TheStory of iobertHope-Jones THE CONCLUSION

The combination pedals and pistons are and no time was allowed for the inert bellows all provided with double touch. Upon using EDITOR'S NOTE: Following is the weights to fall and so force a fresh supply them in the l)rdinary way, the manual stops of air into the wind chests. conclusion of the text relative to alone are affected. If, however, considerable In one of Hope-Jones' earliest patents extra pressure be brought to bear upon them . Robert Hope-Jones, "The Father of the weights indeed remain, but they merel; the appropriate Suitable Bass tablet is the Theatre Organ" as it appears in a serve to compress springs, which in turn

thereby momentarily depressed and liberoted- 0 book, "The Recent Revolution in Or­ act upon the top of the bellows. Before this by this means providing a suitable boss. In gan Building," written by George L. patent was granted, he had, however, given large organs, two or three odju stable toe Miller in 1909 for the annual conven­ up the use of weights altogether and relied pistons ore also provided to give indepen­ tion of the National Association of entirely upon springs.m dent control of the Pedal organ. On touching Organists. Mrs. David Marr loaned the This one detail- -the substitution of springs for weights--has had a farreaching any of these toe pistons, all Suitable Bass book to A TOE Member Lloyd E. Klos tablets ore released, and any selection of effect upon organ music. It rendered possible while he was doing research on the Pedal stops and couplers that the organist the entire removal of the old unsteadiness of may hove arranged, are brought into use. The history of the Ma" & Colton Company. wind from which all organs of the time suf­ Hope-Jones plan seems to leave little room fered in greater or less degree. It quickened for improvement. It has been spoken of as the attack of the action, and the speech of "The greatest assistance to the organist the pipes to an amazing extent, and opened a since the invention of combination pedals"" new and wider field to the King of Instruments. by none other than Mork Andrews, Associate SWELL BOXES of the Royal College of Organists in England. INDIVIDUAL PALLETS The invention of the Swell is generally Fifty years ago, the pallet and slider SFORZANDO PEDAL--Double Touch attributed to Abraham Jordon, who first ex• hibited the Nag 0 s Head Swell in 1731. sound-board were well nigh universally Under the name of Sforzando Coupler, a By the adoption of scientific principles, used, but several of the builders strongly device was formerly found in some organs by Hope -Jones has multiplied the efficiency of advocated and introduced chests having an which the keys of the Swell were caused to Swell Boxes tenfold. He points out that wood , independent valve, pallet or membrane to act upon the keys of the Great. The coupler hitherto used in their construction, is one of control the admission of wind to each pipe being brought on and off by a pedal , sfor­ in the organ. The object of this was to the best known conductors of sound , and 00 0 zando effects cou Id be produced, or the first shou Id, therefore, not be employed. The ef­ prevent robbing ". While the pressure of the beat in each measure strongly accented in fects produced by his brick, stone and ce ­ wind might be ample and steady enough with the style of the orchestration of the great ment boxes (Worcester Cathedral, McEwon only a fe,w stops drawn, it was found that masters. Hope-Jones in his pioneer organ at Hall in Edinburgh , and Ocean Grove in New when a II the stops were drawn, the large pipes 00 robbed 00 their smaller neighbors of St. John "s Church, Birkenhead, provided a Jersey) mark, in ascending degrees, the their due supply of wind , causing them to pedal which brought on the Tuba on the dawn of a new era in Swell Box construction Great organ. The pedal was thrown bock by and effect. It is now possible to produce by sound flat. By giving each pipe a pallet a spring on being released from the pressure means of scientific Swell Boxes, on increase or valve to itself, the waste of wind in the of the foot. Some fine effects could be pro ­ or diminution of tone omountin g to many large grooves was prevented. duced by this, but of course, the whole key ­ thousands per cent . A good pallet and slider chest is difficult board was effected , and only