ORGAN  , in See also:

• MUSIC

music, the name (from Gr. epyavov, See also:

• LAT

Lat. organum, See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument) given to the well-known See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind-instrument . The notes . of the organ are produced by pipes, which are blown by See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air under pressure, technically called wind . Pipes differ from one another in two See also:

• PRINCIPAL

principal ways—(r) in See also:

• PITCH
• PITCH, MUSICAL

pitch, (2) in quality of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . (1) Consider first a See also:

• SERIES (a Latin word from serere, to join)

series of pipes producing notes of similar quality, but differing in pitch . Such a series is called a stop . Each stop of the organ is in effect a musical instrument in itself . (2) The pipes of different stops differ, musically speaking, in their quality of tone, as well as sometimes in their pitch . Physically, they differ in shape and See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general arrangement . The See also:

• SOUNDING (for derivation see SOUND above)

sounding of the pipes is determined by the use of keys, some of which are played by the hands, some by the feet . A See also:

• COMPLETE

complete stop possesses a See also:

• PIPE

pipe for every See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key of some one See also:

• ROW, JOHN (c. 1525—1580)

row of manuals or pedals . If one stop alone is caused to See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound, the effect is that of performance on a single instrument . There are such things as incomplete stops, which do not extend over a whole row of keys; and also there are stops which have more than one pipe to each key .

Every stop is provided with mechanism by means of which the wind can be cut off from its pipes, so that they cannot sound even when the keys are pressed . This mechanism is made to terminate in a handle, which is commonly spoken of as the stop . When the handle is pushed in, the stop does not sound; when the handle is pulled out, the stop sounds if the keys are pressed . An organ may contain from one to four manuals or keyboards and one set of pedals . There are exceptional See also:

• INSTRUMENTS

instruments having five manuals, and also some having two sets of pedals . The usual See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass of the manuals approximates to five octaves, from C to c"" inclusive . The compass of the pedal is two and a See also:

• HALF

half octaves, from C to f' . This represents the pitch in which the notes of the pedal are written; but the pedal generally possesses stops sounding one See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave See also:

• LOWER

lower than the written See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, and in some cases stops sounding two octaves below the written note . Each See also:

• MANUAL

manual or pedal has as a See also:

• RULE

rule one soundboard, on which all its pipes are placed . Underneath the soundboard is the windchest, by which the wind is conveyed from the See also:

• BELLOWS
• BELLOWS, ALBERT F
• BELLOWS, HENRY WHITNEY (1814-1882)

bellows, through the soundboard to the pipes . The windchest contains the mechanism of valves by which the keys See also:

• CONTROL (Fr. contrdle, older form contre rolle, from Med. Lat. contra-rotulus, a counter roll or copy of a document used to check the original; there is no instance in English of the use of " control " in this, its literal, meaning)

control the See also:

• ADMISSION

admission of wind to the soundboard . The soundboard contains the grooves which receive the wind from the valves, and the slides by which the handles of the stops control the transmission of the wind through the soundboard to the pipes of the different stops .

The grooves of the soundboard are spaces See also:

• LEFT

left between wooden bars glued on to the table of the soundboard . There is usually one groove for every key . The grooves of the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass notes, which have to See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply wind for large pipes, are broader than those of the See also:

• TREBLE (a doublet of " triple," three-fold, from Lat. triplus, triple; cf. " double " from duplus)

treble . The bass bars are also thicker than those of the treble, that they may the better support the See also:

• GREAT

great See also:

• WEIGHT

weight which rests on the bass portion of the soundboard . The table forms the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of the grooves . The grooves are generally closed below with the open grooves seen from above . i See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather, except the opening left in each, which is closed by the key-See also:

• VALVE (Lat. valva, a leaf of a double or folding door, allied to volvere, to roll, as of a door on its hinges)

valve or pallet . The sliders are connected with the draw-stops or stop-handles, which are covered in with stout upper boards, on which the pipes stand . The stop-handles are pulled out, and holes are then bored straight down through the upper boards, sliders and table to admit the wind from the grooves to the pipes . When the sliders are shifted by pushing in the handles, the holes no longer correspond, and the pipes are silenced . Pipes are divided first into flue-pipes and See also:

• REED
• REED, ANDREW (1787-1862)
• REED, ISAAC (1742—1807)
• REED, JOSEPH (1741—1785)
• REED, THOMAS BRACKETT (1839—1902)

reed-pipes . Flue-pipes are blown by a wind See also:

• MOUTHPIECE (Fr. embouchure; Ger. Mundstuck; Ital. bocchino)

mouthpiece characteristic of the organ, while in reed-pipes the wind acts on a See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal See also:

• TONGUE (O. Eng. lunge)

tongue vibrating on a reed, and the See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion of the tongue determines the speech of the pipe .

Pipes are made either of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood or of metal . Wood flue-pipes are generally of the See also:

• FORM (Lat. forma)

form of a rectangular parallelepiped, metal flue-pipes of a cylindrical shape . Reed-pipes are conical or pyramidal, and widen towards the top . Some flue-pipes are made with stopped ends; these as a rule sound a note about an octave lower than the corresponding open pipes of the same length . Such are the stopped See also:

• DIAPASON (Gr. &a raccov, through all)

diapason, See also:

• BOURDON, FRANCOIS LOUIS (d. 1797)

bourdon, and stopped See also:

• FLUTE

flute . The general elementary theory of the resonance of a pipe is tolerably See also:

• SIMPLE

simple . The effective length of the pipe is determined by measuring from the upper See also:

• LIP (a word common in various forms, to Teutonic languages, cf Ger. Lippe, Dan. laebe; Lat. labium is cognate)

lip to the open end in open pipes, and from the upper lip to the stopper and back again in stopped pipes . To this is added an See also:

• ALLOWANCE (from "allow,' derived through 0. Fr. alouer from the two Lat. origins adlaudare, to praise, and allocare, to assign a place; so that the English word combined the general idea of "assigning with approval")

allowance for the effect of each opening, since the See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition of perfect freedom from constraint does not subsist at the opening itself . The corrected length is traversed twice (backwards and forwards) by sound, in the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of one vibration of the result See also:

• ANT
• ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u

ant note . This describes in a rough and general manner the way in which any disturbance gives rise to the note of the pipe; but the theory of the mouth-pieces is a much more difficult See also:

• MATTER

matter, into which we cannot here enter . conical the resonance of the But the resonance of the See also:

• BODY

body of the pipe is generally the same as the note produced . The tongue of a reed-pipe alternately opens and closes the See also:

• APERTURE (from Lat. aperire, to open)

aperture of the reed .

