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 ( ) .