chords cou Id We hove heard the great Tuba at Ocean to make, and those constructed by indif­ be played. ferent workmen out of indifferent lumber will Grove, on 50-inch wind pressure , so reduced 0 00 in s1rength that it formed on effective oc• cause trouble through ' running --that is, BALANCED SWELL PEDAL companiment to the tones of a single voice. leakage of wind from pipe to another. Individual pallet chests are cheaper to The introduction of the balanced Swell The Hope -Jones method seems to be to make, and they have none of the defects pedal in has greatly increased the tonal construct the box and its shutters (in lam i­ 1863 named above. Most of these chests, however , resources of the organ . A further and great nated form) of brick , cement or other inert are subject to troubles of their own, and step in advance appears in recent organs and non -porous material, and to substitute not one of those in which round valves are bu i It by the Hope-Jones Organ Company . for the felt usually employed at the joints of his patented "' sound trap. 00 It is Hope • employed permits the pipes to speak to ad ­ The position of the swell shutters is vantage. brought under the control of the organist 0 s Jones " habit to place the shutters immediate ­ ly above the pipes themselves, so that when Willis, Hope-Jones, Michell and' other fingers as well as his feet. Each balanced artists, after lengthy tests, independently swell pedal is provided with an indicator they are opened, the Swell box is left practically without any top . It is in such arrived at the conclusion that the best tonal key fixed on the under side of the ledge of results cannot by any possibility be ob­ the music desk, where it is most conspicuous cases not his custom to fit any shutters in the side or front of the swell box. tained from these cheap forms of chest. Long to the eye of the performer . As the swell pallets and a large and steady body of air pedal is opened by the organist 0 s foot, the To relieve the compression of the air below each pipe are deemed essential. indicator key travels in a downward direction caused by playing for any length of time with the shutters closed , he provides escope to the extent of perhaps one and a quarter HEAVY WIND PRESSURES inch. As the organist closes his pedal , the valves , opening outside the auditorium . He indicator key again moves upward into its also provides fans for driving all the cold The vast majority of organs built fifty nc,rmal position. By means of th is visible air out of the box before using the organ , years ago used no higher wind pressure than indicator key , the organist is always aware thus equalizing the temperature with the air 3 inches. To Willis must be attributed of the position of the swell shutters. Through outside. The use of Swell boxes of this greater advance in the utilization of heavy patent electric ' mechanism , the indicator key vastly increased efficiency , permits the wind pressure for reed work . is so connected with the swell pedal that employment of larger scales and heavier Prior to the advent of Hope -Jones around the slightest urging of the key either up ~ pressures for the pipes than could otherwise 1887, no higher pressure than 25 inches ward or downward by the finger will shift be used, and enormously increases the tonal had, we believe , been employed in any organ, the swel I pedo I and cou se it to close or flexibility of the organ. and the vast majority of instruments were open as may be desired and to the desired voiced on pressures not exceeding 3 inches. extent . When on organ possesses 4 or 5 BELLOWS SPRINGS VERSUS WEIGHTS Hope -Jones showed that by increasing the weiglt of metal, bellying all flue pipes in the swell boxes (as in the case of Hope ~Jones ' Prior to the construction of the organ at organs) modify the tone by many thousands Birkenhead , it has been the custom to ob ­ center, leathering their lips, clothing their flues, and reversing their languids , he cou Id per cent , it becomes highly important that tain or regulate the pressure of wind sup 0 the organist shall at all times hove complete plies to the pipes by means of loading the obtain from heavy pressures practically un ­ and instant control of the swell shutters and bellows with weights , Owing to its inertia , limited power, and at the same time actual ­ ly add to the sweetness of tone produced