In this way it admits, pulses of wind to the body of the pipe; these, if they recur at the proper intervals, maintain its vibration, which takes See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place when the note produced corresponds to the resonance of the pipe . The reed itself has its vibrating length determined by a See also:

• WIRE (A.S. wir, a wire; cf. Swed. vire, to twist, M.H.G. wiere, a gold ornament, Lat. viriae, armlets, ultimately from the root wi, to twist, bind)

wire which presses against it . The See also:

• FREE

free end of this wire is touched with the tuning See also:

• TOOL (0. Eng. tdl, generally referred to a root seen in the Goth. taujan, to make, or in the English word " taw," to work or dress leather)

tool until a satisfactory note is produced . The pitch of the different stops is commonly denoted by the conventional approximate length of the pipe sounded by C, the lowest key of the manual . Even in incomplete stops which have no bass, the length of the pipe which C would have if the stop were extended down serves to indicate the pitch . The conventional length of the C-pipe for stops having the normal pitch of the keys is 8 ft.; a pipe having twice this length sounds the octave below, a pipe having half that length the octave above, and so on . Thus stops which sound the octave below the normal pitch of the keys are spoken of as 16-See also:

• FOOT

foot stops . Even where the pipes are stopped so that the actual length is only 8 ft., they are spoken of as having " 16-ft. tone." Similarly 32-ft. stops sound two octaves below the normal pitch of the keys . But if these notes are produced by stopped pipes, whose actual length is only 16 ft., they are spoken of as having " 32-f t. tone." Sixteen-foot and 32-ft. stops are specially characteristic of the pedal, where the names also signify the length of the open pipe which would sound the note actually produced by the lowest C . Of stops higher than the normal pitch of the keys, the octave is denoted by 4 ft. if made with open pipes, 4-ft. tone if stopped; the twelfth is commonly spoken of as 21, the fifteenth or See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double octave as 2 ft . Higher-sounding stops are occasionally used, but these generally form See also:

• PART

part of " mixtures," and the foot-lengths of the See also:

• SEPARATE

separate ranks are not usually given . The true or accurate lengths of the pipes vary within considerable limits .

The See also:

• BASE

base of the scales (dimensions) varies according to the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard of pitch, and the voicing and the complicated natural See also:

• LAWS

laws of pipes produce other deviations from simple relations, so that the conventional dimensions can only be regarded as a simple means of classifying the stops according to their pitch-relations . For this purpose they are essential; they are continually appealed to in discussion and description; and they are almost invariably marked on the stop-handles in all countries, so that a moderate knowledge of See also:

• FOREIGN

foreign nomenclatures, combined with the See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit of seizing the meaning of the figures such as 16, 8, 4, on the stop-handles, will frequently suffice as a key to the complexities of a foreign organ . Each of the manuals, or rows of keys, of an organ constitutes a separate organ, which is more or less complete in itself . The names of the different manuals or See also:

• ORGANS

organs are great organ, swell organ, See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir organ and See also:

• SOLO, OR SOLO WHIST

solo organ . The fifth manual, where it occurs, is the See also:

• ECHO (Gr. I'Xw)

echo organ . The above is the usual See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order in point of development and frequency of occurrence, although the solo is sometimes preferred to the choir organ . The great organ is in a certain sense the principal See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department of the organ . It maybe regarded as formed by a completely See also:

• DEVELOPED

developed series of those fundamental stops which constitute the solid basis of the tone of the instrument . If an instrument be constructed with only a single manual this necessarily assumes, in general, the characteristics of a great organ . The great organ is called " grande orgue " in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French, and first manual or " See also:

• HAUPT, MORITZ (1808—1874)

haupt-werk " in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German . It is proposed to describe the principal organ-stops under the II Groove See also:

• URI

uRI Pc C dn x the table, windchest and pallet . 1116 See also:

• MEW

MEW iiam- angles to fig .

2 . l of f •1 I . J . r . In reed-pipes which are simply body is nearly the same as that of an open pipe of the same length . Where the form is irregular no simple rule can be given . XX . 9 what greater detail . heads of the manuals to which they belong . The enumeration will not be exhaustive, but will include all the usual types . The great organ begins generally with stops of 16 ft. in large instruments . In some cases a 32-foot sounding stop is introduced, See also:

• MEAT

meat but this cannot be said to be a proper characteristic of the great organ .

