual, and the above

- fi n f 8 ft ZEoli n a ueo . described . as a the ourth manual

of f T . F . Witte, Utrecht, has also arranged a very success ul

- ZEoli n a of n ew 1 6 ft . as reed stop on the third manual the

H E o H . organ at the ague, olland olina c mbines well with

el ste m o C e V ix (g ), which is tuned slightly sharper, as well

- Cred ackt as with Wi en erfioteand Lieblich . This latter combination may be improved by introd ucin g the brighter d ’ m u A our See character of the Flauto Traverso or Fl te . (

of C ombinations of S tops . ) For the physical generation

o fiu es s ee S . t ne in , Flue tops

’ mr A ou Amo os See u d . r o . Fl te

ement D s osi ti on f o n d i s o r A r n n ee r a g , or i p , r m the Lati p , to o o o s disp se, implying arrangement (als pr per ubdivision),

l s briefly the plan and arrangement of the whole plant of

of t an organ, according to its size , power, disposition s ops ,

” o of of and material . The wh le success this work art d f “ m depen s upon the care ully considered arrange ent,

o of s which sh uld be in accordance with all the rules acoustic , and adapted to the proportions of the building destined to

receive the organ .

B .

B i ne ee M to . S ar Tuba irabilis .

Bassethorn eeS . S erpent.

B ss Fluteor FluteB ss ee . S a , a Flute .

B sson Fr en ch a is more particularly a striking reed, with

s o - a o called anches larmes, similar in int nation to a soft

1 6 - ft trumpet. It occurs as a . stop on the first manual

’ f l ker s o Wa c . Fai sst organ at Glarus According to , Basson o th r an to s An Explan ati on f eO g S p . 3 coincides with the French name for the Bassoon,both as orchestral instrument and as organ stop .

Bassoon o is a small scale st p , usually constructed as

i f f 1 -ft on f o 6 . a ree reed , which occurs, tone, the manuals as well as on the pedals (frequently labelled Double

- o B If of 8 ft. o assoon) . _ t ne , this stop ccurs only in the two

C o t O lower octaves, lari ne and boe succeeding it in the

Seea lso D . higher octaves . ( ulcian )

B ls ee e C . l . S arillon e a ifari s Se . B fa a Ti b b . i r , i Double Flute

’ Bl s n l e . ow r Sig a A draw stop applied to many organs ,

' ’ serving to call the blower s attention to the bellows . I may here mention that I have now and then seen people

wh o of t engaged as blowers, , being the reverse in elligent , had for that reason been ch o sen for this apparently inferior

o n post . Through their vi lent pulling, sudden releasi g, and

of generally incompetent treatment the blowing apparatus ,

o great expense has been incurred, which w uld have paid

for At a thoroughly trained, conscientious blower years . the present date water and gas engines are frequently

for o r used this purp se with large o gans, an arrangement ff which o ers many advantages to the organist, particularly

f r u od d hi m o practising p rposes at moments, as it makes

of Calcan t independent the blower ( ) .

B m - - o b 1 f 2 f d 6 t . 3 ar appears as a and t. striking reed on

to o r the pedals . With regard p we it stands between

B ee o S . Trombone and assoon . ( Tr mbone ) It is seldom

fo o . und on the manuals . There are , h wever, organs in

f fo o France, on which the third and ourth manuals rm t gether

so - Bo - 1 - ft o for a called mbard manual based on the 6 . t ne ; t S t d S . M S . St . instance , ulpice, Eustache, the a eleine, and o f l vo . . o Denis (see T p er, i Like the Tr mbone, the ’ the r a n to s 4 An Explanati o n (y O g S p .

Bombard requires correspondingly powerful reeds as a

See S for of covering. ( Reed tops the physical generation tone in r eed pipes . )

B rdun See . o . Bourdon

Bourd on . t n A covered wood s op , never wanti g even on the r f oldest o gans, and which, by its massive ull sound , is able to lend to the manual extreme dignity and an eccle si asti al of f of c solemnity tone . The useulness this stop

f 8 - f o t. (also as a solo tone, particularly in the upper

i f h as registers), well intonated, latterly been more and

e o h rflo 1 - ea ls o te. A ft S 6 . more fully recognized . ( R ) B i f ourdon on the manuals, neither size nor material have f been spared, gives depth and ullness even to the smallest

See - B for f organ . ( Double stopped ass the application o a

32- ft C -B . ontra ourdon to manuals and pedals (by William

H of B u n o ill, The o rdo st ps are subdivided into

B - are ourdon, Gedackt, and Lieblich Gedackt, and sized in

th 1 - ft B this order. In England e 6 . ourdon often stands

- f - Se G . f r 1 6 S ub . e o t. Bass ( edackt ) Bourdon is a stop

r f available fo any combination . I ound it had a peculiarly

f ff f - beauti ul e ect in conjunction with a so t, well tuned

r or i f a - s e on T umpet, coupled to well tuned olo r ed one f o f a . the upper manu ls Bourdon , in act, has the special quality which enables it to be combined most conveniently

an r of C u - with y othe stop hence the old name o pling Flute,

r s C ee a o o . S ls C n f , more hortly, oupler ( ombinatio s o S tops . )

n ee Bourd o echo . S Ech o

6 An an ati on o the r a n t s Expl f O g S op .

Clari net 8 - t to o f . . An tone, intended imitate the orchestral

f It of d o . instrument the same name is small scale , cylin er

o shape, and has conical bells (res nant tubes) . With regard to of power it stands between, say, a s tly intonated Trumpet f ff O o o . o and an boe . It is a solo st p brilliant e ect Clari net is one of the few reed stops which in Germany and S witzer f ee o s . S land are constructed alm t exclusively as ree reeds ( , P hysharmonica . ) In England and France this stop occurs

S t C o as a striking reed . In wi zerland very nice lari nets

f ll As are ound even on sma organs . a rarity Clarionet

’ i - S occurs as a pedal stop of "I ft . tone in ilbermann s Court

-ft B o w 8 . o organ at Dresden . It combines well ith urd n , an d i f of o C , necessary, by the aid c uplers , with oncert

' - - r 45- ft u 4 f o . flcite t . or Wiener and Flauto Traverso, Fl te

’

d Amour.

a oli na ee . Cl vae . S o lina

s Combinations of Stop . It is clear that the limited space

of this modest and concise work do es not permit of our enl arging up on the theory of stops ; n or is it possible to give f a reprint o the many and varied arrangements . Where

ff o occasion o ered I have endeavoured, h wever, to give a few useful hints for goo d combinations at the end of articles

n o h o certain st ps . T ey naturally make no claim to com

leten ess d p , and must be modified in each case in accor ance

of o with the intonation the organ in questi n . As the

o f be of results a varied experience, they will, I trust,

to o o n service now and again br ther rganists, by givi g an

o of o f o o utline the relative proportions st ps in c mbination . From my propositions a tolerably skilful orgamst ‘ various will easily recognize my endeavour to point to the rela tions

ff of and a inities stops , which must be strictly observed, as

n o fou o they are e tirely distinct, acc rding to their ndati n " An na t h r a t Expla i on of t eO g n S ops . 7 t . for n one In Flautino and Flageolet, example, the ecessity for o f an appropriate c vering, and the quality thereo , is pointed ou t ; in B ombard and Trombone the proportionate

of M power the flue stops is to be considered ; in ixture,

S C u v on harp, ymbal, etc . , their excl si e employment the

” ” O d on Great rgan is expressly demande. In the paragraphs M Flues, ixtures, Reeds, and others , some rules are laid down for For correct combinations to suit the express occasion .

o instance, solemnity, dignity , and volume are btained by

of o o of P n r means the r und, n ble tone the ri cipal, togethe

Ged ackts an d with the , Flutes, and Gambas ; brilliancy

f - f o 2 t . n acuteness by means mixtures, fi es and piercing reeds . The organist must first make himself acquainted

8 - ft f . on o with the tone his organ, which is the basis all

u f l stops ; the Trem lant is o ten abused even to vu garity , an d the predilection for sudden transition from the Great

to s Organ a solo without due preparation, easily become

for ff - mere craving e ect . A well considered, appropriate

o f of choice stops , suitable to the character the voluntary

f f exa era and hymn, and a noble simplicity, ree rom all gg

f o for f n of a tion, are the chie qualificati ns the per orma ce

h for fin e dignified churc service . An important requisite organ - playing is a careful choice of the number and com~ bination of stops prop ortionate to the size and acoustic

o of pr perties the building, and in keeping with the sacred

of ness o f the place . To this end the advice a real master i n - of organ building , and an experienced and clever organist,

C S n ow is absolutely indispensable . The omposition tops ( f n ew o of ound on nearly all rgans), by means which the

fo o organist can draw three , ur, or more c mbinations without f o for the urther reflecti n, make matters much easier

to . beginner, and even perhaps tend make him indolent " he r an to s 8 An Explanati on cy t O g S p .

Hints for combinations can naturally only be given and

on received a broad basis, as every church , every organ, and

of every work of art whatsoever has peculiarities its own, L ow D . resulting from different causes . Music irector R , Ba1 e f organist at , writes me the ollowing excellent letter

n o this subject In the church of St . Elizabeth I can

u t f ff combine m ch that is beau i ully e ective, while in the Munster the same combinations give a totally different

vi ceversa v result, and . E ery organ requires studying, and although certain rules for the use of stops must always m ' law re ain , still the minor details cannot be specified ; and let a number of stops appear ever so heterogeneous at the

first glance, they will under certain acoustic"conditions c e ombin well .

“ B o Di en cl Furthermore the celebrated erlin organist, Ott , gives me the following concise practical rules on the u se of for t stops, i inser ion in this book, and on which alone on e - might write a good sized paper. According to the

- of f tone character the organ stops, the ollowing com bi n ati on s f " 1 2 can be ormed . Principal character ; . Flute 3 and Gedackt character ; . Gamba or Salicional character 4 5 (strings) ; . Reed character ; . F or FF character as pro d u ed f c by the Mixtures . Compound combinations o the above groups of stops are not only possible but exceedingly ff ' e ective . In choosing stops one must remember that the

4 -f - 2 - f t . 2 ft t . , . , % , and mixture stops only strengthen the s of of 8 - ft f mall number harmonics the . oundation tone,

1 - ft and that the 6 . manual stops only assist thecombi

o w of - national t ne, hich is composed two sound waves of

8 - ft . fo f the tone . It there re ollows that the foundation

o fo a re t ne must be represented be re all others, and th t the be ” maining voices must only employed to give a colouring. 9 An Explanati on of theOrgan Stops .

Indispensable hints for obtaining tasteful combinations are f be also ound in the article on Tone Colour. Here must

of also mentioned the gradations the strings, flutes,

ed ackts g , reeds, mixtures , etc . , according to power, the study — o f which the comparing and impressing of them upon the mind—I cannot recommend " too highly to young

ni orga sts .

few on In conclusion, I cannot help giving a passages

’ ecclesiastical organ- playing from Anthe s Music in Relation ” f to the Protestant Rite . He expresses himsel with charming

" of fitness It is the sublime object religious music, and

f o f f the there ore particularly that the organ, to li t soul towards the Almighty by the marvels of sound . Greatness

of and sublimity are its inviolable laws . All parts church

- f o organ music must orm an harmonious wh le, only intended

of C edi ficati on S to serve the purpose hristian . ecular airs and variations here appear as a profanation of the sanc

‘ tu r ff f ff f r e a . o o f o y Put thy shoes rom thy eet, the plac

’ u h whereon tho standest is oly ground, would be a suit

on u able inscription every organ ; and no matter, I wo ld

o Ca c add, whether it stands in a Pr testant or a tholi church .

C mna i n o s o b o t i t S p (constructed either as pedals, draw

or o s stops, combinati n pistons) call into action certain group

l r aff t of revmus fo . stops, p y connected this purpose They ec

of either separate manuals or the whole organ . The organ

H s - the Royal Albert all, London , has no le s than thirty two

o for f of s c mbination buttons our manuals, and a number pedal ff w acting upon combinations a ecting the hole organ . The giant organ (1 26 stops) being built by Hill and Son (see “ for S s o i t Trombone) ydney, presents a most a t unding var e y of o o to s o o o . coupler , c mp siti n, and c mbinati n s ps 1 0 A the r n Explana ti on of O gan Stops.

C mi ou t i n u le o os o Co . p t p r A pedal, or stop , which pushes all the couplers at once .

comon er e C msi i n s f o o o e p t St p ( rom the Latin p , to place

o o or t gether) are contrivances (pedals, draw st ps, pistons) which bring into action the whole of the stops on a manu al; or a of u of certain prearranged set stops . In the ch rch

t u P f r ste S . o E stache, aris , there is, instance, one draw p labelled Fonds, and one Anches , which embrace respectively all the corresponding groups of fo undation stops and reed stes p .

m n Co os t o wel Ped l ee C . p i i S l a . S rescendo

C n et-F ut o c r l e. Similar to the ra ther brighter sounding

Wi en erflote , n .

- Cont B ss. SeeD B ra a ouble ass .

Con -B d n - ou o . eeD B tra r S ouble stopped ass .

Cont -T mn o bo e ee . S o ra r Tr mbone .

- Cont i o on . SeeDo B ra V l uble ass .

Cor An s ee H . S o glai English rn .

mr Cor o ne omn C o e u mh n C emne K m o o (also called r r , r r , r r )

a f - o n old has so t s unding hor tone, and is met with in many o 8 - ft o rgans as an . reed st p .

Cornet o to bel ngs the mixture stops . It is based upon

’ i f 5- of C the natural scale, and, ranked, is composed , c, g, c ,

’ - - e f 8 ft 4 ft 2 - 2- f l - ft . t . f n o . t e . . . , having pipes , , % , , and g to e The

4 - 3 - stes s r rank and rank p are malle accordingly . Occa

i on all on e Co 1 - f k s 6 t . y meets with a rnet based on a ran , as

of t o S ff S . M in the church J hn, cha hausen, and in the usic

B o C H . on ei f all, ston The ornet is only a good all the

of n otes or the tones a chorus blend in such a manner as, “ o f O to leave no single tone perceptible (see T p er, rgel ” of C o baukunst, part i . p . The scale the rnet is com

arati vel o p y the widest empl yed in the organ, and, on account 1 1 An Explan ati on of theOrgan Stops . of of ste its numerous chorus pipes, is the only mixture p f which does not repeat ; whilst the mixture preper o ten f repeats the notes of the higher octaves at the pitch o the

o s M ff t of - previ us octave ( ee ixture) . The e ec a well arranged

C f o u ornet is that o great volume ; its int nation is lo d, and

m' hi h o fro w c its tone resembles the h rn, it derives its name f cor n a o . ( rom the Latin , the h rn) Cornet is on eof the few mixture steps which can be

o o u o employed as a brilliant s l , nat rally only in c mbination f f with oundation flue steps of equal length o tone . C m o e. SeeC ornopean .

Cernedi Basse e . tto. S eOphicleide

Co no en fr oor n a i r p a ( om the Latin , horn, and the Engl sh

06 0670 ae 8 - ft o of o of . 2 , p an, hymn praise) is an flue st p h rn

ton o like e. In n ew English and American rgans it is f S B ox of C requently placed in the well , by the side ornet

O Walcker o . n and b e In the ew Votiv organ at Vienna, has also 4 - ft S on . C o a orn , as striking reed ; and Hill and have

8 - ft Co placed an . rnopean in Westminster Abbey and in the

for S large organ ydney .

