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Home , Flue pipe, Musical Acoustics, Pipe organ

and ORGAN PIPES rained in this article, as well as other by combining the fundamental tone and points of view well known to students all the harmonics used with it. by DAN BARTON, Organ Builder of in organs. Flue pipes are more properly called Illustrated by the Author I give this explanation to prevent a labial pipes as referring to the lips. FOREWORD controversy with a reader who may be pipes are more properly called Knowledge of musical , espe­ ac9uainted with some theory differing lingual pipes, referring to the tongue. cially pertaining to harmonics, is nearly w1th the one described in the article here presented . talk can be very The upper part of organ pipes is called all based on theory. The definition of body, tubes and resonators. theory is, "A more or less plausible or confusing to one who is not fully ac­ . In ~eferring to the number of sets of scientifically accepted general principle quainted with the subject. Some parts pi,pes rn an organ, they are designated as offered to explain phenomena, conjec­ are called by different names and in some ranks of pipes, as an organ consisting of ture or assumption without proof ." In instances different parts are designated ten ranks. In referring to one set of other words, someone 's opinion. by the same name. To make it clear to pipes, it is designated as a stop as a Many years ago I made a study of har­ those not fully conversant with organ stop or a stop. ' monics. I was curious to know what hap ­ pipe talk, I give a few examples. Half-length pipes are called stopped pens to the wind in its journey from the _ Harmo~ics - also called upper par­ pipes if made of wood. If made of metal blower to the time it came flowing out tials, partials, and mutations. they are called covered pipes. of an organ chamber as . I studied Fundamental tone-also called prime Mixtures and compound stops, which all available books on the subject and tone, ground tone, unison tone. It is the are pipes tuned and voiced to imitate soon found out that the definition given loudest, most powerful and most asser­ harmonics and used in classic organs, are above was indeed correct. The explana­ tive tone by which the pitch of the whole the same. tions in most cases were just someone's compound tone is judged. Pure organ The tube which connects the pipe to opinion. Authors who certainly knew tone is one having no audible harmon­ every phase of organ construction and ics. Compound organ tone is one created (Continued on Page 40) operation lapsed into generalities when the subject of harmonics was attempted. Some authors made statements that con­ If you can read English tradicted other authors . In one book it seemed to me that the author contradict­ you can assemble a Schober Organ ed himself. There was one exception, Aristide Ca­ and be a musical participant! vaille-Coll, the famous French organ Isn't it time you became a musical partici­ pant, rather than just a listener? The organ builder, who was also a great student of is the instrument adults learn to play, be­ musical acoustics. He tried for facts as cause they play so well with so little effort. well as opinions. He invented apparatus And the best way to own an organ is to amplify and measure sound . It to assemble your own from Schober's 100 percent complete kits, with the firm, step­ is reported he made wood stops, both by-step guidance of Schober's famous open and stopped, with glass walls and crystal-clear, nontechnical instructions had glass resonators made for reed pipes . that thousands of entirely untechnical Cavaille-Coll played these stops with people have followed successfully. If you want to play everything from smoke to help him find the answers. Ca­ Bach to Cole Porter, you can choose the vaille-Coll was the first to explode the Recital Organ (right), physically and long held theory of the air forming an tonally so like a fine that many air-reed which vibrated directly in and people can't tell the difference. Every­ thing you need (if you use your own hi-fi out of the mouth of the pipe. or stereo system for the sound) costs only George Ashdown Audsley, of Bloom­ $1725. You can pay as you build, to field, N. J., was also a great student of spread the expenditure, and you couldn't organ lore. To gain authentic informa­ buy the equivalent elsewhere for less than FREEINFORMATION AND DEMONSTRATION RECORDING twice that price. Or you may choose Send today for your free copy of Schober's 16- tion for a book he went to where another Schober Organ model. They start page, full color booklet, plus 7" free recording. he worked with Cavaille-Coll a~d ob­ at $645. Schober's enjoyable self-teaching r------·------.- --- -. tained_from him much information, part courses give you musical results irnrnedi- I ately, and the more you play the better I TheSchober Organ Corp., Dept. T0-4 of whteh was facts as well as theory . Mr . 