The See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation tone is of 8 ft.; the stops ORGAN O1g8n. of higher pitch serve to add brilliancy; those of i6 ft., which sound the octave below the normal pitch, se~ve to add gravity and weight to the tone . Sixteen-foot stops are commonly spoken of as " doubles," their conventional length being twice that of stops of normal pitch . The i6-ft. stops are the i6 double open diapason, and the 16 bourdon or double stopped diapason, to which, in very large instruments, there may be added a 16 double See also:

• TRUMPET (Fr. trompette, clairon; Ger. ,Trompete, Klarino, Trummet; Ital. tromba, trombetta, clarino)
• TRUMPET, SPEAKING AND HEARING

trumpet . The double open diapason on the great organ consists usually of metal pipes, having moderate " See also:

• SCALE
• SCALE (1) A

scale," or transverse dimensions . These are of the same general See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character as the pipes of the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary open diapason, though they are made somewhat less powerful . In the better instruments of the second class as to See also:

• SIZE

size this stop alone would probably be regarded as representing suitably and sufficiently the class of doubles on the great organ . .It gives great body to the general tone, and appears decidedly preferable to the bourdon, which frequently takes its place . The 16 bourdon, when used on the great organ, is made of rather small scale and See also:

• LIGHT

light tone . It gives great body to a large great organ and affords interesting combinations with other stops, such as the 4-ft. flute . It is used either alone in smaller organs of the second class, or in addition to a double open in larger instruments . The i6 double trumpet is a trumpet (large reed stop) sounding the octave below the normal pitch . It is used generally in instruments of the largest size, but is somewhat more See also:

• COMMON

common in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany .

It is useful in giving a massive character to the tone of the full great organ, which is See also:

• APT

apt to become disagreeable on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the great development of stops of a piercing character . If, however, the double trumpet is rough in tone, it is apt to communicate to the whole a corresponding impression . We now proceed to the 8-ft. stops (the reeds come at the end according to ordinary usage) . An ordinary great organ may contain Great 8 stopped diapason, 8 open diapason (one or more), 8 Great gamba and 8 hohlflote . The 8 stopped diapason on the o organ great organ is usually of moderate scale, and some See also:

• CON

con- feet . siderable fulness of tone . Few stops admit of more variety and individuality in their quality of tone than the stopped diapason; but too frequently the great organ stopped diapason fails to attract See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention on its merits, being regarded simply as an in-considerable portion of the foundation tone . If there is any one stop which in itself represents the organ as a whole it is the open diapason . The pipes of this stop are the typical metal pipes which have always been characteristic of the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of the organ . A single open diapason stop is capable of being used as an organ of sufficient See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power for many purposes, though of course without variety . The pipes of this stop are called " principal " in German, this appellation apparently corresponding to the fact that they are the true and See also:

• ORIGINAL

original organ-pipes . The See also:

• ENGLISH

English appellation of " diapason " has been taken to mean that these are the normal pipes which run through the whole compass .

This, however, does not appear to be the actual derivation of the See also:

• TERM

term; originally it is technically applied to the organ-builder's rule, which gives the dimensions of pipes; and it appears that the application to the stop followed on this meaning . The scales, character and voicing of the open diapason vary with See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion, and are different in different countries . We may distinguish three principal types . The old English diapasons of the days before the introduction of pedal organs into See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England were characterized by a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich sweet tone, and were not very powerful . They were generally voiced on a light wind, having a pressure See also:

• EQUIVALENT

equivalent to that of a See also:

• COLUMN (Lat. columna)

column of See also:

• WATER

water of from 2 to 21 in . The scale was in some cases very large, as in See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

Green's two open diapasons in the old organ at St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George's, See also:

• WINDSOR
• WINDSOR (properly NEw WINDSOR)

Windsor; in these the wind was light, and the tone very soft . In other cases the scale was smaller and the voicing bolder, as in See also:

• FATHER

Father See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

Smith's original diapasons in St See also:

• PAUL
• PAUL (PAULUS)

Paul's See also:

• CATHEDRAL

Cathedral . But on the whole the old English diapasons presented a lovely quality of tone . English travellers of those days, accustomed to these diapasons, usually found foreign organs harsh, noisy and uninteresting . And there are many still in England who, while recognizing the See also:

• NECESSITY (Lat. necessitas)

necessity of a firmer diapason tone in view of the introduction of the heavy pedal bass, and the corresponding strengthening of the upper departments of the organ tone, lament the disappearance of the old diapason tone . However, it is possible with care to obtain diapasons presenting the sweet characteristics of the old English tone, combined with sufficient fulness and power to form a sound general foundation . And there can be no doubt that this should be one of the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief points to be kept in view in organ See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design .

The German diapason was of an entirely different character from the English . The heavy bass of the pedals has been an essential characteristic of the German organ for at least two or three centuries, or, as it is said, for four . The development of the piercing stops of high pitch was equally general . Thus foundation See also:

• WORK

work of comparatively great power was required to maintain the See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance of. tone; the ordinary German diapason was very loud, and we mayalmost say coarse, in its tone when compared with the old English diapason . The German stop was voiced as a rule on from 31 to 4 in. of wind, not quite twice the pressure used in England . The French diapason is a See also:

• MODERN

modern variety . It may be described as presenting rather the characteristics of a loud gamba than of a diapason . In other words the tone tends towards a certain quality which may be described as " nasal " or metallic, or as approaching to that of a See also:

• STRING

string instrument of rather coarse character . Some modern English builders appear to aim at the same See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model, and not without success . The tone of a diapason must be strong enough to assert itself It is the foundation of the whole organ tone . It is the voicer's business to satisfy this condition in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with the requirement that the tone shall be full and of agreeable quality . The 8 spitzflote may be regarded as a variety of open diapason .

The pipes See also:

• TAPER (probably of Celtic origin, cf. Irish tapar, Welsh tampr, taper, torch)

taper slightly towards the top, and the quality is slightly stringy . This stop was much used at one time in place of a second open diapason . But it appears better that, where two open diapasons are desirable, they should both be of full diapason quality, though possibly of different strengths and dimensions . The ad-mixture of stringy qualities of tone with the diapasons is always to be deprecated . The 8 gamba was originally an See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of the See also:

• VIOLA [Fr. viole, Ger. Bratsche, Ital. viola, alto]

viola da gamba, a sort of See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello . When made of a light quality of tone it is a pleasing stop; but its use in the great organ instead of a second open diapason is greatly to be deprecated for the reasons just stated . The 8 hohlflote is an open flute, usually of wood, and of small scale . If made to a moderate scale and fully voiced it possesses a full pleasant tone, which is a useful support to the foundation tone of the great organ . The 8 clarabella differs from the hohlflote in being usually of rather large scale, and having the open pipes only in the treble . In old organs a separate bass was generally provided; now it is more usual to supply the stop with a stopped bass . The 4-ft. stops of the great organ comprise the 4 principal and the 4 flute . The 4 principal is the octave of the open diapason, generally of somewhat reduced scale and light but See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright quality of Great tone .