Cou - plers. The well known contrivance for combining the

s t various manual with each o her, and the manuals with I the pedals . may here say that I consider it ad vantageous

for o o in small organs c upling not nly the first manual, but also the second manual to the pedals, as the latter arrange

- to a ment permits a clever organ player ccompany discreetly , em t ost u f solo on y acc rately, a so t the first manual by the

Sub- B o o ass, which in turn is delicately supp rted by a st p on o w the sec nd manual . I should here mention the S ell

B o of ass, obtained by c upling with the lowest o ctave a

- - 1 6 ft. G B f . o o Lieblich edackt y means c mbinations , pos

u o a to n sible thro gh c upling manu ls pedals , an astonishi g 1 2 An Explana ti on of theOrgan Stops .

f ff variety of the most beauti ul e ects is obtainable, and I

D m ellmi ster G of B o ca e agree with p reulich, reslau , in most warmly recommending beginners to study all the variations and shades of tone that can possibly be produced on their

See f es. organ . ( Combinations o St p )

C 2 mf r ou ler a o p is ( ) the antiqu ted na e an actual stop ,

of C - and an abbreviation the word oupling Flute, so named on account of its fitness for blending with every other voice .

- - 4 - ft f 8 ft . . 1 6 t . It is usually stopped, and occurs as , , and

l e i s o . for st tone The name Coupler an actua p now obs lete, having been very rightly superseded by Bourdon , or Gedackt . SeeB ( ourdon . )

Cou l n . ee u p i g S Co plers .

fir escen d o is the well- known pedal (usually placed low on the right - hand sid e) by means of which the shutters of

S w u of the ell are opened and closed . As a r le, the pipes one l manual only are placed in the Swel . This is a disadvantage S w S in German and iss well Organs , as compared with the ft English and French ones, that they o en have only a com

arati vel f u — on p y weak, even eeble, man al which there is — practically nothing to increase or diminish inside their

S f — se well Box . I therefore mention the act strongly dwelt upon by Otto Di en cl in his lectures to the Society of Organ i sts f i n l — Ber in that the English, in particular, generally have t more and louder pipes on the Swell han on the Great Organ, by which means they produce correspondingly brilliant ff e ects in light and shade .

B ut h of to return to German instruments . T eorgan the Vienna Musikverein (by L adegast) has a pneumatic (see Pneumatic Action and Pneumatic Combination P istons)

C of rescendo and Decrescendo, adjustable to any degree

for of w for power the whole system couplers , as ell as each

1 4 An ana ti on o the an to s Exp l f Org S p .

C ml f b o on y a is a mixture stop narrow scale, which ,

of of all account its small pipes , is the acutest the mixtures ; it is consequently the last stop to be drawn for theGreat

4 - Organ . It occurs as a rank Cymbal on the new Sydney

1 26 stes organ ( p ) .

D s n -f a o . o iap This name denotes not only a tuning rk ,

- o to o P but in organ building applies als the st ps, rincipal ,

n r Octave, and Gedackt ; but chiefly in English orga s, whe e

for o H S ( example, Westminster Abbey and T wn all , ydney ,

f l fo etc. ) it requent y occurs on all ur manuals as principal

- - 8 - f f ft t . D n o 1 6 . o bass, under the name Diapason, Open iapas ,

8 - 2- O f te d 3 ft . t . S e as pp Diap on, and on the pedals as pen

- for Diapason (the 41 ft . Octave so important the tempera

‘ - f Seea lso P A t . ment [g/a] is labelled . Principal) ( rinci

O S o pal and ctave . ) eidel, in his work , ad pts the term

f r - O - Disdiapason o the Super ctave . Violin Diapason is a

f r 8 - f Gei en ri n ci al v name o the t . g p p on nearly e ery English A and merican organ .

D ffeenti l Tones See . i r a . Quint

Deee 8 - ft - o S l , an . string t ned metal stop , similar to ali cional, is an extremely mellow solo stop , wider in scale S than alicional, and constructed by some builders as a

to cone (a little wider at the p) . In Westminster Abbey

- 4 ft D . be it appears as . ulcet In large organs it ought to f placed more requently on the Great manual, to which , as a

f - u of ex so t string toned stop , it wo ld lend more power pression than thenaturally powerfully intonated Gamba

B for it can give . y some builders (Weigle, instance) is , 1 5 An Expla na ti on of theOrgan Stops .

- - f flute . voiced so t and like, viz in no wise string toned , like

F o SeeE for of con lauto D lce . ( olina the use wood in the

- f 8 ft . struction o the lowest notes . ) It combines well with

’ - - Flfit d Amour i f B 8 f H hlflete4l ft. e t. o ourdon, , , and, coupled ,

- e rfl f S e . with Zartfloteor Wi en e ii te8 t . ( Intonation )

-B s A 2- f u Bass Cont a s s 3 t . aco s Double ( ra ) . stop it is — 1 - ft o 1 0 G tically combined with 6 . Vi lin and 3 edackt (that

- l - f f i ole ft o t . v is to say, . long, but producing g tone,

2- f - f 1 t . w 3 t. 6 Gedackt) . As an open and pipe, it is al ays — intonated as far as string character and power are con

— ' cerned between the Violin Bass and Principal Bass (Open

B on n Diapason ass), which latter stop, especially Fre ch

f u A organs, it is o ten called pon to replace . very success

- B i s to i n s r ful 1 6 ft . Double ass equivalent the orchestral t u

of B the ment the same name ; and ergner, organist at

o C - for cathedral, Riga, writes me w rd that his ontra Violin,

f Seealso ub - B instance, is o enchanting beauty . ( S ass and

- B te mer - . m e S e Oetti n Double st pped ass ) y , organ builder at

on of - gen, has, probably the basis the above mentioned

2- f C - 3 t . intonation, placed a ontra Violon in Rothenburg an a e ff der T uber, and in the Frauenkirch , Munich and a di er

ve for o fo ence, e n a musically trained ear, can nly be und in the greater power of certain harmonics .

Dou F t An of 8 - ft b e u e . l l . open wood pipe, usually tone, f i s urnished with double, that to say, two diametrically f an d . opposed lips, also with double slits It there ore has a

- brighter sound than the single lipped Flute . English organ

a SoleO builders usually pl ce it on the rgan, as has been

n H n S d n o o o . done the T wn all orga , y ey It als occurs

f Duiflo te J under the name o and ubal Flute (an ) . It is

f ff 8 - ft o . enlivening e ect in combination with an Gamba .

- 1 - ft B on A double lipped 6 . Flute ass is placed the second 1 6 An a na ti on o the r an o s Expl f O g St p .

seeHohlflote of pedal ( ) the Marienkirche , Lubeck , and a

double - lipped Roh rflote(an ) on the cathedral organ of

of f Walck r . e n Breslau Under the name Bi ara, has arra ged

for t P 2- ( S . etersburg) a rank Double Flute ; the first rank

8 - f - t. Af has stopped pipes, the second rank , Dolce, open t .

pipes .

Double-ste ed B ss Untes tz Ma erbass f pp a ( r a , j ) requently

32- ft s t ed a e . If occurs as a . pp pipe on the ped ls space and

~ f f means are limited, this stop o ten has to take the place o

- f ee ub - B B S S . an open 32 t . pipe. ( ass and Double ass ) In

of P the large organs Russian Libau, Riga, aris, London,

S e f ew i s f Leipsic, Ulm, ydn y, and a others, it o ten labelled

- 2 f or . 3 t . Contra Grand Bourdon Doubletteis usually called by the French builders the

- f S - u still 2 t . uper Octave and nder this French name it is

found on old German and Swiss organs . e t S e . Dulce. Dolce

- — 8 - 1 - f f n of ft. 6 n t. Dulci a . A so t toned basso like reed and t d s e e. tone, as a rule open, but sometimes pp Neither to be

' for D u o mistaken olciano, which in the Fra enkirche at G rlitz b w was constructed by the uilder, Buckow, as an open ood

A li - f - D l n t . 8 ft for . flue, nor u cia a, which both as and stop occurs frequently in English (Westminster Abbey) an d

w . French organs ith Dolce intonation and wide scale . In the new cathedral organ at Riga i t is placed on the first h manual amongst t eflue stops .

E .

Ech o. When this word alone appears on the button , it

f - ste f indicates an exceedingly so t, flute like p, which is o ten 1 An Exp la na ti o n of theOrgan Stops . 7

w f of placed in a s ell box, separate rom the main body

See o x H . the organ . ( V umana ) It is sometimes labelled

Bourd o n ech o .

Ech O n ee o o C . rga . S rescend

Elect - n um A ti n i t a e t c c o r p a i . As is not uncommon at

the present date to meet wi th - o rgans which are dis — tributed in different parts of the church as for example

n ew o - o B in the electr pneumatic rgan at Forst, near ruchsal, — which I mention later on I will say a few words on

- - a s electro pneumatics in organ building, being the only

n o contrivance maki g such divisi n possible . I saw this

on - f l] o o . Ge exhibited trial at the organ building w rks F ,

and am convinced that electro - pneumatics have a great f - f 1 n or fo o " . uture in organ buildi g, the llowing reas ns Elec tri ci ty makes distance of no consequence ; the differences w which arise bet een builder and churchwardens , the dis

o fo two of o putes ab ut a ot or space, no l nger occur, as the consol may be separated a ol li bi tu mfrom the main

of of body the organ, regardless distance, and placed in the most convenient spo t (the demands of aco ustics must of

- course rank pre eminent) . The connection between key boards and pallets is fo rmed by means of an alm o st imperceptible cable . On striking the keys the divi ded

o i f o r parts sound with the same precisi n as close t gethe . 2 B . of of y means electricity a whole host levers, stickers ,

r o th e rollers, t ackers, etc . , bec me unnecessary, and possibility of i f accidents to the mechan sm, and the un avourable

of o i influence temperature on the works , are c ns derably f 3 . o reduced . The cost maintenance is reduced to the

f r trifling minimum o electric batteries . The connecting and disconnecting of the electric current is obtained by the

s simplest imaginable process . As o on as the wind process

C 1 8 An an a t on o the r an t s Expl i f O g S op .

w begins to act on the bello s, which are still required, the electric circuit is completed by means of suitable accessory

on bellows ; it may, the other hand , be quite as easily

mmun i t co ca interrupted . It is important that the elec ric tion between consol and pallets should be materially assisted by small bellows, which act as pneumatic levers ; hence the

- o n name Electro pneumatic Action . The doubts reflected

as t of this contrivance, retarding the prompt ar iculation the f u . of r pipes, have no o ndation A specimen an o gan by

- u n Weigle, worked by an electro magnet, nassisted by p eu e mati s, was exhibited at the Vienna Exhibition . Many an

- for electro pneumatic organ is already in action, instance , in

o o B the new Cath lic church at F rst, near ruchsal, in Mun s n of of f - stes ter, ca ton Lucerne, and one orty three p in the

t N zi er E S . glise y , at Lyons, where the organist sits at a d of - five f f istance seventy metres rom the body o the organ .

- m m Lastly, a new electro pneu atic organ is contemplation f r for o a . the Philharmonic at Berlin, and other pl ces For

the - c present, however, Electro pneumati Action cannot be

of s n generally introduced, as the patenting thi inventio

-B S o m (Organ uilding Department, chm le and Mols , a ongst others) and the sudden and entire revolution of the existing

ff for the for s workshops o er present, conspicuous reason , ff insurmountable di iculties, and as the invention, moreover,

still lacks stability and guarantee . More particulars o f the way in which the laws of acoustics are violated for the con

v en i en ceof electric division will be fo und in the illustrated C d Acoustics by hladni, whom Tyn all, in his book, On

f of Sound (page calls the ather all modern acoustics .

’ Ti sco s New Compare paper, The Acoustical Apparatus

n a (Vie na, which contains, in ddition to other matter,

f f on a complete list of books o re erence this subject . This e r an S tes 1 9 An Expla na ti o n of th O g p .

i s the place in which to mention the very interesting hints

Blasern a of on 50 of hi s on by Pietro , Rome, page work

Acoustic Agents in an Enclosed Space .

En sh Horn f h o - ste gli . A very beauti ul rn like solo p,

which occurs only on large organs as a striking reed , — o fo s o t similar to Ob e . I und this t p par icularly lovely in

Mu Bel o n C . the nster at le, and the ourt organ at Lucerne

A 8 - s ft A St. an . Cor nglais it appears in the Eustache and M P adeleine organs, aris .

E u l Teme ment See q a p ra . Octave .

8 - ft Eu h ni um G h eu h on . . p o . (From the reek s owma p y ) An f t f f C . ree reed , rather so ter than larione A beauti ul specimen

r mii n r Z the of fo G oss ste it is und in the at urich, and in

8 - f o i t f S ff . t t . o S . church John , cha hausen As Euph n

1 - f 6 t . o e St. appears at Riga, and as pedal st p in the Eustach St P S S . ee S s. and ulpice churches , aris ( Reed top )

Ev cu nt f eva cu ar eto a a ( rom the Latin , empty) is a stop

of on a can by means which the organist, ce sing to play,

b of relieve the ellows all wind pressure .

F .

F stu a L a fo r i l . ( t ) An obsolete name a reed pipe . It is

of o of o interest to kn w that the name this st p, as applied

- d fo to copper pipes in organ buil ing, was und in a manu

of B o of e f script ngars the leventh century, discovered by Pro .

Dr n fistuli s o r an i i s . Herman Hagen De g c quo modo

L at f r o r i a i fi n t Cu . o rn o ur ssi u a . mm prum (Late yp , c pper) p — tun den d o ad summamten ui tatemexten d i tur reli quas (fistulas) i psi u s ord inis sic facies u t superiores gravi ori s ” f i sti C o of M t f o ec . rdinis ( atal gue anuscrip s by Pro Dr. 20 An ana ti on o the r an to s Expl f O g S p .

H 8 B 5 3 . 6 . o B See agen, page , T wn Librarian at erne) . (

’ ls - a o G . A Dr H amba ) lso . . Riemann s Organ building in M A ” M the Early iddle ges, Leipsic allgemeine usikzeitung, 1 8 ” 79. M S ichael Praetorius, in his yntagma, Anselm ” S ch ubi er S i ci lei en S d g , in his p g , and J. ei el The Organ C ” 1 1 9 l and its onstruction, page ) mention the Fistu a

M Wei ert inima among the less used stops J . pp as the name

of of o SeeM a narrow scale Flageolet thin intonati n . ( easure li i For f S a s see . . o o c S ment ) the derivati n Fistula, alicional

Fl hfl e o - ac ete . (flat flute) A sharply intonat d, br ad lipped

- - - f e 8 f 4 2 t. s t t ft . u . and metal fl te, arranged as a p in the

l - ft B . enedictine Convent, Weingarten, and as a stop on the

C C . atholic ourt organ, Dresden

Fl let L i 2- ft flute- a eo t . . g . A and like open metal stop ,

- f of f o 2 ft . o ten wide scale, and uller in int nation than the S w f n Octave . In large organs, and in the ell box, it o te occurs with mellow intonation under the name of Flageolet Echo

Fl ut n f 2- ft o. . a i A small metal flue stop, o ten placed as a stop on the upper manuals for the brighter colouring of

f - o . o Aft the whole the manuals In c njunction with the .