1 you get. 1 43 West 61st Street, New York, N. Y. 10023 Audsley was the author of "The Art of 1 Over 50% of Schober Organ owners 1 never handled an electronic job before D Please send me Schober Organ Catalog and " and "The Organ of the I free 7-inch "sample" record. I Twentieth Century. " He included what and didn't play a note, yet assembled I □ Enclosed please find $1.00 for 12-inch I he had learned from Cavaille-Coll as well - some of the best organs ever designed I L.P. record of Schober Organ music. I and get a daily thrill from making their as his own deductions in his books. own music. Isn't it time for you to take I NAME ······· ······························ ······ ·········· ······· I To me Mr. Audsley's explanation of ~his cost-saving road to greater musical I ADDRESS ...... I musical acoustics seemed to be the most pleasure-:-and enjoy the satisfaction of I doing it yourself? I CITY ...... STATE ...... ZIP NO ...... logical. Many of his deductions are con------~------~--J 17 I bombarde "You may remember that last year, and there's all the enthusiasm; where HARMONICS/BARTON we had a series of silent movies at Occi­ were they when I was playing in the (Continued from Page 17) dental College. This was not Flicker Fin­ theater? There didn't seem to be any­ gers; it was a silent movie festival. We body paying attention to the organ in the chest is the foot in flue pipes. It is played the scores on a concert organ, those days. It was all taken for granted. a boot in metal reed pipes. The extreme doing theater effects on the most rigid ot The organ rose out of the pit, and we bottom which fits into the air hole in concert instruments, a great Skinner." played a little organ solo. If the folks the wind chest is the toe on all stops. liked ic, they gave you a big hand; if In reed pipes the shallot ( echalotte) they didn't they sure didn't give you a is also called a reed. The vibrating part NOTHER place where Gaylord big hand! There was never anybody you is the tongue. A Career is featured is the Los An­ could really depend upon to be enthusi­ Block refers to part of the mouth in geles Spores Arena. "The Spores Arena astic, regardless of what happened. a wood stop; its counterpart in a metal is one of the places where an electronic pipe is the languid. A block is also a organ has been installed to use before "But, it is enormously stimulating to metal part of a reed stop. It is at the and during sporting events. The organ me, having played the theater organs in top of the boot and holds up the reso­ at the Dodger Stadium is a big feature the old days, and now seeing this revival nator. The shallot is on its underside.* of the down there, and also at the of interest in the organ, in the silent Tongue is the vibrating brass strip in new Aneheim Stadium where the An­ movies and in the little presentations a , also the hardwood piece that gels are. At the Sports Arena, I was which we have. joins the upper lip to the front board in a of a wood open diapason. privileged to play for the Blades, the "We recently went to Cincinnati with 16' Lakers, boxing events, track events and a Douglas Fairbanks picture, and 3,000 *The parts listed are illustrated in the article, all sorts of Sf?Orting activities. "How to Ruin a Theatre Organ," in the people turned out to see this presenta­ August, 1967, issue of this publication. "There, y~u play, more or less, the tion and hear the organ. They were b b b kind of music which will heighten the enormously enthusiastic. It was a great A little understood element of a pipe action. People will come up to you and night in the theater, and I'm sure I was organ is the structure of the give you requests, and of course, all the having more fun than anybody there. pipe. Harmonics are present in some de­ kids want to hear the Batman theme "One of the greatest experiences in gree in every musical sound. In many and Beatle songs. During one of the the theater was to go to a place like they are easily distinguishable, intervals of a hockey game, we play the Paramount downtown, where there while in others they are not so plain and selections from "My Fair Lady" and dur­ was the concert in the pit, the in some musical sounds they are so faint ing the other one, numbers from "Sound big stage show with the stage band, the they are not audible to the . of Music". All of this just to keep some­ organ playing a solo, and maybe a car­ The human voice, especially so­ thing going while the action is not tak­ toon. There was a feeling that you were prano, is the richest in harmonics or ing place on the floor. really getting something for your money. overtones. In highly resonant, metallic musical instruments such as cymbals, bells "Though they demolished the the­ "Now, you have that feeling today, and triangles, they are very audible. Ori­ aters, got rid of the theater organs, and too. But it's not quite the same. It may ental gongs have a great number. Instru­ maybe knocked the organ to the ropes a be that people spread it out a little bit. ments with stretched strings played with bit, it certainly has rebounded. There's You go to the theater and see a great a bow, , violas, and always a spot for good music, and I'm picture. You go to the Hollywood Bowl are rich in harmonics. Brass in­ very grateful that there's a revived in­ and hear a great orchestra. You go to a struments are high in harmonics. terest in organ-playing. I believe