The use of the word " principal " in connexion organ with this stop is purely English, and is said to be con- 4 feet. nected with the use made of it as the standard of tuning for the whole organ . The Germans and French both designate this stop as " octave." Of the 4 flute there are several varieties—open, stopped, wood, metal and See also:

• HARMONIC

harmonic . The harmonic flute has open metal pipes of double the conventional length, which speak their octave . This is determined partly by the voicing, partly by making a small hole about the See also:

• MIDDLE

middle of the length, which determines the motion as that of the two separate lengths between which the hole lies . Harmonic flutes have a sweet but full and powerful tone . Other flutes are generally rather light, except the waldflote, which is a powerful stop of a somewhat hooting quality . The great organ flute is frequently used to give brilliancy to light combinations . Thus it may be used with the stopped diapason alone, or with the 16 bourdon alone, or with any of these and either or both of the open diapasons . The ordinary use of the 4-ft. stops is to add a degree of loudness to the diapasons . This is accompanied with a certain measure of keenness, which may become disagreeable if the 4-ft. tone is disproportionately strong . The ordinary practice is to use the 4-ft. tone very freely . The 2; twelfth stop sounds See also:

• FIDDLE (O. Eng. fithele, fidel, &c., Fr. vide, viole, violon; M. H. Ger. videle, mod. Ger. Fiedel)

fiddle g on the C key .

It is composed of diapason pipes, rather small and gently voiced . Its Great use is said to be to thicken the tone, which it certainly orgaa does . But how far the particular effect produced is stops of desirable is another question . It is generally necessary high pitch that this stop should be accompanied by the fifteenth or other octave sounding stop of higher pitch . The 2 fifteenth, or superoctave, of the great organ consists of diapason pipes sounding notes two octaves above the normal pitch of the keys . The 2 See also:

• PICCOLO (Fr. petite filte octave; Ger. Pickelflote; Ital. flauto piccolo or ottavino)

piccolo is a fluty stop of less power, having the same pitch . The 2-ft. tone is commonly used as giving a degree of loudness to the great organ beyond that obtainable with the 4-ft. tone . The modern great organ fifteenth is generally a very powerful stop, and requires great caution in its use in organs of moderate size, or in limited spaces . The old English high pitched stops had little power, and their brilliancy was capable of pleasing without offence . The modern great organ up to fifteenth can only be heard with comfort in very large spaces . Under such suitable circumstances the fifteenth is capable of giving to the whole tone a ringing or silvery character, which lends itself specially to contrast with the tone of reeds . This See also:

• PECULIAR

peculiar keen tone requires for its full development the mixtures .

Mixture, sesquialtera, See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture, cymbal, See also:

• SCHARF, SIR GEORGE (182o—1895)

scharf, See also:

• CORNET,

cornet, are various names applied to a description of stop which possesses several ranks or several pipes to each note . The pipes of each note sound a chord which is generally composed of concordant notes of the harmonic series whose fundamental is the proper note of the key . Modern mixtures generally consist of fifths and octaves . Their See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition is not the same throughout the whole range of the See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard . A three-See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank mixture may consist of the following (the See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers signify intervals, reckoned along the scale) C—c (See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor) 15—19—22 4 to top 8—I2—15 . For a somewhat larger full mixture this may be modified as follows C—c' (middle) 15—19—22 c'# to top I— 8—12—15 . A See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp mixture suitable for a large instrument may be as follows Five Ranks . C —C' 15—19—22—26—29 c'#—f''# 8—I2—15—19—22 g"—c'° I— 8—12—15—19 to top I— 5— 8—12—15 . The last two compositions are given by See also:

• HOPKINS, EDWARD WASHBURN (1857— )
• HOPKINS, ESEK (1718-18oz)
• HOPKINS, MARK (1802—1887)
• HOPKINS, SAMUEL (1721–1803)
• HOPKINS, WILLIAM (1793–1866)

Hopkins in his great See also:

• TREATISE

treatise on the organ . The See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early mixtures generally included the tierce (17th, or two octaves and a third) . The German practice was to unite this with a twelfth, carrying the See also:

• COMBINATION (Lat. combinare, to combine)

combination 12-17 throughout the keyboard under the name of sesquialtera . The combination is not now usually provided .

The old English sesquialtera was ordinarily simply a form of mixture, as was the furniture . The mounted cornet consisted usually of five ranks 1—8—12—15—17 . It extended from middle c upwards . The pipes were raised on a small soundboard of their own . The stop was used for giving out a See also:

• MELODY (Gr. ,ueXw3ia, a choral song, from name, tune, and gi6i, song)

melody . It is now obsolete . The question of the employment and composition of mixtures is of the greatest importance with respect to the See also:

• GOOD, JOHN MASON (1764-1827)

good effect of the full organ proper, i.e. without reeds . With reference to the whole question of keen-toned stops it may be laid down that their free employment in the great organ does not produce a good effect unless the organ is situated in a very large space . If this' is the See also:

• CASE
• CASE, JOHN (d. 1600)

case, properly proportioned mixtures are capable of giving to the tone of the full diapason work a character which is brilliant without being over-powering . The contrast between this class of tone and that afforded by the reeds is one of the most charming and legitimate effects within the range a_ the instrument . We now pass to the reeds . The 16-ft. trumpet has been already alluded to, and there remain 8 trumpet and 4 clarion or octave Great trumpet .