Gemshorn in the Echo box , it contributes largely to the

ff of more intense e ect the latter . It is evident that the

of s of f stes existence thi , as well as the ormer, and similar p

of u smaller and the smallest possible kind, req ires the

of 4 - f 8 - t . ft u presence proportionately numerous , . , and p to

1 - f t eeC o es . ft . es S S t 6 s p . ( ombinations p )

’ Fl ut Am e ee Amur a bil S u d o . o a . Fl te

Fla D l e 8 - f - f 4 . uto o c t. t , an and wood stop (sometimes

of 1 3 r metal, viz. part lead, parts tin) , is pa ticularly

o a n menti ned here mongst the fi es, because it is used with preference as a delicate stop on the first manual in n ew

22 An an ati on o the r a n to s Expl f O g S p .

f stes a distinction rom Reed p , I will endeavour to give

o of concise definiti n , according to the latest results study,

o f u on the generation sound in flue pipes . The pec liarity

of a es o flue pipes is that, when they r unding, air is the

. o generating and vibrating b dy. The pipe only serves to cut o ff the vibrating column of air from the outer atmo

' ' to o . n i s Ol l l sphere, and regulate the vibrati ns The to e g

. d e of o l bi u m n ate a flat at the sharp dge the m uth ( , lip) ; a

o f li ' an d current air is driven against this p, in splitting

o o produces a curi us n ise , which may be considered as a

of o C mixture many tones in close pr ximity . ( ompare

’ 1 8 8 250 n d thef Meld e 3 . a o s . Acoustics , , p oll wing ) The bore of the pipe then stimulates some o f thesesounds

to o which correspond the t nes peculiar to the pipe, thereby

of raising them to the rank a musical note . (E ven the

o of - fo i f o o i t t ne a tuning rk , br ught into cl se prox mi y with m f u o the outh a t be, or an organ pipe, is strengthened

' i f thepi tch of the said fork corresponds to one of the notes peculiar to the pipe . )

1 on Fig . shows the l gitudinal section of a wooden flue

b u of pipe . The vi rating col mn air is cut off from the

an d R R outer atmosphere regulated by the sides . The air coming from the wind - chest passes through the foot of the - K f pipe into the throat or air chamber , rom which it

r 0 ol can now escape through the nar ow slit , and in being fo a b of rced against the sharp edge, , the mouth, produces the musical tone as above described . 2 Fig. , on the other hand, is a metal flue pipe, soldered at

f or the top , there ore gedackt, covered . It has purposely been

of placed by the side the Open flue pipe, to show the phy si cal ‘ d v d m efinition gi en under Ge ackt (g ), according to which it gives a tone an o ctave deeper than does an open An an ati on o the r a n to s 23 Exp l f O g S p .

1 . F IG. FIG. 2. pipe o f the same length Fi R R ( g. The letters , th e as above , indicate tube which encloses the sonorous body o f ai r ; a b i s the

above - described site for the

of to F F origin the ne, and , the foot of the pipe stand

o ing in the s unding board ,

and extending to the slit .

(Seeabove . ) A definition of the pro

duction of tone i n the fi n es

’ is to be found in Richter s Catechism of the Organ 24 . S on r k p , and in ec s

Theory of the Sonorous ” C of Ai r olumn . On eword more on the difficult tuning of this

of species pipe . Although I am quite of opinion that thetunin g of flue pipes should really remain the business of the organ

r builder, still I would he e draw attention to the new contrivance for tuning with slots and rolled - up strips of for or tin ( metal pipes), tuning sliders (for wood f pipes) . The main body o o 24 An Expla n ati on of theOrgan St ps . the pipe is made longer by half a tone than the intended

b n o o pitch requires ; an o long Openi g, prop rti nate to the

of measurement the pipe, is then cut in the tube just

o f below the upper end, in such a way that its l wer hal

w o f begins belo the actual pitch the pipe, while the upper

f d b o f . o hal exten s ey nd it The strip metal, which is cut f m n out o o o to r the Obl ng pe ing, remains attached at the

i s i P of o o n S o . l wer end, and r lled up a piral . (C mpare r

’ Kothes o on - d n to w excellent bo k organ buil i g, hich I am

f r B o indebted o several capital illustrations . ) y r lling up

o o of the strip, and thereby sh rtening the w rking portion

o o i the pipe, the tone bec mes sharper ; by unmr ll ng the strip , o . that is, lengthening the pipe, the t ne is ade flatter In wo od pipes the same operation is performed by means o f

wo t . a movable slider, retained in position by screws The

n f o tuni g slot gives the pipes, apart rom a precise articulati n ,

e of a more steady, d cided tone, and adds power expression

to o of . F IG. 3 F IG. 4 . its qualities This m de .

tuning must, however, not be confounded with tuning shades

of o ex lder date, which served elusively to facilitate the opera

o n of u ti t ning.

o of Fig. 3 sh ws the upper end

a on b a met l pipe, which is visi le

' t un i n slo t a of the g , , and the strip

I) o . metal, , r lled up in a spiral

Fi 4 o f g. sh ws that side o the

of o od w a upper end a w pipe at hich the tuning slider, ,

far o I) is pushed up as over the pening, , as the dotted

line goes .

’ r t - In new organ cont ac s, this tuning slot arrangement is An a na ti n o the r a n to s Expl o f O g S p .

o f for for P ten stipulated , particularly the rincipal and

G o amba st ps . The o pen wo od pipes are tuned by means of a tunin g

of or o shade zinc or tin plate , bending up d wn ; and the

— for a metal pipes inst nce , the small mixture pipes which — have no tunin g slot are tuned by means of a tuning horn .

“ By narrowing the upper rim o f the pipe the tone is flattened

o u t Fo r by opening it , it is sharpened . tuning stopped

see pipes, Gedackt .

Flute o on . When this name al ne is placed the button

- f - f 8 4 t. of ste o t. a p, it means an pen, particularly wide and

- . 1 ft F o 6 . flue pipe, louder than lauto D lce (Flauto Major, as

o n m f un d a o st p o the Great anual at Riga) . Flute is the

o of of s tes of ti n a large species p , several which, such as

Fern flOte BlockflOte S illflete Nason flote S nabeflo te , , p , , ,

B u rfl te . a e e . , etc , are becoming extinct in new organs It is

v t i n of on e o o e iden that organs hundred or m re st ps (Ulm ,

v oo o o S d Paris, Li erp l, L nd n , y ney, Russian Libau , Riga ,

C t US A few o o fo r Garden i y, and a thers) , s me names

e a e themsame or a similar st p may occur with slightly lt red In o o for o Of t o . ety l gy, solely purp ses dis incti n the

o n t o Do same manner as has just been d e wi h Flaut lce , o ther members of th eFlute family are discussed in this

h - o . v e o w rk T ree cornered Flutes ha e also been mpl yed,

t on t of s u par ly accoun limited pace, partly beca se the

t C o desired intona ion necessitated a wider lip . mbined

ff Do with others , it is rather more e ective than Flauto lce .

8 - ft n f The . Flute as pedal s tep occurs under the ame o

B As ass Flute on nearly every pedal clavier . we mentioned

of S ub - B B at the end the article ass, the Flute ass and the

- similar toned Octave Bass give the pedals . in the lo wer — registers not only great precision a quality partic ularly 2 n o the r an t s 6 An Explanati o f O g S op .

V o— belonging to the ioloncell but also more body, and in the upper registers the fullness and roundness so often

- wanting in S ub Bass .

Flfi tea Chemn"e eR h rfl t S e o o e. i .

FluteB ss ee a . S Flute.

’ Flfited Amour (Flauto Amabile) is a charming wood flu e s te of 8 - f n - f r d 4 t. t . a p slender scale, a ranged as tone ; in

S f 4 - f t. witzerland more requently as tone . According as

of i t on the rest the pipes are arranged, occurs the first

f sole manual in many organs, where it is very use ul as a ;

’ for M t of St . C example, in the new organ ar in s hurch ,

r C M . Vevey, and in the Ge man hurch at ontreux The sombre Ged ackts and the strin gs (seeE olina) are effec

i l f 8 - f t v . f o ey enlivened by it It is o ten ound as t . Am rosa

’ on Stei n meyer s organs .

F n e i rfl lfi D S ftfl t SeeW en e o te. te ouce( a e) .

u ee o l . FlfiteHarmoni q e. S Harm nic F ute

Fl t ta i ante eeH . fi eOc v . S armonic Flute

Fl teP i nci l 8 - f ste of flut u t. r pa . An p a pleasant, bright, y

o n t ne . Occurs in many organs to great advantage o the S second manual, and combines very prettily with alicional

or a . Viola, and an enlivening Flauto Tr verso

Frei n HarmomueI avi oli S G q an arrangement, invented by o f Paris, applied to narrow scale stops (Gamba, Violoncello ,

etc of w Viola, ) , by means hich the ready, incisive , string character of the tone is considerably strengthened and

\ u i fi v Dien el of bea t ed . This contri ance consists ( ) a narrow m f of o etal plate, the length the mouth , fixed obliquely to

f see the latter on an adjustable spring. I have re erred (

G ff of a amba) to the e ectiveness this Frein, which nswers f even in the case o the smallest scale string stops .

Fu a w gar has much in common ith Gamba, while in 27 An Expla na ti on of theOrga n Stops . quality of tone i t stands between this and the Geigen

- - f o . F r . ft 4 t . o 5. n l I 8 . pri cipa . t o ccurs as and t ne

Furni tureis the French name for o ur Mixture .

G .

G m i m Kn ee b Vi ola d G b a a, or a a (German, i g ige) ,

o o f is an eminently characteristic rgan st p , ound at

- f n d 8 t . o o the present ate as st p every Great manual ,

- besides occurring in very large organs as a I6 ft .

1 243 stop . On the cathedral organ at Riga ( speak

- on 1 6 ft . ing stops) , it occurs the Great manual as ,

8 - I - f . la t f . t. , and tone simultaneously Its intonation

h of S . is stringy, and shriller t an that alicional A

of Gamba ready speech , and possessing these quali

o on eof ties str ngly developed, is the most satis f - actory results of the modern art of organ building.

n (SeeIntonatio . ) The pipes have a narrow aperture between the lips and narrow gauge (Fig. and are therefore constructed longer than Principal or Sali

- . f cional pipes The prop ortions o the 8 ft . Gamba are

f m f A- ft o . taken ro those the Octave, and the length

ale of C for 8 f in t. 3 . , instance , is It is made chiefly of n A best E glish tin . conical Gamba is called Cone G th e . d a amba In examining an organ other y , in

of f the capacity an expert, I ound the lower ranks o f of d the Gamba, which were made woo , lying hori zon tall for o of y reas ns space, without in the least

er of. Z o f to " R of Ja nd orf Pr ellner, Vienna, writes me ieger g o a o 1 1 c nstructs metal Gambas which are exceedingly n rr w ( mm . f n a o . o r av in diam They h e the Frei H rm nique and, h ” d a s k o . un er incre sed pre sure, spea wit great precisi n 28 An a na ti on o the r an to Exp l f O g S ps .

. S thereby losing colour or power In pain , horizontal f ranks are not un requently met with . The wider, and

fo o w f f there re more p er ul, Gambas ound in some places cannot be so highly recommended as the narro wer and

o weaker ones, which possess the real incisive Gamba t nes ,

o unless Vi la and Salicional supply this want . (SeeGeigen

A f - principal . ) lthough a Gamba o the above mentioned qualities requires no addition to be wonderfully beautiful — ff t flute- in e ec , I would still recommend should a like

- — character hedesired fo r this strin g toned stop a richly

' ’ HohlflOteRoh rflOte u d Amur o . voiced Gedackt, , , and Fl te

(SeeCombinations of Steps. ) In the construction of s uch

n ot of metal stops as are visible, a moderate alloy tin and

see lead ( below) is not only permissible , but is indeed quite

of the rule. With regard to the historical developmment pipes , and the materials which in turn have been e ployed

seealso l f r o of ( Fistu a) , I re er the reade to my c llection

Al en r osen S 1 8 78 notes which came out in the p ( eries ,

’ “ H f n C . Locher s istory o the In the termi ology “ ” “ ” of an the org , the terms pure English tin, tin, and ” l of o meta ten occur, by which is simply meant the pr por ti on (alloy) i n which lead has been added to the pure

of W English tin . We have pure English tin (instead hich

o o 1 of fo f an all y, c ntaining 1 3 lead, is un rtunately still O ten

f o n o employed) ; urther, the c mmo English tin (prop rtion

- 4 on ei th i rd 2 1 4 . of ) ; probe tin ( and metal, which ,

- f f . o ten even one hal , is lead It is apparent that these pro portions aresubject to modifications according to the prac

tice of the organ- builder in question and the varying con

d i ti n s f l o o the contract . Only absolute y purest tin ought

be for f to employed the ront pipes, even should the contract become more expensive in consequence ; instead of the sil

3 0 An ana ti on o the r an to s Expl f O g S p .

steps . ) Every stopped pipe may be looked upon as an

O f of ef pen pipe cut in hal at the node vibration (T p er) . It gives a tone an octave deeper th an theOpen pipe of the f s of ame length , because the column air set vibrating in the i i f covered pipe has the same d stance to travel to the lip, as f the pipe were open and as long again . Stopped pipes o w ftl f very wide scale give, hen so y blown, the oundation tone

Ged ackts f almost true, whereas narrow allow the twel th

H See lso . to be distinctly audible ( elmholtz) . ( a Quintaten )

A double - lipped Gedackt (seeDouble Flute) sounds pro porti on ately brighter an d stronger than the sin gle - lipped

- f 1 6 t. on e. N0 large organ should be without the Lieblich

on u for Gedackt its upper man al, the same reason that

1 - f i m f r o s o a responsive 6 t. Bourd n recom ended the first f ff manual . A beauti ully e ective specimen is that in the

B Ged ackts f foun d a Catholic church at erne . orm a good

k fu e tion, and can be combined with anything that lac s lln ss

eeB of and sombre colouring . (S ourdon and Combinations

f l om I c Stes . p ) , however, one wanted to play a po yphonic

w l on th eGed ackts position ith its dissonances on y , it would

l o for all sound equa ly c lourless, and, that reason , without

or H o Seea lso C character energy ( elmh ltz) . ( Tone olour . )

ste ed o In tuning the pp pipes, which sh uld be the organ

’ u ff see u S b ilder s a air ( Fl e tops) , the pipe is lengthened by

or d raising the stopper the lid by pushing the latter own , . u the bore is made shorter, and the tone conseq ently sharpened .

i en ri nci al Am o f Ge . o g p p etal st p very narrow scale, occur

- r n 8 - f - 1 f f t . 6 t . o 4 f t . on ring as (Riga i stance) , , or stop the

f u upper manuals, where, on a smaller scale, it is o ten req ired t o of ni take the place the Principal . It has a rather i c sive ,

o — o l vi lin like tone . In the narr w flue pipes, which natural y An a na ti on o the r an to s 3 1 Expl f O g S p .

r - Gei en ri n c i al equire a strong wind pressure ( g p p , Violon

B d i etc f t o cello, Violon ass, Viola Gamba , ) , the ounda i n tone is accompanied loudly and distinctly by a number of

H S of harmonics, which , according to elmholtz ensations ” l " Tone, p . lend to the tone its stringy qua ity.