by shall be conscious of their position without no heavy bellows weight can be set into mo • the old, lightly -blown pipes. He used nor• having to look below the keyboards . Hope o tion rapidly . When, therefore, a staccato row mouths, did away with regulation at the Jones also provides what he calls a general chord was struck on one of these earlier foot of the pipe, and utilized the 00 pneumatic swell pedal (and its corresponding indicator organs with all its stops drawn , little or no 00 blow obtained from his electric action. He key) , any or all of the other swell pedals response was obtained from the pipes , be = may be coupled at will . cause the wind chest was instantly exhausted *continued on page 23 22 theatre organ ROBERT HOPE-JONES The Tibia Plena was invented by Mr. (Continued) Hope-Jones, and first introduced by him into CLASSIFIEDADS the organ at St. John's, Birkenhead. It is a almost all parts of the world shows the Hope­ wood Flute of very large scale, with the Jones influence, though some builders still mouth on the narrow side of the pipe. The Classified ads are accepted at the rate fight against the leathered lip. It was only at also inaugurated an entirely new departure of ten cents per word per issue. A ten the cost of considerable thought and labor in the science of reed voicing. percent discount allowed if remittance that Hope-Jones was able to develop his He empl ,oys pressvres as high as 50 accompanies your order, crude and empryonic scientific theory into a inches, and never uses less than five. His Head your ads: "WANTED," "SWAP," process which bids fair to transform modern work in this direction has exercised a pro­ "FOR SALE," etc. Send your ad to: organ building. found influence on organ bu i Id in g th rough out Theatre Organ, Adv. Mgr., P .0. Box 248, As knowledge of the Hope-Jones methods the world, and leading builders in all coun­ spreads, coarse and unmusical stops disap­ Alameda, California. tries are adopting his pressures or are ex­ pear. He is without question right in urging perimenting in that direction. SPECIAL OFFER to ATOE MEMBERS: that the chief aim in using heavy pressure No charge for your first ten words. shou Id be to in crease refinement, not power TRANSFERENCE OF STOPS of tone. Sweet foundation tone produced FOR SALE from heavy wind pressure always possesses At the commencement of the period of satisfactory power. He is also unquestion­ which we are treating, the stops belonging to 2 manual 5 rank WurliTzer, vintage 1928. ably right in his contention that when great the Swel I organ cou Id be drawn on that key• Trumpet, Tibia, Salicional, Flute, Vox, nobility of foundation tone is required, Dia­ board only; similarly, the stops on the Great, Chimes, Xylophone, Glock and complete pasons should not be unduly multiplied, but Choir and Pedal organs could be drawn only original percussions, etc. All authentic­ Tibias or large Flutes should be used be­ on their respective keyboards. It is difficult · to say who first conceived ally restored, brown leather, in excellent hind them. Every epoch-making innovation raises the idea ·of transference · of stops, but authen­ condition. Equipped with beautifully adversaries. We learn from these that pure tic instances occurring in the 16th century restored Cherry console. All working foundation tone does not blend. True, there can be pointed out. During the last 50 years, perfectly in home installation. $1950. are examples of organs where the true many builders have done work in th is direc­ Bob Foody, 138 Mountaindale Road, foundation tone exists, but does not blend tion, but without question, the leadership in Yonkers, New York. Area Code 914, with the rest of the instrument, but it is mis­ the movement must be attributed to Hope­ SP. 9-6343. leading to say that "pure foundation tone Jones, While others may have suggested the does not blend," Hope.Jones has proved con­ same thing, he has worked the system out 5 hp single phase 220 volt blower, 15 clusively that by exercise of the requisite practically in a hundred instances, and has inch Kinetic $280.00; 20 notes clarinet; skill, it does, and so have others who fol- forced upon the attention of the organ world 45 notes flute; 37 notes string; 37 notes low in his steps. · the artistic advantages of .the plan. His scheme of treating the organ as a flute; 51 notes diapdson; 38 