this is "Flicker Fingers" and hear a great the­ Harmonics are the result of the natu­ due to several things. ater organ." ral law of sound which is a part of acous­ "One, of course, is the invention and tics. They are musical acoustics. Har­ dissemination of the electronic instru­ monics reinforce the fundamental sound, ments. So many people have organs in JNCLOSING the interview, Don Wal- influence the intensity and quality of a their homes now, so many youngsters lace had tJ-iis to say: 'Tm quite sure, musical tone. They blend with the uni­ son tone and with each other to make a are havin~ the opportunity to learn to Gaylord, that probably we've whetted play the organ through free lessons single tone creating brilliance and rich­ which are given with the purchase of an the interests of a lot of people to see ness. organ, and later on, through study with and hear you play for the next "Flicker This is the definition of harmonics as a good teacher. When a person has an Fingers". You kr:iow, I think it's won­ published in the International Encyclo­ organ in his home, he's interested in or­ derful to be able to make a living, doing pedia of Music and Musicians: "Law of gans being played in other places. something you enjoy doing and having Harmonics-a sonorous body vibrates as a whole and at the same time vibrates "Then, of course, the organ records as much fun as obviously you have, from in each of its several fractions as ½, ½, which have been on the market, by dis­ it." ¼, 1/ 5, 1/ 6, 1/7, etc." The harmonic tinguished musicians such as George "You're absolutely right, Don. I re­ intervals of ½, ½, ¼, 1/ 5, 1/ 6, 1/ 7, Wright and many others, have given a member when I was graduated from etc., always appear in the same regular great impetus to the interest in organ. and orderly succession. The first harmon­ Lincoln High School in Los Angeles out "Then, the organization, the ATOE, ic of ½ has nearly the same volume as on North Broadway, the principal, Ethel the Association of Theater Organ Enth­ the prime tone but from that point the usiasts. This is a group of people who Percy Andress said at the time, 'I hope volume diminishes as the harmonics have revived interest in organs, just as that whatever it is which you do, which ascend. Harmonics decrease in strength the ancient automobile societies have in­ takes most of your time, will be the as they rise in pitch. The loudest instru­ ments have the highest harmonics. terested people in old, old automobiles. thing you enjoy most'. It certainly has If there were no harmonics a pipe "I've often wondered when I'm playing been that in my case, and I'm very grate­ organ would be a pretty dismal sounding for a group of people from the ATOE, ful." affair. There would only be the heavy, october 1967 40 dull tones of the flute and diapason, for tones above the prime, the tone is C2, produce the musical tone. The wind they are the only organ stops that have eight times the vibrations of the prime sheet striking the upper lip also creates no audible harmonics. There would be tone or 523.2. The fraction of the prime a musical tone which must be the same no bright, colored stops that create di­ tone is Ys,representing the tone of a 1' or vibrations per second as the versified musical sounds and contrasting open pipe and designated 22ND or OC­ prime tone of the pipe. The edge tone tone color. TAVE 15TH. and the prime tone are thus coupled to­ gether. I have proven the edge tone by To make it easier to understand this This tabulation is for one pipe 8' CC. sawing off a pipe just above the upper rather complicated subject, I am going Understand that the number of vibra­ lip so only the edge tone is sounding. to designate one pipe as a prime tone- tions of the prime tone and each of the 8' CC which vibrates 65.4 times per sec­ seven harmonics and the designating To prove these statements I suggest ond. It is the first note on the manual note and the length of the open pipe you hold your hand against the side of of a 61-note rank of an 8' stop. I am each harmonic represents will change a 16' wood pipe on a high pressure going to describe all the harmonics that with every note in every rank of pipes, organ when it is sounding and you will would be used with that pipe in an 61, 73, 85 or 97 notes, less if the pitch feel the pulsations pounding against the organ. is lower than 8' CC and increase if the pipe wall. To prove the vacuum princi­ pipes are higher in pitch. The harmon­ ple of sound production, place a few bits The vibrations are International pitch, ics that are audible to the human ear go of cotton inside the mouth of any large 523.3 C . to the 31st and can be heard in some pipe and watch the cotton bits fly OUT Harmonic No. 1 - Eight full tones musical instruments such as orchestral of the pipe when it is sounded. Try above the prime tone, the tone is C twice bowed instruments and the ; blowing directly into a quart bottle; the vibrations of the prime tone, or however, the first seven as a rule are the there will be no result, then blow across 130.8. The fraction of the prime tone is only ones used in a pipe organ. Up t0 the top of the bottle and you will hear a musical tone. You