— - Geigen pri n ci pal gives the round a organ like tone to the

S M f far- f well anual, so o ten supplied only with etched

- 8 - ft o would becharacteristic stops ; and as . tone it c mbines

4- f B f t . . avourably with Gemshorns in rapid passages ergner,

h 1 o f Gei en ri n C 6 t . organist at the Riga at edral, considers g p

8 - f i zflO t te. SeeC cipal most effective with t. Sp ( ombinations

ee for of Steps and Tone Colour. S Diapason the term

Gei en ri n ci al Violin Diapason, as applied to the g p p in

American organs. )

Gemshorn is a metal stop resembling the Principal, with

- l a precise, rather horn ike tone ; the pipes taper upwards to

8 - ft 4- ft a point . It occurs as . and . tone, and in power about

Gei en ri n ci al equals g p p . A bright, singing Gemshorn, along

8 - f ei en ri n i al w t. G c of ith g p p , produces intensity tone in the

l 2-ft Swel . There is a . Gemshorn in the new organ at the

H g la an d e a ue, Hol nd ; in Westminst r Abbey (W. Hill) there

2- f H h ee . S t. is a armonic Gems orn ( Harmonic Flute . )

h r ui nt . ee Gems o nq S Quint .

B n See o - G nd ou d o . ra r D uble stopped Bass . f G et O an . . P f . o M r a rg Pro R alme, agdeburg, is right

in drawing my attention to a fact which I have Often f . t w observed mysel , viz that when organis s meet i th the ” stes indication Great Organ, they blindly draw all the p f they can well lay hold o . I dare say that it will only

The real Principals of wide scale which allo w of stronger wind - pressure o ov - o v fo o o f ou with ut er bl wing, gi e the undati n t ne ull and l d with the more o of fo fo th e k o f delicate acc mpaniment the upper pedals , and rm , there re, bul fo d a o o of theo a un ti n s unds rg n . 3 2 An a n a ti on o the r an to s Expl f O g S p .

require this critical hint from the master to remind beginners that under the term Great Organ is still often ” o o f allowed a suitable mission certain reeds and screamers , and that a but partial u seo f groups of steps in accordance

of x with the character the piece to be played is not e cluded .

s (Seealso Combinations of Step . )

H .

H mn E th n r o e . ee a ia ria S Harmo ica .

a 8 - f - H mon c t . r o ar i , a very tender st ing t ne stop of

o o S o narr w scale , intonated between lina and alici nal,

i s a d elicate solo voice usually placed on the thi rd manual

F f - on - - M in large organs ( rank ort the ain, Ulm , Leipsic ,

F f - u - - Lucerne) . In rank ort o the Oder it o ccurs under the n FlOt - H o 8 f C u e t . a ame arm nica, , and in anterbury nder th t

‘ f H r n i 4 f o a mo ca t. Flute , It combines splendidly with

B ourd n h f Ph h r ec o . s m o It must not be con ounded with y a w H rm m a o onica (g ) , nor ith the mixtures Progressio

L ii beck G f f nica ( , ra enrhein eld, Merseburg) and Harmonia

ZEth eri f a . o (ex Echo Organ the cathedral organ; Riga, and

of Nicolaikirche , Leipsic) , both which are arranged as particularly delicate mixtures on the u pper manuals (See

Stes for so - H o so Reed p the called chemical arm nica, Impor tant for acoustical experiments on the generation of tone in organ pipes . )

moni B ss f Ha ca . r a An exceedingly delicate, so tly string

1 - ft o d 6 . toned, w oden pe al stop, corresponding in strength

- - f f S 1 6 t . S m to the so tly voiced alicet Bass, or alicional (g ) , o n As sole or on 1 - f the pedals . in combinati with 6 t. r an to s 3 3 An Explanati on of theO g S p .

- f r Sub Bass (gas ) it is specially suitable o the accompaniment

for of soft passages . A fine specimen is that, instance , in the Catholic Church at Berne .

eeH . Harmonica Flute. S armonica

' eFhiteH mon ue mn c Flut , Har o i , ar iq , is briefly, an over

” of Oar blowin g Flute of the nature Flauto Traverso, very

4 - ft n frequently arranged as . stop (a ), in which case it

of is called FlfiteTraversiere Harmonique . On account eO - f a Flfit its over blowing, it is also requently c lled cta

. vi an teTrompette Harmonique, Flageolet Harmonique , etc , It will be seen from the arrangement of Frencmh organs of what value the French consider these Jeux Har oniques , f based upon the utilization o harmonic tones . The Jeux

- Harmoniques frequently represent on esixth of all the stops .

u fi on F rther scienti c notes the subject, in which special

- to attention is given to French organ building, are be

’ n 5 f of Fa es fou d on p . 7 and the ollowing Adrien de la g “ ” - S o "" . Report to the ci t des Beaux Arts , Paris In that

for S o f most magnificent organ ydney, now in course

’ an d S building at W . Hill on s works , London, the largest

for ever built any English colony, the Harmonic Flutes and Trumpets are ingeniously incorpo rated in the tremendous

r f 1 2 er a my o 6 speaking stops . This English organ will c

t i nl of m a y be one the most re arkable, both as regards tone See and mechanical requirements . ( a lso Trombone . )

of a i Friedrich Ladegast, builder the Nicol i organ, Le psic, writes on the subject of the harmonic tones of pipes 1 f . 6 9 o . (T p er, vol ii ) It is known that these tones have a power and fullness which can never be obtained by f ordinary pipes speaking in the oundation tone only. The air column of such pipes as give harmonic tones is divided

two f o into , three, our, or more vibrating sections . The t ne

D 3 4 An a na ti on o the r an to Exp l f O g S ps .

improves in quality, and may be strengthened without

ste f becoming shrill, and the whole p receives uni ormity . This reminds me also of the apparatus which Dien cl found

o of C e—Co b in the worksh ps availl ll, and which he descri ed 8 8 1 2 Ur a n i a for 1 7 NO. . in the , This apparatus demon

ff of on fo strates the e ect harmonics the undation tone , and

v of of o gi es a clear list the names harm nic tones, the number of - t of sound waves per second , and the metrical leng h

' ’

. Co Ko u the waves mpare nig s apparat s, described by

Blasern a of on 21 1 3 o . . 6 Pietro R me p , Fig , which is based

’ n of H B f o the principle elmholtz s resonators . y means o

of his eight resonators, each which acts through an elastic m ff - fl m a es embrane on easily a ected gas , it may be proved

1 t o ( ) hat all musical instruments have harmonic t nes, and S 2 . eea lso C ( ) which these harmonic tones are ( Tone olour. ) me eH e o H m T u . on c S ar i r p t arm nic Flute .

m s . eeH u i n ri n i al H on c S Ge e c ar i armonic Fl te, g p p , Tone

C o . lour, Mixture, Octave , and Quint

n m e . mu e Har o i . S Physharmonica

tbo s SeeO . Hau i . boe

- - Hehlflete o o . (h ll w tone flute) An open, wide scale wood

ste of flut o p a round, rather colourless y t ne, generally as

- - -ft o on 8 . ft 4 ft. 2 . , , and t ne the manuals, and arranged as

n l ui n tfluteHohl ui n t o u of Qui t stop , labe led Q , q (holl w q int),

- - i - - P ft . o 2 ft. . o as l f 5 ft . t i ffl . S o te § , % , and g t ne It occurs als

' - h hlflOt Gross o e. and as 1 6 ft . As a particularly rare specimen

f Mu 2-f t . I ound this stop in Ulm nster as a pedal stop ,

w o h o s tes on u here, c mbined wit ther p the pper pedal, it / of of gives, without need any coupler, a power expression

n belo ging almost exclusively to the manuals . To explain “ ”

the term upper pedal, I must say that at Ulm, as

f - - - w o St . f ou M ell as in the church Paul, Frank ort the ain, n ti n o the r a n t s 5 A Expla na o f O g S op . 3

M an d S i f in the arienkirche, Lubeck , in the t tskirche,

S t two o ne b tuttgart, here are pedals placed a ove the other

(like the manuals) ins tead of the customary single pedal . This arrangement has been superseded by the present

' HohlflOte convenient composition and combination pedals .

f u w - a with Gamba give a elicito s, some hat horn like combin

tion .

Horn An - . 8 ft o . w B reed, intonated bet een asso n and S f m H Trumpet ( ydney), requently rese bling the English orn

I .

I n i t r n on o . n on ar e o t ati (From the Latin , to resound, ,

o . in a transitive sense, to cause to s und ) Intonation (the

- b n f f real art in organ uildi g, un ortunately so o ten treated

as a minor consideration, and also paid as such) is a term which occurs frequently in this work in the articles both

on on f Flues and Reeds , and which I will there ore endea

f of vour to d efine by a very ew words . The intonation

o eof o o an organ is n the m st imp rtant operations, because the tone (in the proper sense of the word) o f the i n stru ment depends upon it . The whole instrument mmay be Of o very well built, the pipes may be very g od aterial

on e n ot and very accurately executed, and yet may be

to i f ff of able call the organ very excellent, the e ect each

of o single tone, as well as the general tone, does not c rre

e f l of of sp nd with the au tlessness the rest the work . The result of a masterly inton ation is " (1 ) the correct character for of 2 h each species pipe ; ( ) an easy and ready speec . l 1 1 60 e “ r v o . f TOpfe ( i . ) expr sses himsel happily " It is 6 An anati on o the r an to s 3 Expl f O g S p . generally much more difficult to combine good speech w a f ith good tone, than to sep rate them ; it is, there ore , easier to obtain a good tone i f on eis satisfied with slower

’ “ S f r ff . o articulation Gamba and alicional, instance, o er an eloqu ent proof of the progress made in articulation and See . 3 intonation generally ( Frein Harmonique . ) ( ) The

of f possibility giving the pipe 3. colouring o tone suitable

i ts seefor to character and denomination ( , instance, Trumpet,

4 f all Flauto Traverso, Oboe) ; ( ) the care ul equalizing, in

of of u registers, the degree so nd to suit the building ; and

5 see ( ) the proper temperament ( Octave) , and thoroughly c of omplete tuning the organ, which should more cor r tl m ec of n e s y come under the head tu g. (S eal o Tone

Colour and Reed Stops . )

J .

- ff s eeS o al . Jcux deFond . S hut V ve

e f I f of Jub Flut . I al (Called a ter J Q , the ather music in

- Old . f the Testament, Genesis iv ) A double lipped power ul

o Flute, s unding open and bright, similar to the Double

- f Flute, which is also double lipped . I ound this stop on

’ C f - - St . ou the first manual in Paul s hurch, Frank ort the

8 - ft M . s ain ; and, labelled Double Flute as top

— ‘ ’ - f 2- ft ou of i n s r d 4 t . t u msel om as . or stop some Weigle s ents . As already remarked with regard to the Double

nl ff i f Flute, the Jubal Flute has an e ivening e ect, combined

- with a fine string tone stop .

n n a ti n o th r a n to s 3 8 A Exp la o f eO g S p .

f o of . o col ur, and speech the pipes The object making a

o n o t pipe wide is to Obtain a str ng, round, thick tone , easily over- blowing even in the shortest kind of pipe ;

to beside which, wide measurements are in proportion

n A m large buildi gs . narrow scale gives a ore stringy,

G - o o of o seea lso G incisive, and amba like c l uring t ne ( eigen

o o - o principal) , and a m re readily ver blowing tone , and als that particular brilliancy and acuteness peculiar to cermtain o u for st ps ; it is suitable, nder certain conditions, a s all

d for n o buil ing, and such upper manuals as make pretence “ t o f of ullness tone .

Mel d - o o 8 ft . o fl ue o ia is an wo d , labelled D uble Mel dia

h f - f o I6 t . o l to o w en tone . It is int nated simi arly Flaut D i n o . olce, and much used new English and American rgans

' It o 8 - ft . M ccurs as elodia i h the cathedral o rgan at Riga . Met e . S eG al amba.

Mi tu e . u mi soere . mi xt ra x r (From the Latin , , to mix )

The th eorist is inclined to reject the idea of a contrivance

h o f o by which the hig er harm nic fi ths and thirds, s unding w fo o o i n o o ith each undati n t ne, must br g hide us diss nances

o o o f w . o o Int every harm ni us we t Practical reas ns, h ever,

m - co pel organist and organ build er to retain these Mix tures . Their purpose is to prod uce harm onics which exist

‘ in a lesser degree in thefo und ation steps of the organ t for In m of s c han, instance, the instru ents an orche tra, whi h

fo e h o s n latter, there r , require artificial arm nics much les tha d o o . n to Di en el es the rgan Even the orchestra, accordi g , cannot quite d o without artificial harm onics considerin g / that the stren gthenin g by unisons and o ctaves is nothin g

o n or h f i of o o r m re less t an the skil ul util zation harm nics,

th e4 - f 2- ft o ro t. stes of partials, such as and . p the rgan p d l - o m c osed Mx r u d b c . s s o e u e We l c p i tu e , pp rt v a pra tical An a na ti on o the r an t s 9 Exp l f O g S op . 3

of stes arrangement p , and correctly employed, are a most

ff To e ective addition to musical resources . prevent the

M f o n o ixture stop r m bei g int lerably harsh , it is necessary proportionately to strengthen the lo wer tones of each note

o te H o n o s s . o by ther p ( elmh ltz, p It is this acc unt

a o i n sufli ci en t Mi x that, in sm ll rgans with covering, the

u of See t res jar by the excess harmonics . ( Octave . ) The Mixture often repeats (seeCornet) in the tenor and middle

5- M for . on C octave The rank ixture, instance, based , is composed of c (4 g (2g c (2 c (1 or o f g (2§ c (2 g (1 % c (1 g (s) ; the four fold and threefold Mixtures are reduced accordingly by one

r o tw o ranks . In ord er to lend greater volume and power to the

M of i f ixture, particularly in the absence a Cornet, and

fo o ff the undation t nes are not su iciently represented, the

n C o Tierce is added ; but not as highest to e, as in the rnet, S but rather in the middle register, as is the case in harp

for C o C B ( example, in the ath lic hurch, erne, where it has

a W al ker six ranks in the upper o ct ves) . c writes me word

M s o that he always employs the Tierce in ixture, and in f ff M d oing Obtains a more uni orm e ect . The ixture stop

of P o o on G occurs ( ten labelled r gressi ), particularly erman o i n f o to rgans (quite hal the cases), as thr ugh , that is say,

- of f to non repeating voice, and as such is generally rom two

f 2 - ft 2- f f t . o mo e v o . o five ranks, c p s d respecti ely % and

- - - - - f 4 - ft . 2 f f 8 f 5 . f t . o t . t 2 t . 4 ft. , % , and ; and, finally, , § , , — - m l S " 2 2 ft . ft . % , and (exa p es in witzerland Engelberg

C of St . o S ff . onvent, and church J hn, cha hausen) The

M o o f fo ixture is no g d without su ficient undation tones , because it contains the loud sou nding harmonics it

f to belongs, there ore, the Great Organ only, and has no right 40 An an a ti on o the r an tes Exp l f O g S p .

to be ever used separately. On the other hand , the great value of a well- arranged and pro perly covered Mixture

a has, as alre dy mentioned, been long recognized . It lends to the whole organ energy and decision, to the lower tones

- distinctness, and to the Great Organ a silver like brilliancy .

old - G f S Among the organ builders, ott ried ilbermann (died 1 753 f , at Dresden) was principally success ul in employing

o for Hi s this stop, and btaining it due recognition . organs C C in the atholic hapel Royal and the Frauenkirche ,

d u Z mmi n r c . a e Dres en, are still m h admired writes , There seems to be a disinclination to dispense with the sharp i n cisiveness which the clear shrill Mixture pipes add to the

of o n n an d bulk the s u di g organ, to which they stand in ” o f a thesame relation as spice d es to ood . I h ve to thank this same scholar for the correct estimation of theory and e practice , with regard to the stop, with which I head d

for M stes this paragraph . The material ixture p is chiefly

of see or spotted metal (an alloy tin and lead ; Gamba) ,

- as u . metal , this compound is called in German organ b ilding

f s (Seea lso Combinations o Step . )

f mon str ar e n Mont e r ( rom the Latin , to show) is the ame

or f P given by the French to the visible, ront , rincipals . I met with the names Montre and MontreEcho on the

Great Organ at Freiburg (Moser) ; and on the Mii n ster

f 1 6 - ft 8 - ft organ at Geneva I ound the names . Principal, .

4 - f ee M t . . S ontre, and Prestant on the same manual (

Octave . ) e m ee . Musett . S Schal ei r a o 4 1 An Expla nati on of theO g n St ps .

N.

Nassat N z d flue ( a ar ) . A stopped pipe, usually occurring

- - l - f f 2 f t. . o 5 ft. t . as a Quint stop % , % , and g tone Gross

' n assat 1 0 - ft o 3 2- ftr tOn ei f o , % . , pr duces a c mbined with

’ 1 - ft P ee I fo of 6 . s t rincipal ( Quint) . is und on some Haas s large organs .

N ht Ho n - ig r . As a rule a large scale horn like pedal

4 - ft o for B C stop (as . st p , example, in the reslau athedral and

B C ' It f the erlin Garrison hurch) . is ound on the manuals

8 - ft 4 - f n of 2- ft t n d . . a as and . to e ; as a rarity tone, it occurs in the Benedictine convent at Weingarten .

O .

OboeH u bo s f 8 - ft strika , a t i , is a very requent . reed stop , m f u . g as well as ree, and occ rring only on the manuals It

fo represents, although un rtunately not always, the wind m f of o instru ent the same name (and is there re called, as

Westmi n stei' A O in bbey, rchestral Oboe) , particularly in

f fo o o the upper octaves, where it o ten rms the c ntinuati n

f Ba n d o s . St L au the soon (a ) In the . Francois organ at f sanne, and at Glarus , the Oboe is arranged as a ree reed

of f f 4—f . o O o t . with a swell its own A rarer kind boe, tone,

a O is placed in the cathedr l at Riga, and as ctave Oboe in

T w H for S n ow of -s the o n all organ ydney, in course build

. S If mt ing by W Hill and ons , London . built by a as er,

stes O C n me the two p , boe and larionet (a ) , ak splendid

o re a . sol s , and an ornament to any organ When there 4 2 An a nati on o the r an t Exp l f O g S ops . is a possibility of keepin g them in tune I d o n ot like to

o o O o an d C i f find any rgan with ut b e larionet, even it have o or w stes See nly eighteen t enty p . ( Reed Steps ) The

’ o a o of w 8 - ft Wi en erflO - f . te 4 l o c mbin ti n Oboe ith and t . F aut

v o o ff o Tra ers pr duces a charming e ect, coupled with Flaut

Do or B o d o n Sub - B lce ur on the first manual, with ass and

H o B s or o f ee . S arm nica a s, the latter nly, as a oundation (

Co o of tes mbinati ns S p . )

Oct eP es nt D son ste on av , r ta , iapa . This p is every organ w o e o f to D o ith ut xcepti n , and adapts itsel the iapas ns in

o O character, intonati n , and size . The first ctave must be h f D o o O v al as large as the largest iapas n , the sec nd cta e " u f fo h m st be hal as large as the first Octave, and so rt .

A 1 -ft P f 6 . m for o rincipal, there ore, requires the c pleteness o f 8 - f 4 - f 2~ f l - f t t t . t o t. arrangemen the . , , . , but seld m Octave .

2- ft 1 - f f — . t . o S O An As and tone it is ten called uper ctave .

8 - ft O av B - . an d i f o 4 ft O B for ct e ass ( , p ssible, a . ctave ass the

’ fo fo r of B tri es per rmance , example, ach s , with a cantus C

firmu - s on d fo I ft the pe al) is there re necessary to the C .

P B o v o rincipal ass (as pedal st p) . The Octa e st ps are s ome

fro roesta r e w times called Prestants ( m the Latin, p ) , hen

f o e o o placed in the r nt (lik the c rresp nding Principals) .

O stes t o n o The ctave p serve stre gthen the first harm nic, and therefore give more energy an d clearness to the l o arger and deeper Principals . In very small rgans, where

M o be ffo O o u ixtures cann t a rded, bright ctaves are abs l tely

for th e f f necessary clearness o the sto p . Where unds will

a o 2- ft O ou ll w, the . ctave sh ld never be missing in any but

o o Mx ste the smallest rgans, it being a supp rt to the i ture ps,

l as o ma a h a c n ot o t The ca culati ns e surement are , it is true , m t em ti ally ’ ” 3 . ma so l o o a Meld es A o 1 8 8 ab lute y c rrect (c mp re c ustics , , p but y be d ac cepted as s uch i n the technique of o rgan buil ing . o h r an t s 43 An Explana ti on f t eO g S op .

SeeM although already contained in the latter. ( ixture

and Flautino . )

4 - f O on on eof mThe t . ctave the Great manual is the o of st important all organ stops , and is rightly termed

- eeD o w 4 ft . s in England the Principal ( iapas n), hich it in

r ll d t - o reality is . This step is gen ea yms e as the star ing p int

for n An o of temperi g the o rgan . alterati n in the cycle fifths must be m ade in s uch a m ann er that the t welfth

ft m fo o o o fi h bec es identical with the undati n t ne, or with

on eof its octaves ; which result is o btained by tun ing each

fif fl o f f th a tri e flat . By these slight deviati ns rom per ect

t or i o o f o attunemen , beats ( pulsat ns s und) are created, and “ hence the term described in German as Temperament “ o with equal beats , c mmonly known as Equal tempera ” f t . t flat ment The fi th is firs correc ly attuned, and then

' SeeTO f r l o w u o . e v o . . tened till it gives a sl p lsati n ( p , i

8 2 f on . 7 o a t on p and the llowing, Temper men , and He S b ’ m inrich chei ler s athematical tuning, according to

i fi ren es of d e c vibration . )

o P h th eCo n By presupp sing the aris pitc , adapted by

' f fo r a wh m en erence deciding pitch at Vienna, the , ich is

n m ti on ed o o h in every rgan c tract, akes eight undred and

° ° s eventy vibrations per second at 1 2 Reaumur ( 1 5 Celsius

° ’ ” Blasern a S 5 . Co s 9 . 8 7 . Fahrenheit) mpare ound, p

’ C se- a h c C By taking as basis (the c lled p ysi ists ,

S a r o on Ch of suggested by uveu , ad pted later by ladni) ,

51 2 o r F f- o o fo o w simple ( rench) hal vibrati ns (explanati n ll s),

’ u - fo of o o o to which a t ning rk, a vibrati ns w uld c rre

ed fo o w n o o o i v f sp n , the ll i g numeric pr p rti ns, der ed rom the m f 2 —f 2 - o t . C 3 1 6 ft ultiples , are obtained with ; . C

t 4 8 - ft 1 28 4 - ft - C . C 25 2 f 6 . 6 t wi h ; with ; with ; . C with i 51 2 s - ft C th eh s on ; and la tly f g . , ighe t C the organ having ‘

44 An . th r s Exp lan ati on of eO gan Stop .

- C half vibrations per second (ex . Riga) . ompare Du

’ ” - B l 1 3 vo . . . 7 . Hamel s Organ uilder, iii p This is the proper place to mention the very interestin g wa of D y in which one has succeeded, by means the ouble

S S Ca ni ard iren (invented by eebeck, improved upon by g de D f th e la Tour and ove, and in its present orm constructed by

o o great physi l gist and physicist, Helmholtz), in determining with mathematical exactness the number of vibrations per

f o s o or . econd a chord, an organ pipe, a human voice L ng before there was anything known of vibrations and their 58 0—500 calculations, Pythagoras ( had discovered that i f you divide a string by a bridge In such a way that the d two parts pro uce consonants , they must be divided as

1 If the - of to 6 . string be divided so that two thirds the s on - f tring remain the right, and one third on the le t, this — — proportion of length 1 to 2 gives the interval of an 2 3 f 3 4 octave ; just as the proportion to gives the fi th, to t h ef u 4 5 5 6 o rth, to the major third, and to the minor

of o third . (The proportions the inversions are btained by l doubling the smaller figure of the o riginal interva . ) It was not until much later that it was discovered

f n of (Mersenne), rom the laws regulating the moveme ts

of s n strings , that the simple proportions length in tri gs apply in an equal manner to the number of vibrations of tones ; therefore to the intervals of tone on all musical

n our i struments, , and also to that immediately under h o . of l n tice, the organ I ave mentioned by way examp e the si mple relative vibrational numbers of the various

fo C l f octaves unded on . Excel ent illustrations, urnished

’ w of ith correspondingly clear explanatory text, Helmholtz s

o S D uble iren, to which we owe such exceedingly important

’ u h u f res lts in p ysical aco stics, are ound in Helmholtz s

’ 46 An lanati on o the r an t s Exp f O g S op .

which it stands . An Ophicleide occurs as pedal step of

1 6 - ft . C tone in Canterbury athedral, and in the organ at S A U . . . Garden City,

P .

P s d f r e ebo o . S e S a t ar as material pipes Reed tops. Ped l el See C . a Sw l . rescendo

mni f - f Ph sh r c 8 f o o t . y a a is a very so t ree reed st p , in w of of hich the metal tongue, instead striking on the edge f o . the groove , vibrates reely within the gro ve It is placed

- If i n . a box, and has no real tube the Physharmonica has ‘ f ff an appropriate swell, the most wonder ul e ects can be

8 - f - t. 1 f t 6 t . s . e produced with it It is arranged as and p,

’ Mii n ster S See w h . it bells , in the at Freiburg, witzerland ( M tes . Reed S p ) In the cathedral organ at agdeburg, there —ft P 8 . is an Harmonium, identical with the hysharmonica

A - ff t here described (Palme) . well known e ec is obtained

- f w 8 - f o 4 t . t by combining a go d Flauto Traverso ith an .

o Flauto Dolce, accompanied by a Physharm nica with a

D SeeC of tasteful Crescendo and ecrescendo . ( ombinations

s Step . )

l See l o . Pi cco o. F aut Piccolo

- of 4 - f 2- ft 2 t . o . . Pi ffar . A bright rank flute and tone — mt c Acti on . Pneu a i The pneumatic lever that is, a lever — set in motion by air is a mechanical mediato r between the pressure on the keys and the resistance of the t rackers an d

o d pallets . In a box filled with air and hermetically cl se , there are as many little bellows connected with the trackers

on n as there are keys the manual, and the fi ger has only ‘ 4 An Exp lan ati on of theO rga n S teps . 7

ff F I 8 . to apply su icient pressure to raise a little G.

of of valve . Particulars this invention the B f Englishman arker, which considerably acili

o tates playing, even with c uplers , will be f l 542 fo TO f r vo . . o e . und in p , i p and llowing,

Pn . . erl and in Richter, chap xiv Latt y eumatic Action has been successfully applied to Com

o P binati n istons (gm) . Pneumati c Combination Pistons (buttons)

o have, particularly in England, and lately als G S in ermany and witzerland, been placed above o r below the corresponding manual . When pressed by the finger they push ou t a

o o f stes to gr up p attached them , without

’ interfering with the o rganist s pre vio us ar

of s tes o rangement p . In this place sh uld

se- - o be mentioned the called stop key b ard , which in some organs takes the place of the buttons .

Portunal F ute o l . An exceedingly rare pen

fl ue of 8 - ft 4- ft wood pipe . and . tone ; which, m B ord n al o eaning u Flute, is und ubtedly de

f o Bo rived r m rdun .

P nc l Fi . Mo ri ipa ( g called ntre in French ,

f o fo exce is the chie flue st p , und without p

o n tion every organ . It is always made of

see fo the best material ( Gamba) , and rms, tastefully arranged in front (see Electro

u A o f pne matic cti n) , the chie outer ornament, as well as the foundation for the whole tuning . The most approved way o f build ing a Principal pipe is to make it of pure 4 8 An anati on o the r an to s Expl f O g S p .

See . English tin, giving it a high silvery polish . ( Fistula ) If an organ has two or more manuals the Principals

of ff f are made di erent dimensions . On an organ o two

for i of manuals, instance, the Pr ncipal the Great manual is of of f wide scale, and that the upper manual o smaller scale

Gei en ri n i al al c . ( g p p , g ) On medium or small organs, the

of f 8 - f Diapason the Great manual is always o t . tone ; that

of f — is to say, the lowest note this row o pipes getting — 8 f smaller as they ascend is about t. (An exception is made

of f in the case ront pipes, which are lengthened in order to

of t are o obtain symmetry ou line, and cut pen behind at the

o 8 - ft point where the pipe pr per ends . ) I met with an .

P was rincipal in my travels, which, owing to limited space, arranged acoustically for the lowest manual tones with the

‘ 8 - f ll - ste t m 4 ft . a eow . Gedackt, and with wooden octave p, and I did n ot discover great disadvantage arising from f this combination . Very large organs o ten have both a

- 8 - f 1 f t . . 6 t . and an Principal on the first manual In the

f t C a e- C f o S . organ Denis, by av ill oll, is ound a rare

2- f 3 t . specimen, viz . a Principal on the second manual, w m hich latter is sometimes called the Great anual (Paris, f G . eneva, and others) On the pedals the Principal is ound,

- 1 - ft 6 . . even in medium sized organs, as a stop As an

x f on e ception I ound, a very good organ in Jersey, an open

l

- O en 1 6 ft . pedal stop, labelled Grand p Pedal, which alone

ste counterbalanced the three manuals . This p resembles in size and power the corresponding pedal stop in the f t l tt S . a church o St. Laurence at Gallen (the ar organ pre

f d n sents the peculiarity o extraor i arily large keys). This peculiar proportion of the pedal steps is also found in large N American organs . An arrangement by Roosevelt ( ew

" for of 1 f ork) , example,only shows one Principal Bass 6 t An ana ti on o the r an to s 49 Expl f O g S p .