notes metal THE DECLINE OF MIXTURES single unit and rendering it possible to draw strings; 47 notes harmonic tuba with any of the stops on any of the keyboards at resonators; 16 notes harmonic tuba with­ The decline of mixture work has in itself any reasonable pitch, was unfolded before _out resonators; 24 notes vox humana; 31 entirely altered and very greatly improved the members of the Royal College of Organ­ notes gamba. The above pipes in sets the effect of organs when considered from a ists in London at a lecture he delivered on $1.00 each note, • as is. 12 notes low end musical point of view. The tone is now May 5, 1891. bright and clear. viol $20.00; 6 rank slider chest complete When adopting this system in part, he The announcement by Mr. Hope-Jones at $150.00; 2 manual console $200.00; would speak of "unifying" this, that, or the beginning of the last decade of the past the other stop, and this somewhat inapt chimes 25 notes with Action 435 pitch century of his complete discardment of all phrase has now been adopted by other $200.00; 2 sets of shutters 5' by 5' Wur­ mixture and mutation work, may fairly be builders, and threatens to become general. li T zer $100.00; 16' bourdon 30 notes stated to have marked a distinct epoch in $300.00. Paul Turchan, 8338 SE 92nd the history of the controversy. Avenue, Portland, Oregon 97266. HOPE-JONES' CONTRIBUTIONS FLUTES TO ORGAN TONE Ki I gen 3m/8r in playing condition. Com­ The chief developments in Flutes that plete traps, percussions and toy counter. have taken place during the period under DIAPASONS In home of Dallas, Texas Suburb. $5400 consideration are the introduction of large In the year 1887, Hope-Jones introduced FOB. Details on request fro~ Bill scale, leather-lipped "Tibias'" by Hope• his discovery that by leathering the lips of Thompson, 1408 Beacon St., Brook I ine 46, Jones. the ~iapason pipes, narrowing their mouths, Mass •. These pipes have already effected a inverting their lanqu ids, and increasing the revolution in the tonal structure of large thickness of the metal, the pipes could be Reasonable. Artiste organ roll attdchment organs. They produce a much greater per­ voiced on 10, 20, or even 30-•inch wind with­ - 60 rolls - classical music - good con­ centage of foundation tone than the best out hardness of tone, forcing, or windiness dition - built by Moller. Esther Higgins, Diapasons, and are finding their way into being introduced. He ceased to restrict the 17 W. Browning Road, Collingswood, the most modern organs of size. They appear tone of the pipe, and did all his regulation New Jersey 08108. under various names, such as Tibia Clausa, at th'e flue. Tibia Plena, Gross Flute, Flute Funda­ His invention has proved of profound WurliTzer pipes, chests, percussions, mentale, and Ph ilomela. significance to the organ world. The old etc. Robert Morton console and relay. The word Tibia is now used in this coun­ musical quality, rich in foundation tone, is Southern California area only - unable to try to denote a quality of tone of an intensely returning, but with added power. Its station, crate or ship. Walter B. Trepte, 8046 massive, full and clear character, first in place of the hard and empty-toned Diapa• sons to which we had perforce become ac• Pasadena Avenue, La Mesa, California. realized by Mr. Hope-Jones, though faintly foreshadowed by Bishop in his Clarabella. customed is rapidly growing. The organ in 714-465-5906. 75 note Oboe Horn 4" wind, would make Wurl iTzer 3 manual console, including WurliTzer Theatre Organ stop keys, and excellent Serpent. Ron McDonald, 1720 Pedals and Bench - About 60 ft. of engraving. Please ind i cote quontity South 11 East, Salt Lake City, Utah. cable with ends on spreaders. Pneumatics avai I able - number of each color, and releathered - lower bolster has brand new Gulbransen Rialto Theatre Organ, latest price. Judd Walton, 227 Texas Street, Vallejo, California. contacts - electrically and mechanically model just over one year old. Organ in excel lent condition - needs wood­ stored for last six mont _hs, equipped with Back issues of THEATRE ORGAN. Will­ working. Now has 167 stops for 21 ranks. two Les I ie speakers - $3600. SP4 John ing to pay reasonable price. Need Volume Former Cargill-Garrick WurliTzer. Ray Nelson, Hq Co USATCI, Fort Dis, New I, No. 1, 3, 4; Volume 11, No. 1, 2, 4; Steffens did rebuild. Can be made into a Jersey 08640. Volume 111, No. 1,. 