have created a vac­ ½, representing the tone of a 4' open the sixth or seventh harmonics the qual­ pipe and designated OCTAVE. ity is rich and sonorous, above the sixth uum which set the air column in the bot­ and seventh the quality is harsh and tle into vibration and created the musical Harmonic No. 2 - Twelve full tones screamy. sound. This demonstrates the principle above the prime tone, the tone is G, used to produce tones in all flue or labial three times the vibrations of the prime All of these harmonic upper partial organ pipes. tone or 196.2. The fraction of the prime tones do not appear in all ranks of har­ tone is ½, representing the tone of a monic pipes. A pipe can be made to 2¼' open pipe and designated 12TH or speak with only one, two, three or the OCTAVE QUINT. full range of harmonics. In flue pipes the length of the tube and whether it is Harmonic No. 3- Fifteen full tones stopped or open, the position, cut and F1GURE I. VIBRATING STRING . SHOWING NODES (A) above the prime tone, the tone is Cl, arrangement of the mouth determines four times the vibrations of the prime which harmonics are used. In reed pipes A simple experiment will illustrate a tone or 261.6. The fraction of the prime the of the metal, the size, length harmonic vibration or sound . tone is ¼, representing the tone of a Stretch about cwo feet of strong sering 2' open pipe and designated 15TH or and shape of the resonator is the deter­ between two pegs. Snap the string in the SUPER OCTAVE. mining factor, as well as the shape of the rongue and size and position of the hole center ( figure 1) at points A and A; Harmonic No. 4-Seventeen full in the shallot. The wind pressure is also there is no vibration. They are the nodes. tones above the prime tone, the tone is a factor in both flue and reed pipes. The place of greatest movement, BB, is El, five times the vibrations of the prime the anti-. This is like a violin string tone or 327. The fraction of the prime The wind from the blower does not producing the first partial. At the same tone is 1/ 5, representing the tone of a go directly into the pipe like a tin whis­ time it also splits into fractions of ½, 1-3/ 5' open pipe and designated 17TH tle being blown by a kid. In flue or la­ ½, ¼, 1/ 5, 1/6, 1/ 7, etc., of its length, or TIERCE. bial pipes the wind passes from the foot producing a full series of harmonics. through a narrow slot formed by the cap Another experiment. Dismount an or­ Harmonic No. 5-Nineteen full tones and block in wood pipes and by the chestra bell or metal marimba bar, lay above the prime tone, the tone is G 1, lower lip and languid in metal pipes. it on strips of felt about one-quarter way six times the vibrations of the prime This stream of air or wind sheet strikes from each end. Sprinkle fine sawdust or tone or 392.4. The fraction of the prime against the upper lip, where it divides. other small particles over the bar. Strike tone is 1/ 6, representing the tone of a Some authorities say it moves back and the bar repeatedly in the center with a 1½' open pipe and designated 19TH or forth across the upper lip like a fan; och­ rubber marimba hammer. The particles LARIGOT. ers say when the stream of air strikes the will stare to dance and many will fall off upper lip it forms into a vortex or Harmonic No. 6-Between the 20th but you will soon see many particles whirling motion. Whichever way, it cre­ and 21st full tone above the prime tone, forming a line across the bar about one­ ates a suction which draws the air out the tone is between A# 1 and Bb1, seven third from each end. They will remain of the bottom of the pipe, creating a par­ times the vibrations of the prime tone stationary, with no movement no matter tial vacuum. The air column in the pipe or 457.8. The fraction of the prime tone how long you strike the bar. The parti­ expands to fill chis vacuum and this is 1/ 7, representing the tone of a 1-1/ 7' cles are lying on the node where there is movement stares the air column into vi­ open pipe and designated FLAT 21ST or no vibration. This method is used by bration, causing shocks, pulses and trem­ SEPTIME. This partial is the only one makers of bells, marimbas and xylo­ ors within the pipe. This action takes that is not harmonious. phones to determine where co bore the place hundreds of times in a second. Harmonic No. 7 - Twenty-two full These pulsations are sound waves which (Continued on Next Page)