These are both stops of great power . The best organ trumpets possess also richness and smoothness of tone . reeds . Stops of this class can be used with the diapasons only, producing what may be described as a rich-toned blare of moderate strength . The more usual employment of the reeds is in connexion with the entire great organ, the whole forming the ordinary fortissimo of the instrument . The second department of the English organ is the swell organ . The whole of the swell pipes are enclosed in a See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box, faced on one or Swell more sides with a set of balanced shutters . When these . organ. are closed the tone is almost completely muffled . When the shutters are opened, by means of a pedal usually, the sound bursts out . In order that the use of the swell may be effective, it is necessary that the shutters should See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close tightly, and that there should be a sufficient See also:

• VOLUME

volume of tone to produce an effect when they are opened . The swell is of entirely English origin; it has been introduced in Germany to a very small extent, but more widely in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France .

It is usually called " recitatif " on the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

Continent . The chief characteristic of the swell is the rich and powerful volume of reed-tone of a peculiar character which it contains . But other stops are also of importance . We consider them in order . The 16 bourdon, small scale, is very commonly used in swells . It assists in giving body to the tone . It occupies, however, a large space within the swell box; and where the choice between it and a 16-ft. reed has to be made there can be no doubt that the reed should be preferred, as it contributes so much more to the development of the characteristic swell tone . The 16 contra fagotto is the usual name of this stop . It imparts great richness to the tone of the other swell reeds . The 8-ft. diapason work is principally valuable for the soft effects obtained from it . The diapasons are voiced less loudly than for the great organ; and with the shutters closed they sound very soft . The dulciana is the softest stop generally available; and either this or some similar stop is introduced into the swell for the purpose of obtaining effects of the most extreme softness .

Space within the swell box has generally to be economized . The complete bass of the open diapason or dulciana requires an 8-ft. swell box, whereas even a 16-ft. reed can be See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round so as to go within a smaller box if necessary . The open diapason and the dulciana are therefore often cut See also:

• SHORT, FRANCIS JOB (1857– )

short at tenor c, and completed, if desired, with stopped pipes . The 4 principal and the 4 flute stops are similar to the corresponding stops in the great organ, but are somewhat lighter in tone . The 2 fifteenth and mixtures are much more pleasing in the swell than in the great organ . The shutters tone them down, so that they cannot easily become offensive . Added to the reeds, they give a peculiar brilliancy to the full swell . But perhaps their most pleasing use is when all the diapason work of the swell is used alone, and as a contrast to the reeds . The usual reeds are as follows, besides the doubles already mentioned: 8 See also:

• OBOE, or HAUTBOY (Fr. hautbois, Ger. Hoboe, Ital. oboe)

oboe, 8 cornopean, 8 trumpet and 4 clarion (octave trumpet) . The oboe (hautboy) is a conventional imitation of the orchestral instrument . It is a stop of delicate tone, and perhaps is at its best in solo passages, softly accompanied on another manual . The cornopean has a powerful See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

horn-like tone .

It is the stop which, more than any other, gives to the English swell its peculiar character . The trumpet is used in addition to the cornopean in large instruments . The clarion serves to add brightness and point to the whole . The vox humana is also frequently placed on the swell . The third department is the choir organ . The 8-ft . Ch oir work may contain 8 stopped diapason, 8 open diapason, organ 8 gamba, 8 keraulophon and 8 hohlflote . As a rule no open diapason is provided for choir organs, unless they are larger than usual; but a small open is most useful as a means of obtaining a better balance than usual against the other manuals . The stopped diapason is generally made to contrast in some way with that on the great organ . The hohlflote, or its representative, is generally a lighter stop than what would be put on the great organ . The gamba is better placed in the choir organ than in the great or the swell . Such stops as the gamba and the keraulophon are frequently placed in the swell with the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of adding to the reediness of the tone .

But this is fallacious . Their tone is not strong enough to assert itself through the shutters, and their peculiar character is therefore lost . On the choir organ, on the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the sort of strength required is just about what they possess, and they show to See also:

• ADVANTAGE

advantage . The keraulophon is a stop invented by See also:

• GRAY
• GRAY (or GREY), WALTER DE (d. 1255)
• GRAY, ASA (1810-1888)
• GRAY, DAVID (1838-1861)
• GRAY, ELISHA (1835-1901)
• GRAY, HENRY PETERS (1819-18/7)
• GRAY, HORACE (1828–1902)
• GRAY, JOHN DE (d. 1214)
• GRAY, JOHN EDWARD (1800–1875)
• GRAY, PATRICK GRAY, 6TH BARON (d. 1612)
• GRAY, ROBERT (1809-1872)
• GRAY, SIR THOMAS (d. c. 1369)
• GRAY, THOMAS (1716-1771)

Gray and See also:

• DAVISON, WILLIAM (c. 1541-1608)

Davison, and has been widely adopted for many years . It has a hole made in each pipe near the top, and gives a peculiar tone very well described by its name (horn-flute) . Though not very like the gamba, its tone is so far of the same type of quality that the two stops would hardly be used together . It is generally the case that similar stops of exceptional characters do not combine well, whereas stops of opposed qualities do combine well . Thus a gamba and a keraulophon would not combine well, whereas either of them forms an excellent combination with a stopped diapason or a hohlflote . The 4 principal is sometimes very useful . A light combination on the choir, with excess of 4-ft. tone, may often be advantageously contrasted with the more full and solid tone of the great diapasons, or with other attainable effects . The 4 flute is constantly used . The 2 piccolo is frequently found on the choir organ, but is not particularly useful .