'l, 3, 4; Volume IV, No. 1, 2. Ellsworth S. Primeau, 3822 4 manual console readily. Extra keyboard WANTED included - will take small relay as part Vineland Avenue, North Hollywood, payment. For information write Dr. D.R. Chests, pipes, regulators, blower, tremu­ California 91604. Andriesian, 502 Whiteaker Street, College lants for theatre pipe organ. State condi­ West Coast Regional Meeting Grove, Oregon. tion and price. E.J. Borowiec, 224 S. 5th August 15 - 16 St., Delano, Minnesota 55328. Portland, Oregon Spring 164 23 ROBERT HOPE-JONES continued block Is sunk, and the lip, which Is of con­ siderable thlcla,Na, Is usually coated with a thin strip of leather to Impart to the tone the requisite smoothness and finish. It is voiced on any wind preHure from .C Inches upwards. The Tibia Plena Is the _most powerful and weighty of all the · Tibia tribe of stops. The Tibia Profunda and Tibia Profundluima are 16-ft. and 32-ft. Pedal extensions of the Tibia Plena. The Tibia Clauaa Is a wood Gedeckt of ver, large scale, In other words, Q_.S,topped pipe, furnished with leather lips. It was in­ SUNDAY IN VICTORIA-Reginald Stone at the console of his 2m/6r Kimball which v.,ted by Mr. Hope.Jones. The tone is powerful and beautifully pure and liquid. is installed in the 400-seat Fox Theatre, Victoria, British Columbia, plays music The prevailing fault of the modern Swell for "In the Shade of the Old Apple Tree" as the audience sings under direction of organ la, perhaps, the Inadequacy of the blazer-clad baritone. Stone has presented silent movies at theatre on numerous Flute work. It was the recognition of this occasions. A recent Sunday afternoon session featured organ selections by Stone, shortcoming whl~ led to the Invention of plus a soprano, two accordionists and a color travelogue on the screen. The organ is the Tibia Clauaa. slated to be moved eventually to a larger location, Stone has advised THEATRE The Tibia Dura Is another of Mr. Hope• ORGAN. Jones' inventions. It Is an open woad pipe of peculiar ahape, wider at the top than the produced results of surpassing magnificence. of .. Magnaton". bottom, and described as a bright, hard, and From the Willis' Cor AQglais, he has de­ The Oiaphone takes so many forms and search Ing tone. veloped his Double English Horn; from the covers to large a field that the cost of ex­ The Tibia Minor was invented by John Willis' Oboe, his Oboe Horn; and from the perimenting and working out its various forms Compton of England. It bears some rHem­ Wi II is' Orchestral Oboe, the th in-toned stops and scales must necessarily be great. Possi• blance to Hope.Jones' Tibia Clauaa, but of that class now being introduced by Austin, bly this is the reason why the invention has Skinner, and by his own firm. His chief claim been so I i"le developed. The ton a I effects destined for UH on an open wind cheat. It is produced by the Diaphone which we have made of woad, though some have been made to distinction in this field, however, lies in heard are magnificent, and it appears to us of metal. In all casH, the upper lip is the production of the smooth reed tone now that the diaphonic principle will play an im­ leathered, following Hope.Jones' idea, so rapidly coming into general use; in his portant part in furnishing the bass for organs The Tibia Mollls, Invented by Hope-Jones, 85-note Tuba; in the use of diminutive eschal• in the future. Is a Flute of soft tone, composed of rec• lots with mere saw-cut openings; and in the tangu lar wooden pipes. utilization of "vowel cavities" for giving character to orchestral-toned reeds. SUMMING UP HOPE-JONES' CONTR I ­ BUTIONS TO ORGAN-BUILDING STRINGS The latter are of particular interest, as their possibilities are in process of develop• In 1903, Hope.Jones came to this count ry At the commencement of the period herein ment. The resu Its a Iready achieved have /iw spoken, string-toned stops as w..-icnow them and joined the stin Organ Co. as vic e done much to make the most advanced organ president, whereupon that company adopte d t~ay scarcely existed. To William Thynne in a sense rival the orchestra. his stop keys, wind pressures, sca le s, belongs the credit of a great step In advance. To exemplify the principle of the vowe l leathered lip , smooth reeds, orchestra l sto ps, Hope.Jones founded his work on the Thynne c;tavities, Hope-Jones was in the habit , in etc . model, and by introducing smaller scales , his factory in Birkenhead, England in 1890, In 1907, the Hope.Jones Organ Co . in bellied pipes, and sundried improvements of placing the end of one of his slim Kinura in detail, produced the keen and • refined Elmira, N.Y. commenced the construction of reed pipes in his mouth, and by making the organs containing all these and othe r Eng.:. .string stops now finding their way .into all shape of the latter favor the oo, ah, eh, or ee, lish improvemen ts . organ of importance. His delicate Viols are entirely modified the quality of tone emitted of exceedingly smal I scale, some examples Unti l recent ly, England unquestionab ly by the pipe . led in the developmen t of th.e organ , an d measuring only 1-1A3 inches in diameter a t In England, this vowel cavity principle Hope-Jones led England. Now that his geniu s the 8-foot note. They are met with under the has b-n applied to Orc hestral Oboes, Kin ­ names of Viol d' Orchestre, Viol Celeste is at work in th is country, who sha ll s et uras and Vox Humanas , but in this country, limit to our progress? Even when expressin g and Dulce t . According to Wedgwoad in his it was introduced but six years ago , and has himself throud, other firms , his influence e n­ "Dictionary of Organ Stops", .. The Hope­ so far been adopted only to Orchestral Oboes , Jones pottern of Muted Vio l is one of the tirely altered the standard practice of th e Examples are to be seen in the Wanamaker leading builders , and since direc t express ion most beautifu l tones conceivable ." These organ in New York, Park Church in Elmira , Stops have contributed more than anything has been obtained, improvements have a p­ and Buffalo Cathedral . There undoubtedl y peared with even greater rapidi ty. else towa rds making the organ suitable fo r I ies a great future befor e this plan of in­ the performance of orchestral music. It is the author's opinion tha t in the creasing the variety of orchestra l tone course of the last half-dozen years , th is colors . RBBD S country has made such great stride s in th e art that it may now claim ability to produc e In the last half-century, the art of reed THE DIAPHONB organs tha t are quite equa l to the bes t of voicing has been largely revolutionized . The invention of the Oiaphone by Hope• those built in England. And he ventures to Willis created an entirely new school in this Jones in 1894, provided the organ-builder prophesy that in less tha n another ha lf field. He was the first to show that reeds with an entirely new method of producing dozen years, American-built organs will be could be made really beautiful and fit for tone, and the organist with a new group of accepted as the world ' s highest standa rd. use without help from flue stops. When he tone colors. Much was made of this invention At a banquet given in the New Yor k in wanted power , he obtained it by raising the in the English musical press, but it does not 1106, Alexander Guilmont complaine d tha t pressur e . seem to have been practically applied in that no organ which he had played in this coun­ Hope-Jones took up the work where Willis country in more than perhaps a score of in­ try possessed "majesty of effec t. " The ad ­ left it , and has not only pushed the Wi II is stances. So far as this country is concerned , vent of Hope-Jones has entirely changed th e work to its logical conclusion, but has in­ we believe the only true Diaphones in use situation. When Guilmant next comes , he wi ll troduced a new school of his own . are those in the Auditorium at Ocean Grove , be as quick to recognize the fact as was the He has taken the Willis chorus reeds and N. J., and in St. Paul's Cathedral in Buffalo, celebrated English organist, Edwin Lemare , by doubling the wind pressure and increasing N. Y ., though a few specimens , half reed and who pronounced the reeds at Ocean Grove , the loading and thickness of tongues, has half diaphone have been fitted under the name N. J. the fin .est he had ever heard . ~REAL STEAKCALLIOPE RECORDINGS DECCA No. 9-38231 (45 RPM) recorded aboard Stem.wheel Steamer DELTA QUEEN by Professor E. Jay Quinby and Billy Menke. Traditional Steamboat Tunes and the big Steamboat Whistre. $1.00 Postpaid. Write GREENE LINE STE,AMERS, INC.279 Public Landing • Cincinnati 2, Ohio 24 theatre organ \