41 theatre organ I bombarde mounting holes so they will not disrupt harmonic, the flat 21st or septime, is not opened shallot but is located higher up the tone quality. always used as it is not harmonious. The the face so the tongue closes the orifice Figure 2 represents an open . seventh harmonic, the 22nd or octave before it has completed its downward It has one node slightly above the center 15th, cannot be made as it is another stroke, thus cutting off the harmonics of and two sections of air and sounds the octave not possible in a stopped pipe. its extreme end. le is used for smooth­ prime or fundamental tone. Figure 3 The harmonics in a stopped pipe are the toned reed stops such as trombones, and represents the same pipe. le has two second, fourth and fifth, which produce French horns in classic organs. le is little nodes and three sections of air and sounds an entirely different tone quality than used in theatre organs. the first upper partial or octave. A are the full range used in an open pipe. the nodes, B are the anti-nodes. The sec­ ond harmonic has three nodes and four sections of air and sounds the 12th or B• octave quint. The number of nodes and I sections of air continues to increase by one as they progress upward. All of the upper partials that have been allotted to any one pipe by the pipe designer and the voicer are moving up and down the barrel of the pipe all at the same time, each one vibrating at a different speed per second. They are also changing phase from condensation or compaction to rari­ fication or thinning out, each time they reach an anti-node, each partial creating A B C its own proper tone. They are all blend­ FIGURE 3. FIRST UPPER FIGURE 4. TYPES OF SHALLOT PARTIAL (OCTAVE), 2 ing with the prime tone and with each NODES, 3 PARTS orher to create a harmonic structure with In reed pipes the tuning is done by richness and brilliance. It is a natural Reed pipes all have harmonic devel­ moving the tuning wire up or down on law of sound, an acoustical phenomenon. opment. The vibration of the tongue the tongue but many reed pipes have causes the column of air in the resonator some means of regulating the tone qual­ to break up into vibrating segments. The ity, such as a slot with a changeable length length and thickness of the tongue sup­ on the side of the resonator near the top plies the proper pitch, the width and or bending a metal cover or shade as the form of the tongue supplies the loudness or standard oboe, or turning the and character of tone. The harmonics are cap to open or close holes in the side of created as already described for labial the resonator as a . pipes. The reed and tongue produce a Reed stops are classified as open stops,

B sound which has no true musical charac­ such as the tuba, and posthorn; ter but which has the same frequency as covered stops as an orchestral oboe. Part­ the prime tone produced in the resona­ ly covered stops as the clarinet, standard tor . The resonator changes this sound oboe or vox humana. To avoid very large into a musical tone of definite pitch and reeds and tongues in reed pipes of the . 32 and 16' register a weight, usually a The reed or shallot is a brass tube brass button, is attached to the lower end slightly tapered, broader at the bottom of the tongues. This is called a "loaded FIGURE 2. PRINCIPAL TONE, I NODE, 2 PARTS and closed at the bottom end. It is made tongue." flat on one side which is the face. It is ( Dan Barton's treatise on harmonics In a stopped pipe which is identical mounted in the block inside the boot will be continued in the next issue.) to an open pipe except that it has been and under the resonator. The properly reduced in length nearly one-half and fit­ sized, curved reed is mounted on the face How to Play Cinema Organ ted with a stopper, the tonal quality or and held in place by a wedge at the timbre is entirely different than the open upper end. There is an opening in the (Continued from Page 32) pipe. The reason is the air column is re­ face of the shallot. These openings vary press upon the importance of duced by one-half. The pipe is now open in shape, proportion and position and and if that is intermittent and unsteady, only at the bottom end. The stopper acts create the harmonic build-up in the res­ the music has no vitality, it is sick, ailing as a node. When the pipe speaks its fun­ onator. The curve of the tongue cover~ and feeble, there is no life in it, it is of damental tone there is no node formed and uncovers the hole in the shallot by no use, and has no message to convey. in the air column as in an open pipe a rolling and unrolling motion. Figure . We assume that the ( Figure 2). The first harmonic octave 4-A is an open shallot running its entire student has already acquired a good gen­ ( Figure 3) cannot be made as the sound length. This creates a tone rich in har­ eral technique, and if his training in wave is blocked at its center by the stop­ monics like the tubas, and post organ playing has been upon recognized per. The second harmonic, the 12th or horns. B shows a partly opened or closed and standard lines, he will know how to octave quint, is the first partial to speak shallot. le is triangular in shape, extend­ treat such music. The who is in a stopped pipe. The third harmonic, ing about one-third way up the shallot. also an artist, will never miss a suitable the 15th or super octave, does not speak It creates a brilliant tone of the kinura, opportunity for introducing music of a for the same reason the first or octave oboe, and clarinet. When used superior nature; at the same time, if he does not speak. The fourth harmonic, the with a quarter-length resonator the tone is wise, he will not overdo it. 17th or tierce, speaks. The fifth harmon­ is the vox humana. C is a "filled-in" shal­ Intermezzo. By the term "intermezzo," ic, the 19th or larigot, speaks. The sixth lot; it is the same size as the partly (Continued on Page 43)

october 1967 42