In organs which have no solo manual there is usually a clarionet (See also:

• CREMONA
• CREMONA, LUIGI (1830-1903)

cremona, See also:

• CROMORNE

cromorne or krummhorn, in old organs sometimes corno di bassetto) on the choir, and often an orchestral oboe (real imitation of the instrument) . These are reed-stops . The dulciana and another soft stop, the salicional, salcional or salicet (of similar strength, but slightly more pungent quality), are often placed on the choir . They are, however, hardly strong enough to be of much use there, and in the swell they are useful for effects of extreme softness . In very large instruments a fifteenth and a mixture are sometimes placed on the choir, which in this case has a complete series of diapason work . If the fifteenth and the mixtures are light enough the result is a sort of imitation of the tone of the old English organ . It also forms a useful echo to the great organ, i.e. a passage played on the great may be repeated on the similar but fainter tone of the choir with the effect of an echo . In instruments of the largest size the choir is sometimes provided with a very small bourdon of 16-ft. tone, which See also:

• HELPS, SIR ARTHUR (1813-1875)

helps to give to the tone the character of that of a small full organ without reeds . The solo organ is comparatively modern, at all events in its See also:

• PRESENT

present usual form . A See also:

• FOURTH

fourth manual was not unknown in old German organs; but the contents of all four resembled solo . each other in a general sort of way, and there was nothing organ like the English swell or the modern solo . The solo appears to have arisen with Cavaille-See also:

• COLL

Coll in France, and See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill in England, as a vehicle for the powerful reed-stops on heavy wind introduced by these builders .

Thus the French term for the solo is " clavier See also:

• DES

des bombardes "; and in the earlier English solos the " See also:

• TUBA

tuba mirabilis " was usually prominent . A solo organ may suitably contain any of the following stops: 8 tromba (a powerful reed on heavy wind), 8 harmonic flute (powerful tone and heavy wind), 8 clarionet and 8 orchestral oboe (real imitations of the instruments) and 8 vox humana (conventional imitation of the human See also:

• VOICE (Fr. voix, from Lat. vox)

voice) . The last three stops are reeds . They may be with advantage enclosed in a swell box, having a separate pedal . In very large instruments a . complete series of both diapason and reed stops is occasionally placed on the solo . But there does not seem to be much advantage in this arrangement . We now come to the pedal . This forms the general bass to the whole organ . See also:

• THIRTY

Thirty-two foot stops only occur in the largest instruments; they are as follows: 32 open diapason pedal . (wood or metal), 32-ft. tone bourdon and 32 contra organ See also:

• TROMBONE (Fr. trombone, Ger. Posaune, Ital. trombono)

trombone, posaune, bombarde, See also:

• SACKBUT, SHAKBUSSHE, SAGBUT, DRAW

sackbut (reed) . The 32-ft. open diapason, whether wood or metal, is usually made of large scale, and produces true musical notes throughout . Its musical effect in the lower part of its range is, however, questionable, so far as this depends on the possibility of recognizing the pitch of the notes .

It adds great richness to the general effect, particularly in large spaces . The 32-ft. tone bourdon is not usually a successful stop . It rarely produces its true note in the lower part of its range . The 32-ft. reed on the pedal has See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long been a characteristic of the largest instruments . With the old type of reed it was rarely pleasant to hear . The manufacture has been greatly improved, and these large reeds are now made to produce a fairly smooth effect . Deep reed notes, when rich and good, undoubtedly form one of the principal elements in giving the impression of power produced by large organs . From this point of view they are of great importance . Nevertheless the effect of large pedal reeds is generally more satisfactory to the performer than to the listener . The t6-ft. pitch may be regarded as the normal pitch of the pedal; the principal stops are as follows : 16 open diapason (wood or metal), 16-ft. tone bourdon, 16 violone (imitation of double bass) and 16 trombone or posaune (reed) . The 16-ft. open diapason on the pedal assumes different forms according to circumstances . As a rule the character is sufficiently indicated by the stop being of wood or metal .

The wooden open is generally of very large scale, and produces a ponderous tone of great power and fulness, which is only suitable for the See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment of the full organ, or of very powerful manual combinations . Such a stop is, as a rule, unsuitable in organs of moderate size, unless supplemented by lighter 16s for ordinary purposes . The metal open is of considerably smaller scale (in fact all metal pipes are effectively of much smaller scale than wooden pipes of similar See also:

• DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter) . The metal gives a clear tone, lighter than that of large wooden pipes, and pleasanter for ordinary purposes . The metal open combines advantageously with a bourdon . In the largest organs both wood and metal open 16s may be suitably provided . Where metal pipes are made a feature in the organ-case, both the double open diapason in the great organ and the metal 16 of the pedal may be properly made of good metal (polished See also:

• TIN (Lat.- stannum, whence the chemical symbol " Sn "; atomic weight =117.6, 0=16)

tin or spotted metal), and worked in to the design of the organ-case' The same applies to the 32-f t. metal opens of the largest instruments . This saves space in the interior, and gives the large pipes See also:

• ROOM

room to speak, which is apt to be wanting when they are placed inside . The 16-f t. tone bourdon on the pedal may be made of any scale according to circumstances . If it is the chief bass of the organ it is made very large and with great volume of tone . Such stops are unsuitable for soft purposes, and a soft 16, usually a violone, is required in addition . If the loud department of the 16 tone is otherwise provided for the bourdon may be made of moderate strength .