S ub - B f f f 1 n n o 8 t. o 6 ft . o e one ass , and Violo cello , amongst

3 3 2-f ste 3 t . speaking ps . In the largest organs the Princi B mf t of o . pal ass is made wood, seldo metal The wides f 3 2 ft f o . o w scale Principal pipe , when made metal, eighs

c n f wt. " d (specime Ho kirche, Lucerne), and has a iameter of u 1 8 u f n f 5f ord " o t. abo t inches, and a circ m ere ce about Acc

’ i n to TO f r v l - e . 32 f r l e o . t g p ( . ii p an Open . P incipa pip requires 1 536 cubic inches of wind per second for the Co

’ 4 4 o 0 u 99 6 u n . the req ires , and the c bic inches per sec d

32- ft B stes o f Open . Principal ass p wood (in some churches e rroneously labelled S ub - Bass) are of more frequent

of C t occurrence . In most cases, the weight , in such a gian

w Of 2 i s 8 . pipe, about cwt , ith sides 5inches thickness , so as to be ableto oppose sufficient resistance to the vibrations

f f d of n o t o the column o air . The si es organ pipes are absolutely motionless ; the vibration of the sides can be

o A distinctly felt as s on as the pipe is blown . s the mi Zamn r e w to en physicist , ho ever, says, it is necessary

i n fu o close the air resisting walls, so that power l vibrati ns

O i f on may be btained ; they are slack and yielding the moti . communicates itself thro ugh the si des of the pipe to the

m of u t o surrounding at osphere , and the vitality the und la i n

fo o f is annihilated be re it reaches the ther end o the tube.

o f S tes to (SeeCombinations p and Flue S ps . ) ee eTi n S . Prob . Gamba

Pro ess o n on - d gr i is a repeating stop , more nearly describe

of M under the head mixture . ss H n ca eeH P o e o o . S r gr i ar i armonica.

n mnt . P olo ee C o P o B r g ombinati n rol ngement . y

’ of for on Walcker means this pedal, arranged instance s

a t , on the giant organ at Riga, the org nist is enabled o keep

m of stes s n w a a . co bin tion p already chosen, hil t he prepares y E 0 An ana ti on o the r a n to s 5 Exp l f O g S p . o t ther set, which can then, a any given moment, be drawn

f f o H in place o the ormer set. Pr longement armonique

ste i n is a contrivance worked by a pedal or p, wh ch prolo gs

of f the sound the notes struck on the manuals , even a ter

f for the fingers have le t the keys ( instance , during a pause) and are occupied in combining another set of steps (arranged

’ i n C e- E ff of availl Coll s xhibition organ , The e ect this prolongement lasts until the pedal or stop releases the

of a u keys the m n al .

Qui nt - a o ste for is a well known mut ti n p, which has

of n a Object the strengthening the seco d upper partial . It p

ah of pears as open stop with the dimensions a Principal, and — its tubes are cylindrical ; but it may also occur cone shaped, and t S i tz u i n t Nassat ui n t is hen called Gemshorn , p q , or q .

o f 1 f 1 o 0 t . f 2 f 5 t . t . The length the Quint st p is % 3, , s , and l f t . u n rres n d i n ri n i al t co o c . i; , and depends po the p n p The

of 1 - f ft f - f t . 1 . 8 6 0 o t . Quint the Principal is % , that the 5 ft f 4 o s . a o f Principal , . the Quint the Octave is , and l 2- f l - ft o the t. Octave gg . I should here mention the inventi n of C t K i 1 8 1 4 our apellmeister Abt Vogler (d ed , at Darmstadt) , wh o fo o i Ser e und, by using the t nes d scovered by g and named

f ff of a ter Tartini (di erential tones, the origin which Helm

t t in 1 0 holtz has explained) , ha sounding simultaneously a s

1 - ft 3 2- ft u 6 . . Q int and a Principal a tone is produced, and

u 5 - ft i that in sounding simultaneo sly a § . Qu nt and an

- - f - I 8 f 1 6 t . t t t . Principal a . tone is obtained is evident hat

of o B by avoiding an actual construction the lowest pen asses,

2- f - f m 1 6 f . o 3 t . t and , a considerable amount aterial is saved

of t - d n (see end ar icle on Principal) . This secalle simplificatio r An Expla nati on of theO gan Stops . 51

’ of V o ler s for system Abt g is sometimes employed ( instance , for 2- ft h f n 3 . the acoustical tone in Glarus) , and I ave o te recommended it as a valuable aid (particularly in cases where the height of the church did not permit of any other arrangement) . This is the place in which to mention

’ Wal k 2- f c er s interesting combination of the acoustical 3 t.

Grand B ourdon on the Votiv organ at Vienna this stop i s ,

- - - ft o of 1 ft Pr n i f O B 4 . 6 f i c al B 8 t . comp sed p ass , ctave ass , and 11 B l o - ft u B 6 G Octave ass, combined with g . Q int ass and 5 reat

h l B — In Tierce . Gottsc a g says of these five pedal asses reality

5- — n a rank giant pedal mixture that, tha ks to their con

t of s ruction, they combine to a single tone, which, in point i roundness, dist nctness, and power, leaves nothing to be

- desired . They are mounted on a separate sounding board, which is very responsive . A covered Quint stop fitted

' h r ui n t eeRoh rflOt k Ro . S e with a chimney is called q ( . ) Li e ee the mixtures Quint belongs only to the Great Organ . (S Octave for the numeric proportions of the simple intervals

f o to their oundati n tone . )

u ntaten f f Q i allows the fi th, that is, the twel th above the f octave, to be very so tly heard at the same time as the

t e of prime ; hence h name Quintam tenens (see Helmholtz, f p . that is, holding the fi th . Quintaten may possibly

f ae n i n taolen ar e have been derived rom the medi val Latin g ,

n i n taoli n er Alli h n French g ( ) . The Quintaten, belonging to

f of Ged ackts w to the amily the , o es this quality its materially narrow scale. On the upper manuals the Quintaten is of w f m rich, voluminous tone , and hen built by a master or s an

. n of d ornament to any organ Amo g organs modern ate, I

S d Son mention the great y ney organ, by Hill and , in which

- 1 6 ft. Sole w of the Quintaten, placed on the Organ, ill be

u ervI s ce. a s s a e val able The Madeleine, P ris, pos e ses very rar 52 An ana ti on o the r an s Exp l f O g Stop .

‘ 2- f t. Z mm 3 n i n er 2 1 s o a . 6 5 ve Quintaten the pedals . , p , g the following technical explanation of this valuable stop An Open pipe the size of a Quintaten wou ld be considered a very wide on e; as a Cornet stop it is sufficiently slen d er t o

allow of the fifth of the octave being distinctly heard i f over

f low u blown, which is still more acilitated by a cutting p r w See . and stronger ind pressu e . ( Measurement )

R .

- f Rausch ui nt Rauschfiete. l of 2 t q , Composed general y g .

2- f O f th efif o so t. o Quint and ctave ; that is , th and its ctave ,

o o o fo f f that b th t nes t gether rm a ourth, and have, there ore , ” u f o a r stling sound . I have never ound this st p except o n large organs . It belongs naturally to the Great Organ .

‘ ’ h Reed tes Reed i es Reed o k . 9. w S p . Fig. ( p p , r ) As t is

e of stes o term comprises a whol species p , in contradistincti n f f i n o rom Flue work , and as it occurs requently this bo k ,

to o fi n of i I think it advisable give a thor ugh de nitio it, n

o ub accordance with technical bo ks on the s ject . The cur

of f - d rent air, arriving rom the sound boar , sets in vibration

n o Fi 1 0 l a . elastic tongue (a thin blong metal plate, g , ) , which periodically intercepts the stream of air (alternately opening

of r r h er an d . o at closing) These vibrations the tongue, \ the " of n v o intermittent impulses the wi d , which at each ibrati n

r o e o b eak thr ugh the apertur cl sed by the tongue, produce

Wetherefore h ave to deal with a curren t o f air passing through the

for o M . 3 08 o o pipe, which reas n elde p ) c mpares these c nstant condensations and rarefication s of the tongue to the periodical ch anges in density occasioned by the combustion of gas i n connection with theair o ion se- o A o d t v . n c lumn , ten ing ibrat s in the called chemical harm nica a t v o of r so o for on the exh us i e descripti n this inst ument , imp rtant experiments a o of o o fo r r 8 0 of gener ti n t ne in rgan pipes, is und in pa ag aph the last mentioned work .

” 54 An na i o the r Expla t on f O gan Stops.

- w of are regulated by the tuning ire . The scale the tubes depends upon the pi tch produced by the greater or lesser

i of n e v brations the tongue . The lower to es naturally receiv larger and longer tubes, the higher tones smaller and

f or shorter ones . The tongue is astened over a groove reed ,

e of which, when at rest , it closes, with the exc ption a very

fine chink all round its margin . The tongue is either

t o f see allowed vibrate reely in the groove ( Physharmonica) ,

f an oheli br e in which case it is said to be a ree vibrator ( ,

r ei - sohwi n en ol seealso b f g ) ( Vox Humana), or with each vi ra

th e of tion it strikes against edge the groove, and is then

an sohla en cl s f fre called a striking reed ( f g ) . To o ten the

u q ently harsh tone , produced by metal beating against

-

, of o metal, modern art rgan building has very cleverly resorted to fine leather covering for the edges of the grooves to mellower reed stops . 1 . 0 In Fig , p p represents the air chamber, where the groove and tongue are fixed between the wedge and the

8 8 i 9 1 0 o block . F gs . and represent longitudinal secti ns, to allow of an inspection of the cleverly arranged interior

of of parts this species pipe . In consequence of the intense influence which heat and

o ff f cold exercise upon flue st ps, and the di erence in pitch rom

of f f that the reeds resulting there rom , these latter requently

v on e of the require retuning. I will gi e example only influence of temperature upon sound " the velocity of sound ° 1 0 0 ft i 32 9 . n in air at zero , Fahrenheit, is per second it — ° creases about two feet per every degree of Celsius 9 5 of — i . of a r Fahr as the temperature rises . A cold column gives a deeper tone than the same column i f warmed and

f S of n of there ore rarefied . For, in pite the same le gth the

e i n waves, the tone in warm air is high r than cold air, r 5 An Explan ati on of theO gan Stops . 5

because o f the quicker succession of these waves . By heat

h of f the pitc flue pipes is, there ore, raised considerably

of stes higher than that reed p , which is flattened by the

of t th e extension, and consequent slackening, the ongue in " same temperature .

f t to stes This is a proo hat, contrary general opinion, reed p with sounding tubes are less subject to the changes of ff temperature, and their e ect upon true pitch , than are

stes i f ff of flue p , and that, there is a di erence pitch between

of these two species pipes, it is generally brought about by

m i u a change in the flue pipes . The trials ade in var o s

f f o t organ actories ully bear u this argument . These d w trials were ma e ith a Trumpet and an Octave, which

t u u of -f were firs j stly t ned to the pitch the tuning ork, and were then subjected to artificially produced changes of temperature . For technical reasons (seeFlue Pipes) the tuning of the

fi nes sho uld remain the affair of the organ - builder ; th e f organist, there ore, in his attempts to bring his instrument

retun l n of back to the proper pitch, is limited to the g the

l But oo reeds on y . it is easily underst d that even this o o of peration, which is based up n a delicate handling the

u - o fo tongue by the t ning wire, should nly be per rmed by

o o An d on e c nscienti us and experienced hands . though may

o o t always expect c nscientiousness in c un ry organists, yet it

o f to for fo w uld not be air look experience . One, there re, refrains from the use o f reed stops in very small provincial

“ b sub organs, and tries to replace them in a measure y the sti tuti on of - o incisive and string toned st ps (Gamba, Viola,

f The thermal influence on the number of vibrations of a riveted tongue o o ov Z (Physharm nica and Harm nium) may , as experience pr es ( ellner) , be o i nfinitesi mll a c nsidered y small . 56 An ana ti on o the r an to s Exp l f O g S p .

Gei en ri n ci al of g p p ) . Where the tuning the reeds can be regularly undertaken by an organist possessing the above ~

n on e on of me tioned qualities, should not, solely account e C xpense, omit to provide an Oboe, a larionet, a Trumpet,

so f he of th o and orth, according to t size e rgan ; but even tmhen only if its construction h as been entrusted to a skilled . to aster With regard this tuning, I will venture the remark that I do n ot care to s eeit done by either simply f n - w o f orcing dow the tuning ire, or pulling it out by a pair

- f pincers, in which operation the tuning wire is so o ten bent,

or n r i i f eve b oken ; rather should th s, at all possible, be done

of - f w with the aid a properly constructed reed kni e, hich can t only move the wire up or down ver ically. It is always

o to on best at nce replace damaged wires, or such which the ’Ie f n o for of n otch u th e kni e has proper hold want a , beca se

f off of kni e might slip and damage the sides the pipes . How i mportan t must be a moderate and aesthetically dis

o of for fl ue f cerning ch ice reeds the work, is evident rom the fact that no manner of construction is yet known by which it is possible to give to the reeds in theupper

registers the strong, piercing tone which, in certain registers ,

s fl ues i peculiar to the , and by which the latter, in a way,

o lose their great strength in the l wer notes , where in turn

ff TO fer the reeds begin to be more decidedly e ective . p 1 04 Orgelbaukunst, p . ) places this distinctly perceptible z relative effect of these two species of pipes upon each ff oth en i n the tenor octave . The di erence in the develop

ment of power is most clearly evident ; and it is for thi s

reason that the ped als play such an important p art i n

’ ” ee o f O k i CV . . 937 S T p er s rgelbau unst , D agram , Fig , which represents of - n o t ur a reed pipe with the upper end the tuning wire ( visible in o Fig . o a and in which this sharp n tch may be cle rly seen . the r an to s 5 An Exp la nati on of O g S p . 7 m for seeM of Co compositions the organ ( arx, Theory

” k for a B . . t I. . position , Par , ii p While, instance,

32- ft f . Principal develops a majestic depth and ullness, the T rombone and Tuba Mirabilis will always have a power

on . and distinctness which, in a way, grates the ear The same relation exists between the smaller pipes of each kind . It is nationally characteristic of the Germans an d the G f French, that whereas the ermans pre er to hear the

c f of the pea e ul tone a flue pipe in their church, French i of ncline towards the more lively character the Trumpet, and it is for this reason that the German organ is dis ti n ui sh ed for h g its glorious stops, while the Frenc ‘ flue t organ excels in brillian reeds . I will give two examples of for u Walcker this ; instance, the M nster organ in Ulm ( ) ,

of as compared to the organ the Trocadero Palace, Paris

- f h n i ki r h -r C eC o St. o an s c eS ( availl oll), and the organ J , tutt

u va gart (Weigle) , as compared to the M nster organ, Gene M ( erklin), without denying that on both sides I heard f faultless examples o both species of pipes . Equally admirableand tasteful arrangements are frequently found

H n H l So . in England (W . ill and , London), ol and (T . F Witte,

an d S H t Utrecht) in the United tates, America ( amil on

" a n d H B Roosevelt, New ork, and Hook astings, oston) .

heS - m T wiss organ builders also turn out excellent instru ents . I amnot sure whether a reason for the more frequent

of the occurrence very expensive reeds in English , French ,

n f u f Dutch, and American orga s, may not be o nd in the act that the organ - builder demands and Obtai ns a preportion ately higher price for the sacrifice oft ime and labour which

of a o f f m this kind pipe ent ils . I cann t re rain ro supporting most warmly the wish of my esteemed friend Gottsch alg

Ur a i a for 8 8 1 5 n S 1 7 . 7 S for 1 8 8 ( , eries , p , and eries 7 , the r a n to s 58 An Expla na ti on of O g S p .

3 of u S . pp . 7 and and the D tch master de Lange h L h ochen blatt 1 3t S . ei si c Mn si . W ( p , eries, No that the conscientious builder, let him belong to whatever nation he may, ought to be recompensed according to his exertions . In this way the careful scru pulousness in executing all the details of new organs would be cultivated and increased .

This is frequently the secret of an organ- builder bein g

out f o f able to turn a per ect work art .

- The organ exhibited at Milan with leather pulp pipes, prepared by a chemical process, leads me to say a word on n - Italia organ building, as in nearly every other case the finest organs in Italy (Rome for example) are of f In f ff oreign origin . the course o time very di erent materials have been employed (compare the capital work m f Wan e an n 1 8 8 7 3rd u by g , , edition) , which has been o nd t o be not without influence on the tone colour of the stops P f f . S h afhautl mi r o ( ro von c and Za mn e) . The percentage

fl of on the in uence material sound, however, would not be

of thought much account at the present time, and when

o - n s c nsidering the success of modern organ buildi g . Thi

for of o latter is, instance, able , by the art intonati n, to make the tran sition from metal to wood (seeo lina) quite imper

i l i f on e cept b e. This is still more evident considers the scientifical ly proved fact (seeFlue Steps) that the body of the flue pipe onl y serves to regulate the vibrating body of f o e air, and to separate it rom the outer atm spher (that

l of M is, to imit the quantity vibrating air) . elde (in his “ 1 8 8 3 . 242 for Acoustics, , p ) proposes divers materials

u - aco stical trials such as metal, zinc, tin plate, lead, brass ,

on 24 copper, glass, wood, and pasteboard, and ( p . ) gives exact tables of the results as to vibrations obtained by s Allih n h . w o mall cylindrical pasteboard tubes Pastor , has 5 An Exp lana ti on of theOrga n Stops . 9

’ n e of f revised the w edition Top er s work, writes me word

f 4 - i f f o ft . that, it is intended to orm the continuation the

8 - f f t. o and Octave wood, he considers the pasteboard f material per ectly practicable . I therefore accepted with much pleasure the kind

of S o C Rehizzo f of invitation ign r respi g , pro essor physics,

n of and i ventor that material, which threatened the organ “ ” w o a ith a paper age, to examine personally the rgan can n eoli oar t on eat Milan . On entering the Oratorio di Santa Cristina the front visible in the background reminded me of the similarly painted English show

see pipes already mentioned ( Principal) , only that, in the

of case the Italian organ, the grounding was leather

u colo red . With the help of a clever Italian organist and of f ab f the inventor himsel , I was en led to make mysel

ff of acquainted with the e ects this innovation, so loudly discussed in the papers . As the instrument was erected

m li n l i n od el st Co u bo by a physicist and an intelligent , amed ,

of - u without the practical aid an organ b ilder, and as its sole object was to prove the usefulness of a n ew material for - lf f organ pipes, I will limit myse to making the ollowing

t of th 8 - ft men ion etrial . An . stop compared with my

’ tuning- fork (8 70 French vibrations for a ) gave the exact

ff of Paris pitch . The general e ect the pasteboard pipes is

r i i en o surprisingly loud and bright, the mixture sound ( p )

ful u of on is power , and the vol me tone the whole satis f actory . To my ear, somewhat spoilt perhaps, there was l wanting the bri liant metallic, and yet rounded, character of of f the Trumpet, and the decided tone the power ul English Tuba Mirabilis ; and the incisive harmonic string

of - w f u tone a slender scaled, po er ully blown Gamba, s pplied with a Frein Harmonique ; as well as the enchanting delicacy 6 0 An an ati on o the r an to s Expl f O g S p .

Of o ur - Ged ackts an JEOli n as Lieblich d . Without intending

a wo od to, or being able to, suppl nt the English tin, or the of the fir, oak, pear, and maple, the peculiarity and sound producing qualities of which Reghi zzo by n o means unders

" lu m f um o on o va es, this new aterial c uld still, account its

‘ v a k ri alled cheapness, sooner or later ssume a certain ran

i f u m -s among existing materials , s pported by odern organ

u d om-r w r b il ers . A modest beginning to ards a simila c

i n bination has already been made these pasteboard pipes .

In e for a l the- r c u r ed pipes, ex mp e , air chambe , block , and p

of r o on o r are pasteboard ; the g o ve and wedge, the the hand ,

reof o of t a wo d, and the tongue is a thin strip brass, thickes

on n o a e where it is screwed , and tapering i t thin blad

Th - W i n n o towards the lower end . ebrass tuning ire way

ff f Ged ackts u s di ers romours . In the and Fl es all part i m of of the an a are leather pulp, with the exception block ( ) ,

W - of theste er our hich is hard wood, and pp , similar to

f r . 6 o Fig . It might be in store a financial company ,

of f with the assistance scientific and musical pro essionals,

f of ro to overcome the imper ections a first attempt, by p curing th erequisite machinery and consulting competent

- 1 1 1 -1 organ builders, and critically investigating the new

n ti n m o -s e o v . It is evident that the ost ren owned rgan

of aref builders all countries, who requently cited as real

f o u artists in their pro ession, will not leave unn ticed s ch a cheap and easily transportable material ; especially i f in

ff i n " the long run it should show su icient resistance to , the

fluen ceof w t temperature, and stability i h regard to pitch .

f u Experienced riends, whose advice has been val able to me f mth i e t t of ro beginning, agree that was par the task of this work to mention this new invention of the clever an d f S C Rehi zzo gi ted ignor respi g .

‘ 6 2 An ana ti on o the r a n to s Exp l f O g S p .

n B R hrfl ot ee . o . S o te h t does occur ( ourdon ) , toget er wi h

Do i f e on a fine, cutting Gamba, lce ( arrang d the first

or manual), or coupled with Viola Oboe, gives a peculiarly

e S i for attractiv colouring . It combines well with al cional ; s i If in tance, in the organ at Br enz (Berner Oberland) .

’ f mur F fi d A o necessary it may be re reshed by a bright l te . S m ee o f es ( Co binations St p . )

cet SeeS . S ali . alicional

i i on l li al c ce. S a , Sa t A much affected stop among the

n n 8 - ft r 4 - - . 2 ft o ft. stri gs, arra ged as , rarely as . , and as

1 - 6 ft . . of stop at Riga It is, as a rule , wider scale than the

G o u i n . amba, and is c nseq ently less cutting character The

C Gottsch al of VVeimar h ourt organist g, , writes that in Nort Germany these d imensions of Gamba and Salicional are

f Z mi r a o ten reversed . Seidel and mn ederive the word Sali

f n sali ci s i stu la see ' cional rom the Lati f ( Fistula), English

' - f o . o will w pipe The articulation this stop, as well as that

of f the Gamba, was ormerly rather tardy, in accordance

o of of with the constructi n the pipe . The modern art organ building has overcome this diffi culty by improved intona

eeE for of on tion (seeGamba) . (S olina the use wood in c If structi n . g the lower tones ) constructed as a pedal stop,

1 - ft i olaiki r h e 6 . S c c it is called alicet (N , Leipsic), or simply

’ - G H h ft S St . . t e 1 6 . alicional ( eorge s all, Liverpool) In

S n S episcopal church at Lund, wede , the alicional occurs

- see S d do uble lipped ( Double Flute), according to ei el, on

- f 1 6 t . S the second manual . The alicional closely resembles

o the Harmonica Bass constructed in other countries (g ) .

A Voix Celeste is often found of charming effect with An na t n o the r n to s 6 3 Expla i o f O ga S p .

Salicional (also o lina) i f tuned slightly sharper than the

S of f o for latter. alicional is one the most use ul st ps fine

for combinations . I will only mention instance Wiener

' ’ fl mur two oteG u d A o , edackt, Flauto Traverso, or Fl te , the

l - f 4 ee . atter as re reshers of the ft . tone . (S Intonation )

Sanftflote ee i n erfiote . S W e .

h mi - f r e f 8 f o c f t. . o S al A so t reed stop, usually tone (

H H . example at the ague , olland, arranged by J . F Witte) , M M and generally labelled usette in French organs ( adeleine , Z mmi a n er 228 f of Paris) . (p . ) gives a delight ul description this ancient wind instrument (originally a flat tube of green

a willow bark blown with the lips) . He tr ces back to this

t of instrumen , which was used by the shepherds the Alps ,

ri mf B o o o C . the g the modern ass on, larionet, Oboe, etc It

8 - f f appears also as t . Chalumeau on the third manual o

’ S C 4 - ft S ilbermann s ourt organ, Dresden, and as . chalmei on

seeHohlflote of L ii beck the First Pedal ( ) the organ . e me f P f S pti (seventh), as I understood rom ro s . Fink and

P for the c alme, was intended Ni olaikirche (Ladegast) at

- Leipsic. The organ builders whom I consulted are of different Opinion concerning the value and effect of this

of S stop . The organ Notre Dame, Paris, has three eptimes , 4 f f 2 ft 1 n f 1 n o . f o eo t o t. } . the pedals, and two ? and } respectively on the manuals .

1 f - f B seth rn e ent t 8 t . as m 6 o on S rp , , and the , easured f f the same oundation , are smooth, ree reed pedal stops, as

. rere a rule without a tube, like Physharmonica They p sent the smooth reed - character on the upper pedal of the

C on S w of Ulm athedral, and the ell pedal the cathedral

f r See o . organ , Riga . ( Ophicleide its relations to this stop )

s ui alter 2- S Se q a . A rank mixture stop resembling harp ,

u inasmuch as it also has a third, tho gh not in the first An E an ati on o the r an S to JS xpl f O g p .

o f f f p sition like that stop, but as fi th and twel th rom the

’ f un o on n o dation t ne ; that is to say, striki g the note c , the ' ’ notes g and e are heard . It belongs to the Great

har o of f to S p is a mixture st p rom three five ranks, which differs from the mixture proper in that it contains

for an obbligato third in its first position ( example, Frank fo - on - the~ Mai n f i f of rt , Berne) there ore, three ranks , it has

0 i f of f i f of five , e, g ; our ranks c, e , g, c, and ranks g, c, e ,

O n f 0. h g, It belongs to the Great rga , and is ound in Englis

A r o o S . rgans under the Latin name cuta, as harp Mixture

hut-off lve1 s ste fo for Mii n S Va a p, und instance on the

o B m ster rgan at erne, which ad its and intercepts the

of b m ean s of passage wind y a valve which works in the ,

d - I l . t a s u F win trunk is o sed in conjunction with the IG.

for ff of It slider combining di erent groups steps. is

C e- C M S -i used by availl oll, erklin, Ladegast, tein

oth ers In meyer, and . French organs the manuals as well as the pedals have their Jeux de Fonds (foundation stops) and Jeux de Combinaison (com bination steps) on different portions of the wind

A o n of on eor of chest . cc rdi gly as the pallet other

o or i the divisions is pened closed, the comb nations of the different groups of steps can be sounded

' i fli te eeHo hlflo te. S e. S

Spi tzflete(spire or taper flute) is a much -used

o t Fi o . e pen metal st p, wi h conical tops ( g Its ton

’ of u d Amr ou is somewhat brighter than that Fl te , and it is often used as sharpening stop for several

- o on mellow 8 ft. st ps the upper manuals . It appears

8 - ft 4 - f t. ee . S u more frequently as an than as a tone . ( Fl te

’ d Amou r fo r its occasional arrangement on the first manual . ) An a na ti on o the r a n to s Expl f O g S p . 6 5

I - i tzfio te n combination the 4 ft. Sp ranges in point of power

’ - 4 - f 4 f u d Amou r t . t . between Fl te and Gemshorn, which stops it sometimes replaces . M Stenterphon . SeeTuba irabilis .

Mn s ee te u . S S p a al Pneumatic Combination Pistons .

D s See d . Stepped iapa on . Ge ackt l Su i l eeS uavi a . ab e. S

Suavi al Suabi le s f - o l i en ri n l l . Ge c a , A o t toned st p ike g p p ,

' f f 8 - ft i on . c o ten ound old organs as stop beg nning at , as C B forinstance in the French hurch at erne .

Sub-B ss f B o m a (o ten labelled ourdon, Grand Bourd n

f ste 1 - f 2- 6 t. f o 3 t. England) . The name a p with a or covered

See . of pipe . ( Gedackt ) In small organs , where the size the

f 1 - ft - o 6 . S ub B church does not admit the open pipe, ass is d quite indispensable (or even si e by side with this) . We

u seof o S ub - B advise the Harmonica Bass (g ) with ass, i f of there is a liberal allowance pedals , which stop, dis creetly giving precision to the sombre fullness of the S ub m f B 1 s i n o . ass, , such co bination , special value In large and small organs Sub - Bass fo rms one of the most essential stops ; and even in the smallest instrument a coupler to the first

n f manual should ot be deemed a su ficient substitute. From an acoustic point of V iew it is worth mentioning that my experience of the character of this step is that the same “ ff of note, which may have a tremendous e ect in one part the

m r l few f a church, y sca cely be audib e a paces rom this spot.

This acoustic peculiarity of Sub - Bass (and other tones o f lower registers) has therefore caused great trouble to many

f f of s a builder, and has o ten made the satis action expert f D f . . r. o me questionable Pro Forster, Berne, writes to “ on this subject " It would be d oing the organ - builder a great injustice i f on eattributed this phenomenon to a 66 n n ati on o the r a n s A Expla f O g Stop . f of t ff t of aulty construction the ins rument . In di erent par s

s i f the church increase and decrease in the tone, e pecially

of of of this be great length undulation and great intensity, may arise from resonance as well as from interference of an d waves or direct reflected . T The appearance non appearance of these phenomena is dependent upon the shape ” of ro and proportions the interior of the church . The p fesser had the kindness to prove to me a ol oon los by phy si cal experiments this explanation , which is as clear as it is Th concise. ose of my English readers who may take special interest in these remarkable phenomena in the province of physical acoustics are referred to the inimitably

a See cle r and unrivalled Lectures on Sound by Tyndall . (

Principal Bass for the name S ub- Bas s instead of Principal

- Bass . ) Sub Bass lend s itself well to the accompanying ’ o f f i reci si on b any so t comb nation . It gains a delicate p y f H B o B a . the aid armonica ass and Violon ss It becomes, B mr . o e however, still precise with Violoncello Flute ass

v B S ub - recl se and Octa e ass render Bass not only more p , but

An a a d See u . lso thicker and soun er. ( Fl te ) admirably delic te reinforcement of the S ub - Bass is obtained by coupling it to See a suitable stop on thesecond or third manual . ( Couplers f and Combinations o Steps . ) el w . ee S l S Crescendo . Swi ss Flute(formerly more frequent in Germany than

If two or mo on o o ff o two re st es are thr wn int still water at di erent p ints,

or mor . e of fo m systems rings are r ed, which in expanding meet This meet — — i n t o o o o i t i s f . g tha is, the phen men n ccasi ned by called inter erence Beyond the poi nt of meeting thewaves proceed undisturbedly thesame as

If a o o u e v of o o 1 in an enclosed space s und is pr d c d , the wa es s und pr gress

f o m are fl d . o t in all directi ns , bea ing against the walls , r which they then re ecte The angle of reflection is that which is formed by a vertical line erected at “ o k ra of o th e fl s f. the p int struc by the y s und, and by re ected ray it el An ana ti on the r a n to s 6 7 Expl of O g S p .

- m S 8 f s of n t. te in witzerland) is an p, which, in spite its a e ,

l f for on be ongs rather to the string amily, as example the

G O of M l reat rgan the instrument in agdeburg Cathedra ,

w i n G . S where it means a loud amba The name iss Flute,

Wi en erflote n f foun d a the same way as (a ) , has there ore no

o ti n whatever.

T .

T m m r r eto l to e era ent f t mea n e p ( rom the Lati p , regu ate,

the of proportion) is the manner, described under head

O e of n n ctav , decidi g the intervals (layi g the bearings),

all which , in short, enables us to play relatively in tune in keys (Equal Temperament) .

Ter odi on f T efl ' w d p ( rom the Greek p , to elight), according

u to C. F. Richter, was originally a keyed instr ment struck

Sch uberth o with wooden sticks ; according to , h wever, a

to fo t ste keyed instrument similar the piano r e . This p is arranged as a pipe with flu te- like intonation on the third

of n L ii beck on manual the great Marien orga at , and the f of d H ourth manual the cathe ral organ at alberstadt.

Ti erce. of A mutation stop , Flute tone and Principal size (metal), which, as its name denotes , gives, chiefly in

on larger organs, the major third e when intonated 0. It is of n M te , like many Quints and ixtures, mistakenly arranged on i f small prov ncial organs ; that is to say, without su ficient

f - - . 1 f f t. 3 t covering by oundation stops It occurs as , g ,

- f - 6 t. . of 1 2 ft o and § tone An uncommon Tierce § , ccurs on of e t the pedal the Nicolai organ, Leipsic. I belongs to G the reat Organ . eC l Ton o ou . i for u r This express on the q ality, or, as the 6 8 An an a ti on o the r a to s Expl f O g n S p .

F of ste of rench say, the timbre a p, has , in the course this

on book, been used almost every page to designate the characteristic difference of the oral effects of the various steps ; a further definition may therefore not seem i ll i f placed . Even we only compare the Oboe with the Flute , or the Trumpet with the Violoncello, we shall see that , a although tuned to the same pitch , they cannot be mist ken for on e on of d ff another, account the i erence in their Tone “ ” h as Colour . The expression Tone Colour been used by

H o f elmholtz, the greatest authority on acoustics any age ,

S o f in his ensations Tone, and has thereby, in the ter mi n l o o of . gy musical science, become classical (Compare ’ “ ” Meld es A coustics, p . Tyndall owns that the Eng e f lish language has no quivalent, and he there ore envies the German language the suppleness with which it adapts i f f tsel to the requirements o nature . It is well known that

u o i of colour also depends pon the vel c ty vibrations , so

for e that, example , a blue light has the sam relation to a

n l f red one as a high note has to a low o e. Tyndal elici

on e u wh tously compares any single colo r, ich has a simple r of of w atio vibration , with a tone , the vibrations hich

o cannot be divided int simpler ones (every tone, the f f m o vibrations which have a complicated or , such as a

of d string, must be capable being ivided into a number o f of simple tones , all which belong to the harmonic , scale

’ ” 1 2 3 43 5 C Blasern a s of S [ , , , , , ompare Theory ound, e . u p while a mix d colour corresponds to a so nd, for the production of which the foundation tone and the characteristic harmonics act together . Hence the expres n m Gei n r C o . e i nci al sion Tone ol ur In y article on g p p , I ’

ve of the of ha made practical use this theory, by aid which

- f o Helmholtz explains the V l oli n like colour o this st p .

0 An anati on o the r an tes 7 Expl f O g S p .

A new effective Tremolo is (Di en el) n ew constructed after

of the manner blowers (ventilators), which are turned by

f f Seea lso the current o air like a an with wings . ( Unda M aris .)

r m T o b . a Means also Trumpet . T m o boneContra Tr m o bone r , , is a beating reed, intended to of imitate the sound the orchestral trombone, and is seldom missing on large organs . Next to the Eng

M n f lish Tuba irabilis (a ) , it is the most power ul and

of o s tes f cor sonorous all rgan p , and there ore requires a

b of ud o o responding num er lo , v lumin us stops to prevent

f - it rom drowning the others . In medium sized organs it f is o ten replaced by the softer Bombard . The Trombone o f 1 -f 6 t . s ccurs o tenest as a top , and as Double Trombone

C o 32- ft s In te. ( ontra P saune) as . p ( the magnificent organ n ew f n for o . So in course building by W Hill and , the

ow S f T n Hall, ydney, I find the most remarkable eature

4 - f on in the specification to be the 6 t. Double Trombone the pedals . This tremendous and peerless reed will, it i s o confidently believed, have a fine t ne and ready speech , but cannot be used except with the Great Organ to good ff e ect . I here mention with pleasure that in England the

of - u i s o f o t t art organ b ilding the highest rder, and ha the o H S on fo ldest and largest English firm, W . ill and , unded 1 5 7 5 1 40 t . , employ at present men in heir workshops ) The

of woo are of v efo r tubes, usually d , in the shape in ert d u B f f r sided pyramids . y the use o tin o the resonant tubes the tone becomes, perhaps , more brilliant and expressive .

S v a 32- ft The ydney organ abo e mentioned has . Double

e . Trombone of metal . (SeReed Stops )

T umt 8 f u i n Tub C ar n f e t T b 1 6 ft C a o i o 4 t . r p , , a, , l r , a, l , ,

Cla n 4 ft f o o c . ir , , have all the shape an inverted one Built n nati o the r a n S te } A Expla on f O g p s. 7

u and intonated by a master, and s pplied with a proper ff of . sized tube, it is a brilliant stop decided e ect In this

stop is shown what the modern art of organ - building can

f On f accomplish by care ul intonation . enow eels great satisfaction in finding on organs by good makers a Trumpet

of of et - l e a s tly rounded and y iv ly metallic sound, very

ff f o old di erent r m the hard crashing sound , which in d l f organs ma e the Trumpet intolerab e . The tone o the organ under its influence loses the dull monotonous character peculiar to combinations of nothing but flue

C o f - . o 4 f stops The larin (Clairon) is a small Trumpet t.

ton e f u on 8 - ft , o nd not only the pedals (along with .

on . M Trumpet) , but also the manuals On the ii n ster in e f S organ, Geneva, at Glarus, and Templ Neu at trass

f a 4 - ft C on -M burg, I ound . lairon the Great anual as well

n f as o the pedals . English organs o ten possess several

o ff Clari ns with strikingly brilliant e ect . On the pedals

o f S f S an d Mii n ster the ti ts organ, tuttgart, on the organ,

C of 2- ft Ulm , there is a lairon . tone . In the highest

o ste e ctave on the manual this p r peats (that is , starts i l a i ts again w th the arger pipes) , bec use building would be t oo difficult up to In organs which d o not possess any of the modern f m improvements , it is advisable to exclude the Trumpet ro

1 s f the composition pedals, unless there a chance o regular

of of If tuning the organ , particularly the reed stops . not,

e of see S the Trumpet, wh n out tune ( Reed tops), makes

stes as B the composition p as good useless . y means of

d o m o these mo ern c ntrivances, already enti ned, any one

step may be eliminated from a combinati on fo rmed by the

o SeeP . C P comp sition pedal ( neumatic ombination istons . ) If intonated by an experienced hand, the Trumpet requires ‘ r n o s 7 2 An Explana ti on (y theO ga St p . no combination to be effective ; but I can recommend the

of f melodious, healthy tone a good Principal as a rein orce

’ - - mr to f u d A ou 4 t . 8 ft B . an d . ment, the ourdon with Fl te

or if give it a more tender colouring, , necessary, a larger

u f es ee C o st . S gro p flue p ( Tone olour, Intonation , and

C of Stes ombinations p . ) ume Tub Contra Tu T m D ub eT . b b o a, a, ro a, l r p t A trumpet

f 1 - ft ee . o 6 . tone . (S Trumpet )

T Mi for uba rabi lis. A stop much used in England

o f f o concert rgans . It is a very power ul, per ectly r und,

- 8 - f t. precise, non crashing Trumpet, or Trombone, generally

on Sole placed the manual, which receives a considerably

“ — f r o — of heavier o ten mo e than d uble pressure wind, and is

ff s e n h extremely e ective . This t p may be opposed si gly to t e ’ 1 1 t Great Organ . In Roosevelt s organ ( 5 s eps) at Garden

- of Sole to h City, the wind pressure the manual t at f m 1 o the Great anual is as 0 to 35. In this organ the Tuba

M fu s 8 - ft irabilis is supported by the power l and rare stop , .

- Sten tor h on an d 8 ft . B o d p arit ne . In the splen idly restored

r M H . . Son o gan at Westminster Abbey, essrs W ill and in

an8 - ft M London have mounted . Tuba irabilis with heavy,

- l ker wind on a special Tuba sound board . Wa c has proved by the introduction of his Tuba Mirabilis on the Great manual of his cathedral organ at Riga ( 1 24 speaking steps) l that German bui ders also employ this tremendous stop , the mighty power of which is often still more increased by the

2- ft - f . . rarely ound Cornettino, a reed stop

- s n Mari s of . U da (wave the sea) A flute like metal top,

u f w t ned slightly lower than another (equally so t) stop , ith he r an to s 3 An Explana ti on of t O g S p . 7

“ u which, when played, it produces a peculiarly fluct ating

- See of (wave like) tone . ( Tremulant on the temperate use

’ Fai sst 0 i ni on on . s , Tremolo stops . ) According to Dr p this

' rofessi on als d o n ot stop, it would seem that earnest p approve o f V C" ex . the Humana, Voix leste , and Tremulant I agree

o of f; Z of with the milder opini n Pro ellner, Vienna, that,

n according to circumstances, a delicate, moderately vibrati g ste c i p may be very characteristi , and in th s case has ,

f of V to even rom an artistic point iew, a certain claim o recogniti n .

r t ns ee Vib a io . S Octave .

’ Vi ola d Ame o er ola di A o Vi la ( , Vi lt ) . A delicate, string

f of 8 - f 4 - ft t. i s tone metal stop , requently and . tone, which o ften required to represent the Gamba - like character on the u to upper man als . It is meant imitate the tone of th e

br atsche on eof o viola (tenor, ) , and is the most lovely sol

o B e of s . of n t ps ergn r, ( Riga, has on the first manual his orga a t of - e Viola di Al o wood, possessing a Gamba lik string tone . f t In certain registers he pre ers his wood stop to a metal one .

o m S c It combines like ali i nal (g , and Intonation) .

i n Di s n ee . V oli apa o . S Violino

l n ol n i o n D son Vio i o (Vi i a, V li iapa ) is a sharp metal stop

i en ri n i al 4 -f 8 - f Ge c as t. t resembling g p p , and occurs and . tone, for of H S on H o instance, on the instruments W . ill and , o k

o 1 n and Hastings , and Roosevelt . (It ccurs also the Church

8 - f 2- ft of H M t . o . the oly Ghost, agdeburg, as an st p, and as

f o on f o . stop the ourth manual the Nic laikirche , Leipsic )

n Fai sst the e Violo . Dr . advises that in case very incisiv 74 An the r an o s Explanati on of O g St p .

8 - ft . Violoncello should not suit the quality of the general

- f tone, a wider sized and rather more power ully intonated

of Violoncello, a clear, sound, and only moderately stringy

8 - ft tone, should be used . He then calls it . Violon, in contra

- 8 ft . distinction to the proper . Violoncello The name Violon

f - f r 8 ft. o ten occurs in Northern Germany o a similar stop, and I have n ew and again proposed it for S wiss organs .

Vi olone ee . S Violon Bass .

i olon B ss i - ft o f Sub - s a 1 6 . V a wood pedal st p, a ter Bass f ste. o the most commonly used p It is small scale, and has t i a pleasan ly stringy tone, s milar to Double Bass (labelled

o on m Vi lone the Sydney organ) . It co bines admirably

t 1 6 - ft - 8 - . S ub f t . wi h Bass and Flute Bass, and gains decision l of See . by the aid Violonce lo . ( Harmonica Bass )

i n e f 8 - f 1 - f o o c o o t 6 t . V l ll , . tone, answers to the Violon

B i c or ass, and is a prominently characterist pedal stop, c re

e c r sp nding in onstruction, mate ial, and tone colour to the

n f ste ~ Gamba o the manuals . I have ound this p most satis f c actory on all newer organs by good builders, and a chara

teri sti c well - articulating Violoncello has been mentioned “ ” n of r i n u der Intonation as, a specimen the p ogress made

of - u the art modern organ b ilding . (For its combination

b - B Su V /v. with ass and iolon Bass, g )

o x C"leste Ceest n 8 - ft V i ( l i a) is an . metal stop , slightly

1 tch ZEoli n a S f higher in p than and alicional, and o tener employed in combination with these steps than as a solo

4 - f n d t o S . (arranged as . Celestina the y ney organ) It has

ff f r m C C o a fine e ect ( exa ple, in the atholic hurch , Berne)

of for with the accompaniment an open Flute ( instance ,

’ l mur F F fited A o w lauto Dolce, , etc) , or in combination ith

- i en erflote See o Lieblich Gedackt or W . ( also lina and

S . It e d Vex o t alicional ) is sometim s labelle , Latin, C eles is a i n c the r an to s 5 An Explan t o f O g S p . 7

m for Vex n (celestial voice) . It must not be istaken A gelica

f bu t n (angelic voice), which occurs o ten as a reed, has bee

- l ker as 4 ft . placed by Wa c in the cathedral organ, Riga, a

flue stop . l Vex n l ee Cees te. A geica. S Voix

Vex Human S - f l e a t. is an meta st p , intended to imitate the v ff human oice, and constructed di erently by almost every

- of organ builder . In spite the best construction , how

b i n ever, something nasal is always percepti le the metal tone . According to Helmholtz; the sound in reed pipes . o f l is produced by a series intermittent pu ses, which, at each vibration, break through the opening closed by the l See Stes . tongue . ( Reed p ) Hmard, unresponsive materia , of like that brass tongues, akes the individual pulses

s f i appear more broken than does o t, respons ve metal . It is clear that this is the reason why the notes of the

v i f s of human oice, well trained, excel in mellownes tone , an d ff f o of f thus di er r m any the reeds, even rom the best

V x seeH e e . constructed Humana ( lmholtz, p The ,

ff of V ex H e ect the umana is improved by local peculiarities ,

t i t for not materially connected wi h ; instance, placement i n t - a separa e sounding box, combination with a Lieblich

or B ourd on ech o S f useof Gedackt in the well, taste ul the

ul fo r f o Trem ant . I desist, evident reasons, r m investi gating here to which of the last- named acoustical agents this

Vex H owe w or that umana may its success ith the public, and agree in this with Du Hamel (To’ pfer’s Orgel

of of that style architecture, clever choice the m n f o usical pieces, experie ce the organist, and the momen tary disposition of the auditor are sometimes much more essential to thesuccess of this stop than the particular f construction o the pipe . 76 n anati on o the r n to s A a . , Expl f O g S p

Waldflete 2- f f w t. o is a stop wide scale, ith a strong

fl ut f on for y tone, to be ound large organs ( instance , Riga L . s of o and ucerne) In the lower regi ters it is made wo d ,

of in the higher ones metal . In the cathedral organ at

- 4 f See . Magdeburg it is arranged as t. stop . ( Flautino )

’ Wi enerflote of is one the most charming wood flutes ,

o . intonated rather brighter than Flauto D lce As a rule,

’ i t ur - - occ s on of 8 ft 4 ft . one the upper manuals as an . or e S w sol stop, more particularly in iss organs, where it

might with equal correctness be called Concert Flute . Under this name I have found it on the third manual of

’ Walcker s Mii hlh au sen organ at . It may also be called

Z r flote nd an f flote 4- ft a t a S t . ; labelled thus, it occurs as

- f n mi 8 t d eo and . tone in the Nicolaikirche, Leipsic . The nation Wi en erflote lacks all etymological or historical f oundation . In the new Votiv organ, although this stands

' f Wi en erflote in Vienna itsel , there is not a single amongst

,

- k of sixty one spea ing voices . The competent builder this

Wi en erflote organ has, however, placed a on the third

u of f man al the cathedral organ at Riga, in order to satis y f the increasing demand for a stop o this name . Wiener

f on floteis on eof the most use ul stops the upper manuals,

n ot o for nly as a solo , but also combination with any f f other stop . I ound it particularly beauti ul in combina

eC of tion with Oboe and Flauto Traverso . (Se ombinations

Steps . )