It may also be made very soft, like a manual bourdon . These three different strengths ought always to be provided for in an instrument of a complete character . The violone is also made of all three strengths . In a few cases it furnishes the principal bass; frequently it furnishes the moderate See also:

• ELEMENT (Lat. elementum)

element; and it is often applied to obtain a very soft 16-ft. tone . The t6-ft. reed is very common . The observations made as to the effect of 32-ft. reeds are applicable also in this case . The 8-ft. department of the pedal is only less important than the 16, because it is possible to replace it to a certain extent by coupling or attaching the manuals to the pedals . The usual 8-ft. pedal-stops are as follows: 8 principal bass (metal or wood), 8 bass flute (stopped), 8 violoncello (imitation of the instrument) and 8 trumpet . The remarks made above as to the scale of open 16s apply with little See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change to the pedal principal . Only, since the manuals are generally coupled, it is perhaps best to provide the large scale wood-stop, which presents the powerful class of tone in which the manual diapasons are deficient . The bass flute is almost a necessity in combination with the light t6-ft. tone . A composition ought to be provided by which the pedal can be reduced to these two elements by a single See also:

• MOVEMENT

movement .

The violoncello is sometimes used instead of the bass flute for the last-named purpose, for which, however, it is not so suitable . It is a favourite stop for some solo purposes, but is not of much general utility . The 8-ft. trumpet serves to give clearness and-point to the tone of the 16-ft. reed . In the short See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface to Mendelssohn's Organ Sonatas it is stated that everywhere, even in pianissimo, it is intended that the t6-ft. tone of the pedal should be accompanied by 8-ft. tone . For the purpose of realizing this as a general direction the soft t6-ft. and 8-ft. stops are required; large instruments are, however, occasionally found which possess nothing of the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind . The following stops of higher pitch are occasionally found on the pedal: 53 twelfth bass, 4 fifteenth bass, mixture and 4 clarion . These serve to make the pedal tone practically See also:

• INDEPENDENT

independent of coupling to the manual, which is a matter of great importance, especially in the performance of certain compositions of See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach and other writers, who appear to have been independent of couplers . In some instruments two sets of pedals are provided, which may be described as great and choir pedals . The great pedal is in the Second usual position; the choir pedal is in front of the other, and sloping . It is so placed that the feet See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest on it naturally pedal' when stretched out in front of the performer . There is a choir pedal of this kind in the organ in the See also:

• MINSTER
• MINSTER (from Lat. monasterium; cf. German Munster)

minster at See also:

• ULM

Ulm, built by Walcker of See also:

• LUDWIGSBURG

Ludwigsburg . It is a very large instrument, having too Anything down to one-third tin and two-thirds See also:

• LEAD
• LEAD (pronounced iced)

lead is called tin .

But " pure tin " should have over 90% of tin . Absolutely pure tin could not be worked . Spotted metal is said to have from one-third to two-thirds tin . Under one-third tin no spots are said to rise, and the mixture has the general characters of lead.sounding stops . It has no compositions, which indeed are but little known in Germany ; and without some arrangement such as this a soft pedal would hardly be obtainable . There are a few other instruments which have choir pedals, but they have not been introduced into England . In organs which have a single manual the characteristics of the great and choir organs are usually See also:

• UNITED

united . In organs which have two manuals the lower usually represents the united great and choir, the upper is the swell . In organs which have Anangethree manuals the lower is usually the choir, but some- meat of times combines choir and solo, the middle is the great, manuals. and the top is the swell . In organs which have four manuals the order is solo, swell, great, choir, the solo being at the top and the choir at the bottom . Compositions are See also:

• MECHANICAL

mechanical contrivances for moving the stop-handles in See also:

• GROUPS
• GROUPS, THEORY

groups at a time . The ordinary form consists of pedals, which project from the front just above the pedal keys .

Composl-The arrangements are various . We may refer to the arrangement in the organ at Windsor, given later on . Cons . A See also:

• SPECIES

species of composition was introduced by See also:

• WILLIS, NATHANIEL PARKER (1806-1867)
• WILLIS, THOMAS (1621-1675)

Willis some years ago, and has been adopted in many large English instruments, which acts by means of a series of See also:

• BRASS
• BRASS (O. Eng. braes)

brass disks placed just under the front of the keys of each manual, within reach of the thumb . These See also:

• ACT (Lat. actus, actum)

act by means of pneumatic levers . A slight pressure on one of the disks sets the See also:

• MACHINE
• MACHINE (through Fr. from Lat. form machina of Gr. µnxavil)

machine attached to it in See also:

• ACTION

action, and the required change in the stops is made without any exertion on the part of the performer . The connexion between the keys and their pallets is made by various mechanisms, some of which are very See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient . In square and trackerwork (fig . 7) General the old squares were made of wood . Thev meth". resemble in See also:

• FUNCTION

function the squares used for taking See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

bell-wires round a corner . The trackers are slight strips of wood, having screwed wires whippbd on to their ends,which hold by leather buttons . The trackers See also:

• PLAY

play the part of the bell-wires .

Where pressure has to be transmitted instead of a pull, thin but broad slips of wood are used, having pins See also:

• STUCK, FRANZ (1863— )

stuck into their ends to keep them in their places . These are stickers (fig . 8) . Back-falls (fig . 9) are narrow wooden levers turning on pins which pass through their centres . The See also:

• FAN (Lat. vannus; Fr. eventail)

fan See also:

• FRAME

frame (fig. to) is a set of backfalls having one set of ends close together, usually corresponding to the keys; the other ends are spread widely apart . The See also:

• ROLLER

roller See also:

• BOARD (O. Eng. bord)

board (fig . II) is a more general mode of shifting the movements sideways . The roller is a slip of wood, or a See also:

• BIT (from the verb " to bite," either in the sense of a piece bitten off, or an act of biting, or a thing that bites or is bitten)

bit of metal See also:

• TUBE (Lat. tuba)

tube, which turns on two pins inserted into its ends . It has two arms projecting at right angles to its length . One of these receives the pull at one point, the other gives it off at another . In case a pull has to be transmitted to more than one See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter, 1 a roller will sometimes r–r ~~ have more than two arms .

The name of couplers (fig . 12) is given to the mechanical stop by which the keys of one manual are made to take down those of another, or those of the pedal to take down those of the manuals . Some old forms of the mechanism could not be put on while any of the keys were depressed; others had a tendency to throw the fingers off the keys . These forms have been entirely superseded . That now used consists of a series of backfalls centred on a movable support . The one set of ends is connected with the moving keys; the other set of ends is pierced by the wires of the trackers or stickers from the keys to be moved . In the one position of the support these ends play freely over the wires; in the other they are brought up against the buttons of the trackers or against the stickers to be moved . The usual couplers are —each of the manuals to the pedal, swell to great, swell to great octave, swell to great sub-octave, swell to choir, choir to great sub-octave, and solo to great . The swell octave and sub-octave couplers are sometimes placed on the swell itself . The objection to this is, that if they are used when the swell is coupled tr . 1 the great organ, as is very commonly the case, the octaves are reached through two couplers . And, as couplers are not generally screwed up quite tight, the octaves are often not sufficiently put down to sound in tune .

The choir to great sub-octave coupler was used chiefly as a substitute for a double on the great organ . It is common in organs of the transition See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, but is not a good arrangement . The pneumatic See also:

• LEVER (through O. Fr. leveour, levere, mod. levier, from Lat. levare, to lift, raise)
• LEVER, CHARLES JAMES (1806-1872)

lever (fig . 13) consists of a small power bellows attached to each key, so that the depression of the key admits high-pressure wind to the power bellows . The power bellows then performs the work of opening the valves, &c . In large organs the work to be done would be beyond the reach of the most powerful See also:

• FINGER

finger with-out this See also:

• DEVICE

device . Similar devices are sometimes applied to the compositions and other mechanical arrangements . Pneumatic transmission, with many other mechanical devices, was invented by Willis . It consists of a divided pneumatic action . The pneumatic wind, instead of being at once admitted to the power bellows, is made to See also:

• TRAVERSE

traverse a length of tubing, at the farther end of which it reaches the work to be done . This principle admits of application to divided organs, the pneumatic transmission passing under the See also:

• FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor, as in the organ at St Paul's Cathedral . Ventils are valves which control the wind-supply of the different groups of stops .

They were much recommended at one time as a substitute for compositions . The See also:

• PRACTICAL

practical difference is that com- positions shift the stop-handles, so that one can always see what there is on the organ; ventils leave the stop handles unmoved, so that the Other inconveniences might be mentioned, but it is enough to say that practical See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion appears decidedly to condemn the use of ventils . The original pedal boards of Germany were See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat and of very large scale . The early practice in England was to make them very small, Arrange- as well as of short compass . Of See also:

• LATE

late the compass Cf', menu thirty notes, has been universally adopted with scalesmiddle of the pedals to the great organ keys, it is agreed, should be 32 in . But as to the forward position there is a difference . The resolutions said that " a plumb-See also:

• LINE

line dropped from the front of the great organ sharp keys falls 2 in. nearer the player than the front of the centre short key of the pedal board." The old arrangement gave usually 11 in. for this distance . But it is thought that the change has not gone far enough, and 4 in. has been found preferable . There is scarcely any single arrangement which is so important for the comfort of the player as having sufficient space in this direction (fig . 14) . The second matter is the See also:

• PROVISION (Lat. provisio)

provision of some other means of acting on the swell than by the swell pedal . The use of the swell pedal is inconsistent with the proper use of both feet on the pedal keys; and there is no doubt that incorrect habits in this respect are commonly the result of the English use of the swell pedal .

In fact, players sometimes keep one foot on the swell pedal all the time, so that proper pedal playing is impossible . Arrangements have been devised by means of which a movable back to the seat can be made the means of acting on the swell . The first " recommendation " of the See also:

• COLLEGE (Collegium)

College of Organists illustrated the requirement;. it was, that " the See also:

• CONSIDERATION (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

consideration of organ-builders be directed to the widely-expressed See also:

• DESIRE

desire for some means of operating on the swell in addition to the ordinary swell pedal." G . See also:

• COOPER
• COOPER (or COUPER), THOMAS (c. 1517-1594)
• COOPER, ABRAHAM (1787—1868)
• COOPER, ALEXANDER (d. i66o)
• COOPER, CHARLES HENRY (18o8-1866)
• COOPER, JAMES FENIMORE (1789-1851)
• COOPER, PETER (1791-1883)
• COOPER, SAMUEL (1609-1672)
• COOPER, SIR ASTLEY PASTON (1768-1841)
• COOPER, THOMAS (1759–1840)
• COOPER, THOMAS (1805–1892)
• COOPER, THOMAS SIDNEY (1803–1902)

Cooper had a movable back to the seat of the organ at St See also:

• SEPULCHRE, CANONS REGULAR OF THE HOLY
• SEPULCHRE, EASTER
• SEPULCHRE, THE HOLY

Sepulchre's, FIG . 14.—Relative Position of Manual See also:

• LONDON

London . The swell was ' and Pedal . opened by leaning back, so that it could only be used when the swell was coupled to the great . The writer has had an organ for more than twenty years in which the movable back is provided with a strap passing over one See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder and buckling in front . It opens the swell when the player leans forward . It is most valuable, particularly in such things as accompanying the service . The emphasis required is obtained when wanted without taking the feet from their other duties . See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

Young See also:

• PEOPLE

people pick it up easily; older people have difficulty .

As an example of an organ of a complete but not enormously large character, we give the details of the organ at St George's See also:

• CHAPEL

Chapel, Windsor, which was rebuilt by Messrs Gray and See also:

• DAVIDSON, ANDREW BRUCE (1831–1902)
• DAVIDSON, JOHN (1857–1909)
• DAVIDSON, RANDALL THOMAS (1848– )
• DAVIDSON, SAMUEL (1807-1898)
• DAVIDSON, THOMAS (1817-1885)

Davidson, according to See also: