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3 1924^86 J)10 331 
 
ORGAN-STOPS 
 
 AND THEIR 
 
 ARTISTIC REGISTRATIOI 
 
CHURCH OF SAINT-OUEN, ROUEN 
 
ORGAN -STOPS 
 
 AND THEIR 
 
 ARTISTIC REGISTRATION 
 
 NAMES, FORMS. CONSTRUCTION. 
 TONALITIES. AND OFFICES IN 
 SCIENTIFIC COMBINATION ^ ^ 
 
 BY 
 
 GEORGE ASHDOWN AUDSLEY. LL.D. 
 
 ECCLESIASTICAL AND ORGAN ARCHITECT 
 
 AUTHOR OF "the ART OF ORGAN-BUILDING," "THE ORGAN OF THE 
 
 TWENTIETH CENTURY," NUMEROUS ARTICLES ON ORGAN MATTERS 
 
 AND ACOUSTICS, AND AUTHOR AND JOINT AUTHOR OF TWENTY-THREE 
 
 WORKS ON ARCHITECTURE, ART, AND INDUSTRY 
 
 ILLUSTRATED 
 
 NEW YORK 
 
 THE H. W. GRAY CO. 
 AGENTS FOR NOVELLO & CO.. LTD. 
 
Copyright, 1921, by The H. W. Gray Co. 
 Copyright Renewed, 1949 
 
FOREWORD 
 
 An attempt has been made in the present work to furnish the 
 organist, and especially the organ student, with a work of ready ref- 
 erence respecting the numerous Stops which have been and now 
 are introduced in the Organ: giving, so far as is practicable in a 
 necessarily brief and condensed form, their various names in dif- 
 ferent languages, peculiarities of formation, tonal characteristics, 
 and value and office in scientific and artistic combination and 
 artistic registration. 
 
 It is hoped that the work will be accepted as a text-book in 
 Organ Schools and Conservatories of Music, leading toward, and 
 lending help to, a branch of study of the greatest value and impor- 
 tance to the organ student; but one which, in too many quarters, 
 has been seriously neglected. That a thorough knowledge of the 
 tonal forces of the Organ and their varied powers in scientific and 
 artistic combination and registration, for the production of special 
 and expressive qualities of both compound, unimitative organ, and 
 imitative orchestral tones, is essential to the accomplished organist, 
 admits of no question. Accordingly, it is highly desirable that the 
 student should leave the organ school with, at least, a foundation 
 laid for that thorough knowledge. It is with the earnest desire 
 to contribute effectively to the laying of that foundation that the 
 present work is placed at the command of both teachers and pupils. 
 
 In another direction, and one of great importance at the present 
 time, this work, if properly understood, will prove of considerable 
 value; namely, in giving reliable advice and assistance in the prepa- 
 ration of stop appointments and apportionments for new Organs. 
 It will lead away, if read aright, from the present systemless, in- 
 sufficient, and largely retrograde prevailing method of stop appoint- 
 ment, toward a logical, scientific, and definite artistic system, in 
 
FOREWORD 
 
 which compound tone production in all its desirable forms can be 
 carried out in accordance with the natural laws of sound. 
 
 Care has been taken to render correctly all stop-names in the 
 different languages in which they originated and are employed 
 to-da}'^: reference to which will prevent the use of the incorrect 
 names, either wrongly spelt or improperly compounded of words in 
 different languages, which are so commonly found on English and 
 American organ-builders' draw-stop knobs or tablets. With such a 
 Glossary as is provided in the present work, there need be no mis- 
 takes made or incorrect renderings of stop-names perpetrated in new 
 organ consoles. 
 
 Certain stop-names introduced by organ-builders have been 
 omitted from the Glossary on account of their absurd or meaning- 
 less character. These are names which have no relation to 
 anything connected with either the fomiation or tonality of the 
 pipes forming the stops. All such meaningless names should be 
 condemned by every organist and lover of the Monarch of all 
 Instruments. 
 
 George Ashdown Audsley. 
 
 Bloomfield, New Jersey, 
 January, iq2i. 
 
PLATES 
 
 Church of Saint-Ouen, Rouen . . Frontispiece 
 
 Plate I. — Bassoon; Bassoon; Bell Gamba; Clarinet; 
 
 Cor Anglais ........ 40 
 
 Plate II. — Corno di Bassetto; Diapason; Dolcan; 
 
 Flute a Pavillon; Flute Harmonique ... 78 
 
 Plate III.— Gemshorn; Horn; Keraulophone ; Oboe; 
 
 Orchestral Oboe 146 
 
 Plate IV. — The Haskell Labial Tuba Mirabilis . 266 
 
ORGAN-STOPS 
 
 THEIR ARTISTIC REGISTRATION 
 
 "Without the least hyperbole it may be said, that ctsteris paribus, the man 
 who is capable of being affected by sweet sounds, is a being more perfectly 
 organized, than he who is insensible to, or offended by them." 
 
 Dr. Charles Burney. 
 
 In Organ-stop Registration, as in artistic orchestration, "there 
 is no royal road to learning." Natural musical taste and apprecia- 
 tion of the beautiful in musical sounds may go far in the education 
 of the organist ; but earnest studies along scientific and artistic lines 
 are in all cases necessary for the complete command of tonal color- 
 ing, by means of registration and the knowledge of the tonal values 
 of the multitudinous and varied voices of the Organ. As Dr. 
 Burney truly says: "The science of musical sounds, though it may 
 have been deprecated, as appealing only to the ear, affording nothing 
 more than a momentary and fugitive delight, may be with justice 
 considered as the art that unites corporal with intellectual pleasure 
 by a species of enjoyment which gratifies sense without weakening 
 reason; and which, therefore, the Great may cultivate without de- 
 basement and the Good enjoy without depravation."* 
 
 Let the organ student realize, once for all, if he is to become an 
 artist, that haphazard methods of registration must be shunned, 
 and dependence placed on knowledge acquired by sttidy, observa- 
 tion, and experience. The earnest study of artistic registration and 
 the tonal value of organ-stops, singly and in combination, should 
 accompany all lessons on, and the practice of, the technical branch 
 of organ playing: but how seldom, in organ schools, is a student's 
 attention specially directed to the all-important matter of tonal 
 coloring. 
 
 * "A General History of Music, " by Dr. Charles Burney, London, 1776. 
 
 I 
 
2 ORGAN-STOPS 
 
 Excellence and precision of manual and pedal technic are, of 
 course, imperative in the satisfactory rendition of an organ composi- 
 tion; but technic is not the only, or, perhaps, the most important, 
 factor. It may be said to be the skeleton which has to be clothed 
 with the flesh and nervous power of beautiful and expressive sounds 
 — alone secured by scientific combination and artistic registration 
 of appropriate and expressive tonal elements. The most consum- 
 mate technical skill is altogether insufficient in the presence of a 
 careless and inappropriate registration to produce a truly artistic 
 and expressive rendering of an organ composition. 
 
 With the acquisition of manual and pedal technic should go a 
 serious study of the tonal forces of the Organ, their combination, 
 and effective registration ; for it is appropriate tonal coloring which 
 gives the spirit and expressiveness to the music, which no single 
 performer save the organist is capable of producing, and for which 
 no instrument save the Organ can furnish the necessary tonal ele- 
 ments—music which can only be surpassed by the united forces of 
 the grand orchestra under the control of an accomplished conductor. 
 The organist is as the conductor ; the many and diverse tonal forces 
 of the Organ are his instrumentalists: it rests with him to marshal 
 those forces, in ever-changing groups, so as to produce the artistic 
 and life-giving effects his music demands ; and for the interpretation 
 of his most refined conceptions. Again, the organist is as the painter 
 before his canvas, brush in hand; the stops of his Organ are the 
 colors of many tints, hues, and shades, spread for his ready use on a 
 serviceable palette; to be combined, at will, in endless variety as the 
 spirit of the tone-picture inspires him. What a wonderful world of 
 tone the organist can live in if he only realizes his birthright — his 
 citizenship in the land of beautiful sound. The organist stands 
 supreme in the musical world — the master of the most stupendous, 
 the most wonderful musical instrument ever conceived by the mind 
 and fabricated by the hand of man. Think of it, ye Organists, 
 and rise to the level of your birthright ! 
 
 Before going deeper into our subject, we may here give a few 
 more pertinent words from the able pen of England's great musical 
 historian. Alluding to tonal matters and the Organ of his day, he 
 remarks: "Of Musical Tones the most grateful to the ear are such 
 as are produced by the vocal organs. And next to singing, the most 
 pleasing kinds are those which approach the nearest to vocal ; such as 
 can be sustained, swelled, and diminished, at pleasure. Of these, 
 first in rank are such as the most excellent performers produce from 
 the Violin, Flute, and Hautbois. If it were to be asked what iri- 
 
THEIR ARTISTIC REGISTRATION 3 
 
 strument is capable of affording the greatest effects? I should 
 answer, the organ, which can not only imitate a number of other 
 instruments, but is so comprehensive as to possess the power of a 
 numerous orchestra. It is, however, very remote from perfection, 
 as it wants expression, and a more perfect intonation." Much of 
 what is said in the concluding sentence is true of the Organ of to- 
 day, greatly superior as the best examples are to the Organ known to 
 Dr. Burney. The Organ still wants full powers of expression com- 
 bined with tonal flexibility throughout all its divisions. Accordingly, 
 while much has been done of late years in certain directions, still 
 more has to be achieved by the organ-designer and organ-builder 
 before the Organ can be pronounced an instrument for the true 
 artist and inspired virtuoso. Certainly, what has been done during 
 the last seventy years in the direction of imitative orchestral-toned 
 stops, was hardly foreshadowed in Burney's day. The Swell Organ 
 known to him was usually of short compass and very indifferently 
 stop-apportioned. Writing in 1771, this distinguished author 
 remarks : 
 
 "It is very extraordinary that the swell which has been introduced into the 
 EngHsh organ more than fifty years, and which is so capable of expression and of 
 pleasing effects that it may well be said to be the greatest and most important 
 improvement that ever was made on any keyed instrument, should be utterly 
 unknown in Italy; and now I am on the subject, I must observe that most of the 
 organs I have met with on the Continent seem to be inferior to ours by Father 
 Smith, Byfield, or Snetzler, in everything but size! As the churches there are 
 very often immense so are the organs; the tone indeed is somewhat softened and 
 refined by space and distance; but when heard near, it is intolerably coarse and 
 noisy; and though the number of stops in these large instruments is very great, 
 they afford but little variety, being for the most part duplicates in unisons and 
 octaves to each other, such as the great and small I2ths, flutes, and isths; hence 
 our organs, not only the touch and tone, but the imitative stops are greatly supe- 
 rior to those of any other organs I have met with."* 
 
 Alluding to the first swell introduced in a German Organ, which 
 is understood to have been in the Organ, built by Hildebrand, in 
 1764, for the Church of St. Michael, Hamburg, Burney says: "A 
 swell has been attempted in this instrument, but with little effect; 
 only three stops have been put into it, and the power of crescendo 
 diminuendo is so small with them, that if I had not been told there 
 was a swell, I should not have discovered it."t 
 
 We have introduced the subject of the swell at this early point 
 
 * "Present State of Music in France and Italy, " 1771, p. 375. 
 
 t" Present State of Music in Germany, the Netherlands, and United Provinces," I77S- 
 Vol. II., p. 103. 
 
4 ORGAN-STOPS 
 
 of our brief essay because it has a direct and very important bearing 
 on the matter of artistic registration. If one examines the stop 
 appointments of the Organs of Bumey's days, or of all the old Organs 
 in which no swell was introduced; and, indeed, of those, of later 
 times, which possessed only a single flexible and expressive division, 
 one cannot avoid being impressed with the very limited opportuni- 
 ties they present for varied registration — artistic registration being 
 practically out of the question. So few were the useful combina- 
 tions of the stops in the older Organs that they were commonly 
 commanded by foot-levers, called "combination pedals." Artistic 
 registration, as it is understood to-day, was practically unknown in 
 connection with the old Organs : and it must be acknowledged that 
 it still continues undesirably difficult in too many of the modern 
 Organs tonally schemed on old-fashioned lines. Stops properly 
 chosen and apportioned among the different divisions of the Organ, 
 under the principles of class grouping, tonal contrast, absolute 
 flexibility regarding strength of voice, and compound expression, as 
 long advocated and first practically introduced by us in the Organ, 
 are the only efficient means by which scientific tonal combination 
 and truly artistic registration can be carried out to the extreme 
 extent, now necessary in the proper and effective rendering of the 
 works of the great and distinguished composers of organ music, and 
 especially the modern transcriptions of orchestral scores. 
 
 The system of stop-apportionment and control which we have 
 devised and strongly advocate, is widely different from the old- 
 fashioned and seemingly purposeless method which has so long ob- 
 tained in organ-building, and may be briefly described here. It 
 comprises the grouping of stops of different tonalities in the several 
 manual divisions of an Organ, according to their special offices in 
 the complete tonal scheme of the instrument, and for the ready 
 production, without recourse to undesirable coupling, of the numer- 
 ous and very varied organ and orchestral tonal combinations and 
 effects, absolutely called for in modern artistic organ playing. To 
 secure what is essential, each division has a distinct general and 
 special tonality, contrasting with that of every other division; un- 
 necessary duplication of stops of the same tonality being thereby 
 avoided. Each division, having its own office to fulfil, is given 
 special powers of flexibility and expression ;^hose devoted to the 
 stops representing the "wood-wind" and "brass-wind" forces of 
 the grand orchestra being divided into two tonally contrasting por- 
 tions, each of which is given independent powers of flexibility and 
 expression. The division devoted to the foundation stops and those 
 
THEIR ARTISTIC REGISTRATION 5 
 
 properly belonging to the Organ, commonly designated Great Organ, 
 is also divided into two portions, only one of which, comprising 
 special registrational, harmonic-corroborating, and lingual stops, is 
 rendered flexible and expressive; although both subdivisions may 
 be so treated if deemed desirable. The Solo, String, and Ancillary 
 Organs are rendered flexible and expressive, but do not require to 
 be divided.* 
 
 On a first and hasty consideration, the introduction of the new 
 principles of divisional and subdivisional tonal contrast and flexibil- 
 ity and expression may not seem to the organist, who has only 
 known the present unsystematic and haphazard method of stop- 
 apportionment (to be observed in every modern organ specification), 
 to be of any great scientific or artistic importance or value. But let 
 him devote sufficient time to the study of those principles, with an 
 open and unprejudiced mind, and he will find that for the conven- 
 ient and certain production of refined and beautiful tonal combina- 
 tions and orchestral efEects, and for facility in scientific and artistic 
 registration, the combined principles form the greatest and most 
 valuable improvement in the tonal branch of organ-building ever 
 instituted in modem days, since the time we placed — in the year 
 1870 — three independent tonal subdivisions on one manual clavier; 
 two of whiph are flexible and expressive, being inclosed in separate 
 swell-boxes. This unique step may or may not be considered a small 
 beginning; but, as Burney pertinently remarks: "The feeble be- 
 ginnings of whatever becomes great or eminent, are interesting to 
 mankind. To Artists, therefore, and to real lovers of art, nothing 
 relative to the object of their employment or pleasure is indifferent." 
 
 Let us consider briefly what is possible to be done with a single 
 clavier, tonally appointed in the manner alluded to. Say that it 
 commands sixteen stops of varied and artistically chosen tonalities 
 and pitches; eight of which are inclosed in, say, swell-box A and 
 eight in swell-box B ; the stops being divided so as to provide con- 
 trasting voices and be practically independent. It also being ar- 
 ranged that either one or both the subdivisions shall be available on 
 the clavier at the pleasure of the performer. Now, for the considera- 
 tion of registration, we shall confine our remarks to the element of 
 flexibility, neglecting for the present the all-important element of 
 expression, and suppose both the subdivisions to be commanded by 
 the clavier. It can be readily realized that by simply opening either 
 
 * For full particulars, see Chapter XI., on the Co ncert-room Organ, in our work, " The Organ 
 o the Twentieth Century." 
 
6 ORGAN-STOPS 
 
 swell, more or less, the voices of the inclosed stops can be graduated 
 to any desirable strength of intonation — an absolutely invaluable 
 property in refined and artistic registration, multiplying the utility 
 and combinational effects of the stops at least tenfold. Now suppose 
 a registration of certain stops of both subdivisions is essayed, the 
 voices of which are in sharp contrast, the character of the compound 
 tone produced can be altered, at will, without changing a stop, 
 either on one side or the other ; and the relative strengths of its con- 
 trasting elements adjusted through the flexibility imparted to the 
 voices of the inclosed stops, by the simple opening or closing of the 
 shutters of the allied swells, commanded by the expression levers. 
 By the simple touching of these levers any desirable intensity of 
 tone and effects of light and shade can be imparted to the music 
 being performed: and this without removing the hands from the 
 clavier, or having any resort to undesirable coupling, which would 
 unavoidably cripple the independence of another clavier. 
 
 What we have attempted to describe may not appear, on first 
 impressions, as in any way remarkable to the organist acquainted 
 only with the one-ply stop-apportionments of the Organs of to-day. 
 But let us inform him of the fact that the multitudinous and prac- 
 tically inexhaustible tonal effects, colorings, and refined nuances, 
 easy of production, under our system of divisional and subdivisional 
 stop-apportionment and compound flexibility, on this single clavier, 
 could not be produced on the claviers of the largest Concert-room 
 Organ ever constructed up to this year of grace (1920). And let 
 him try to realize what could be done on an Organ in which three or 
 four of its manual divisions are equipped in the compound manner 
 described above. We foolishly essayed the task, and our mind was 
 quickly baffled in the attempt. 
 
 Up to this point we have treated only of the stationary com- 
 pound tones, produced by registration, under the simple graduation 
 of strength, effected by the property of flexibility, which merely 
 called for a set or temporarily fixed adjustment of the shutters of 
 the swells. We have now to consider the operations of the allied 
 property of compound expression, which can be exercised in four 
 different ways. i. — Expression can be given simultaneously to the 
 tones of both subdivisions ; by operating the expression levers of the 
 swells (located close together) at the same time. 2. — Expression 
 can be given to the tones of either subdivision, the tones of the other 
 subdivision remaining unaffected at the fixed degree of strength 
 desired; by adjusting one expression lever at any set point, and 
 operating the other as required. 3. — Expression can be given to the 
 
THEIR ARTISTIC REGISTRATION 7 
 
 tones of the subdivisions alternately; by operating the expression 
 levers alternately. 4.— Expression can be given to the tones of the 
 subdivisions simultaneously in contrary directions, one series under- 
 going a crescendo while the other series is undergoing a decrescendo; 
 by operating the expression levers, in contrary motion, by both feet 
 {sans pedale). 
 
 The principles of compound flexibility and expression would be 
 of comparatively little value in the absence of the correlative system 
 of classified stop-apportionment and tonal contrast we have in- 
 troduced. There are two grand divisions of organ-stops. First, 
 that division embracing those stops essentially of a solo character 
 which imperatively demand the fullest possible powers of expression; 
 but which are practically independent of combination or registra- 
 tion, save for the purpose of accentuation or coloration of tone. 
 Among such stops are those which represent important orchestral 
 instruments such as the Violin, Violoncello, Flute, Oboe, Clarinet, 
 Trumpet, Horn, and Trombone. Secondly, that much larger divi- 
 sion composed, for the most part, of organ-toned and unimitative 
 stops, which are largely, and to a considerable extent exclusively, 
 employed in combination and registration, for the production of 
 compound tones of great variety and pronounced colorings. For 
 the full development of these purposes, the system of classified 
 divisional and subdivisional stop-apportionment, under complete 
 control as regards flexibility and expression, we advocate, is abso- 
 lutely necessary from the simple fact that such essential artistic 
 conditions cannot be met under the aimless and heterogeneous 
 method of stop-appointment followed, practically without varia- 
 tion, in the organ-building world to-day. If this view of the matter 
 is questioned, let anyone, capable of forming an open-minded opin- 
 ion of a scientific and artistic caliber, take a hundred or more of the 
 so-called specifications of the more important and representative 
 modern Organs and carefully consider their lists of stops and judge 
 for himself.* 
 
 There are two classes of labial stops which are of great value in 
 scientific combination and artistic registration ; but which have been 
 very unwisely neglected of late years, partly on account of a want of 
 a full knowledge of their great offices in tone-production ; but chiefly 
 on the part of those organ-builders who desire to evade the trouble 
 and uncertainty attending their proper formation, artistic voicing, 
 
 * It may be helpful to compare any of their tonal schemes with that given for the Concert- 
 room Organ in "The Organ of the Twentieth Century." 
 
8 ORGAN-STOPS 
 
 and scientific regulation. We allude to the harmonic-corroborating 
 mutation and the compoimd stops; the latter commonly designated 
 Mixtures, which, as has been wisely said of other things, "when 
 they're good they're very good, but when they're bad they're 
 horrid." They are usually bad ! It is quite easy to understand, in 
 this inartistic and dollar-worshiping epoch, the objection of the 
 organ-builder to the introduction of the necessary amount of har- 
 monic-corroborating work in a large Organ. A Mixture, of five or 
 more ranks, requiring three hundred and five or many more pipes, 
 properly composed, scaled, and artistically voiced, and, what is of 
 equal importance, scientifically graduated in tone in strict accord- 
 ance with the natural laws of compound musical sounds, is a problem 
 very few organ-builders will care to solve. It cannot be satisfac- 
 torily essayed in the hurry and noise of the ordinary factory voicing- 
 room. On simple trade grounds, such troublesome and labor-de- 
 manding stops are to be omitted in all possible cases; and an ex- 
 amination of the great majority of modern organ stop-appointments 
 clearly show how systematically they are omitted. Alas for Art ! 
 
 We have before us as we write the lists of the stops of two large 
 and important Organs, which may be accepted as representing the 
 latest and highest achievements in organ-designing, in the direction 
 of stop-appointment. The largest presents upwards of two hundred 
 and seventy complete and independent speaking stops; and in this 
 immense number there are only five Mixtures, comprising in all 
 only twenty ranks of pipes. The other list presents one hundred and 
 one speaking stops (including derived and borrowed stops) ; in which 
 there are three Mixtures, comprising, in all, only eight ranks of 
 pipes. 
 
 The most effective criticism we can pass on the insufficient 
 harmonic appointments detailed above, is to give the contrasting 
 appointment of our scheme for the Concert-room Organ, set forth in 
 "The Organ of the Twentieth Century." In this there are two 
 hundred and twenty-three complete and eight derived speaking 
 stops; among which are apportioned fourteen Mixtures, compris- 
 ing, in all, sixty-four ranks of pipes. Great as this number may 
 appear, by comparison, we are prepared to prove, on both scientific 
 and artistic grounds, that for such an Organ there is not a rank too 
 many; indeed, had we not introduced the Ancillary Harmonic Organ 
 a larger number of compound harmonic-corroborating stops would 
 have been necessary to meet the demands of artistic and effective 
 registration and tone coloration. 
 
 A great injury was done to the tonal structure of the Organ by 
 
THEIR ARTISTIC REGISTRATION 9 
 
 the false idea, introduced by self-interested parties, that the har- 
 monic-corroborating stops, simple and compound, could be dis- 
 pensed with, provided certain stops were introduced, the voices of 
 which were naturally rich in harmonic upper partials, such as 
 heavily-blown, small-scaled, string-toned stops ; but a greater mistake 
 was never made. Such highly-colored penetrating tonalities are of 
 very little use in artistic registration, generally objectionable, and 
 absolutely valueless in the creation of delicately colored qualities 
 of tone. Such qualities of compound tone are only possible by the 
 use of softly-voiced stops associated with such stops as the scientifi- 
 cally formed and tonally graduated Dulciana Cornet or Har- 
 MONIA ^theria. 
 
 In artistic registration, two distinct classes of musical tones 
 obtain — ^those due to the Harmony of Analogy and those due to the 
 Harmony of Contrast. The former class is produced by the regis- 
 tration of stops of the same family or of very closely allied families, 
 differing only slightly in strength of voice, or between which a very 
 close affinity exists. The latter class, and much the more effective 
 and important, is produced by the skillful registration of stops of 
 widely different families, of contrasting tonalities, and of pitches 
 far apart. In both classes harmonic-corroborating stops are valu- 
 able, and, if properly chosen, enrich without altering to any unde- 
 sirable degree their characteristic tonalities. Light and shade can 
 be imparted to a compound tone without changing its dominant 
 character; while, on the other hand, very refined colorings can be 
 imparted by introducing compound harmonic timbre-creating stops. 
 Organists will, however, have to wait patiently for these; for organ- 
 builders are at present trying to get rid of, rather than contemplat- 
 ing the introduction of new and more valuable, compound harmonic- 
 corroborating stops: that must be evident to everyone who takes 
 the trouble to critically examine the lists of stops in the so-called 
 specifications of Organs being turned out to-day. 
 
 The beauty that perfectly constructed and scientifically bal- 
 anced compound harmonic-corroborating stops impart to the vari- 
 ous tonal groupings characteristic of the Organ is hardly known 
 to the organists of the present time. This is greatly to be regretted; 
 and the knowledge will be very difficult to obtain until some thor- 
 oughly scientific artist in compound harmonic tone production 
 furnishes organists with the means of acquiring it. 
 
 In scheming the stop-apportionment of every division and sub- 
 division of an Organ, the special value and office of every stop, in 
 solo effects and in artistic combination, should be studiously con- 
 
lo ORGAN-STOPS 
 
 sidered. There should be no combinational stops inserted which 
 would prove of little use. It should be realized that each division 
 and subdivision of an Organ should be devised to occupy a distinct 
 place, and fulfil a special office, in the tonal economy of the entire 
 instrument. As great a degree of tonal independence should be 
 aimed at as general conditions permit of; thereby preventing any 
 undesirable resort to coupling of the claviers. When any two 
 claviers are coupled, one or the other is for the time being crippled 
 tonally, unless under some exceptional conditions. Such coupling 
 should seldom have to be resorted to, unless necessary for the mass- 
 ing of different and contrasting tones and the production of full 
 effects. The more perfectly an Organ is stop-apportioned in its 
 several divisions, the less will the resort to coupling be required, 
 especially in artistic registration for music of an orchestral or sym- 
 phonic character. 
 
 There never has been a more serious blow given to the science 
 and art of organ tonal-appointment than that given when Leonard 
 Dryvers, organ-builder, of Wessel-Loo-Louvain, sprang on the 
 organ-building world his unscientific, inartistic, and pernicious 
 system of stop-appointment, under the appellation "L'Orgue 
 Simplifie." A system founded on trade expedients, and devoid of a 
 single scientific or artistic element in its favor. Had it been con- 
 fined to its originator and his interested supporter — Couwenbergh 
 — little injury might have accrued. Unfortunately it was espoused 
 by the late Robert Hope- Jones, and is still advocated by some of his 
 followers. On the other hand, and very fortunately for the true art 
 of organ-building, the system (if system it can be called) is con- 
 demned by every thoughtful and accomplished organist and lead- 
 ing organ-builder of the present hour. From a purely artistic and 
 common-sense point of view we raise our voice in protest against a 
 system of tonal appointment at variance with all the laws and 
 canons of musical sound. 
 
 The Organ, tonally appointed on the Dryvers system, described ' 
 by H. V. Couwenbergh, of Averbode, in his pamphlet published in 
 1887, comprises only the following stops: Montre, 16 ft.; Bour- 
 don, 16 FT. ("dont le dessus est ouvert en Flute Harmonique ") ; 
 VroLON, 16 ft.; and Bombarde, 16 ft. From these four stops, of 
 extended compass, are formed no fewer than thirty-one stops of 
 16 ft., 8 ft., 4 ft., and 2 ft. pitch: the Montre furnishing seven stops, 
 all of the same quality and strength of tone; the Bourdon furnish- 
 ing ten stops of somewhat irregular quality and strength of tone; the 
 ViOLON furnishing seven stops of the same quality and strength of 
 
THEIR ARTISTIC REGISTRATION ii 
 
 tone; and the Bombarde furnishing also seven stops of the same 
 quality and strength of tone : only four qualities of tone, and no 
 mutation and high-pitched harmonic-corroborating ranks, in an 
 instrument presenting — after a fashion — thirty-one speaking stops. 
 Can anyone gifted with musical knowledge and refined taste imagine 
 such a tonal monstrosity anywhere save in a noisy merry-go-round 
 at a seaside resort or a country fair? To conceive it an instrument 
 for the performance of true and refined organ music is impossible : 
 to speak of its stops being capable of scientific combination and 
 artistic registration would be laughable.* Yet the fact remains 
 that instruments — we will not call them Organs — have been con- 
 structed on such a system in this country : but we are not aware of 
 any examples having been perpetrated either in England or France, 
 We sincerely trust that such an outrage on the noble and scientific 
 art of organ-building will not be encouraged. 
 
 Only slightly less objectionable and destructive of tonal powers 
 is the present growing system of borrowing stops from certain divi- 
 sions of an Organ to make up deficiencies in other divisions. This 
 method has the effect of making a poor and badly schemed stop- 
 apportionment look impressive on paper and on the draw-stops of 
 the Organ; and that is all that can be said in its favor. This un- 
 desirable and inartistic practice is carried to the extreme in the 
 formation of the Pedal Organ from manual stops; and is necessarily 
 destructive of clavier independence, effective tonal grouping, and 
 artistic registration. To show to what an extent this objectionable 
 practice is now being carried, we may state that lying before us as 
 we write is an organ-builder's Specification for an Organ, showing 
 an ostensible list of sixty speaking stops. The Pedal Organ of 
 twelve stops is entirely borrowed from the manual divisions, with 
 the exception of twenty-four pipes which strictly belong to it. 
 Comment is unnecessary. 
 
 Borrowing between manual divisions, if limited in extent and 
 done with well-considered scientific and artistic ends in view, and 
 without having the effect of crippling the independence of the con- 
 tributing divisions, may be productive of valuable aid in compound 
 tone creation and artistic registration; and, accordingly, may well 
 receive serious attention in scheming the stop-apportionments of 
 the tonal divisions of Organs of moderate dimensions. But unless 
 such borrowing is done with great judgment, care, and a full know- 
 
 *For further particulars, respecting "L'Orgue Simplififi," and of a larger example of the 
 application of the "nouveau systfime d'orgues," see "The Art of Organ-Building," Vol. II., 
 pp 13-18. 
 
12 ORGAN-STOPS 
 
 ledge of tone production, the result may be largely destructive of the 
 musical qualities of the instrument, as past experience has amply 
 proved. 
 
 The great value of Mutation harmonic-corroborlating stops in 
 registration, for the creation of special compound tonalities and 
 orchestral coloring, must not be overlooked. We desire to impress 
 this important matter on organists generally, and especially on 
 those who may have the opportunity of scheming the tonal appoint- 
 ments of Organs. The importance of such stops is little understood 
 or realized in this country at the present time; simply because they 
 so seldom appear in the stop-appointments of the Organs that have 
 been, turned out of our workshops. 
 
 For proofs of this statement, we may refer to the two large 
 OirgBxi schemes, already commented upon as seriously deficient in 
 compound harmonic-corroborating stops. They display a still 
 greater disregard of the important and tonally essential Mutation 
 stops. In the larger scheme, comprising upwards of two hundred 
 and seventy speaking stops, there are only three fifth-sounding 
 stops, — one belonging to the 32 ft. harmonic series; one belonging 
 to the 16 ft. series; and one belonging to the 8 ft. series. In the 
 lesser scheme, comprising, ostensibly, one hundred and one speak- 
 ing stops, there is only one Mutation stop, fifth-sounding, and 
 belonging to the 16 ft. harmonic series. Not a single one belonging 
 to the all-important 8 ft. series! We have no desire to be sevire in 
 .our comments : but to us it seems very astonishing that the design- 
 ers of these Organs — intended to represent the latest advance on 
 old-fashioned tonal appointment — should have so seriously over- 
 looked the important scientific and artistic offices of the Mutation 
 stops. And the question naturally arises : Did they know, or simply 
 ignore, the necessity, on both scientific and artistic grounds, of 
 introducing third-sounding Mutation stops? 
 
 Again, by way of comparison and furnishing an example, we 
 may refer to the scheme for the Concert-room Organ given in our 
 work. In the two hundred and thirty-one speaking stops it pre- 
 sents, are included twenty-five Mutation stops, divided as follows: 
 Of the 64 ft. harmonic series there is one fifth-sounding labial stop; 
 of the 32 ft. series there are two labial and one lingual fifth-sound- 
 ing stops; of the 16 ft. series there are seven labial and two lingual 
 fifth-sounding stops; and of the 8 ft. series there are six fifth-sound- 
 ing and six third-sounding Mutation stops. The interested student 
 should note the introduction of the three lingual Mutation stops. 
 Again we say, large as the number is, there is not a stop too many 
 
THEIR ARTISTIC REGISTRATION i.» 
 
 to furnish an accomplished performer with adequate means for 
 scientific and artistic registration and orchestral-tone production. 
 
 It is to be regretted that no definite rules of universal applica- 
 tion can be formulated to direct the organist in the all-important 
 art of registration; because, on the one hand, there are no univer- 
 sally adopted standards of tone in the stops bearing similar names, 
 produced by different makers, at different times, and under differ- 
 ent voicing conditions; and because, on the other hand, Organs 
 differ very widely in their stop appointments. So much so, that 
 what may be highly satisfactory and artistic registration on one 
 Organ, may be the reverse on another instrument. 
 
 Composers and writers of organ music render great assistance 
 to performers by indicating what to them is desirable and effective 
 registration for their works : but it must be remembered that such 
 registration has been formulated from the tonal material furnished 
 by some special Organ, at the command of the composer, or domi- 
 nant in his mind. It is, accordingly, questionable to what extent 
 such specific registration will be possible or satisfactory on other 
 Organs of different stop-appointments or stop-tonalities. Marked 
 differences in both directions are almost certain to obtain. It would 
 seem, under such conditions, that special artistic registration, to 
 properly render the composer's intentions, would be absolutely 
 called for on each Organ on which his works are to be performed. 
 
 We may close our brief remarks on this introductory branch of 
 our general subject with a few words, which may be of interest to 
 the organ student desirous of acquiring skill in the all-important art 
 of registration. In the first place, it is very desirable that the 
 student should form a clear and comprehensive concept of the tonal 
 structure of the Organ in its fullest scientific and artistic develop- 
 ment. This can only be properly arrived at by becoming familiar 
 with the special tonalities, combinational properties, and color- 
 values of all the stops which form that structure; and which are to 
 be found, or are available for introduction, in the Organ of to-day: 
 all of which are more or less fully commented upon in the following 
 pages, under their accepted names. It must be borne in mind, 
 however, that the names given to the stops found in modern Organs 
 do not invariably, or, indeed commonly, indicate their correct or 
 most desirable tonalities. This is simply due to the fact that there 
 are no universally recognized standards of tone in organ-pipes: 
 each organ-builder or voicer invariably adopting his own pipe-scales 
 and system of voicing; thereby producing his own peculiar or pre- 
 ferred quality of tone in each individual stop or family of stops. 
 
14 ORGAN-STOPS 
 
 This diversity of tonal quality and color-value is very noticeable 
 in even the principal organ-toned stop — the Diapason — the voice 
 of which varies, often widely, in Organs by different builders. In the 
 voices of both the labial and lingual imitative stops the difference of 
 tonality is generally very marked. In this class, one seldom hears 
 the same quality of tone in stops of the same name in any two 
 Organs. 
 
 Such being the case, it is very important that the student should 
 become thoroughly acquainted with the special tonalities and color- 
 values of all the stops which are comprised in the appointment of 
 the Organ on which he studies and performs: and that he should 
 follow up the knowledge so gained by a study of the tonal effects 
 produced by the combination of the stops of different colorings, 
 strengths of voice, and pitches; carefully noting their mixing quali- 
 ties and their harmonies of analogy and contrast, until he becomes 
 thoroughly familiar with the tonal resources of his instrument. This 
 somewhat exacting study, requiring time, thoughtful observation, 
 the exercise of memory, and not a little scientific and artistic cul- 
 ture, goes to prove, as we have already said, "there is no royal road 
 to learning." 
 
 TONALTIY OF ORGAN -STOPS 
 
 The stops which are at the disposal of the designers of modern 
 Organs are very numerous, as the present Glossary plainly shows; 
 and their tonalities display a diversity almost as great as that of 
 their names. Certain stops have distinct and pronounced voices, 
 which are either peculiar to them, or which belong to families formed 
 of members having difference of scale, slightly modified voicing, and 
 especially varied pitch. Others, less pronounced in their voices, are 
 more or less derivatives from special or more assertive stops. 
 Further, stops are either unimitative in their voices and strictly 
 belong to the Organ, their tones being unproducible by any other 
 instrument; or they are, in their voices, more or less closely imita- 
 tive of the tones produced by the string, wood-wind, and brass- 
 wind instruments of the orchestra. Under these conditions, two 
 grand divisions obtain in the tonal forces of the Organ ; one formed of 
 stops strictly belonging to the Organ proper, and the other of stops 
 which are imitative and orchestral in their tonalities. In the modern 
 Organ, and especially in the Concert-room Organ, both divisions of 
 the tonal forces must be adequately represented, if the instrument is 
 to be sufficient for the artistic rendition of all classes of organ music. 
 
THEIR ARTISTIC REGISTRATION 15 
 
 A careful study of the tonal forces which properly group them- 
 selves under the two grand divisions has led us to classify them into 
 eight subdivisions, each of which has a distinctive general tonality: 
 and this system of tonal grouping and subdivision will prove a valu- 
 able aid to the organ student in the study of registration and the 
 production of tone-color. The system may be presented in the 
 following form : 
 
 FIRST DIVISION SECOND DIVISION 
 
 Organ-Tone Orchestral-Tone 
 
 Unimitative Quality Imitative Quality 
 
 1. Pure Organ-Tone. i. Orchestral String-Tone. 
 
 2. Free Organ-Tone. 2. Orchestral Flute-Tone. 
 
 3. Flute Organ-Tone. 3. Orchestral Reed-Tone. 
 
 4. Viol Organ-Tone. 4, Orchestral Brass-Tone. 
 
 The eight different qualities of tone thus set forth may be 
 accepted as completely covering the tonal forces of the Organ of to- 
 day in its highest development; and the several classes of stops which 
 yield them may, with advantage, and necessarily briefly, be alluded 
 to here. 
 
 It may, in the first place be pointed out that all the stops of the 
 Organ, so far as their formation is concerned, are of two kinds, 
 labial and lingual; the former being constructed of either metal or 
 wood pipes — open, covered, or half -covered — provided with mouths 
 which-form their sound-producing portions, hence the term labial* 
 The lingual stops are also constructed of metal and wood pipes, the 
 resonators of which are either open or partially closed; their sounds 
 being produced by tongues, or languettes, which vibrate against 
 openings in reeds, or echalotes, hence the term lingual. Such stops 
 are confined to the production of the imitative orchestral reed- and 
 brass-tones. All other varieties of tone are produced by labial stops. 
 
 Pure Organ Tone. — This is the foundation tone of the Organ 
 proper. It is sui generis, peculiar to the Organ, and cannot be imi- 
 tated by any other musical instrument. It is yielded in its purity 
 by the true English Diapason, 8 ft., formed of full-scaled open 
 
 *The objectionable term "Jlue" has been hitherto used by English and American organ- 
 parlance: but as the term flue pipe is strictly appropriate in connection with a stove or heating 
 apparatus, it certainly should be abandoned, along with other misnomers in organ-building 
 language, in favor of the proper and expressive term labial. A labial pipe is literally a mouthed 
 pipe; just as a lingual pipe is literally a longued pipe. 
 
16 ORGAN-STOPS 
 
 metal pipes, unslotted, and voiced on a copious supply of wind of 
 moderate pressure. The tone is full, round, and dignified, singularly 
 free from harmonic upper partial tones; the absence of which leaves 
 a simple or pure tone, which, when used alone, is somewhat cloying 
 and unsatisfying to the ear familiar with the complex tonality of 
 orchestral sounds. Nevertheless, the Diapason's tone has always 
 been, and always will be, the unique and special glory of the Organ — 
 a foundation on which to build compound tones of surpassing 
 grandeur and beauty. 
 
 In addition to the fundamental Diapason, 8 ft., which strictly 
 belongs to the manual department, and especially to the Great 
 Organ, there is the Diapason, i6 ft., which furnishes the true 
 foundation tone of the Pedal Organ. This is, in its correct form, an 
 open metal stop, of large scale, constructed similar to the manual 
 Diapason, and, like it, yielding pure organ-tone. Under the name 
 Double Diapason, i6 ft., a similar stop, but of much smaller scale 
 and less powerful voice, is introduced in the manual department, 
 and, properly, in the First or Great Organ. This important stop 
 also yields pure organ-tone. 
 
 The early organ-builders found that unison stops alone, however 
 massed, produced tones of too monotonous and unsatisfying a 
 character; and to obtain relief and desirable variety they resorted to 
 the formation of ranks of pipes yielding higher and concordant tones. 
 This proceeding led to the early and the mediaeval Organs becoming 
 great Mixtures of several unison-, octave-, fifth-, and third-sound- 
 ing ranks. The original introducers of this system of stop-appoint- 
 ment had no clear knowledge of the science of compound musical 
 sounds or their natural harmonic constituents : they simply realized 
 the tonal value of the concordant ranks, and were content with their 
 introduction, unscientifically voiced as they were, and the musical 
 effects they produced. Since their introduction, such octave and 
 mutation harmonic-corroborating stops have never been omitted 
 from the appointment of the Organ. While the old European organ- 
 builders certainly introduced high-pitched harmonic-corroborating 
 stops and Mixtures to excess, and voiced them unscientifically and 
 undesirably loud;* it does not follow that their formation and_ 
 introduction in the Organs of to-day should be neglected, in the 
 manner in which they are, by the unscientific organ-designers and 
 
 * An example may be given of this excess. In the Organ in the Monastic Church, at Wein- 
 garten, Swabia, built by Gabler, of Ravensburg, in 1750, there are sixty-six speaking stops, 
 having 6,666 pipes, and of this number there are ten compound harmonic-corroborating stops, 
 having a total of 95 ranks and 4.797 pipes. While these numbers are given on authority, the 
 number of pipes are probably not quite accurate. 
 
THEIR ARTISTIC REGISTRATION 17 
 
 labor-saving organ-builders of the present time; with a serious loss 
 to the musical resources and beauty of the modern Organ; and a 
 very undesirable narrowing of the opportunity for a wide exercise 
 of artistic and expressive registration, and the production of varied 
 tonal colorings which are unproducible in their absence. 
 
 The harmonic-corroborating stops, alluded to, directly asso- 
 ciated with the Diapasons, are, like them, formed of open metal 
 pipes, yielding pure organ-tones of graduated degrees of assertive- 
 ness, becoming perceptibly softer in tone as they rise in pitch, in 
 accordance with the natural laws of compound musical sounds. 
 These stops, accordingly, require to be properly scaled with refer- 
 ence to the scale of the fundamental Diapason, 8 ft., and voiced so 
 as to combine with, and be absorbed in, the prime tone; brightening 
 and richly coloring it without asserting undue prominence individ- 
 ually. It has been the neglect of the teachings of the natural laws 
 of compound musical sounds, either through ignorance or careless- 
 ness, that has rendered the single and compound harmonic-cor- 
 roborating stops in so many Organs unsatisfactory and of little 
 value in combination and artistic registration. It is, accordingly, 
 desirable that organists who take any interest in the Organ, beyond 
 merely playing it, should see that in instruments, over the tonal 
 appointment of which they have any control, a sufficient proportion of 
 properly formed and voiced harmonic-corroborating stops be 
 provided. 
 
 The more important associated harmonic-corroborating stops 
 are the Octave, 4 ft.. Twelfth, 2% ft., Fifteenth, 2 ft.. Seven- 
 teenth, 1% FT., Nineteenth, i}4 ft., and Twenty-Second, i ft. 
 These stops are introduced in separate ranks of full compass, voiced 
 to yield pure organ-tone, and introduce and corroborate the first, 
 second, third, fourth, fifth, and seventh upper partial tones of the 
 foundation unisons, represented by the Diapason, 8 ft. To com- 
 plete the harmonic series it is desirable to add the Flat Twenty- 
 first 1V7 ft., corroborating the sixth upper partial tone. This stop 
 is almost unknown, in a complete form, in English Organs, al- 
 though it has been used in certain breaks of rare Mixtures. Under 
 the name Septieme, it appears as a separate and complete stop in 
 certain French Organs. In the Grand Organ in the Cathedral of 
 Notre-Dame, Paris, constructed by Cavaill^-CoU, there is a Sep- 
 tieme, iV? FT., in the Grand-Choeur, belonging to the foundation- 
 work; a Septieme, 2^7 ft., in the Bombardes, belonging to the 16 
 ft. harmonic series; and a Septieme, 4V7 ft., in the Pedale, be- 
 longing to the 32 ft. harmonic series. We have not found an instance 
 
i8 ORGAN-STOPS 
 
 of the Septieme being introduced in a French Mixture. The 
 higher-pitched harmonic-corroborating stops, owing to the smallness 
 of their pipes, cannot be carried throughout the compass of the 
 manual clavier without a break; accordingly, they appear only in 
 broken ranks of Mixtures. These stops are the Twenty-fourth, 
 4/5 FT., Twenty-sixth, % ft.. Twenty-ninth, }/2 ft.. Thirty- 
 third, J/^ FT., and Thirty-sixth, 34 ft., corroborating the ninth, 
 eleventh, fifteenth, twenty-third, and thirty-first upper partial tones 
 of the foundation unisons. 
 
 There are, in addition to the stops already named, certain others, 
 properly pure organ-toned, which belong to the series founded on 
 the Diapason, 16 ft., of the Pedal Organ. These are the Octave, 
 8 ft., which is practically a Diapason, the Twelfth, 5}/^ ft., and 
 the Super-Octave, 4 ft., introducing and corroborating the first, 
 second, and third upper partial tones of the 16 ft. harmonic series. 
 Harmonic-corroborating stops of higher pitch are introduced in the 
 Mixtures sometimes inserted in the Pedal Organ. 
 
 The stops, complete and incomplete, enumerated above are all 
 that practically belong to the foundation-work of the Organ ; and all 
 should be present in a completely appointed instrument. They are 
 necessary for the production of the entire range of pure organ-tones; 
 and are essential in effective tonal coloration and artistic registration. 
 
 Free Organ-Tone. — The few stops which may be properly 
 classed as yielding free organ-tone are strictly of mediate or transi- 
 tional character; that is, in addition to a foundation of piu-e organ- 
 tone they encroach, more or less, as it were, upon tones of some dis- 
 tinctive character; producing voices of different shades of tonal 
 coloring, never pronounced, and on this account of extreme value in 
 artistic registration. While the compound voices of such stops 
 cannot be classed as belonging to any special tonality, for they differ 
 greatly, they are invaluable in building-up and delicately tinting 
 other distinctive voices, by means of which the artist organist is 
 painting his musical picture. 
 
 Between pure organ-tone, as previously defined, and what must 
 be recognized as free or impure organ-tone, there is a very fine line 
 of demarkation. Immediately on this line stands the beautiful 
 English Dulciana, 8 ft., the tone of which is only distinguishable 
 from pure organ-tone by its delicate, silvery, singing quality, due 
 to the presence of almost imperceptible harmonic over-tones. Like 
 the foundation Diapason, the Dulciana is properly attended by its 
 family of harmonic-corroborating stops, forming very lovely com- 
 
THEIR ARTISTIC REGISTRATION 19 
 
 pound tones, the delight of the tonal colorist. The most useful of 
 these stops are the Octave Dulciana, 4 ft. ; Dulciana Twelfth, 
 2% FT.; Super-octave Dulciana, 2 ft.; and Dulciana Cornet. 
 There are several other stops yielding free organ-tones of a more 
 pronounced mediant character, in which pure organ-tone is more 
 absorbed and a richer coloring imparted. Among these may be 
 named the Dolcan, yielding a voice of a refined and somewhat 
 plaintive character; and the Keraulophone, yielding a richer tone, 
 which, in good examples, approaches a horn-like quality, extremely 
 valuable in the production of rich and quiet colorings. This fine 
 stop is rarely introduced in Organs built to-day. Still more pro- 
 nounced in tone are the stops known as the Horn Diapason and 
 Bell Diapason, the voices of which are rich colorings on grounds of 
 pure organ-tone. Certain stops yielding what must be classed as 
 free organ-tone have their voices comparatively rich in harmonic 
 upper partial tones. Prominent among these stops is the Gems- 
 horn, the pipes of which, Helmholtz says, have the property of ren- 
 dering some higher partial tones comparatively stronger than the 
 lower; hence its peculiar value in registration in which brightness 
 is desired, without a cutting quality which is so frequently destruc- 
 tive of refinement and repose. Perhaps such terms as these are 
 rarely used in speaking of organ registration, but they will be under- 
 stood by the artist organist and the musician, and their meaning 
 should be grasped by the organ student. 
 
 Flute Organ-Tone. — By the term flute organ-tone is signified 
 that wide and varied range of flute-like tones, produced by several 
 varieties of organ-pipes, which are not strictly imitative of the clear 
 and penetrating voices of the Flutes of the orchestra. Some of these 
 unimitative tones differ widely from those of the orchestral Flutes, 
 while others are so closely allied as to be almost undistinguishable 
 from them. It is in this great range of flute-like voices that the 
 organist finds a richly spread palette for the production of innumer- 
 able beautiful tonal colors. The organ-toned Flutes are not only 
 widely varied in strength and character of voice, but they, of all the 
 stops of the Organ, lend themselves most readily and efficiently to 
 effective registration, combining perfectly with the stops of every 
 other tonality, both labial and lingual. 
 
 The stops yielding flute organ-tone may be divided into four 
 families, each of which produces a characteristic tonality. These 
 are formed, respectively, of open, covered, half-covered, and har- 
 monic pipes. The variation of their voices is mainly due to the 
 
20 ORGAN-STOPS 
 
 presence of different groups of harmonic upper partials and their 
 relations to the prime tones. As a]l the stops just alluded to are 
 described in the Glossary, it is unnecessary to go into particulars of 
 theirspecial voices in this brief essay; but the names of a few of the 
 representative ones may be mentioned. Of the open family, may be 
 named the Tibia Plena, Hohlflote, Spitzflote, and Wald- 
 flote; of the covered family, the Tibia Clausa, Doppelflote, and 
 LiEBLiCHGEDECKT ; of the half -covered family, the Rohrflote and 
 Flute A Cheminee ; and of the harmonic family, the French Flute 
 Harmonique. 
 
 So numerous and varied are the voices of the unimitative flute- 
 toned stops of the modern Organ, and so valuable are they in artistic 
 registration with the voices of all other tonalities, that the organist 
 should make a careful study of them; acquainting himself with all 
 their coloring properties and their peculiar mixing and separating 
 qualities. It must be observed that certain flute-tones hold them- 
 selves distinct and remain assertive; while others become absorbed 
 and completely lose their individuality in the compound tones. 
 
 Viol Organ-Tone. — Although the stops yielding unimitative 
 string-tone, which, for the sake of distinction, we have designated 
 viol organ-tone, are comparatively few in number, they occupy an im- 
 portant place in the stop-appointment of the Organ, and a prominent 
 place on the color palette of the organist skilled in artistic registration. 
 
 Standing on the border-line between pure organ-tone and viol 
 organ-tone is the refined and beautiful voice of the true Salicional. 
 The most important stop of this tonality is the Violin Diapason 
 or Geigenprincipal. The tone of this fine stop varies in different 
 examples, according to the taste of the voicer; but it should be dic- 
 tated by the position it holds in the tonal scheme of the Organ, and 
 how it can be of the greatest value in effective registration. While 
 in this stop the string tonality is, properly, not more than the pure 
 organ-tone, there are others, under different names, in which the 
 string-tone is the more assertive; and these are very desirable, in 
 Organs of large dimensions, for registration with labial and lingual 
 stops of powerful intonation. In the Concert-room Organ, they are 
 required for the building-up of the necessary volumes of string-tone. 
 
 There are certain other stops which may be classed as yielding 
 viol organ-tone, but which may claim to be imitative, in so much 
 that they are accepted as reproducing the tones of the obsolete 
 Viola da Gamba and Viola d'Amore. But when their tones are 
 compared with those of the modern stops which imitate so closely 
 
THEIR ARTISTIC REGISTRATION 21 
 
 the assertive and complex tones of the Violin, Viola, and Violon- 
 cello, their timid voices seem to fall back into what may be correctly 
 considered viol organ-tone. When these desirable stops appear in 
 an Organ they deserve the careful attention of the organist. 
 
 Orchestral String-Tone. — This is the first and most essential 
 of all the orchestral imitative tones of the modern Organ ; and may 
 almost be said to be the foundation of the tonal structure of the 
 true Concert-room Organ; just as the string forces are the founda- 
 tion of the grand orchestra. Obvious as this must have been, one 
 would think, to every thoughtful musician and accomplished or- 
 ganist, it is truly remarkable that such a self-evident fact remained 
 unacknowledged and unacted upon in the organ-building world, — 
 cramped by old-fashioned tradition, — until we instituted a separate 
 and complete string division, comprising eighteen ranks of string- 
 toned pipes, including full harmonic elements, and endowed with 
 full and special powers of expression and flexibility, in our scheme 
 of the Concert-room Organ installed in the Festival Hall of the 
 Louisiana Purchase Exposition, St. Louis, Mo., 1904.* We feel very 
 proud of having been the first in the history of the art of organ- 
 building to realize the necessity for, and to carry into effect, so im- 
 portant and art-serving a step in advance in tonal appointment; now 
 becoming tardily acknowledged by organ-builders and organists as 
 essential in every Organ suitable for recital purposes, and which has 
 any pretension toward completeness. 
 
 The stops are comparatively few which strictly fall under the 
 class now under consideration, being primarily the Violin, Viola, 
 Violoncello, and Contrabasso, which also pass under other equiv- 
 alent names. These stops are, however, attended by certain deriv- 
 atives which are required in the Organ for the production of well- 
 known orchestral effects, and for purposes of artistic registration. 
 The derivatives are those which represent the orchestral instru- 
 ments played under characteristic conditions; namely, con sordini 
 and vibrato. It is, perhaps, unnecessary to remark that the great 
 value of the orchestral string stops lies in the closeness and beauty 
 of their imitative voices and their perfect regulation; but such 
 artistic perfections are rarely the products of the competitive and 
 hurried organ-building of to-day. The cry is for quick production, 
 not artistic and painstaking work; and no class of stops suffers more 
 
 *See Specification of this Organ given on pages 503-8; and our scheme for the Ancillary 
 String Organ, of twenty-three ranks of pipes, in the Concert-room Organ on page 323, of our 
 work, "The Organ of the Twentieth Century," New York, 1919- 
 
22 ORGAN-STOPS 
 
 from this than that which forms the orchestral string-tone forces of 
 the Concert-room Organ. 
 
 Notwithstanding that the foundation orchestral string-toned 
 stops are in themselves very rich in harmonic upper partials, so 
 much so as to practically require no additions in purely solo work : 
 yet for the production of full orchestral effects, it is necessary to 
 have for registration string organ-toned harmonic-creating and cor- 
 roborating ranks of pipes, belonging to both the 8 ft. and i6 ft. series, 
 and including an effective Octave Viol or Violetta, 4 ft. These 
 afford great opportunities for tonal coloring and registration of a 
 high order, leading to the production of volumes of brilliant and 
 expressive tone, hardly dreamt of in the Organ of to-day, and only 
 to be surpassed by the full string forces of the grand orchestra. 
 When will the distinguished and respect-commanding musician 
 arise to teach the thoughtless organist and organ-builder what the 
 Concert-room Organ of the twentieth century must be ? 
 
 Orchestral Flute-Tone. — Little need be said respecting the 
 tonality of the stops yielding orchestral flute-tone. They are only 
 three in number; namely, the Orchestral Flute or Flauto 
 Tra VERSO, 8 FT., the Flauto Tra verso, 4 ft, and the Piccolo, 
 2 ft. ; and their voices successfully imitate, especially in the finer 
 examples, those of the Flutes and Piccolo of the orchestra, and ably 
 represent them in the tonal appointment of the Organ. Their 
 voices are refined and penetrating having few assertive upper 
 partials except the octaves, naturally subordinated ; and they are of 
 extreme value in both solo-work and artistic registration. Seeing 
 the great importance that has been given to the Flute by the great 
 composers, who frequently gave it the leading wind part in their 
 scores, there can be no excuse for the insertion of an indifferent 
 Orchestral Flute in any important Organ. In registration with 
 the orchestral string-toned stops the Orchestral Flutes produce 
 beautiful qualities of tone. In general registration, however, they 
 do not stand preeminent, for there are several of the flute organ- 
 toned stops that are equal, if not superior, in imparting effective 
 coloring. 
 
 Orchestral Reed-Tone. — The important instruments of the 
 grand orchestra which are more or less closely imitated by the stops 
 of the Organ yielding orchestral reed-tone are the Oboe, Clarinet, 
 Corno di Bassetto, Cor Anglais, Bassoon, and Saxophone. The 
 stops bearing these names, or their equivalents in other languages, 
 
THEIR ARTISTIC REGISTRATION 23 
 
 are all of unison pitch on the manuals; but the Double Bassoon 
 or CONTRAFAGOTTO, 1 6 FT., a stop of great value, is also placed on 
 the manuals in important instruments. 
 
 The Oboe appears in two forms, the one commonly introduced 
 not being strongly imitative in its tonality; indeed, it has been 
 found very difficult tp imitate the "small acid-sweet voice, having a 
 pastoral character, full of tenderness," as Berlioz cleverly de- 
 scribes it. Certain attempts have been made to imitate this charac- 
 teristic voice, and results of a fairly satisfactory nature have been 
 obtained from stops of special formation, named Orchestral 
 Oboes. The Oboe of the orchestra is essentially a melodial instru- 
 ment, and the Orchestral Oboe of the Organ must also be ac- 
 cepted as a melodial or solo stop, which is comparatively of little 
 value in registration save for the production of very unusual effects 
 of a pathetic character. 
 
 Much more closely imitative is the Clarinet, 8 ft. ; indeed, 
 when made by a master-hand, it may be pronounced the best rep- 
 resentative of an orchestral reed instrument to be found in the 
 Organ. It is especially satisfactory when associated with a unison 
 covered stop, such as a soft-toned Doppelflote or a Lieblich- 
 GEDECKT, 8 FT. These voices impart the full and somewhat hollow 
 tonality of the orchestral instrument in its best register. The tube 
 of the orchestral Clarinet is of the nature of a covered pipe, pro- 
 ducing, in addition to the prime tone, the second, fourth, sixth, and 
 higher even upper partial tones. Such being the case, it can be 
 realized that the tone of the lingual Clarinet derives considerable 
 richness and increase of character by combination with the tone of 
 a covered stop, which has in its voice the same progression of har- 
 monic upper partials. This affords a simple lesson in scientific 
 combination. The peculiar quality of the tone of the Clarinet 
 renders it a valuable addition to the voices of almost all the labial 
 stops of medium power, producing compound tones of rich and 
 varied colorings: accordingly, in registration, the stop deserves 
 greater attention than seems to have been hitherto bestowed 
 upon it. 
 
 More effective and fuller in tone-creation is the Corno di Bas- 
 SETTO, 8 FT., which belongs to the Clarinet family. The orchestral 
 instrument from which it derives its name, and of which it is the 
 organ representative, is practically a Tenor Clarinet having the 
 compass from FF to c^. The voice of the Corno di Bassetto is fuller 
 and more reedy than that of the Alto Clarinet; and, accordingly, 
 the tone of Corno di Bassetto is bolder and richer than that of the 
 
24 ORGAN-STOPS 
 
 Clarinet, 8 ft. Properly made and voiced by a master-hand, the 
 CoRNO Di Bassetto is of greater value than the Clarinet in effec- 
 tive registration. Unfortunately it is a stop rarely found even in 
 large Organs. While it is properly of 8 ft. pitch, the insertion of a 
 CoRNO DI Bassetto, i6 ft. is greatly to be desired in the expressive 
 "wood-wind" division of the Concert-room Organ; where it would, 
 in combination with the unison Corno di Bassetto and other 
 wood-wind stops of the Organ, be productive of compound tones 
 absolutely unknown in the old-fashioned tonal-appointments of the 
 Organs of to-day. 
 
 The Bassoon of the orchestra is a double-reed instrument like 
 the Oboe, of which it is considered to furnish the proper bass. Its 
 representative in the Organ, the Bassoon or Fagotto, 8 ft., fails 
 like the Oboe, in yielding a perfectly satisfactory imitative voice. 
 Nevertheless, the tone of a really good example is extremely valu- 
 able in artistic registration and tonal coloration; so much so, that 
 no Concert-room Organ can be considered complete in which the 
 stop does not appear in the manual department. Its proper place 
 is in the "wood-wind" division of the instrument.* The orchestral 
 Bassoon has a conical bore of about eight feet in length, regularly 
 increasing in diameter from ys ^^ch at the reed end to i ^ inches at 
 the open end. This form of tube generates or favors the production 
 of the uneven upper partials (natural to an open organ-pipe), and, 
 accordingly, yields a compound tone essentially different from 
 that of the Clarinet, while it partakes of that of the Oboe. The 
 voice of the Bassoon, 8 ft., while it closely resembles that of the 
 orchestral instrument, has the advantage of being more uniform in 
 color throughout its compass, and in being entirely free from the 
 grotesqueness which characterizes certain of its lower notes. 
 
 The tonal value of the Double Bassoon or Contrafagotto has 
 long been recognized by the great composers; Beethoven, Haydn, 
 Mozart, and Mendelssohn having introduced it in their great works. 
 As Dr. W. H. Stone remarks: "In all cases it forms a grand bass 
 to the reed band, completing the 1 6-foot octave with the six lowest 
 notes wanting on three-stringed Double Basses. " These facts are 
 enough to show the value of, and the necessity for, the Double 
 Bassoon or Contrafagotto, i6 ft., which represents the orchestral 
 instrument in a properly-appointed Organ. Its presence in an im- 
 portant Church Organ is highly desirable; while in a Concert-room 
 Organ it is imperative. The value of its voice in tonal coloration, 
 
 ♦See "The Organ of the Twentieth Century," Pages 307 and S05. 
 
THEIR ARTISTIC REGISTRATION 25 
 
 and in the registration of grave tones is so great, that in the Con- 
 cert-room Organ it may, with advantage, be introduced in more 
 than one manual division; preferably in the expressive subdivision 
 of th». First or Great Organ, and in the Organ containing the stops 
 representing the wood-wind instruments of the orchestra. In the 
 latter it may be of the more assertive variety, distinguished by the 
 name Fagottone, 16 ft. It is never desirable tn have two stops 
 of precisely similar tones in an Organ, however large it may be. 
 Variety of tone is an essential element in artistic registration. 
 
 When properly made and artistically voiced, the Double 
 Bassoon yields a tone of the same quality as that of the Bassoon, 
 8 FT., but of rather a greater body. Accordingly, if the tone of the 
 middle c' (4 ft.) pipe of the former is carefully compared with that 
 of the tenor C (4 ft.) of the unison stop, it will be observed that 
 while they are of the same pitch and character, they are different in 
 tonal value, the unison being somewhat lighter and brighter — the 
 voicing having properly generated one or two higher harmonic 
 upper partials. The true orchestral relationship is thereby 
 established. 
 
 Judging from what one observes in the unscientific and inartistic 
 competitive organ-building of to-day, organ-builders certainly will, 
 and many organists probably will, consider such refinements as 
 have been advocated in the preceding remarks quite unnecessary. 
 Certainly they will call for scientific and artistic culture and a high 
 sense of duty on the part of the former; and for a keen appreciation 
 of tonal values on the part of the latter. But the obvious absence 
 of such tonal refinements only goes to prove that the culture alluded 
 to is much to be desired on both sides. 
 
 It is unnecessary to comment at length respecting the tone of 
 the Cor Anglais, 8 ft., which in its present state imitates as closely 
 as seems practicable that of the orchestral Cor Anglais ; which is in 
 reality an Alto Oboe, bearing about the same relation to the ordi- 
 nary Oboe as the Corno di Bassetto does to the Clarinet. Regarding 
 the orchestral instrument, Berlioz remarks: "Its quality of tone, 
 less piercing, more veiled, and deeper than that of the Oboe, does 
 not so well as the latter lend itself to the gaiety of rustic strains. . . . 
 It is a melancholy, dreamy, and rather noble voice." The organ 
 Cor Anglais, in its best form, yields a tone which has very valuable 
 mixing and coloring properties ; and these, combined with its some- 
 what subdued or "veiled" voice, renders the stop highly suitable 
 for the chief accompanimental divisions of both the Church and 
 Concert-room Organs. In such a position it will prove of the maxi- 
 
26 ORGAN-STOPS 
 
 mum service in artistic registration. While it would seem to belong 
 to the "wood-wind " division, the kindred nature of its voice to that 
 of the Oboe renders its presence there unnecessary. In an accom- 
 panimental division it is most desirable to have a considerable range 
 of different tonalities, so that by skillful registration expressive 
 accompaniments of all tones and colors may be formed. 
 
 The latest addition to the orchestral reed-tone forces of the 
 Organ is the Saxophone, 8 ft., a fine stop of the Clarinet family. 
 The Saxophones of the orchestra are single-reed instruments, having 
 wooden mouthpieces, similar to those of the Clarinets, attached to 
 conical tubes of brass. They are of several keys, covering a compass 
 of from BBB to c^, one octave short of the present full manual 
 compass of the Organ. The lingual Saxophones made up to the 
 present time have only been moderately successful in their imitative 
 tones, while otherwise fine stops. The most satisfactory imitative 
 stop hitherto produced, so far as our knowledge extends, is a labial 
 one formed of wood. The character and value of its voice may be 
 in some way realized from the following description by Berlioz of 
 the tones of the orchestral Saxophones, which he states as possess- 
 ing, " Most rare and precious qualities. Soft and penetrating in the 
 higher part, full and rich in the lower part, their medium has some- 
 thing profoundly expressive. It is, in short, a quality sui generis, 
 presenting vague analogies with the sounds of the Violoncello, of the 
 Clarinet, and Corno Inglese, and invested with a brazen tinge 
 which imparts a quite peculiar accent. ' ' Dr. Stone comments on the 
 peculiar Violoncell o quality of the tone ; he says : " It reproduces on a 
 magnified scale something of the Violoncello quality, and gives great 
 sustaining power to the full chorus of brass instruments, by intro- 
 ducing a mass of harmonic overtones." Prom these particulars it 
 can be readily realized how valuable such a compound tone must 
 prove in the Organ, and, at the same time, how difficult its produc- 
 tion must prove from a single lingual stop. The prominence of the 
 Violoncello quality clearly points to the labial stop formation in 
 which a string-tone can, with skillful voicing, be produced accom- 
 panied by a pronounced reedy quality. 
 
 Orchestral Brass-Tone. — The lingual stops of the Organ, 
 which produce tones imitative, more or less closely, of those of the 
 brass wind-instruments of the orchestra and band, are not numerous 
 but of very great importance. To them are added brass-toned stops 
 which belong exclusively to the Organ, and which have tonal powers 
 and compasses beyond those possible in instruments blown by the 
 
THEIR ARTISTIC REGISTRATION 27 
 
 human breath ; and these impart an element of impressiveness and 
 grandeur, when properly used, which alone is sufficient to stamp the 
 Organ the Monarch of all Instruments. 
 
 The brass instruments of the orchestra which have representa- 
 tives in the Organ are the Trumpet, Horn, Trombone, and Ophi- 
 cleide. Of these the Horn is the instrument of which a satisfactory- 
 tonal equivalent is most desirable in the Organ; but which it has 
 been found, up to the present time, practically impossible to produce. 
 Berlioz calls the Horn a "noble and melancholy instrument," and its 
 peculiar tonality supports that description. Although its tones are 
 produced from a large brass instrument, sounded by the lips and a 
 cupped mouthpiece, they have properly no trace of clang and brassi- 
 ness. The Horn has two series of sounds, known as the open and 
 closed; and it is the imitation of the latter, also called the "hand 
 notes, " which the pipe-voicer has found the crux, in the production 
 of the organ Horn, 8 ft. Certain painstaking organ-builders have 
 produced stops which, though not strictly imitative in all respects, 
 are fine tonally, and extremely valuable in refined registration with 
 string-toned stops. The Horn properly belongs to the "brass- 
 wind" division of the true Concert-room Organ; where it is useful 
 as a solo and combinational stop. Every exertion should be made 
 by the organ-designer to obtain a satisfactory Horn; for it is ab- 
 solutely essential in the artistic rendition of orchestral scores. 
 
 The brass wind-instrument of the orchestra most commonly 
 represented in Organs of all classes is the Trumpet, and its normal 
 tone is more satisfactorily imitated by a lingual stop than that of 
 any other brass instrument. The desirable tone for the Orchestral 
 Trumpet, 8 ft., is that of the Trumpet played mezzo forte, yielding 
 a bright silvery voice with just sufficient brassiness to give it true 
 character. This tone under expression is valuable in solo effects 
 and in general registration, mixing perfectly with tones of all classes. 
 The stop to be preferred for the Solo Organ is the more powerful 
 Harmonic Trumpet, which represents the orchestral Trumpet 
 played fortissimo. This powerful and penetrating stop must be 
 placed under perfect control. A Trumpet should never be placed 
 en chamade, as in the Organ in the Church of Saint-Ouen, Rouen, 
 and in several large Spanish Organs. To imagine any orchestral 
 instrument, or its organ representative, played without expression, 
 could only be possible in the brain of a musical ignoramus. 
 
 The Trombone of the orchestra is a member of the Trumpet 
 family, and, indeed, it may be properly considered as furnishing the 
 bass to the orchestral Slide Trumpet. Its tone is, accordingly, an 
 
28 ORGAN-STOPS 
 
 enlargement of that of the Trumpet, capable, on account of the 
 important size of the instrument which produces it, of great power, 
 brilliancy, and brazen clang. The three Trombones — alto, tenor, 
 and bass — along with the Trumpet, form the only complete enhar- 
 monic wind quartet in the orchestra. These instruments are per- 
 fectly true in their intonation; in this respect rivaling the stringed 
 and bowed instruments. 
 
 The organ representatives — the Trombone, 8 ft., and Contra 
 Trombone, i6 ft., — are fine and valuable stops when voiced by 
 master-hands; but they cannot be considered perfectly satisfactory 
 tonal equivalents of the orchestral instruments. There is great 
 difficulty in producing the characteristic brazen clang in lingual 
 pipes, without objectionable coarseness and reedy clatter; but, 
 perhaps, this is not to be regretted, for the more desirable tones of 
 the orchestral Trombones are those in which this extreme clang is 
 absent. The Trombones of the Organ are of great importance, 
 especially in the Concert-room Organ, and their tonalities and 
 strengths of voice should in all cases be dictated by the places they 
 occupy and the offices they have to fulfill in the tonal economy of the 
 Organ. Although the use of the Trombones is somewhat limited in 
 artistic registration, their employment is of supreme value in the 
 proper rendition of certain classes of orchestral music, and in 
 the production of impressive effects and in full organ passages. The 
 proper position of the Trombones in the properly stop-apportioned 
 Concert-room Organ is in the expressive division chiefly devoted to the 
 representatives of the "brass-wind" forces of the grand orchestra.* 
 
 The Ophicleide of the orchestra is a large key instrument of the 
 Bugle family, being practically the bass correlative of the Key or 
 Kent Bugle. The usual Ophicleide is of 8 ft. pitch, extending only 
 one semitone below the compass of the Violoncello: but as a "Con- 
 trabass Ophicleide" has been used in the orchestra (at the Musical 
 Festival in Westminster Abbey and the Birmingham Festival, both 
 in 1834), there is good authority for a representative of this im- 
 pressive instrument, of 16 ft. pitch, finding a place in the Concert- 
 room Organ of the twentieth century. The tone of the Ophicleide is 
 broad and dignified, so much so, that Wagner found it necessary to 
 fill its place in the orchestra by the Bass and Contra Tubas. Men- 
 delssohn introduces the Ophicleide freely in the scores of his impor- 
 tant works, notably in the "Elijah" and the "Midsummer Night's 
 Dream" music. 
 
 ♦See "The Organ of the Twentieth Century, ■' Pages 311-14 and S06. 
 
THEIR ARTISTIC REGISTRATION 29 
 
 As the Ophicleide has for many years disappeared from the 
 orchestra, it is practically impossible for voicers of to-day to realize 
 the tone they are called upon to reproduce in the organ representa- 
 tive. Some idea may, however, be gathered from the tonality of the 
 substitutes Wagner adopted. The Tuba is a large bass instrument of 
 the Saxhorn family, the tone of which is smooth and rich when 
 produced by a master. It is such a tone, not too assertive, and 
 entirely free from brassiness, that is required in the Ophicleide 
 employed in the performance of orchestral scores. The Ophicleide, 
 8 FT., of the ordinary modern Organ is a widely different class of 
 stop, yielding a powerful and strident tone. It is voiced on wind of 
 high pressure, as in the representative example in the Solo of the 
 Organ in St. George's Hall, Liverpool, which speaks on wind of 22 
 inches : and as this dominating stop has very foolishly been planted 
 on an uninclosed wind-chest, and is, accordingly, devoid of powers 
 of flexibility and expression, it is valueless in artistic registration. 
 
 Of the tones of the band brass instruments — the Cornopean, 
 Euphonium, and Tuba — and their organ representatives; and of 
 those of the several brass-toned stops which are practically unimi- 
 tative, and strictly belong to the Organ, it is unnecessary to enlarge 
 here: all useful particulars will be found, under their respective 
 names, in the following Glossary. 
 
 DO MATERIALS AFFECT THE TONE OF ORGAN- 
 PIPES? 
 
 A question of no little importance has frequently been asked, but 
 never, so far as we are aware, has it been satisfactorily answered. 
 The question is : Does the material of which an organ-pipe is con- 
 structed affect the quality of its tone ? We have, by long observation 
 of the behavior of organ-pipes, and some special experimenta- 
 tion, given the question careful and thoughtful consideration; yet 
 we are far from being prepared to be dogmatic upon it. The only 
 answer would seem to be this paradoxical one: It does and it does 
 not. 
 
 We know that the old German, Dutch, and French organ- 
 builders were very careful about the metals and woods they used 
 for their pipes; and that their finest qualities are very rarely em- 
 ployed in modern organ-building : but whether they were selected on 
 account of their value in tone production, or on the score of their 
 durability only, it is impossible to decide. We do know, on the one 
 hand, that their durability has been remarkable; and, on the other 
 
30 ORGAN-STOPS 
 
 hand, that the tones of the pipes formed of them are very beautiful. 
 Take for example the Organ in the Cathedral of Haarlem, built in 
 1738. All its displayed pipe-work including the Pedal Sub-Princi- 
 pal, 32 FT., is of pure Cornish tin; while all the rest of the metal 
 pipes in the instrument are of an alloy of equal parts, by weight, of 
 Cornish tin and pure lead. All these pipes — one hundred and 
 eighty-two years old — are as good as the day they were made. For 
 extreme purity and beauty of tone we have only to go to the Silber- 
 mann Organs in the Cathedral and churches of Strasbourg, the 
 pipes of which are formed of similar high-class materials. We 
 know, from examination of existing pipes of wood and metal, that 
 the English organ-builders of the seventeenth century used Cornish 
 tin and fine woods in their fabrication. Bernard Smith seems to 
 have invariably used wainscot for his Stopped Diapasons and 
 Gedackts, as specified for his Temple Church Organ (1688).* 
 Examples of these which have been preserved to our time are char- 
 acterized by great beauty of tone. Even in quite recent times we 
 find, in the construction of the Organs in the Cathedral and St. 
 Pauls-Kirche, Schwerin, the organ-builders Ladegast and Friese 
 using oak, maple, pear-tree, and mahogany in the formation of their 
 pipe-work. While it is quite reasonable to suppose that these cele- 
 brated builders used these special woods on account of their dur- 
 ability, and to favor perfect workmanship, it is still more reasonable 
 to suppose that they were employed for a still higher reason, namely, 
 that they were found to be conducive to the perfection of voicing 
 and the production of beautiful tones. Where do we find such fine 
 woods used in the pipes made for our organs to-day ? 
 
 It is well known that the column of air within a pipe, while 
 speaking, is in a state of extreme pulsation or tremor, especially so 
 in pipes blown by winds of high pressures ; and it is obvious that this 
 tremor must be conveyed to, and properly resisted by, the walls of 
 the pipe, be it of metal or wood. By careful observation we have 
 found that the maximum effect of this pulsation is on the sides of a 
 pipe, not on its front in which the mouth is formed, or back. This 
 would point to the necessity of specially fortifying the sides of wood 
 
 * Dr. Burney, speaking of this master, says; " I have been assured by Snetzler, and by the 
 immediate descendants of those who have conversed with Father Smith, and seen him work, 
 that he was so particularly careful in the choice of his wood, as never to use any that had the 
 least knot or flaw in it; and so tender of his reputation, as never to waste his time in trying to 
 mend a bad pipe, either of wood or metal, so that when he came to voice a pipe, if it had any 
 radical defect, he instantly threw it away, and made another. This, in a great measure, accounts 
 for the equality and sweetness of his stops, as well as the soundness of his pipes to this 
 day." — "History of Music." 
 
THEIR ARTISTIC REGISTRATION 31 
 
 pipes, and imparting a sufficient power of resistance to the walls of 
 metal pipes. The former requirement would be met by the use of a 
 hard wood of sufficient thickness : and for perfection in voicing, and 
 the production of pure and beautiful tones, a close-grained hard 
 wood should be used for the mouth fronts of pipes of moderate size, 
 and for the mouths of large pipes. In the case of a metal pipe, a 
 metal or alloy of a firm body and sufficient thickness to withstand 
 the pulsation of the internal column of air is absolutely necessary 
 for the production of a satisfactory tone. Tin has been found to be 
 suitable in all respects, being much firmer and more resisting than 
 the usual alloys, cast in sheets in the ordinary way which leaves 
 them soft and undesirably open in structure; but tin is much too 
 expensive for general use; and the same may be said of the high- 
 grade alloys of tin and lead. What has long been wanted is a pipe- 
 metal having all the good qualities of tin, without its prohibitive 
 cost; and this has at last appeared in the Hoyt Two-ply Pipe-metal 
 — a product, not of the open casting-table, but of the rolling-mill. 
 The body of this compound pipe-metal is, in its perfected form, an 
 alloy of pure lead, tin, and copper, on which is laid a substantial 
 layer of pure tin. The combination is rolled, under great pressure, 
 into sheets, perfectly uniform in thickness, remarkably tough, and 
 of great resisting properties. These sheets are furnished in twenty- 
 two standard thicknesses, regularly graduated from 0.015 to 0.120 
 of an inch. Both surfaces are perfectly smooth and polished, giving 
 the interior of a pipe the surface most conducive to the production of 
 refined intonation. From severe tests we have made of its several 
 properties, we have no hesitation in saying it is superior to the 
 ordinary cast spotted-metal so long used in high-class pipe-work. 
 It has everything in its favor, including a moderate price.* 
 
 Beyond what has already been said regarding the importance of 
 using fine hard woods and firm and tremor-resisting metals in pipe 
 formation, little seems to have been decided respecting their more 
 direct influence on tone-production: and the deeper one goes into 
 the question the more complex it seems to become. We must admit 
 that we have heard tones in every way satisfactory yielded by pipes 
 formed of nearly all classes of pipe metal, — from the deadest alloys 
 of lead and antimony to the richest alloys of tin and lead, and even 
 tin itself, — and have been compelled to acknowledge that, after all 
 is said, it would appear that the skill of the voicer was the dominat- 
 ing factor. As we have said elsewhere : although in general practice 
 
 * For further particulars and Table of standard thicknesses and weights of the H&yt Two- 
 ply Pipe-metal, see "The Organ of the Twentieth Century," pp. 34s, 346. 
 
32 ORGAN-STOPS 
 
 certain classes of pipes appear to be most satisfactory in tone when 
 formed of tin or high-class spotted-metal, their tonal character and 
 excellence depends chiefly on their correct scaling, proper thickness 
 of material, perfection of formation, the pressures of wind used, and, 
 above all, on their skillful and artistic voicing. It is largely on the 
 score of strength, rigidity, and durability that high-class materials 
 are essential in organ-pipe construction. 
 
GLOSSARY OF ORGAN-STOPS 
 
 A 
 
 ACUTA. — Vox Acuta (from Lat. acutus — sharp). Ger., 
 Akuta, Scharf. Dtch., Scherp, — A compound harmonic-corrob- 
 orating stop, composed of three or more ranks of open metal labial 
 pipes, preferably of small scales. All the ranks are high-pitched and 
 voiced to yield bright and penetrating tones — hence the name of the 
 stop. When in its best form it has a third-sounding rank which adds 
 greatly to its acute tonality. As the pipes forming the stop are 
 necessarily very small, the ranks will have to break three or four 
 times in the manual compass of five octaves. The following are 
 examples of the composition of stops of three and four ranks : — 
 
 Acuta — III. ranks. 
 
 CC to B . . . . . 22 24 26. 
 
 c to b' 17 19 ^22. 
 
 c^ to b= . . . . 15 17 19. 
 
 c3 to C . 12 15 17. 
 
 Acuta — IV. ranks. 
 
 CC to BB . 24 26 29 33. 
 
 C to B 22 — ■ — ^24 26 29. 
 
 c' to b" 19 22 24 26. 
 
 c3 to c* 12 15 17 19. 
 
 In compound stops of the Cornet class, in which third-sounding 
 ranks are introduced, it is desirable to subdue such ranks so as to be 
 less assertive than the octave- and fifth-sounding ranks ; but the same 
 practice should not be followed in voicing and regulating the Acuta, 
 because the sharpness given by the third-sounding rank is an impor- 
 tant element in its characteristic tonality. The standard rule which 
 dictates that all compound harmonic-corroborating stops must be 
 gradually softened in tone as they rise in pitch has to be observed in 
 the regulation of the Acuta. 
 
 3 3.? 
 
34 ORGAN-STOPS 
 
 The Acuta is only required in Concert-room Organs of the first 
 magnitude, and even in them it has been seldom introduced. One 
 of four ranks is in the Great of the Organ in the Cincinnati Music 
 Hall; but in it there is no third-sounding rank. 
 
 Combination and Registration. — As the Acuta, when prop- 
 erly made, is strictly a member of the fundamental unison har- 
 monic structure based on the Diapason, 8 ft., it properly enters 
 into numerous combinations either directly with that stop in full 
 harmonic sequence; or with it and other stops in varied registrations, 
 its presence being desired on account of its special brightness and 
 life-giving character. The Acuta is specially valuable in registra- 
 tion with full-toned lingual stops such as are properly inserted in 
 the First or Great Organ. With the Trumpet alone or with the 
 Trumpet and Clarion it is valuable, imparting great brillia,ncy and 
 a singular orchestral coloring to the brass-tones, by powerfully cor- 
 roborating the higher harmonics present to some extent in the voices 
 of the lingual stops. 
 
 ^OLINE. — Lat., Molina. Ger.,AoLiNE. Fr., fiouNE. Ital., 
 EoLiNA. — The name employed by different organ-builders to desig- 
 nate extremely soft-toned stops both lingual and labial. Seidel de- 
 scribes it as a lingual stop voiced in imitation of the .(Eolian Harp. 
 He adds : "The bodies of the pipes are very small and of a narrow 
 measure. . . . The stop cannot be used by itself, but only in 
 combination with some soft 8ft. covered or open stop of narrow 
 measure, such as the Gamba." This definition is supported by 
 Hamel, who remarks: 
 
 " C'est un jeu d'anches libres qui, ainsi que son nom I'indique, doit imiter le 
 murmure de la harpe asolienne, et qui, par consequent, doit avoir une intonation 
 extremement tendre et a^rienne. Le corps des tuyaux qui sonnent quelquefois le 
 seize pieds, sont tres-petits et d'un diapason tres-etroit. On trouve ce jeu dispose 
 avec des huit pieds dans le nouvel orgue de Sainte-Marie k Wismar."* 
 
 The .(EoLiNE of the old builders was evidently a free-reed stop 
 furnished with small resonators. Topfer describes it as a free-reed 
 stop of 1 6 ft. and 8 ft. pitch, either like the Physharmonica or fur- 
 nished with small conical tubes or resonators. Walcker has placed 
 on the Second Manual of his Organ in Riga Cathedral an .^Elodicon, 
 i6 FT., a lingual stop of the .^Eoline class; and on the Fourth Man- 
 ual an .iEoLiNE, 8ft., a labial stop of tin, with the bass octave of 
 wood, as in the Third Manual of his Organ in St. Petri-Kirche in 
 Hamburg. Speaking of the .^Eoline, Carl Locher, of Berne, re- 
 
 * "Manuel Complet du Facteur d'Orgues." 
 
THEIR ARTISTIC REGISTRATION 35 
 
 marks: "It is of a soft string-toned character, occurring in Ger- 
 many and Switzerland on almost all large and small Organs as an 
 8-ft. solo stop. It is considered the most delicate of all string-toned 
 stops."* 
 
 Formation. — The ^oline, properly of eight feet pitch, in its most approved 
 modem form may be classed in the Salicional family, of which it forms the 
 softest-toned member. If voiced to yield a more decided string-tone, it may be 
 considered an Echo Viola da Gamba. The stop is formed of small-scale cylindri- 
 cal pipes, preferably of tin or Hoyt two-ply, hard-rolled, pipe-metal. The mouths, 
 which are about one-fifth the circumference of the pipes, are cut low and sharp, 
 furnished with ears, and voiced with either some form oifrein harmonigue or har- 
 monic-bridge, and on a wind between i}4 inches and 2}4 inches. The scale may 
 vary according to the class of Organ in which the stop is placed, and its position 
 in the Organ ; but a suitable one, which may be accepted as normal, in the ratio of 
 1:2.519, gives the CC pipe a diameter of 2.51 inches ; the C pipe a diameter of 1.54 
 iuches; and the middle C pipe a diameter of 0.94 inches. Lochersays: "The 
 .iEoLlNA was originally a metal stop throughout, but as the art of intonation in 
 modem organ-building is capable of making the transition from metal to wood 
 quite imperceptible, it is permissible to construct the lower notes of wood in this 
 and other stops." As before mentioned, Walcker, of Ludwigsburg, has used wood 
 basses for this stop. A certain English organ-builder has used a bass octave of 
 stopped wood pipes, and even gone farther by grooving the iiEoLlNE to a soft 
 covered stop. None of these money-saving devices should be followed. 
 
 Combination and Registration. — The extreme softness of the 
 voice of the ^oline renders its value in combination and registra- 
 tion, comparatively speaking, very limited; yet it has a delicate 
 timbre-creating property which is worthy of the organist's study. 
 For instance, it combines well with such a stop as the Flauto 
 d'Amore, 8 FT., creating a compound tone of peculiar charm. It also 
 combines in an effective manner with the Melodia, Harmonica, 
 and other flute-toned stops, provided they are not too loudly voiced 
 to be tonally affected. In simple registration it will be found of 
 value as a solo stop ; its delicate singing string-tone rendering it very 
 fascinating to the lover of refined organ music. The .^^oline is 
 frequently drawn with the Voix Celeste. 
 
 .i^LODICON, Grk. — The name originally used to designate a 
 keyboard, free-reed instrument and the precursor of the Harmonium. 
 As an organ-stop it is a variant of the free-reed .^Eoline. An ex- 
 ample, under the name Alodicon, 16 ft., by Walcker, of Ludwig- 
 burg, occupies a place in the Second Manual Division of the Organ 
 in the Cathedral of Riga, where it is a soft-toned lingual stop. As 
 
 * " Aeoline i6' und 8', ein zartes Rohrwerk von schonwirkendem, sanftem, sauselndem Tone, 
 Diit freischwingenden Zungen und Kurzem Schalltrichter." "Die Orgel," F. Zimmer. 
 
36 ORGAN-STOPS 
 
 such its presence, in this age of noisy, high-pressure stops, would, 
 indeed, be most welcome. 
 
 iEQUALPRINZIPAL, Ger.— The term which has been used by 
 German organ-builders to designate the principal manual unison 
 stop. In early times of the art in Germany the simple term .(Equal 
 or Aqual was deemed sufficient. The term, signifying unison, was 
 sometimes applied to other stops. 
 
 AMOROSA, Lat. — The name that has been used by Steinmeyer 
 and other German organ-builders to designate a wood Flute, 8 ft., 
 of small scale and soft and pleasing tone, resembling that of the 
 Flauto d'Amore. The extended term Vox Amorosa has occa- 
 sionally been used. 
 
 ANGENEHMGEDECKT, Ger.— The term which has occa- 
 sionally been used by German organ-builders, instead of the usual 
 term Lieblichgedeckt, to designate a small-scaled covered stop 
 yielding a refined tone. It is formed from the word angenehm — 
 pleasant. 
 
 ANTHROPOGLOSSA, Grk.— The name that has been given by 
 old German organ-builders to the lingual stop yielding a tone some- 
 what resembling the human voice; now designated Vox Humana. 
 
 APFELREGAL, Ger. — Eng., Apple -Regal. — An obsolete lin- 
 gual stop which must now be classed among the curiosities of Ger- 
 man organ-building. The stop received its peculiar name from the 
 shape of its resonators ; which were formed of very short cylindrical 
 portions surmounted by apple-shaped heads, perforated with numer- 
 ous small holes for the emission of wind and sound — the latter nec- 
 essarily muffled. Seidel tells us that the cylindrical portion of the 
 largest resonator was only about 4 inches long. The stop was also 
 called Knopfregal; and was made of both 8 ft. and 4 ft. tone. 
 See Regal. 
 
 ASSAT. — The term occasionally met with in the stop-lists of old 
 Organs. It is obviously a corruption of the proper term Nasat. 
 
 B 
 
 BAJONCILLO, Span. — Port., Baixonilho. — A lingual stop 
 found in Spanish and Portuguese Organs; the tones of which re- 
 semble those of the orchestral Bassoon, which, however, they do not 
 
THEIR ARTISTIC REGISTRATION 37 
 
 imitate very closely. The stop is of 8 ft. pitch. Bajon or Baixo 
 being the stop of 16 ft. pitch. 
 
 BARDUEN. — The name used by Prsetorius to designate a 
 covered stop in all essentials similar to that now known as the 
 Bourdon. He gives the stop as of 8 ft. pitch. 
 
 BARDONE, Ital. — The term that has occasionally been em- 
 ployed to designate the stop commonly known as the Bourdon. 
 There was an old bass stringed instrument called Viola di Bardone, 
 which may have suggested the term. It is now rendered, more in 
 keeping with modern nomenclature, Bordone. 
 
 BAREM, Ger. — The name given to a covered wood stop of 16 ft. 
 and 8 ft. pitch, voiced to yield a pure and soft tone. The term is de- 
 rived from the old German word baren — to sing. The stop is prac- 
 tically identical with that commonly known as the Stillgedeckt. 
 
 BARPFEIFE, Ger.— Dtch., Baarpyp.— An old lingual stop, the 
 resonators of which assume very peculiar forms. The most common 
 seems to be that of two cones joined together at their bases, and both 
 truncated; the lower one soldered to the reed-block and the upper 
 one open at top, the opening being comparatively small so as to 
 subdue the tone. The illustration given by Seidel shows these 
 double cones surmounted by a third truncated cone, forming a bell 
 to the resonator. The tone of the stop is described by Wolfram* as 
 of a soft growling character. The stop was made of both 16 ft. and 
 8 ft. pitch. A Baarpyp, 8 ft., is to be found in the Echo of the 
 Organ in the Cathedral of St. Bavon, Haarlem, and in several Organs 
 in Holland and Germany. See Regal. 
 
 BARYTON, (Grk. ^apuTovo? — deep-toned). — Ital., Baritono. 
 Span., Varitono. — The name given by certain organ-builders to a 
 lingual stop of 8 ft. pitch, properly yielding a singularly rich and full 
 tone of medium strength when voiced on wind of moderate pressure. 
 Under the name Baritone, 8 ft., a stop of this class exists in the 
 Solo of the Roosevelt Organ in the Cathedral of the Incarnation, 
 Garden City, Long Island. Another example, of 16 ft., obtains in 
 the Organ in the Royal Albert Hall, London, built by Willis in 187 1. 
 
 Formation. — For the production of the desirable tone, the reeds should be the 
 ' ' closed ' ' variety, and the tongues somewhat light and finely curved so as to avoid 
 all brassiness. The resonators to be inverted conical in form, and shaded for fine 
 regulation. 
 
 * " Anleitung zur Kenntniss, Beurtheilung und Erhaltung der Orgeln." J. Christian Wolfram, 
 Gotha, 18 1 5. 
 
38 ORGAN-STOPS 
 
 Combination and Registration. — ^A lingual stop of this class, 
 having a refined and sympathetic voice, should be placed in one of 
 the accompanimental manual divisions of every important Organ. 
 Its value in artistic registration could not well be overrated. Its 
 rich and full tone would combine with those of the flute-toned and 
 string-toned stops, producing numerous beautiful lights and shades 
 of tonal coloring, not possible with the usual and assertive lingual 
 stops. The day is coming, we feel sure, when the value of soft 
 normal or unimitative lingual stops will be realized in refined and 
 artistic registration. 
 
 BASSET-HORN.— Fr., Cor de Basset. Ger., Bassethorn. 
 Ital., CORNO Di Bassetto. — A lingual stop of 8 ft. pitch, voiced to 
 yield a tone resembling that of the orchestral instrument of the same 
 name. See Corno di Bassetto. Locher says the German Basset- 
 horn, 8 FT., and the Serpent, i6 ft., "measured on the same foun- 
 dation, are smooth-toned, free-reed, Pedal Organ stops, as a rule 
 without resonators, like the Physharmonica. They represent the 
 smooth reed-tone on the Zweites Pedal of the Ulm Cathedral Organ." 
 
 BASS FLUTE. — Ger., Bassflote. — ^An open labial stop, of 
 8 ft. pitch, formed commonly of wood but sometimes of metal, 
 voiced to yield a powerful unimitative flute-tone. This stop prop- 
 erly belongs to the Pedal Organ, where it is frequently derived 
 from the Diapason, i6 ft., by means of an extra octave of pipes and 
 an octave coupler. For the purpose of combination and artistic 
 registration it is very desirable that it should be an independent stop 
 of distinctive strength and character of tone; and for this purpose it 
 should be made of metal. The German name Flotenbass is some- 
 times given to this independent stop. 
 
 BASSONELL.— Described by Wolfram as a lingual stop of 8 ft. 
 and 4 ft. pitch, made of metal. Its tone was, in all probability, that 
 of a soft Bassoon character. This is seemingly the stop referred to 
 by Hamel under the Italian name Bassanello — " Bassanelli. Ce 
 sont des instruments a vent du sifecle dernier [xviii"] ; ils resemblent 
 beaucoup au chalumeau. Dans I'orgue, ils ont 6t6 imit^s par des 
 jeux d'anches particuliers de huit et de quatre pieds." 
 
 BASSOON.— Ital., Fagotto. Fr., Basson. Ger., Fagott. 
 Span., Bajon. — A small-scaled lingual stop, voiced to imitate as 
 closely as practicable the tone of the orchestral instrument of the 
 same name. As a manual stop of 8 ft. pitch, it is sometimes, and 
 correctly, associated with the Oboe or Hautboy; being labeled 
 
THEIR ARTISTIC REGISTRATION 39 
 
 Oboe & Fagotto or Hautboy & Bassoon. It is preferable that, in 
 the modern Organ, the Bassoon, 8 ft., should be introduced as a 
 complete and independent stop. This is very desirable, to facilitate 
 artistic registration. As a stop of 16 ft. pitch, the Bassoon fre- 
 quently appears in the Pedal Organ, and occasionally in a manual 
 division. When of this grave pitch it is more expressively called 
 Double Bassoon or Contrafagotto. A Basson, 16 ft., appears 
 in the pedal department of the Grand Organ in the Church of Saint- 
 Sulpice, Paris ; and a Contra-Fagotto, i 6 ft. , is placed in the Solo 
 of the Organ in St. George's Hall, Liverpool. It seems, however, to 
 have been left to Walcker, of Ludwigsburg, to realize the true value 
 of this important stop. In his original Organ in the Cathedral of 
 Ulm were the following stops: A Contra-Fagott, 16 ft., and a 
 Fagott-Discant, 16 ft, in the Hauptwerk (First Clavier); a Fa- 
 gott, 8 ft., on the Zweites Clavier; a Contra-Fagott, 16 ft., a 
 Secund-Fagott, 16 ft., and a Fagott, 8 ft., on the Viertes Clavier; 
 and a Fagottbass, 16 ft., on the Erstes Pedal. In all, seven im- 
 portant stops of the Bassoon family in an Organ of 113 speaking 
 stops. What an opportunity here for unique registration ! 
 
 Formation. — The Bassoon, when in its best form as a striking reed, has 
 resonators of the inverted conical form and small scale. The manual stop of 8 ft. 
 pitch may be constructed entirely of metal, or the resonators of its bass octave 
 may be made of some suitable hard wood, so as not to require undesirable thick- 
 ness. The same remark applies to the two lower octaves of the Double Bassoon, 
 16 FT. The resonators of the Pedal Organ stop may be of wood throughout. For 
 fine regulation the resonators should be shaded, or both shaded and slotted. Satis- 
 factory tonal results have been obtained from metal resonators, closed at top and 
 slotted or perforated in some manner near their closed ends. The wooden resona- 
 tors are square in transverse section, their lower ends being rounded externally 
 so as to fit into metal socket pieces soldered to the reed-blocks ; and they must be 
 bored vertically with holes corresponding with the size of the reeds below. These 
 holes must be coK ^ued until they open clearly into the interior of the resonators, 
 'n Fig. I, Plate i, is shown a CC Bassoon pipe of metal, the resonator of which is 
 closed and slotted. Pig. 2 shows a corresponding pipe with a resonator of wood, 
 shaded with an adjustable plate of thick pipe-metal. The illustrations are drawn 
 to scale. The reeds are of the closed variety, and the tongues are narrow and 
 ijpecially curved so as to produce the characteristic Bassoon tone. 
 
 Continental organ-builders have largely resorted to free-reeds in the formation 
 of their Pagotts, probably finding their style of striking-reed work productive of 
 too much clang and brassixiess, altogether foreign to the tone of the orchestral 
 Bassoon. They have used for the free-reeds comparatively short resonators, 
 formed of two truncated cones, soldered together at their bases, the upper one 
 having a small opening for the emission of the wind and sound. Seidel, however, 
 gives an illustration of a Bassoon pipe having a slender cylindrical resonator, like 
 ttiat rif-w used for the Clarinet. 
 
40 ORGAN-STOPS 
 
 Combination and Registration. — The orchestral Bassoon fur- 
 nishes the proper bass to the Oboe. Both are double-reed instru- 
 ments. The value of a good imitation of its peculiar voice in the 
 Organ may be realized from what Berlioz says ; "The Bassoon is of 
 the greatest use in the orchestra on numerous occasions. Its sonor- 
 ousness is not very great, and its quality of tone, absolutely devoid 
 of brilliancy or nobleness, has a tendency toward the grotesque — 
 which should be always kept in mind when bringing it forward into 
 prominence. Its low tones form excellent basses to the whole group 
 of wooden wind instruments. . . . The character of its high notes 
 is somewhat painful, suffering, — even, I may say, miserable, — 
 which may be sometimes introduced into either a slow melody, or 
 passages of accompaniment, with most surprising effect." Even 
 when voiced by an artist, the organ Bassoon, 8 ft., is only moder- 
 ately imitative; and on this account it may be recognized as being 
 more generally Useful than if its voice were absolutely imitative. 
 An artistically made and voiced Bassoon is a stop of thie greatest 
 value in an Organ, combining with all the medium- and softly- voiced 
 labial stops, producing dual or fuller tonalities of great beauty. In 
 combination with the Oboe or Clarinet it produces reed-tones of 
 singular fullness and charm. These facts go to prove that registra- 
 tion in which the Bassoon enters deserves the artist organist's 
 c&teful study. Unfortunately, the stop is very rarely introduced in 
 the ordinary Organs of to-day. In the wood-wind division or sub- 
 division of the Concert-room Organ, its presence, as a complete stop, 
 is imperative. For remarks on the Double Bassoon, see Contra- 
 
 FAGOTTO. 
 
 BASSPOSAUNE, Ger.— Eng., Bass Trombone.— The Pedal 
 Organ lingual stop of 32 ft. pitch, also termed Contraposaune, as 
 in the Organ in Christ Church, at Hirschberg. It appears in several 
 important German Organs, termed Posaune, 32 ft. ; as in the Organ 
 in St. Peter's Church, Berlin. It also appears, under the same name, 
 as a free-reed stop, in the Pedal of the Organ in the Cathedral of 
 Mersebui-g, built by Ladegast in 1855; and also as a free-reed stop 
 in the Pedal of the Organ in the Cathedral of Gothenburg, built by 
 Marcussen in 1849. See Contraposaune. 
 
 BASS TUBA. — Ger., Basstuba. — A powerfully-voiced lingual 
 stop, the tones of which are supposed to represent in the Organ those 
 of the Bass Tuba of the modern orchestra as constituted by Wagner 
 and others. See Contra-Tuba. 
 
PLATE I 
 
 BASSOON BASSOON BELL GAMBA 
 
 ^ »7 
 
 CLARINET COR ANGLAIS 
 
THEIR ARTISTIC REGISTRATION 41 
 
 BASS VIOL.— An appropriate name for an organ stop of 8 ft. 
 pitch, formed of metal and voiced to yield a string-tone less pro- 
 nounced than that of the Orchestral Violoncello, 8 ft. Its tone 
 may be accepted as representing in the Organ that of the old Bass 
 Viol, the largest of the four instruments in the old English "Chest of 
 Viols." This stop, if voiced to yield a bright, singing string-tone, 
 would be invaluable in refined and artistic registration. In com- 
 bination with all the softer stops of pure organ-tone, flute-tone, and 
 reed-tone, it would impart to their different voices a delicate coloring 
 without destroying their individuality, adding, at the same time, 
 volume to their voices. 
 
 BAUERFLOTE, BAUERPFEIFE, Ger.— Literally Peasant 
 Flute. A covered stop of small scale, commonly made of wood, and 
 of 8 ft., 4 ft., 2 ft., and i ft. pitch. The stops of 8 ft. and 4 ft. pitch 
 have clear fluty tones; while those of 2 ft. and i ft. have whistling 
 tones resembling those of the human mouth. An example of 8 ft. 
 pitch, under the name Bauerpfeife, appears in the Choir of the 
 Organ in the Church of St. Jacobi, Hamburg. The stop in its high 
 pitches has been commonly, and strangely we may add, introduced 
 in Pedal Organs ; one of 2 ft. is to be found in the Pedal of the Organ 
 in the Church of SS. Peter and Paul, at Goerlitz, and one of i ft. 
 pitch in the Pedal of the Church of St. Dominico, at Prague. Wol- 
 fram gives the terms Bauernflote and Bauernflotenbass. The 
 stop has been made with perforated stoppers, and called Bauern- 
 rohrflote. 
 
 BEARDED GAMBA. — An open metal labial stop of medium 
 scale, producing an unimitative string-tone. The name is given on 
 account of the peculiar treatment of the mouths of its pipes. Each 
 mouth is provided, in addition to its projecting ears, with a project- 
 ing plate, soldered to the lower lip and attached to the ears. While 
 this beard exercises an influence on the tone, it must not be con- 
 founded with the harmonic-bridge or the frein harmonique. The 
 stop is not of much importance and has fallen into disuse. 
 
 BELL DIAPASON.— Fr., Flute a Pavillon.— This stop was 
 invented in France, and introduced into England at the London Ex- 
 hibition of 1 85 1. For some time it was much esteemed by English 
 builders, but for certain reasons it is no longer made. The English 
 name is not appropriate, while the French name conveys the proper 
 classification of the stop tonally, as well as the distinguishing feature 
 in the formation of its pipes, technically termed the pavilion. Ton- 
 
42 ORGAN-STOPS 
 
 ally the stop belongs to the flute-work of the Organ, and not, to the 
 foundation- or diapason-work. For further particulars, see Flute A 
 Pavillon. 
 
 BELL GAMBA. — Ger., Glockengamba. — A metal labial stop 
 of 8 ft. pitch; the pipes of which have their bodies of a conical form, 
 and of medium scale, surmounted by a slender pavillon or bell, in 
 the manner shown in Fig. 3, Plate i. The name was used to distin- 
 guish the stop from the ordinary German Gamba, which has pipes of 
 plain cylindrical form. The stop has very rarely been carried below 
 tenor C in its characteristic form, the bass octave either being 
 omitted or inserted in cylindrical pipes. As the form of the Bell 
 Gamba does not allow of its being tuned at top in the ordinary 
 manner, its mouth is furnished with large, projecting, flexible ears, 
 as shown in Fig. 3, which flatten or sharpen the tone as they are bent 
 toward or away from the mouth. This stop was usually made of tin 
 or high-class alloy; and when artistically voiced yielded a string-tone 
 of great delicacy and charm, strongly resembling that of the old 
 orchestral Viola da Gamba. The trouble attending its construction, 
 Voicing, and perfect regulation has led to its disappearance from the 
 Organs of to-day. See Viola da Gamba. 
 
 BIFARA, Ger. — Lat., Tibia Bifaris or Bifarius. — This term 
 has been employed by certain old German organ-builders to desig- 
 nate two different labial stops, both of which were double-toned, and 
 one positively dual in formation. Seidel, who one must recognize 
 as an authority on old German organ-building, says: the Bifara "is 
 a fine but scarce labial stop in the manual, eight or four feet, open, of 
 Principal scale. Every pipe has, like those of the Dopplflote, 
 two mouths, one of which stands a little higher than the other, 
 whereby a pleasant sort of vibration is caused, similar to that of the 
 Unda Maris. To obtain from this stop a very soft and agreeable 
 tone, the feet of the pipes are but partly open, so as to admit only 
 a small amount of wind. The Bifara is also produced in another 
 way; namely, by giving one tone to two pipes, one of which is tuned 
 a little higher than the other. A Bifara of tin, of two ranks, first 
 rank a Gedeckt, 8 ft., second rank open pipes of 4 ft., of a soft 
 string-tone, stands on the Third Manual of the colossal Organ buUt 
 by Walcker, of Ludwigsburg, in St. Peter's Church, St. Petersburg." 
 
 The Bifara is extremely interesting as the first step toward the 
 artistic formation of dual stops, for the production of compound 
 tones, impossible to be produced from single stops, or even two stops 
 
THEIR ARTISTIC REGISTRATION 43 
 
 not specially combined.* For many years we have pleaded for 
 attention to be given to tone-coloring in this direction, but in this, 
 as in other matters, our appeal has fallen on deaf ears. Dollars and 
 don't-careism have blocked the way 
 
 BLOCKFLOTE, Ger.— Lat., Tibia Vulgaris. Eng., Block- 
 flute. — The name given to an open metal labial stop of the ordinary 
 cylindrical form, of very large scale, and usually of 4 ft. pitch. The 
 tone of this stop was of a normal flute character, which varied in 
 power in different examples. Respecting the original German ver- 
 sions of the stop, Seidel remarks: "It is of Flute-work, sometimes 
 open, sometimes stopped, and now and then made of conical pipes. 
 It is made of tin or pipe-metal, of 16 ft., 8 ft., 4 ft., and 2 ft. tone. 
 It imitates the tone of the Flute into which the wind is blown at the 
 end." In the concluding remark, allusion is evidently made to the 
 old Flute a Bee, or Direct Flute. "Father Smith" introduced the 
 Blockflote in his Durham Cathedral Organ (1683), and in that he 
 built for St. Paul's Cathedral, London (1697). 
 
 BOMBARDE, Fr. — A lingual stop of 16 ft. pitch and powerful 
 intonation. The Bombarde is commonly found in important French 
 Organs; for instance in the Organ in Saint-Sulpice, Paris, built by 
 Cavaill^-Coll, there are four Bombardes; and in his Organ in the 
 Cathedral of Notre-Dame there are also four— a Contre-Bombarde, 
 32 FT., and three Bombardes, 16 ft. In his notable scheme for the 
 "Orgue Monumental" to be erected in St. Peter's, at Rome, we 
 find in the Pedal Organ a Contre-Bombarde, 32 ft. ; a Bombarde, 
 16 FT. ; and a Quinte Bombarde, 10% ft. The tonal effect of these 
 three commanding voices in combination, heard in such a building 
 as St. Peter's, is beyond one's power to imagine. This important 
 stop gives a name to a manual division in large French Organs; 
 namely, "Clavier des Bombardes." The resonators of the Bom- 
 barde are of the inverted conical form, constructed of stout metal 
 and to a large scale. 
 
 There was an old lingual stop sometimes called Bombard, Taut 
 more commonly Bommer or Barbommer, evidently deriving its 
 name from Bombardo — a mediaeval reed instrument of large size and 
 
 * " La BiFARA (de bif aris) est done une autre esp^ce de flute k deux tuyaux ouverts, de moy- 
 enne taille, de huit-pieds, et en 6tain. Ses deux bouches, 6troitement pinches, mais dont I'une 
 est plus haute que I'autre, n'aspirent que peu de vent par un seul pied, et rendent une harmonie 
 plus ou moins agr6able. On la fait encore de deux tuyaux s^par^. ayant chacun leur pied; I'un 
 des deux tuyaux ayant un peu plus hauteur nue I'autre, et par consequent de rondeur de son." — 
 Regnier. 
 
44 ORGAN-STOPS 
 
 coarse intonation, and probably the precursor of the Fagotto. The 
 old instrument, or some modification of it, was called Pommer, and 
 led to the formation of a family of six instruments under the name.* 
 According to Wolfram (1815), the old Bommer, Bombard, or Bar- 
 BOMMER, was a Pedal Organ stop of 16 ft. and 8 ft. pitch, having 
 resonators of wood, which were sometimes partly covered to soften 
 the tone. 
 
 BOMBARDON, Fr.— Ital., Bombardone.— A Pedal Organ 
 lingual stop, full-toned, and of 32 ft. and 16 ft. pitch. It derives its 
 appellation from the large brass instrument of the same name, the 
 powerful and grave tones of which it is designed to imitate so far as 
 its compass extends. The accepted compass of the Bombardon is 
 from FFF to d', but five notes lower — to CCC — can, with difficulty, 
 be produced by a skillful performer. The Bombardon has been 
 confounded with the Bombarde, but they are properly two distinct 
 stops tonally. The voice of the Bombardon should be between the 
 voices of the Bombarde and the Bassoon, while partaking of the 
 character of both, hence the value of such a stop in Pedal Organ 
 registration. A Bombardon, 32 ft., exists in the Pedal of the Organ 
 in the Cathedral of Ulm. 
 
 BORDUNALFLOTE, Ger.— The name given to an open wood 
 stop of 8 ft. and 4 ft. pitch, the pipes of which are properly of inverted 
 conical form, and slightly oblong in transverse section. The pipes 
 are voiced to yield a smooth fluty-tone, having, owing to the creation 
 of certain upper partials, a trace of string quality. An example, of 
 8 ft. pitch, made of pine and pear-tree, by the celebrated organ- 
 builder, Ladegast, exists on the Second Manual of the Organ in the 
 Cathedral of Schwerin. Another, by the same builder, exists on the 
 Second Manual of the Organ in the Nicolaikirche, Leipzig. The 
 stop deserves consideration for introduction in important Organs; 
 but, owing to more than ordinary labor being required in its forma- 
 tion, it is not likely to be favored by organ-builders to-day. The 
 stop has been frequently, but less correctly labeled Portunalflote. 
 
 BOURDON, Fr. — Ital., Bordone. Ger., Bordun, Brummbass, 
 Bassbrummer. — In English and American Organs the Bourdon 
 may be said to invariably appear in the form of a covered, labial wood 
 stop, of large scale and 16 ft. pitch. Its characteristic tone has a 
 somewhat dull droning quality, which is well expressed by the old 
 
 * The entire family of Pommers is shown in the Crosby Brown Collection of Musical Instru- 
 ments in The Metropolitan Museum of Art, New York City. 
 
THEIR ARTISTIC REGISTRATION 45 
 
 German synonyms Brummbass and BASSBRUMMER(from brummen — 
 to hum or drone). 
 
 The Bourdon, 16 ft., most frequently appears, in English and 
 .A.merican instruments of moderate dimensions, in the Pedal Organ; 
 while in small Organs it is too frequently the only pedal stop. In 
 large instruments it is introduced in one or more of the manual divi- 
 sions, and commonly in the Swell Organ. In the Concert-room 
 Organ in the Town Hall of Leeds, England, the Bourdon, 16 ft., is 
 introduced in the Great, Swell, and Echo Organs. As might be 
 expected, the manual stops are made of a smaller scale than those 
 introduced in the Pedal Organ. In German instnmients the Bour- 
 don, 16 FT., may be said to be a manual stop, although it sometimes 
 appears in the Pedal Organ. In important instruments it is found 
 on the manuals of 32 ft. and 16 ft. pitch. In the Organ in the Cathe- 
 dral of Bremen, built by Schulze in 1850, we find in the Hauptwerk 
 Borduns of 32 ft. and 16 ft., and in the Unterwerk Borduns of 
 32 ft. and 16 ft. ; but no stop under the name in the Pedal. It occa- 
 sionally appears of 8 ft. pitch, as on the First Clavier of the Organ in 
 St. Peter's Chiu-ch, Hamburg. In French instruments the Bourdon 
 is introduced in the manual divisions of 16 ft. and 8 ft. pitch. In the 
 Organ in the Cathedral of Notre-Dame, Paris, there are no fewer 
 than five manual Bourdons — two of 16 ft. and three of 8 ft. pitch. 
 In some rare instances the French organ-builders have applied the 
 name to a covered metal stop of large scale and of 4 ft. pitch. 
 
 Formation. — In modem English and American Organs the true Bourdon. 
 16 FT., is invariably and properly made of wood; but we are told in Dr. Burney's 
 "History of Music" that the old English builders sometimes constructed it of 
 metal. Speaking of Snetzler's Organ in St. Margaret's Church, Lynn Regis, he 
 says : " One of the metal stops of this instrument, called the Bourdon, is an octave 
 below the Open Diapason, and has the effect of a double bass in the chorus." In 
 all probability the quint was somewhat prominent in the tone of this covered metal 
 stop, imparting to it a similarity to that of the orchestral Double Bass. Both the 
 French and German organ-builders use metal pipes in the higher octaves of their 
 manual Boiirdons, especially in those of 8 ft. pitch. In the Great of the celebrated 
 Haarlem Organ, the Bourdon, 16 ft., is of metal throughout the compass of the 
 manual. 
 
 The pipes of the Bourdon, like those of all quadrangular wood stops, are 
 formed of four boards, glued together at their edges and at one end to a block, or, 
 in large pipes, to two cross-pieces of wood, which assume the position and function 
 of the block. The large scale of the pipes renders the use of solid blocks undesir- 
 able save in the upper octaves. The block or upper cross-piece should be faced 
 with hard wood, as its upper edge forms the lower lip of the mouth, which is 
 cut in the front board of the pipe. In the accompanying illustration, Fig. 4, is 
 shown the construction of the lower part of a CCC pipe, and the formation of the 
 mouth according to the German and English methods. The former is shown in 
 
46 
 
 ORGAN-STOPS 
 
 Diagram A, in which will be observed the depression of the upper cross-piece, 
 and its front edge beveled and cut so as to form the wind-way of the mouth, and 
 placed level with the upper edge of the cap. In Diagram B is given the correspond- 
 ing Section of the English mouth, showing the horizontal upper cross-piece, and 
 
 II <-< " '"CUES 
 
 Fig. 4 
 
 the adjustment of the hollowed cap, — in which is formed the wind-way, — slightly 
 below the lower lip of the mouth. Both these treatments have an influence on the 
 tonality of the pipes. In Diagram C is given a Front View of the lower portion of 
 the pipe showing the German mouth. 
 
 Scale. — The scale of the Bourdon — pedal or manual — is a 
 matter of considerable importance, as it affects both the power and 
 tonality of the stop, and, accordingly, its value in combination and 
 registration. It should be dictated by the general character of the 
 Organ, and specially with regard to the tonality of the other stops 
 of the division in which it is placed. It would seem, from the many 
 examples we have examined, that this matter has not been fully 
 considered by the builders of many Organs. Inordinate scales are 
 not uncommon. The Bourdon, in its normal form, varies greatly 
 in scale, chiefly because it is inserted in both the pedal and manual 
 departments of the Organ, and in its different manual divisions. 
 The most suitable scales for the Pedal Organ stops range from a 
 width of 5^ inches by a depth of 8 inches to a width of 8J^ inches 
 by a depth of lo inches — internal measurement — for the CCC pipe; 
 all scales having the ratio i : \/8, halving on the seventeenth pipe. 
 The former scale has been adopted by Schulze for the stop in the 
 Pedal Organ of his fine instrument in St. Peter's Church, Hindley, 
 England ; the CCC pipe of which has a mouth 4 inches high. The 
 
THEIR ARTISTIC REGISTRATION 47 
 
 scale of 6.60 inches by 8.56 inches is ample for all ordinary Church 
 Organs which have properly apportioned pedal departments : while 
 the scale of 4.10 inches by 5.56 inches iS suitable for a small Church 
 or a Chamber Organ. Larger scales than the maximum given above 
 have been used by English builders, but with no advantage in any 
 direction. 
 
 The scales of the manual Bourdon, 16 ft., may range from a 
 width of 3.76 inches by a depth of 5.10 inches, to a width of 5.10 
 inches by a depth of 7.20 inches. Schulze's effective Bourdon in 
 the Great of the Hindley Organ has its largest pipe measuring 37/3 
 inches in width by 6% inches in depth. This scale is noteworthy on 
 account of its proportionate depth, which is unusual. This pipe has 
 its mouth 33/s inches in height. 
 
 Tonality. — The tones of the Bourdon vary almost as greatly 
 as its scales. Those which have characterized so many of the stops 
 made and voiced by the older English builders are the least satis- 
 factory; due to largeness of scale, lowness of mouth, and undue 
 thinness of the upper lip. The tones of such stops being tubby and 
 often unmusical in the extreme. The Bourdons usually made by 
 English organ-builders have mouths seldom over half their width in 
 height, and often less than one-third. Blown by wind of moderate 
 pressure, these stops yield tones in which the twelfth, or first har- 
 monic of a stopped pipe, is more or less prominent in combination 
 with a somewhat dull prime tone, sometimes approaching the tone 
 of the QuiNTATEN. In certain tonal apportionments it may be desir- 
 able to introduce a Bourdon with, this compound voice. The 
 Bourdons of the German organ-builders, usually of moderate scale, 
 and copiously blown by wind of moderate pressure, have their 
 mouths cut up very high ; rising from about two-thirds their width 
 to a height exceeding their width, as exemplified by the stop in the 
 Swell of the Hindley Organ, — labeled Lieblichbourdon, 16 ft., — 
 the largest pipe of which measures 3^ inches in width by 5 inches in 
 depth, and has a mouth 3^ inches in height. This beautiful stop 
 yields almost a pure organ-tone of singular fullness and sweetness — 
 a perfect stop for artistic registration. 
 
 The tones yielded by small-scaled and high-mouthed Bourdons 
 are fuller and purer than those produced by the large-scaled and low- 
 mouthed English stops; and on this account, combined with the 
 comparatively small standing room they require on the wind-chest, 
 they are most suitable for insertion in the manual divisions of the 
 Organ, and especially those inclosed in swell-boxes. The tone of the 
 Bourdon pipe is affected to a considerable extent by the thickness 
 
48 ORGAN-STOPS 
 
 and finish of its upper lip. These facts were realized by the late T. C. 
 Lewis, one of England's most artistic and accomplished organ- 
 builders. The largest pipe of the fine Bourdon, i6 ft. , in the Great 
 of his Organ in the Public Halls, Glasgow, measures 53/3 inches in 
 width by 6 ^ inches in depth, having a mouth 3 7/8 inches in height, 
 with a square-cut upper lip ^i inch in thickness. The tone of the 
 Bourdon pipe is also affected by the shape given to the upper lip of 
 the mouth, which may vary from the straight line, as shown in Fig. 
 4, to an arch approaching a semicircle. To produce the desirable 
 ground-tone from pipes so voiced, a copious flow of wind, at a moder- 
 ate pressure, is absolutely necessary. 
 
 While the tones yielded by the different types of Bourdon are 
 somewhat indeterminate and difficult to classify, it is certain the 
 stop belongs to the flute-work of the Organ. It has been considered 
 the bass to the so-called Stopped Diapason, 8 ft. ; but it is just as 
 little allied to the Diapason proper as the unison stop, which also 
 belongs to the unimitative flute-work. 
 
 Combination and Registration. — The Bourdon, when prop- 
 erly scaled and voiced, is a valuable stop in artistic registration; 
 combining in a highly satisfactory manner with both labial and lin- 
 gual stops of almost all pitches. Combined with stops of unison 
 (8 feet) pitch, it adds gravity without prominently affecting their 
 characteristic timbres: this is due to the indeterminate or neutral 
 nature of its tonality, which is, perhaps, its greatest virtue. The 
 true tone of the Bourdon gives firmness and body to the softer 
 lingual stops, and a certain fullness and orchestral richness to such 
 lingual stops as the Double Trumpet, Contrafagotto, and Trom- 
 bone, 16 FT.; losing itself in their assertive voices so far as their 
 individuality is concerned. 
 
 The indeterminate character of the Bourdon tones renders it 
 impracticable to form such a family as one finds in the Lieblich- 
 GEDECKTS, but that is not a matter for regret, for little is gained by 
 massing neutral tones. 
 
 We strongly recommend the organist who has the command of an 
 Organ which contains a good Bourdon in any of its manual divisions 
 to carefully study what may be called the Registration of the Bour- 
 don. He will be repaid if only education of the ear is the result, 
 rendering it sensitive to the perception of compound tones on a 16 ft. 
 foundation. 
 
 BOURDON DOUX, Fr.— The name given by French organ- 
 builders to a soft-toned covered stop of wood and metal, somewhat 
 
THEIR ARTISTIC REGISTRATION 49 
 
 resembling in formation and tone the German Lieblichgedeckt. 
 This is a very desirable stop in registration, with the more refined 
 labial and lingual stops, on the 16 ft. base. 
 
 BOURDONECHO— Ger., Bordonecho.— The term which has 
 been employed to designate a Bourdon of small scale and of a soft 
 humming tone, differing widely from the covered tone of the Lieb- 
 lichgedeckt. The pipes, made on the Bourdon model, should be 
 of wood in the three lower octaves. This stop should be voiced on a 
 wind-pressure not exceeding 3 inches, but preferably lower. 
 
 The value of a 16 ft. stop of this class, which would bear about 
 the same relationship to the Bourdon as the Dulciana does to the 
 Diapason, would unquestionably be great in a soft-toned manual 
 division in which an unassertive double voice would prove highly 
 effective in a wide range of artistic registration, in which an assert- 
 ive double voice would be inadmissible. 
 
 BUCCINA, Lat. — The name originally given to an instrument 
 formed from the horn of an ox, blown by a shepherd to gather his 
 flock. It is understood to be derived from bucca — the cheek puffed 
 out. Subsequently used by the old organ-builders to designate a 
 PosAUNE. The term is now obsolete in organ nomenclature. 
 
 BUZAIN, Dtch. — The name commonly used by the Dutch 
 organ-builders to designate a stop generally known as the Posaune. 
 It is applied without any qualification to the stop in its different 
 pitches. In the Pedal Organs of the large instruments in the Cathe- 
 drals of Haarlem and Rotterdam it appears of both 32 ft. and 16 ft. 
 pitch. 
 
 CAMPANA, Ital. — Ger., GlQcklein. Lat., Tonus Fabri. — 
 The exact nature of the stop to which this name is strictly applicable 
 has not been decided. That its voice shall resemble the sound of 
 bells, or the clang of metal against metal, is evidently implied. 
 Seidel, under the term Glocklein-Ton (Tonus fabri), describes it 
 as a stop of a large scale and high pitch, the tone of which resembles 
 the clang of hammers beating on a sonorous anvil; an example of 
 which is to be found, of 2 ft. pitch, in the Oberwerk of the Organ in 
 St. Peter's, at Goerlitz. The term has also been applied to a stop 
 of I ft. or 6 in. pitch, which, on account of the smallness of its pipes 
 and tonal reasons, consists of similar octaves, repeating at every 
 
50 ORGAN-STOPS 
 
 octave throughout the compass of the manual clavier. It was in- 
 troduced, of I ft. pitch, in the Organ in the Church of St. Paul, at 
 Rusthale, Kent, built by Bryceson Brothers, in 1876. It was in- 
 serted in the Swell Organ, in which, in certain registrations, it pro- 
 duced bell-like tones. There is an idea suggested by the tonal effects 
 of this probably unique stop well worth consideration. We are of 
 opinion, after some study of the subject from a scientific point of 
 view, that some remarkable tonal effects could be produced in regis- 
 tration, in which a small-scaled and softly-voiced octave-repeat- 
 ing stop, of I ft. or 6 in. pitch throughout, would be introduced along 
 with both labial and lingual voices. The capabilities of organ-stops 
 of a refined nature are by no means exhausted. 
 
 CARILLON, Fr. — Ger., Glockenspeil. — The term used to 
 designate a timbre-creating compound stop, formed of two, three, or 
 four ranks of medium-scaled open metal pipes, the clang-like tones 
 of which somewhat resemble the sounds of bells. The characteristic 
 features of the labial Carillon lie in the scales and voicing of its 
 pipes, and in its composition presenting octave-, third-, and fifth- 
 sounding ranks. The following is an example of a three-rank stop, 
 in which a third-sounding rank appears throughout its compass. 
 
 Carillon — III. banks. 
 
 CC to E 17 19 22. 
 
 F to e' 15 17 19. 
 
 f to e' 12 15 17. 
 
 f" to c4 10 — —12 15. 
 
 In the regulation of the stop, the third-sounding rank has to be 
 kept bright and slightly prominent, as on it largely depends the 
 clang and bell-like effect. Good examples are to be found in some of 
 the important Organs constructed by Cavaill6-Coll. The Carillon 
 in his Organ in the Town Hall of Manchester has a fifth-sounding 
 rank only from CC to F#, and a fifth-, a third-, and an octave-sound- 
 ing rank from G to C. On examining this effective stop, we found 
 the pipes of large scale, having wide and low mouths, and languids 
 finely and closely nicked. It would appear that Cavaille-CoU con- 
 sidered it unnecessary to carry the bell effect below G. There is a 
 four-rank stop of this class, under the name Glockenspiel, in the 
 Echo of the Organ in the Centennial Hall, Sydney, N. S. W. The 
 Carillon is to be found in certain old Dutch Organs, as in that in 
 the Church of St. John the Baptist, at Gouda, built in 1736. The 
 stop is in the Choir, and is divided and labeled Discant III. ranks 
 and Bass II. ranks; the third-sounding rank being confined to the 
 
THEIR ARTISTIC REGISTRATION 51 
 
 Discant. The stop has been introduced in some German Organs, 
 but we have not been able to find it in the stop-lists of any impor- 
 tant modern instruments made by German organ-builders. For 
 particulars respecting the percussion stops, see Glockenspiel. 
 
 Combination and Registration. — As the compound labial 
 Carillon is both harmonic-corroborating and timbre-creating, it 
 can readily be understood that it would enter into numerous tonal 
 combinations with both labial and lingual stops, and produce, in 
 artistic registration, many very effective tonalities. The effects 
 produced in registration in which labial stops are combined with a 
 bell-toned percussion stop are now fairly well known; but the more 
 legitimate organ effects, produced by the emploj^ment of the labial 
 Carillon in registration is almost unknown — in this country en- 
 tirely so we think. We have heard them and can speak very strongly 
 in their favor. In our study of registration for the production of 
 uncommon tonal effects we struck one, in the Cavaille-Coll Organ 
 in the Albert Hall, Sheffield, worthy of note. When the combination, 
 in the Solo Organ, of the Flute Harmonique, 8 ft., the Doublette 
 2 ft., and the Tierce, i% ft., was drawn and played staccato, the 
 most remarkable bell-like effect was produced. This would seem to 
 point to a type of registration not commonly adopted or understood : 
 but it might be studied with advantage. 
 
 CELESTA. — A percussion stop of recent introduction in the 
 Organ. In its best form it consists of a series of metal plates, of 
 graduated dimensions, adjusted over resonators; all of which being 
 accurately tuned produce pure and agreeable tones which combine 
 well, when in strict accord, with the voices of the softer labial stops. 
 
 CELESTE, Fr. — A stop formed of small-scaled open labial pipes, 
 preferably of tin, voiced to yield a singing tone, inclining in good 
 examples to a string quality. It is tuned slightly sharp, so as to 
 produce when drawn with another stop of similar tonality and of 
 standard pitch a delicate undulating effect, supposed to imitate a 
 celestial voice. See Voix Celeste. 
 
 CELESTINA. — The name given by English organ-builders to 
 stops of different forms and tonalities. The name appears to have 
 been introduced by William Hill, of London, and given to a small- 
 scaled and softly-toned wood Flute of 4 ft. pitch, invented by him. 
 A stop of this name and pitch, and, doubtless, of the same character, 
 is introduced in the Choir of Hill's great Organ in the Centennial 
 Hall, Sydney, N. S. W. A Celestina formed of metal pipes, yield- 
 
52 ORGAN-STOPS 
 
 ing a louder tone differing from that of the original stop, is to be 
 found in the Willis Organ in the Royal Albert Hall, London. 
 
 Combination and Registration. — In the present school of 
 organ-building in this country, with its craze for high wind-pres- 
 sures, too little attention is paid to stops of the Celestina class and 
 octave pitch : yet anyone who has studied registration must realize 
 the great value of their voices in giving a certain brightness and life 
 to unison combinations, without in any way disturbing their pitch. 
 From a scientific point of view, one must look upon the introduction 
 of such an octave stop as merely corroborating the first harmonic of 
 the open unison stop or stops, while it may, at the same time, in- 
 troduce a new element into the timbre of the tonal combination. 
 Hence the value of the Celestina, 4 ft., in artistic and scientific 
 registration. See Ccelestina. 
 
 CHALUMEAU, Fr.— Ger., Schalmei. Ital., Scialumo. Eng., 
 Shawm. — The name given to a soft-toned lingual stop, commonly 
 of 8 ft. pitch, the voice of which is supposed to imitate that of the 
 obsolete instrument called the Schalmei or Shawm, the precursor of 
 the Clarinet. So far as reed instruments are concerned, the term 
 Chalumeau is applied now only to the low register of the Clarinet. 
 
 Describing the old Schalmei, Seidel says; "It is a soft, agree- 
 able reed stop, in imitation of the instrument of the same name used 
 by the shepherds of Southern Europe. It is of 8 ft. and 4 ft. on the 
 manuals, and 16 ft. in the Pedal Organ, when it is termed Schal- 
 meibass. The tubes are generally funnel-shaped, and of a larger 
 scale than those of the Trumpet. Sometimes they were closed with 
 the exception of a few sound-holes. The tone of the stop varies as 
 greatly as the form of its pipes." Examples of the stop are to be 
 found in several German Organs, but it is no longer in favor. It 
 appears, of 8 ft. pitch, in the Oberwerk of Ladegast's Organ in the 
 Cathedral of Merseburg, built in 1855. Stops labeled Chalmeaux, 
 of 8 ft. tone, were inserted by Silbermann in the Choirs of his fine 
 Organs in the Catholic Church and the Marienkirche, at Berlin. In 
 Schulze & Son's notable Organ in the Marienkirche, at Lubeck, 
 there is a Schalmei, 4 ft., in the Erste Pedal, thus described : " Von 
 engerer Mensur und schonem singenden Ton, vortrefflich zvu: Fiihr- 
 ung des Cantus firmus geeignet. ' ' In the Great of the Organ built by 
 Elliot & Hill for York Minster there was a Shawm, 8 ft. There is a 
 Schalmei, 16 ft., the resonators of which are cylindrical terminating 
 in a partly covered bell, in the Organ in the Colston Hall, Bristol, 
 built by Norman & Beard. The tone of this stop is rich; partaking, 
 
THEIR ARTISTIC REGISTRATION 53 
 
 as might be expected, of the tones of the Clarinet and the Cor 
 Anglais in effective combination. A Pedal Organ stop of this de- 
 scription would be a valuable addition to a large Organ. Softly- 
 voiced lingual stops are much called for in Pedal Organs to-day. 
 They are conspicuous by their absence. 
 
 CHAMADE, Fr. — The term affixed by French organ-builders 
 to the name of a lingual stop, to indicate that its resonators are dis- 
 posed in, or near to, a horizontal position, and so displayed as to 
 send their sounds perfectly unobstructed to the ear. In the descrip- 
 tion of the Organ erected by Cavaill^-Coll in the grand Church of 
 Saint-Ouen, at Ruen, we find in the Grand-Orgue, Trompette en 
 Chamade and Clairon en Chamade. These are projected, in fan- 
 form, from the lateral divisions of the case, and free of the advanced 
 Positif. See Frontispiece. This treatment is so common in Spain 
 that it may be considered a characteristic of the important Organs 
 of that country. It is to be condemned on all musical grounds; for 
 the powerful lingual stops so disposed should be inclosed in swell- 
 boxes, and so endowed with powers of flexibility and expression. 
 Uncontrollable lingual stops are an abomination from every musical 
 point of view. 
 
 CHIMNEY FLUTE.— Fr., Flute A Cheminee.— The names 
 given by English and French organ-builders to the half-covered 
 labial stop more appropriately called in German nomenclature 
 Rohrflote (Reed-Flute). See Rohrflote. 
 
 CHORALBASSET, Ger.— Described by Wolfram (1815) as 
 an open labial stop of 2 ft. pitch introduced in the Pedal Organ. 
 The stop is also called Choralbass. The term Choral has been 
 prefixed to several loud-toned stops to indicate their special suit- 
 ability for giving out the melody of a Choral. With this meaning, 
 we meet with such stop-names as Choralprinzipal, Choralpras- 
 tant, and Choralflote. According to Seidel, the Pedal Organ 
 Choralbasset has been made of large-scaled pipes of 4 ft., 2 ft., 
 and I ft. pitch : the manual stops, Choralprinzipal and Choral- 
 prastant, being of 8 ft. and 4 ft. pitch. 
 
 CINQ, Dtch.— The name given to a lingual stop, of 2 ft. pitch, 
 inserted in the Pedals of the Organs in the Cathedrals of St. Bavon, 
 Haarlem, and St. Lawrence, Rotterdam; and churches in Delft and 
 Utrecht. The introduction of high-pitched stops is a characteristic 
 of Dutch Pedal Organs; desirable on account of their brightening 
 effects, and much to be deSired in the Pedal Organs of to-day. 
 
54 
 
 ORGAN-STOPS 
 
 CLAIRON, Fr. — A lingual stop of large scale and 4 ft. pitch, 
 commonly attending the Trompette wherever it is introduced, as 
 in the pedal and four manual divisions of the Grand Organ in Notre- 
 Dame, Paris. See Clarion. 
 
 CLAIRON-DOUBLETTE, Fr.— Eng., Octave Clarion.— A 
 very uncommon lingual stop, of 2 ft. pitch; an example of which 
 exists in the Grand-Choeur of the Organ in the Church of Saint-Sul- 
 pice, Paris. As this high-pitched stop cannot well be carried in 
 lingual pipes of its true pitch above treble c'', the two higher octaves 
 may either be duplications of the treble octave, or be formed of 
 large-scaled and loudly-voiced labial pipes. The value of such a 
 stop is very questionable; so much so that the example alluded to is 
 the only one we have found in an Organ. Regnier does not mention 
 the stop. 
 
 CLARABELLA. — Ger., Offenflote. — The name givetftb an 
 open wood stop of 8 ft. pitch, which, in its original formj was 
 invented by J. C. Bishop, of London. It became a great favorite of 
 
 Fig. 5 
 
 the English organ-builders ; and during the latter half of the last 
 century was inserted in the ipajority of the organs then constructed. 
 A fine example of the stop ejjists in the Great of the Bishop Qrgan 
 in the Church of St. Mary, Nottinghani. The Clarabella, in its 
 
THEIR ARTISTIC REGISTRATION 55 
 
 original and most desirable form, has of late years been compara- 
 tively seldom made, a fact to be regretted. 
 
 Formation. — The Clarabella was devised by J. C. Bishop to take the place 
 of the higher octaves of the Stopped Diapason, 8 ft., which he found insufficient 
 in volume of tone to cope with the increase of power being given to the Open Dia- 
 pason and other stops of the Great Organ. At first it occupied the treble octaves 
 from middle c ■ only, but later it was carried down to tenor C, as in the Great of 
 the Organ in St. Mary's, Nottingham; the bass being in covered pipes. The stop 
 has, however, been made with its open pipes throughout, as in the Organ built by 
 Booth, of Wakefield, for the Brunswick Chapel, Leeds. When properly made and 
 voiced the Clarabella is an extremely valuable stop, and in an important Organ 
 it should be carried throughout the manual compass in its open pipes. 
 
 The Clarabella pipe is of the usual quadrangular form and construction, as 
 shown in the accompanying illustration. Fig. 5. It has the direct, English mouth, 
 usually about one-quarter its width in height, having the upper lip somewhat thin 
 and carefully rounded. It requires no ears ; and its cap is hollowed for the wind- 
 way, level on top, and without a beard, as indicated in Section A. The propor- 
 tions of the mouth are shown in Front View B. The scale of the stop should vary 
 according to the volume and the strength of the tone required ; but as a rule it has 
 been made to what may be considered a large scale for an 8 ft. open wood stop. 
 The following scales, to different ratios, may be accepted as normal: 
 
 CLARABELLA SCALE— IN INCHES— RATIO i : 2.66 
 
 pipes CC C 
 
 C' C^ C3 
 
 C4 
 
 WIDTH 4.26 2,62 
 
 1.60 0.98 0.60 
 
 0-37 
 
 DEPTH 5.24 3.21 
 
 1.97 1.20 0.74 
 
 0-45 
 
 CLARABELLA SCALE- 
 
 -IN INCHES— RATIO i: 
 
 :2.5i9 
 
 PIPES CC C 
 
 C' C' C3 
 
 c< 
 
 WIDTH 3.79 2.39 
 
 1.50 0.95 0.60 
 
 0.38 
 
 DEPTH 4.96 3.13 
 
 1.97 1.24 0.78 
 
 0.49 
 
 Tonality. — The tone of the stop as voiced by its inventor was 
 of a full, romid fluty quality, naturally brighter and more penetrat- 
 ing than that of the Stopped Diapason pipes it displaced; and, 
 accordingly, it did not join satisfactorily with the tones of the 
 covered tenor and bass octaves, whose harmonics were different. 
 That fact is a strong reason for the formation of the stop with open 
 pipes throughout. The tone of the Clarabella, in its best form 
 and when voiced by a master, is beautiful and invaluable in any 
 properlj' apportioned Great Organ, and whether the stop is inclosed 
 or free. Its tone should be midway between that of the Diapason 
 and the full-toped German Hohlflote, differing from the tone of 
 the wood Diapason as made by Schulze. The true tone of the 
 Clarabella is clear, singing, and reposeful ; making it valuable in 
 every direction in which it may be employed. 
 
56 ORGAN-STOPS 
 
 Combination and Registration. — The Clarabella can be 
 used as a solo stop with good effect, especially when strains of a 
 placid nature are desired; when its liquid tones afford an agreeable 
 relief to those of a more assertive and cutting character so commonly 
 resorted to in solo passages. But it is in combination and artistic 
 registration that the chief value of the stop is found. There are 
 very few wood stops which enter so satisfactorily into combination 
 with lingual stops of all classes. When under control, as it should 
 be in a properly appointed Organ, it is a desirable addition to the 
 Vox Humana and Clarinet. The true Clarabella has the de- 
 sirable property of building up the tone of almost every unison stop 
 to which it is added without prominently affecting its character. In 
 registration it may be considered an all-round helper. It may, in 
 another important direction, be used as a unison base, on which to 
 build up many beautiful compound tones. For this purpose it may 
 be combined with the softer octave, mutation, and harmonic-corrob- 
 orating stops. With such a refined stop as the Dulciana Cornet, 
 V. ranks (g. v.), it produces a charming compound tone,* practi- 
 cally unknown in the Organs of to-day, with their high wind-pressures 
 and Mixtures of unregulated and screaming voices. 
 
 CLARIBEL FLUTE.— An open wood stop of 4 ft. pitch, which 
 in its original form is practically an Octave Clarabella, but 
 slightly more fluty in tone. Willis, in his dislike of wood stops,! 
 made his Claribel Flutes, 8 ft., of metal from middle c', and har- 
 monic from g'- The bass and tenor octaves being of wood pipes. 
 
 Combination and Registration. — The value of octave stops of 
 varied tonalities has not been fully realized, judging from their 
 sparing introduction even in important Organs. Too much depend- 
 ence being placed on octave coupling, always to be avoided when 
 possible. The Claribel Flute, on account of the good mixing and 
 not too assertive qualities of its tone (when properly voiced on wind 
 of moderate pressure), is a most serviceable stop in registration in 
 both its offices of harmonic-corroborator and timbre-creator. Its 
 best position in the Organ is in the division in which the Clarabella 
 is placed ; for in combination with that stop it produces a beautiful 
 unimitative tone, upon which string- or reed- tone can be thrown with 
 fine effect. 
 
 * This tone is well known to us by long experience, for, under the names Plauto Tbdesca, 
 8 FT., and Ripieno di Cinqub, both stops were in our Chamber Organ, placed in different swell- 
 boxes, and, accordingly, subject to compound flexibility and expression. 
 
 t So great was his dislike that in all the manual divisions of his large Organ in the Royal 
 Albert Hall, London, there are only two wood stops. He assured us, on asking his reason, that 
 he obtained better wood-tones from metal pipes. We questioned it. 
 
THEIR ARTISTIC REGISTRATION 57 
 
 CLARIN, Span. — A lingual stop of the Trumpet class and usu- 
 ally of octave pitch. It is labeled in Spanish Organs with several 
 qualifications as follows : Clarin Real, Clarin de Batalla, Clarin 
 Claro, Clarin Sordino, Clarin Pardo, Clarin de Bajos, and 
 Clarin de Ecos. 
 
 CLARINA, Ital. — An open metal labial stop of large scale and 
 2 ft. pitch, voiced to yield a powerful tone. It is introduced in the 
 Pedal Organ to impart clearness and distinctness to heavy pedal 
 combinations, and especially when they are used in solo passages 
 and fugues. A stop of so high a pitch is very rare in a Pedal Organ. 
 It is desirable in combination. See Compensationsmixtur. 
 
 CLARINET. — Fr., Clarinette. Ger., Clarinette. Ital., 
 Clarinetto. — The lingual stop formed and voiced to imitate as 
 closely as possible the tones of the orchestral Clarinets. When made 
 by master hands, it is one of the most successful imitative stops in 
 the Organ. It is invariably and correctly of 8 ft. pitch, and has very 
 frequently in English Organs been commenced at tenor C, probably 
 because the orchestral Clarinet in A does not go lower than C#; but 
 as the Bass Clarinet descends about an octave below this note, the 
 Clarinet of the Organ should be carried, in all cases, throughout 
 the manual compass. The term Clarionet has been commonly 
 used by English organ-builders, but should never be employed. It 
 has no relation to the English word "clarion" any more than the 
 Clarinet has to the Clarion of the Organ. 
 
 Formation. — The resonator of the Clarinet pipe is cylindrical throughout 
 save where it is attached, by a short conical piece, to the reed-block: it is entirely 
 open at top, where it should be furnished with an adjustable slide for fine regula- 
 tion. The form of the complete pipe is shown in Fig. 6, Plate i . It is to this form 
 of resonator that is mainly due the imitative voice of the stop, resembling as it 
 does the cylindrical tube of the orchestral Clarinet, The resonator of the CC pipe, 
 yielding a note of 8 ft. pitch, instead of being, approximately, the true speaking 
 length of 8 ft., is only a little more than 4 ft. in length. Both in length and scale 
 of its resonators the Clarinet differs from all the lingual stops belonging to other 
 families. The reeds of the stop are of medium scale and of sufficient length to 
 receive tongues to speak the unison tone; they are properly of the closed variety, 
 their triangular openings extending directly from the thick discs which cover their 
 lower ends. The tongues are firm and finely curved so as to get rid of brassiness. 
 In German and Swiss Organs the Clarinet is almost invariably a free-reed stop, 
 of a somewhat large scale and generally feeble in tone and far from imitative. 
 Some examples have inverted conical resonators which in no way favor the pro- 
 duction of a characteristic Clarinet tone. 
 
 Tonality. — The tones of an artistically voiced Clarinet are 
 extremely pleasing and full of character, and surpass in imitativeness 
 
58 ORGAN-STOPS 
 
 all the other lingual voices of the Organ. From the point of view of 
 uniformity of tone the organ stop may be considered superior to the 
 orchestral instrument. The middle register of the stop — its most 
 valuable portion for solo work — is as satisfactory as the correspond- 
 ing portion of the Clarinet ; but in the low register, the tone does not 
 reach the rich tonality of the chaltuneau of the orchestral instrument. 
 The harmonic upper partial tones of the Clarinet are those proper 
 to a covered organ-pipe; and these are present in the imitative tones 
 of the organ Clarinet, secured by the cylindrical form of its res- 
 onators and, on account of their half-length, their influence on the 
 motions of the tongues of the reeds. The voicer should do his ut- 
 most to impart to the bass and tenor of the stop as much of the 
 chalumeau quality as his skill can accomplish. It is possible that 
 some modification of, or addition to, the resonators would assist in 
 this direction. 
 
 Combination and Registration. — Although the Clarinet, 
 in both its single and dual form, is par excellence a solo stop, it ad- 
 mits of combination and artistic registration with numerous labial 
 stops — both simple and compound — of refined and contrasting 
 tonalities, producing beautiful qualities of tone. It loses too much 
 of its peculiar voice or individuality when combined with loud-toned 
 labial stops; and becomes entirely absorbed when combined with 
 powerful lingual stops. Yet in suitable cases it never fails to be a 
 timbre-creator. With both unison and octave flute-toned stops of 
 the softer varieties it produces compound tones which demonstrate 
 the value of contrasting voices in registration. In combination with 
 the string-toned stops it produces tones strong with orchestral 
 coloring. In these directions the organist will find no little profit in 
 studying what may be designated the Registration of the Clarinet. 
 It is only by means of such studies that the student of the Organ 
 can become a master of the art and science of stop registration. 
 The mere following of registrations marked by the composer or 
 transcriber on a piece of organ music, which have been schemed, as 
 a rule, on some special Organ, and which may or may not be possible 
 or satisfactory on another Organ, will not conduct the student very 
 far in acquiring a personal knowledge and mastery of artistic regis- 
 tration. As we have said elsewhere: In organ-stop registration, as 
 in artistic orchestration, "there is no royal road to learning." 
 
 CLARINET FLUTE.— The name which has been given by 
 certain English organ-builders to a half-covered wood stop, of me- 
 dium scale, and 8 ft. pitch. It is a species of Rohrflote, differing 
 
THEIR ARTISTIC REGISTRATION 59 
 
 from that stop in having longer stopper-handles through which 
 larger holes are bored; and also in having much lower mouths — 
 usually under one-quarter their width in height — and voiced with 
 thin upper lips and fine and close nicking. This formation and 
 voicing on a light wind-pressure produces a somewhat reedy tone, 
 so remote from that of the orchestral Clarinet, or the organ stop so- 
 called, as to give no support to the inappropriate name Clarinet 
 Flute. Many examples exist in English Organs by different build- 
 ers, varying in tonality, and commonly labeled Clarionet Flute. 
 
 CLARION. — Fr., Clairon. Ital., Clarino. — A lingual stop of 
 4 ft. pitch, the reeds and resonators of which are similar in all re- 
 spects to those of the Trumpet, to which stop it stands in the rela- 
 tion of. a true Octave, save in regard to its resonators, which should 
 be spmewhat smaller in scale. As an octave stop it should be less 
 assertive in tone than the Trumpet, or other unison lingual stop 
 with which it may be registered, yet its voice should impart richness 
 and brilliancy to every combination into which it enters. When 
 artistically voiced and finely regulated it becomes a stop of general 
 utility in registration, and a good solo voice on special occasions. 
 More care should be given to the Clarion than is usually bestowed 
 upon it, and organists should give it more attention. Owing to the 
 difficulty of constructing lingual pipes of very high pitch, it has been 
 usual to insert the top octave of the Clarion, 4 ft., in loudly-voiced 
 labial pipes. French organ-builders have frequently formed the top 
 octave of unison or Trumpet pipes, with a satisfactory result.* 
 
 CLARION MIXTURE.— The name given by Walker & Sons to 
 a labial stop, introduced by them to take the place of the lingual 
 Clarion; as in both the Great and Swell of the Organ in Holy 
 Trinity Church, Chelsea; and in the Swell of the Organ in the 
 Church of St. John the Divine, Kennington, London. The stop is 
 
 * " En France, le Clairon a toujours quatre-pieds; en AUeraagne, quatre et huit. Cast un 
 r^gistre d'harmonie mordante et claire, comme I'indique son nom, et desting X donner de la 
 pointe aux huit-pieds d'anches. Cependant on pent le faire chanter seul, ou m61ang6 avec les 
 fonds;'mais dans ce dernier cas il est bon de ne pas le toucher sur les notes le plus hautes, oii il 
 deviant d'una grande aigreur. On fait ce r6gistra d'6tain fin et de forma coniqua. Comma ces 
 tuyaux extremes sont fort exigus, on lui donne ordinairemant una reprise ^ la dernifere octave; 
 at pour le toucher, on y joint la Prestant et la Doublette. qui dissimulent la reprise an suivent 
 l,a marche ascandanta qu'est cens6 suivre le Clairon. L'habitude de mettre deux clairons au 
 mSme clavier expose I'ensemble des jeux da ca clavier k 6tra criard et mal d'accord. On met un 
 Clairon k chaque clavier complat, mSma h la p6dale; il forma ainsi la sommat d'una pyramide 
 harmonique des jeux d'anches des trois degr6s, quatre, huit at seize pieds. A la p6dala, son 
 melange est peut-fitre plus utile que partout ailleurs; il donne aux huit-pieds d'anches, c'est-a- 
 dire k la TROnipETTE, un vif ^clat, de mfime qu'au melange de Trompetts et Bombard E5, c'est-jl- 
 dire aux huit et saize-pieds. " — Regniar. 
 
6o ORGAN-STOPS 
 
 composed of an Octave, Twelfth, and Fifteenth, of open metal 
 pipes of full scale, heavily blown, and voiced to yield a powerful 
 tone. The effect-of the stop was found, as might be expected, to be 
 unsatisfactory. Like too many screaming compound stops to be 
 found in modern Organs in this country and abroad, the Clarion 
 Mixture was valueless in artistic registration. 
 
 CLAVAOLINE, Ger. — In the year 1830 Beyer, an organ-builder 
 of Niirnberg, invented a manual lingual stop, giving it the name 
 Clavaoline or Klavaoline, the name being rendered in both forms 
 in old stop-lists. From its name it would seem its inventor consid- 
 ered it to have some relation to the Aoline, probably in its tone. 
 From the best authority we have been able to find, the stop seems 
 to have been a free-reed something of the nature of the Physhar- 
 MONiKA (g. ;;.). The free-reeds appear to have been attached to 
 small blocks of wood standing directly on the wind-chest, — some- ' 
 what after the fashion of the reeds of the Harmonium, — and devoid 
 of resonators. The tone under such conditions must be extremely 
 feeble. The Clavaoline appears in the stop-lists of the Organs in 
 the Town Church of Fulda, placed in the Echo; and in the Church of 
 St. Wenzel, at Naumbxirg, where it appears in the Swell.* 
 
 CLEAR FLUTE.— Ger., Hellflote.— The stop to which this 
 somewhat indefinite English name was given is said to have been 
 first introduced by Kirtland & Jardine, of Manchester. It is an 
 open wood stop of 4 ft. pitch, yielding a full and clear unimitative 
 flute-tone, but without any particular charm or good mixing quality. 
 The pipes are of medium scale, the CC, 4 ft., pipe measuring 2^ 
 inches by 3j^ inches internally; their ratio being i : Vs. The chief 
 characteristics of the Clear Flute pipe are its inverted mouth, 
 sloped block carrying the wind-way, and flat cap. It is voiced on a 
 copious wind supply, necessitating a moderately high mouth. The 
 name can, with equal propriety, be given to any stop producing a 
 clear unimitative flute-tone. 
 
 CCELESTINA, Lat. — An open metal labial stop of 4 ft. pitch, 
 of small scale, and of a soft singing voice. It may be considered the 
 Octave of the true EngUsh Dulciana. An example occurs in the 
 
 * Alluding to the ClavXoline, Seidel says: " The Organ in St. Wenzel's, at Naumburg; 52 
 registers, 3 manuals, 3000 pipes, 7 pairs of bellows. Was first built in 1613 by Joachim Tzchug, 
 and underwent several repairs, the last one by Beyer, on which occasion several alterations were 
 made in the arrangement, in order to obtain a tone as full and pompous as possible. Among the 
 new registers introduced, the TravbrsflOte, Gemshorn. 8 ft., and Clavaoline. 8 ft., are 
 particularly beautiful." 
 
THEIR ARTISTIC REGISTRATION 6i 
 
 Choir of the Organ in the Centennial Hall, Sydney, N. S. W. The 
 stop has been less correctly labeled Celestina and Celestiana. 
 
 Combination and Registration. — The value of such a stop in 
 artistic and refined registration cannot well be overrated ; and it is 
 much too seldom that Octaves of the nature of the Ccelestina are 
 introduced in even large Organs in which some unison stops are 
 inserted which are, comparatively, of less general use in effective 
 registration. It is not very generally realized, even among good or- 
 ganists, that the tonal value and beauty of many a unison voice are 
 never fully developed until a suitable octave tone is combined with 
 it. This is according to the natural law of musical sound in respect 
 to the tones produced by open pipes, to which the octave gives an 
 effective reinforcement to the first and most important upper partial. 
 But, on the other hand, when the Octave is associated with a 
 covered stop, it introduces a foreign element into the unison tone, 
 which, in its nature, does not contain the octave in its harmonic 
 upper partials. Accordingly, a new tonality is created often of a 
 very beautiful character, and one probably impossible in the absence 
 of such a stop as the Ccelestina, 4 ft. These considerations would 
 lead to the conclusion that a larger number and a greater variety of 
 Octaves should be provided in Concert-room Organs and other 
 important instruments. 
 
 COMPENSATIONSMIXTUR, Ger.— Eng., Compensating 
 Mixture. — The stop to which the name was originally given is a 
 Pedal Organ compound stop of a harmonic-corroborating character, 
 invented by Musickdirecktor Wilke, of Neu-Ruppin, and first in- 
 stalled in the Organ in the Church of St. Catherine, at Salzwedel. 
 Its purpose was not only to give to the lower pedal notes the most 
 distinct speech possible, but to impart to the Pedal Organ through- 
 out such an even tone that rapid passages could be rendered with the 
 same roundness and clearness from the lowest to the highest note of 
 the clavier. According to Seidel, all experts who tested the stop 
 agreed that it fulfilled its mission. Notwithstanding such approval 
 the invention did not receive the consideration it deserved by the 
 conservative and slow-going organ-builders of Germany. Wilke's 
 stop was of very short compass, extending only to ten notes. It was 
 composed, according to Seidel, of five ranks, as follows : 
 
 I. Tierce, $}i ft. — CCC to GGG, eight pipes; the tone of which is gradu- 
 ally reduced from DDD until almost inaudible at GGG. 
 II. Quint, 2% ft. — CCC to AAA, ten pipes; the tone of which is reduced 
 from EEE in like manner. 
 
62 ORGAN-STOPS 
 
 III. Octave, 2 ft. — CCC to GGG #, nine pipes ; the tone of which is reduced 
 
 from DDD in like manner. ..-' 
 
 IV. Quint, i}^ ft. — CCC to FFF #, seven pipes; the tone of wfeigji is re- 
 
 duced from CCC # in like manner. 
 V. SiFFLOTE, I FT. — CCC to FFF, six pipes; the tone of which is reduced 
 from CCC # in like manner. 
 
 It is difficult to conceive on what principle Wilke designed the 
 stop, for it is both insufficient and inartistic. While it may have 
 ameliorated the lower ten notes of the heavy Pedal Organ of the 
 Salzwedel irfstniment, it certainly could do nothing to impart an 
 "even tone " throughout its compass. The stop, however, suggested 
 an artistic development which we decided to test practically, with 
 tonal results that proved eminently satisfactory. We included a 
 Compensating Mixture, VI. ranks, in bur scheme for the Pedal of 
 the Concert-room Organ installed in the Festival Hall of the Louis- 
 iana Purchase Exposition, St. Louis, 1904. Again, and for the first 
 time in a Church Organ outside Germany, we inserted a Compen- 
 sating Mixture, III. ranks, in the Pedal of the Grand Organ we 
 designed for the Church of Our Lady of Grace, Hoboken, N. J.* 
 
 Formation. — The following particulars and suggestions are necessarily given 
 as results of our own studies and practical tests; for we are not aware 6f any Eng- 
 lish or American organ-builder having paid any attention to the stop under con- 
 sideration. The simple fact that it calls for more than one rank of pipes will deter 
 organ-builders from advocating its adoption.. The stop may be composed of from 
 three to six ranks of open metal pipes, of the usual Diapason form, and, preferably, 
 of different scales : all the ranks to commence on CCC and to terminate on different 
 notes, as the judgment of the designer may decide, properly taking into considera- 
 tion the stop-apportionment of the Pedal Organ. The scale adopted for the first, 
 the longest, and the lowest pitched rank is to determine the smaller scales for the 
 shorter and higher-pitched ranks. No rule has been formulated in this matter, 
 but a regular gradation derived from a complete scale is to be recommended. It is 
 essential that provision be made for a regular decrease in strength of tone, pipe by 
 pipe, in every rank, from the CCC pipe to the top pipe, the tone of which is to be 
 only just clearly audible. To assist in obtaining this diminution of tone, the scales 
 should decrease so as to place the half diameter on the thirteenth pipe. Thef oUow- 
 ing is a suggestion for the composition of a stop of three ranks: 
 
 Pedal Organ Compensating Mixture — III. ranks. 
 
 I. CCC to G Super-Octave, 4 ft. . 32 Notes. 
 
 II. CCC to GG# Super-octave Quint, 2% FT. 21 
 III. CCC to EE Twenty-second, 2 ft . . 17 
 
 Should a stop of four ranks be required for an important Pedal Organ, in which 
 
 *For a detailed description of this stop, see our work, "The Organ of the Twentieth Cen- 
 tury," page 497- 
 
THEIR ARTISTIC REGISTRATION 63 
 
 there is a stop of 32 ft. pitch, add to the above, from CCC to D, a Tierce, 3K ft 
 27 Notes. 
 
 We suggest the following composition for a stop of six ranks, suitable for the 
 Pedal of a Concert-room Organ of the first magnitude : 
 
 Pedal Organ Compensating Mixture — VI. ranks. 
 
 I. 
 
 CCC to G 
 
 11. 
 
 CCC to D 
 
 III. 
 
 CCC to BB 
 
 IV. 
 
 CCC to GG 
 
 V. 
 
 CCC to DDS 
 
 VI. 
 
 CCC to BBB 
 
 Super-Octave, 4 ft. . 
 
 Tierce, 3}^ ft. . 
 Octave-Quint, 2% ft. 
 Twenty-second, 2 ft. . 
 Twenty-sixth, iJ^ ft. 
 Twenty-ninth, i ft. . 
 
 32 Notes. 
 27 
 
 24 
 20 
 16 
 12 
 
 A five-rank stop may be formed by omitting the fifth rank, which is of the 
 least importance. It is usually desirable to have both the lowest and highest ranks 
 octave-sounding. 
 
 Tonality and Registration. — While the stop is devised as a 
 tonal compensating agent, for the ptirpose of giving clearness and 
 richness of articulation to the lower and somewhat indeterminate 
 notes of the Pedal Organ unison and double stops, gradually de- 
 creasing in its effect toward the higher notes where its help is less 
 required, — an oflfice it fulfills in a satisfactory manner — it is, at the 
 same time, a harmonic-corroborating stop of considerable value in 
 registration; and as such it may take the place of an ordinary Mix- 
 ture with advantage to the Pedal Organ. The most desirable voice 
 for the stop is pure organ-tone, for that will prove most useful in 
 Pedal Organ registration. As has already been remarked, the tone 
 of each rank must be uniformly reduced in strength from that of the 
 first and complete rank; and each rank must be evenly reduced in 
 strength of tone as it ascends the scale, until at its highest note its 
 voice is only just clearly audible. The initial strength of tone, or 
 that of the CCC (4 ft.) pipe of the first rank, must be adjusted 
 according to the demands of the foundation unison, 16 ft., of the 
 Pedal Organ, and from it all graduations of tone in its own and the 
 other ranks have to be regulated. In registration, the Compen- 
 sating Mixture will be found extremely valuable, especially when 
 well-marked articulation is necessary, as in Solos, Fugues, and pro- 
 nounced pedal passages. 
 
 We introduced, for the first time in the history of organ-building, 
 a Compensating Mixture, V. ranks, in the String-toned Sub- 
 division of the Third Organ in the Concert-room Organ installed at 
 the Louisiana Purchase Exposition. We strongly recommend the 
 introduction of compound harmonic-corroborating stops of the com- 
 
64 ORGAN-STOPS 
 
 pensating class in manual divisions in which there are double stops 
 likely to make the bass unduly heavy. The subject is a new one, and 
 we recommend it to the attention of organ and tonal experts. 
 
 CONCERT FLUTE.— Ger., Concertflote.— The name occa- 
 sionally given to an open labial stop, commonly of wood, and of 4 ft. 
 pitch; the tone of which imitates, as closely as practicable, that of 
 orchestral Flute. See Orchestral Flute. 
 
 CONE GAMBA. — The name given to an open metal labial stop 
 of 8 ft. pitch, yielding an unimitative string-tone; the pipes of which 
 are conical, being about half the diameter at top of that at the 
 mouth line; hence the name of the stop. The mouth has a width of 
 about one-third or two-sevenths the larger circumference of the pipe, 
 is cut low, and voiced with the harmonic-bridge, held between pro- 
 jecting ears. In some examples a. f rein harmonique takes the place 
 of the bridge and ears. The pipes are of medium scale and shoiild be 
 made of high-grade alloy. 
 
 The tone of the Cone Gamba naturally varies in different ex- 
 amples; but, as a rule, it is, when artistically voiced by a master- 
 hand, of a singing string quality, delicate, and very beautiful. The 
 unison stop suggests the introduction of a complete family of 16 ft., 
 8 ft., 4 ft., and 2 ft. pitch, which would be of great value in artistic 
 registration, combining admirably with the family of the Lieblich- 
 GEDECKTS, the Other softer flute-toned stops, and the reed-toned 
 lingual stops. A Cone Gamba, 16 ft., of full compass, was in- 
 serted in the Choir of the Organ erected by Hill, in 1863, in the nave 
 of York Minster. This fine stop was extremely effective in com- 
 bination. As a timbre-creating and tone-supporting stop the Cone 
 Gamba, 8 ft., will be found very useful in artistic registration. 
 
 CONTRABASS, Ger.— Ital., Contrabasso. Fr., Contre- 
 Basse. Eng., Double Bass. — The name appropriately used to 
 designate an open labial stop of 16 ft. pitch, of wood or metal, voiced 
 to yield a tone imitating, as closely as practicable, that of the Double 
 Bass of the orchestra. In French Organs the Contre -Basse is in- 
 variably a Pedal Organ stop, appearing as such in the Organs in the 
 Cathedrals of Paris, Amiens, and Orleans, and the Churches of Saint- 
 Eustache, Saint-Sulpice, and la Madeleine, Paris. French organ- 
 builders and experts do not seem to have realized the possibility of 
 introducing so grave an imitative string-toned stop in a manual 
 division. It does not appear, save in the Pedal, in Cavaill^-CoU's 
 scheme for the Monumental Organ to be installed in St. Peter's, 
 
THEIR ARTISTIC REGISTRATION 65 
 
 Rome. But no French organ-builder ever contemplated the desir- 
 ability of introducing an independent string-toned division in the 
 Organ : indeed, no one seems to have ever done so, until we realized 
 its necessity, and introduced one in the Organ installed in the Fes- 
 tival Hall of the Louisiana Purchase Exposition.* 
 
 Formation. — The pipes of the Contrabass, 16 ft., are in the best examples of 
 wood, and of what may be considered small scales; although metal pipes can be 
 used with satisfactory results, especially in the higher octaves of the manual stop. 
 For the Pedal Organ stop wood is to be preferred, as it aids in producing a tone 
 fuller in character than is commonly yielded by small-scaled metal pipes. The 
 best example of the stop which has been directly examined and tested by us is that 
 labeled Violonbass, 16 ft., in the Pedal of the Organ constructed by Edmund 
 Schulze for the Church of St. Peter, Hindley, Lancashire, England. In this fine 
 stop the pipes are square and of the following measurements: CCC, 16 ft., 5 J^ ins. 
 by 5}^ ins.; width of mouth sJ^ ins.; height of mouth 1]/% ins. CC, 8 ft., 3 J^ ins. 
 by 3 J^ ins. ; mouth 3 J^ ins. by i in. C, 4 ft., 2 ins. by 2 ins. ; mouth 2 ins. by ?^ in. 
 The pipes have sunk blocks, the German form of mouth, caps hollowed externally, 
 no projecting ears, upper lips cut almost to a sharp edge, and furnished with har- 
 monic bridges of an unusual form.f No wood pipes of imitative string-tone were 
 known in England prior to their appearance in the Organs installed by Schulze in 
 the Parish Church of Doncaster and St. Peter's Hindley. They were first made in 
 this country by Roosevelt, from models furnished by us in 1883. By special 
 voicing with the harmonic-bridge, covered pipes can be made to yield imitative 
 string-tone, the prominence of the upper partial — the Twelfth — contributing 
 to the tone. The covered stop, owing to its moderate dimensions, is most suitable 
 for a manual division in all save an Organ of the first magnitude. 
 
 Tonality and Registration. — In tonahty, the voicer of the 
 CoisTRABASS should aim at the imitation of the peculiar tones of the 
 different stiings of the orchestral instrument, giving greater body to 
 the tones of the 8 ft. and higher octaves, so as to differentiate them 
 properly from the corresponding tones of the Violoncello, 8 ft. 
 This is important when the stop is associated with a Violoncello 
 in a manual string-toned division, as it should be in a Concert-room 
 Organ. The tones of the Violonbass in the Hindley Organ are so 
 closely imitative, even to the rasp of the bow on the strings, as to be 
 deceptive to the ear. That is as it should be, if such an important 
 voice is to be of full value in the artistic registration of orchestral- 
 toned stops. The building up of a mass of orchestral string-tone in 
 the Organ, which we were the first to render possible, is a matter in 
 registration of the greatest importance in the artistic and proper 
 rendition of orchestral scores or transcriptions. The student of the 
 
 * See "The Organ of the Twentieth Century." Page 505. 
 
 t Full details of the mouth are given in "The Art of Organ Building," Vol. II., p. 470: 
 and, in "The Organ of the Twentieth Century," p. 443. 
 
66 ORGAN-STOPS 
 
 art of registration will soon discover the value of so effective and 
 colorful a voice as that of the Contrabass. When artistically voiced 
 and perfectly regulated it is a beautiful voice for a bass solo; and 
 may for this purpose be combined with the Contrafagotto, or with 
 a good Vox Humana in sub-octaves. It is to be regretted that so 
 little attention has been paid to the stop by the organ-builders and 
 experts of this country. It must, however, appear in the Organ of 
 the Twentieth Century. 
 
 CONTRA-BOURDON, SUB-BOURDON.— Ger., Untersatz. 
 Fr., Sous-Basse. — The name given to a covered wood stop of 32 ft. 
 pitch, properly belonging to the stop-apportionment of the Pedal 
 Organ, but occasionally appearing, in an incomplete form, in the 
 First or Great Organ. It is occasionally resorted to as a Pedal Organ 
 stop when either space or funds prevent of the Double Diapason or 
 SuB-PRtisrciPAL, 32 FT., bcing introduced. As a substitute it is any- 
 thing but satisfactory tonally. The tone of the stop is that common 
 to the ordinary Bourdon, 16 ft., being carried an octave lower, 
 where its voice becomes painfully indeterminate, as might be ex- 
 pected. It appears in Pedal Organs under the following names: 
 Untersatz in the Organs in the Cathedral of Merseburg and the 
 Royal Catholic Church, Dresden. Grossuntersatz in the Organ 
 in the Church of Waltershausen, Gotha. Subbass in the Organ in 
 the Church of St. Michael, Hamburg. Grand Bourdon in the 
 Pedal of the Organ, by Cavaille-Coll, in the Church of Saint Vincent 
 de Paul, Paris. Contra-Bourdon in the Organs in the Auditorium, 
 Chicago, and the Centennial Hall, Sydney, N. S. W. 
 
 When the Contra-Bourdon, 32 ft., is introduced in the Great 
 Organ, it commonly is of short compass, not extending below tenor 
 C. It appears under the following names : Untersatz on the First 
 Clavier of the Riga Cathedral Organ. Bordun, 32 ft. , in the Haupt- 
 werk of Merseburg Cathedral Organ, and in the Second Division of 
 the First Organ in the instrument in Schwerin Cathedral. Sub- 
 Bourdon in the Great of the Organs in the Parish Churches of Leeds 
 and Doncaster, England. On tonal grounds we do not advocate the 
 introduction of this incomplete stop in any manual division; while 
 we are of opinion that a pure and soft organ-tone, of 32 ft. pitch, 
 would be valuable in the First Organ of a large Concert-room Organ. 
 See DoLciANO Profundo. 
 
 CONTRA-DULCIANA.— An open metal labial stop of small 
 scale, of 32 ft. pitch in the Pedal Organ and 16 ft. pitch when in- 
 troduced in a manual division, as in the Choir of the Organ in the 
 
THEIR ARTISTIC REGISTRATION 67 
 
 Centennial Hall, Sydney, N. S. W. It is also named Double Dul- 
 CIANA (g. v.). We have introduced it, in an extended form and for 
 a double purpose, in the Pedal Organ of our scheme for the Concert- 
 room Organ of the Twentieth Century.* See Dolciano Profundo. 
 
 CONTRAFAGOTTO, Ital.— Ger., Contrafagott. Eng., Dou- 
 ble Bassoon. — A lingual stop, of 16 ft. pitch, the resonators of 
 which are of small scale and either of wood or metal. In the former 
 material they are square and cf inverted pyramidal form : when of 
 metal they are inverted conical in form. When properly scaled, 
 voiced, and regulated, its tone closely approaches that of the orches- 
 tral instrument of the same name. While usually and correctly 
 placed in the Pedal Organ, where its voice furnishes the tnie bass to 
 the manual Fagotto and Oboe, its presence is, however, to be 
 greatly desired in a suitable manual division, where its rich and 
 quiet tonality would contribute a remarkable coloring to every 
 effective registration into which it might enter. In ■our.ppin.ipn, 
 there is no lingual stop of 16 ft. pitch so generally useful on .the 
 manual claviers; and we know it to be so important, tonally, that a 
 series of most effective and refined registrations can be based upon 
 it. We introduced it, accordingly, in the First Subdivision — ex- 
 pressive — 'of the Third Organ in the instrument installed in the 
 Festival Hall of the Louisiana Purchase Exposition; and we also 
 inserted 'it in the Second Subdivision — expressive — of the Third 
 Organ in the Grand Organ in the Church of Our Lady of Grace, 
 Hoboken, N. J. 
 
 CONTRA-GAMBA, Ital.— A labial stop, of 16 ft. pitch. Its 
 pipes are of medium scale, of metal, cylindrical in form, and open. 
 It is introduced in both manual and pedal departments of the Organ, 
 but usually, when it is introduced, -it appears in a manual division, 
 as in the Great of the WiHis Organ in the Church of St. Margaret, 
 Liverpool, and in the Swell of the Walker Organ in the Church of 
 St. Matthew, Northampton, England. In the latter Organ it has a 
 covered wood bass, dictated by its position in a swell-box. An 
 example appears in the Great of the Roosevelt Organ in the Cathe- 
 dral of the Incarnation, Garden City, L. I. When introduced in the 
 Pedal Organ, it is of unison pitch, and may be labeled, simply, 
 Gamba, 16 FT., as in the Organ in the Centennial Hall, Sydney, 
 N. S. W.' When properly voiced, the Contra-Gamba has a full 
 string-like tone, but not so pronounced, as to be imitative. The 
 
 * "The Organ of the Twentieth Century." Pages 291, 297,-317, 319. , 
 
68 ORGAN-STOPS 
 
 stop is less valuable now than it used to be when string-toned stops 
 were few and very little developed in comparison to what they are 
 to-day. Viols now take the place of the German Gambas, and their 
 prompter English equivalents. 
 
 CONTRA-OBOE, Ital.— Eng., Contra-Hautboy.— A very un- 
 common lingual stop of i6 ft. pitch, the form and tone of which 
 resemble those of the ordinary Oboe, 8 ft. A fine and note- 
 worthy example, voiced by George Willis, exists in the Swell of the 
 Organ in St. George's Hall, Liverpool, labeled Contra-Hautboy, 
 1 6 FT. This valuable stop should find a place in the "wood-wind " 
 division of the Concert-room Organ, where it would be associated 
 with the unison Oboe and, possibly, with the Octave Oboe, 4 ft., 
 forming a complete family.* All would afford valuable voices in 
 artistic registration. While the Contrafagotto may be regarded 
 as affording the bass to the Oboe, 8 ft., the Contra-Oboe would be 
 found, in many registrations, to produce closer and clearer effects 
 when combined with the unison stop : but, after all is said, much 
 depends on the voicing and tonality of the respective stops. 
 
 CONTRAPOSAUNE, Ger.— A powerfully-voiced lingual stop 
 of 32 ft. pitch in the Pedal Organ and 16 ft. pitch on the manuals. 
 It appears under the name in the Pedal of the Organ built by Buch- 
 holz for the Cathedral of Cronstadt. In the generality of German 
 Organs it appears as simply Posaune, 32 ft., or 16 ft. An example 
 of the Contrafosaune, 16 ft., exists in the Great of the Organ in 
 the Centennial Hall, Sydney, N. S. W. ; and a Contrafosaune, 
 32 FT., is inserted in the Pedal of the same Organ, and in that of the 
 Organ in the Parish Church of Doncaster. The pipes of the stops 
 have open-reeds and broad tongues; their resonators being of the 
 usual inverted conical form and of large scale, producing tones in- 
 tended to imitate those of the Bass Trombones of the orchestra 
 played fortissimo. The resonators are sometimes constructed of 
 wood, square, and inverted pyramidal in form; but resonators of 
 thick zinc are to be preferred. Sheet iron may be used in the 32 ft. 
 octave. 
 
 CONTRAPRINZIPAL, Ger.— The term which has been used to 
 designate the open metal labial stop known in English nomenclature 
 as the Open Diapason, 32 ft., in the Pedal Organ and of 16 ft. pitch 
 when inserted in a manual division. 
 
 * See "The Organ of the Twentieth Century." Pages 307, 308. 
 
THEIR ARTISTIC REGISTRATION 69 
 
 CONTRA-SALICIONAL, DOUBLE SALICIONAL.— As the 
 name implies, this is a Salicional of 16 ft. pitch. In material and 
 formation its pipes are in all respects similar to those of the manual 
 unison stop. The stop is valuable in the Pedal Organ, to which it 
 properly belongs, and, accordingly, its tone should be fuller than 
 that of the manual stop, especially if it is inclosed and rendered 
 expressive. See Salicional. 
 
 CONTRA-SAXOPHONE.— The stop of 16 ft. pitch, the voice 
 of which furnishes the true bass to the manual Saxophone, 8 ft. 
 It is, when of imitative quality, a valuable voice in the Pedal of a 
 Concert-room Organ, where it should be inclosed and rendered ex- 
 pressive. The stop can be made with either free- or striking-reeds. 
 On account of the smoothness of the tones of the orchestral Saxo- 
 phones, we are of opinion that their closest imitation is to be ob- 
 tained from free-reed pipes; but the most favorable form of resona- 
 tor has yet to be discovered. The tone of the Contra-Saxophone 
 should imitate as closely as practicable that of the Double Bass or 
 Bourdon Saxophone. There is a good free-reed example in the 
 Pedal of the Chamber Organ in Ham House, Richmond, Surrey, 
 England. While an almost deceptive imitation of the tones of the 
 Saxophones have been obtained from labial pipes of wood of 8 ft. 
 pitch, we are not aware of any attempt having been made to pro- 
 duce a corresponding labial Contra-Saxophone. See Saxophone. 
 
 CONTRA-TROMBONE.— A lingual stop of 32 ft. pitch in the 
 Pedal Organ and 16 ft. pitch on the manuals. In formation it is 
 similar to the Contraposaune, but its resonators are of a smaller 
 scale. An example of the Contra-Trombone, 32 ft., exists in the 
 Pedal of the Walker Organ in York Minster. Another example 
 exists in the Pedal of the Organ in Leeds Parish Church, where it 
 speaks effectively on a wind of only 33^ inches — an eloquent argu- 
 ment in support of our plea for low pressures, now so thoughtlessly 
 neglected by the inartistic lovers of coarse tones and musical noise 
 in this country. A Contra-Trombone, 16 ft., occurs in the Great 
 of the Concert-room Organ in the Town Hall, Leeds. 
 
 The tone of the Contra-Trombone is intended to imitate that 
 of the Bass Trombone, in G, of the orchestra. The voice of the 
 organ-stop extends far below that of the orchestral instrument, but 
 this is a gain of great value which no authority on the Organ will 
 question. While the tone is similar to that of the Contraposaune, 
 it should not be so brassy and powerful. The value of the Contra- 
 
70 ORGAN-STOPS 
 
 Trombone, i6 ft., in the "brass-wind" division of a Concert-room 
 Organ of the first magnitude would, unquestionably, be great, for 
 not only would it enter with great effect into assertive registration, 
 but it would prove a most dignified and impressive solo voice. 
 
 Under the name of Contra-Trombone, Messrs. Hill & Son, of 
 London, have inserted a monster lingual stop, of 64 ft. pitch (if such 
 a pitch can be recognized as obtaining in the range of audible or de- 
 terminate musical sounds, a proposition we cannot accept), in the 
 Pedal of the Organ in the Centennial Hall, Sydney, N. S. W. We 
 examined this unique stop, and heard it during a recital on the Organ 
 before it left the factory. While its slow and powerful vibrations 
 succeeded in shaking us bodily, its noise did not impress our musical 
 sense. It seemed to support the old saying : " The game is not worth 
 the candle." 
 
 CONTRA-TUBA.— The most powerfully-voiced lingual stop 
 of 16 ft. pitch introduced in the Organ. It is commonly voiced on a 
 wind-pressure of between fifteen and thirty inches. Its resonators 
 are of the inverted conical form, and are necessarily made of thick 
 metal, now usually zinc, so as to withstand the extreme vibration; 
 and they are of large scale. An example exists in the Solo of the 
 Organ in the Centennial Hall, Sydney, N. S. W. The tone of the 
 stop is intended to imitate that of the Bass Tuba of the orchestra, 
 but is much more powerful. It is, accordingly, singularly grand and 
 impressive, but of little general use unless it is inclosed and rendered 
 flexible and expressive, which it should invariably be in all properly 
 appointed Organs. In the Sydney Organ neither it nor any of the 
 Solo Organ stops are inclosed and rendered expressive; surely an 
 anomalous absurdity in a Concert-room Organ, showing a want of 
 artistic taste and common-sense. 
 
 CONTRA-VIOLONE, Ital.— A labial stop, of 16 ft. pitch, the 
 pipes of which are open and of medium scale, formed of either metal 
 or wood, or of wood in the lower and metal in the higher octaves. 
 The Contra- ViOLONE, 16 ft., is strictly a manual stop; the corre- 
 sponding stop in the Pedal Organ being properly labeled Violone, 
 16 FT. The tone of the stop should imitate that of orchestral instru- 
 ment of the same name. While practically identical with the Con- 
 trabass, 16 FT. (g. v.), its tone should be smoother and somewhat 
 less assertive. A very beautiful example of the class, from the 
 master hand of Edmund Schulze, is to be found in the Great of the 
 Organ in St. Peter's, Hindley, Lancashire. The stop is formed of 
 wood pipes from CC to B, and of metal pipes from c' to the top note. 
 
THEIR ARTISTIC REGISTRATION 71 
 
 The proper place for the Contra- Violone, 16 ft., is in the string- 
 toned division or subdivision of the Concert-room Organ. In regis- 
 tration for the production of massed string effects of an orchestral 
 character it is extremely valuable. The Contra-Violone, in its 
 perfect form and tone, is extremely rare; but it can be easily made 
 now by an artistic voicer of string-toned pipes. 
 
 CONTRE-BOMBARDE, Fr.— The lingual stop of 32 ft. pitch, 
 introduced in the Pedal of most of the large Organs in French cathe- 
 drals and churches. It is to be found in the Organs in the Cathedral 
 of Notre-Dame and the Churches of Saint-Sulpice and Saint-Eus- 
 tache, Paris, and in the Royal Church, Saint-Denis, and Saint-Ouen, 
 Rouen. It was introduced by Cavaille-Coll in the Organ in the 
 Albert Hall, ShefSeld. The stop has resonators of the usual inverted 
 conical form and of large scale. As common in French lingual stops, 
 the tone of the Contra-Bombarde is somewhat dry and hard; 
 widely different from the rich, round, and velvety tones of the Willis 
 stops. In its usual exposed position, the use of so grave and powerful 
 a voice is necessarily very limited, and hardly worth its great cost ; 
 but inclosed in a swell-chamber, its tonal value would be increased 
 more than tenfold. A crescendo on such a voice would have a stupen- 
 dous effect — one never yet heard on the Organ; but will be when 
 our scheme for the Concert-room Organ of the Twentieth Century is 
 carried into effect.* 
 
 COR ANGLAIS, Fr.— Ital., Corno Inglese. Eng., English 
 Horn. — A lingual stop of 8 ft. pitch. It has been made in two ways ; 
 namely, with striking- and free-reeds, and probably the most success- 
 ful examples, tonally, have been of the latter class. The stop, in its 
 free-reed form, has long been a favorite with the French organ- 
 builders, being introduced in most of their more important instru- 
 ments, in either its 8 ft. or 16 ft. pitches. Of the former pitch, it was 
 inserted by Merklin in the Positif of the Organ in the Cathedral of 
 Senlis; and in the Clavier de Bombarde of his Grand Organ in the 
 Church of Saint-Eustache, Paris. It was introduced, in the same 
 unison pitch, by Cavaille-Coll, in the Clavier du Grand Orgue of the 
 Organ in the Royal Church of Saint-Denis. Of 16 ft. pitch, it was 
 inserted by Cavaill6-Coll in the Positif of the Organ in the Church 
 of Saint-Ouen, Rouen; in the Solo Expressif of his scheme for the 
 Monumental Organ in St. Peter's, Rome; and in the Recit Expressif 
 of the Concert-room Organ in the Albert Hall, Sheffield, in which it 
 
 * See "The Organ of the Twentieth Century." Pages 273-332- 
 
12 ORGAN-STOPS 
 
 is a striking-reed. In his later work, Cavaille-Coll abandoned the, 
 free-reed. The Cor Anglais, in both its pitches, has been intro- 
 duced in a few EngUsh Organs, the pipes having, for the most part, 
 been imported from France. We inserted a Corno Inglese, 8 ft., 
 in the Second Organ of the instrument installed in the Festival Hall 
 of the Louisiana Purchase Exposition. It is a free-reed stop im- 
 ported from Germany. 
 
 Formation. — The pipes of the Cor Anglais are invariably made of metal; 
 and, in the most satisfactory examples of the stop, have resonators of a compound 
 form that has been arrived at as most effective after many experiments. The 
 form is that of a slender inverted conical tube, surmounted by an expanded, res- 
 onant chamber formed of two truncated cones soldered together and to the tube, 
 in the manner shown in the drawing of the complete pipe given in Fig. 7, Plate I. 
 The scale and relative proportions of the parts forming the resonator have a great 
 influence not only on the strength but also on the timbre of the tone produced. 
 The reed and tongues, in the best examples, are similar in form and general treat- 
 ment to those of the Oboe. The value of the stop is considerable; but the time 
 and trouble involved in the proper formation of its resonators have largely pre- 
 vented organ-builders from encouraging its introduction. It should, however, 
 find a place in every Concert-room Organ of any pretensions. 
 
 Tonality and Registration. — The tone of the Cor Anglais of 
 the Organ is intended to imitate, as closely as possible, that of the 
 orchestral instrument of the same name, which is, strictly considered, 
 a Tenor Oboe. The Italians call it the Oboe di Caccia as well as 
 Corno Inglese; while the Germans use the name Englisches Horn. 
 Speaking of the instrument, Berlioz remarks: "Its quality of tone, 
 less piercing, more veiled, and deeper than that of the Oboe, does not 
 so well as the latter lend itself to the gaiety of rustic strains. Nor 
 could it give utterance to anguished complainings; accents of keen 
 grief are almost interdicted to its powers. It is a melancholy, 
 dreamy, and rather noble voice, of which the sonorousness has 
 something of vague, — of remote, — which renders it superior to all 
 others, in exciting regret, and reviving images and sentiments of the 
 past, when the composer desires to awaken the echo of tender mem- 
 ories." These remarks, by so great an authority on orchestration, 
 ought to enthuse the voicer in the production of the organ Cor 
 Anglais, and inspire the organist who finds a sympathetic one in an 
 Organ. A good Cor Anglais is a beautiful solo stop, while it is 
 extremely valuable in artistic registration, producing in combina- 
 tion with softly-voiced stops of contrasting and harmonic-corrobor- 
 ating qualities compound voices of remarkable tonalities. At the 
 present time organists and others in this country have little oppor- 
 tunity of judging the merits of the stop. Many attempts have been 
 
THEIR ARTISTIC REGISTRATION 73 
 
 made to produce the characteristic voice of the Cor Anglais by regis- 
 tration;- for instance, as we are informed, a distinguished organist 
 succeeded in producing an almost perfect imitation on the Choir of 
 the Organ in York Minster, by combining the Gamba, 8 ft.. Clari- 
 net, 8 FT., and Gemshorn, 4 ft. We venture to think a better imi- 
 tation would have been the result had an Oboe, 8 ft., been intro- 
 duced instead of the fuller-toned Clarinet; but the Choir Organ 
 does not contain one; neither, alas for art, is the Choir Organ 
 expressive. 
 
 COR DE BASSET, Fr.— The name employed by French organ- 
 builders to designate the lingual stop more commonly known under 
 the Italian name Corno di Bassetto (g. v.). 
 
 COR D' HARMONIE, Fr.— This term, associated with Haut- 
 BOis, 8 ft., occurs in the stop apportionment of the Positif of the 
 Cavaille-Coll Organ in the Royal Church of Saint-Denis. It would 
 appear, in this connection, to be applied to the bass extending 
 downward the tone of the Hautbois, which would properly be of 
 Bassoon quality, and, accordingly would be furnished by Bassoon 
 pipes from CC to A, almost two octaves. 
 
 CORDEDAIN.— A labial stop of metal and of 4 ft. pitch, which 
 is inserted in both the Choir and Echo of Silbermann's Organ in the 
 Church of St. Thomas, at Strasbourg. The tones of the stops are 
 described of a bright flute quality, almost imitative. 
 
 COR DE NUIT, Fr.— Ger., Nachthorn. Ital., Pastorita.— 
 An open or covered stop of metal or wood, and of 8 ft., 4 ft., and 2 ft. 
 pitch. The tone is a combination of flute and soft horn qualities. 
 See Nachthorn. 
 
 CORMORNE, Fr. — The name which has occasionally been 
 given by French organ-builders to a lingual stop of metal and 8 ft. 
 pitch. It is probably formed from cor — horn, and morne — sombre or 
 mournful. But as the stop is commonly met with in the Cavaille- 
 Coll Organs labeled Cromorne, the term may be a corruption of the 
 German name Krummhorn. See Cromorne. 
 
 CORNAMUSA, Ital.— Fr., Cornemeuse.— This name, which 
 was originally used to designate an instrument of the Bagpipe 
 family, has been occasionally applied by Italian and French organ- 
 builders to a labial stop of 16 ft. pitch. Examples are rare, but one 
 exists, according to Hopkins, on the second manual of the Organ in 
 
74 ORGAN-STOPS 
 
 the Church of Santissimo Crocifisso, at Como. It is evidently a 
 covered stop of wood, and probably derived its name from the drone- 
 like character of its tone. Examples of the Cornemeuse, in Bagpipe 
 form, and of eighteenth century date, are to be seen in the Crosby 
 Brown Collection of Musical Instruments in the Metropolitan 
 Museum of Art, New York City. 
 
 CORNET. — A compound labial stop of several ranks of metal 
 pipes. There are two distinct varieties of the stop, which may be 
 called the ancient and the modern and which hold different offices 
 in the tonal economy of the Organ — offices varying greatly. 
 
 The old and original form comes first in order. It was usually 
 formed of three, four, or five ranks of large-scaled pipes voiced to 
 yield powerful and dominating tones.* Its compass seems never to 
 have descended below tenor C, while it usually, and invariably in 
 old English Organs, commenced at middle c'. The lowest rank, 
 which was invariably of unison pitch, was, probably on account of 
 the size of its pipes when the stop descended to tenor C, of covered 
 pipes. In French examples it was usually a Bourdon, 8 ft. All the 
 other ranks were of open metal pipes. The stop was much in favor 
 with the old English organ-builders. In Bernard Smith's Organ 
 built, in 1684, for the Temple Church, London, were two Cornets — 
 one of five ranks in the Great and one of three ranks in the " Ecchos." 
 In the Organ built by John Harris, of London, in 1740, for the Parish 
 Church of Doncaster there were also two Cornets, of five and three 
 ranks. All these stops extended from middle c' to the top note. 
 Sometimes, as the Cornet required considerable space for its ac- 
 commodation, its pipes were planted on a special wind-chest, ele- 
 vated above the main wind-chest, and connected thereto by a series 
 of metal tubes or conveyances — one for each note of the Cornet. 
 When disposed in this manner the stop was designated Mounted 
 Cornet. A Mounted Cornet, of 4 ranks, was inserted in the 
 
 * "Le Cornet, jeu bruyant, clair et dominateur de rharmonie entiere de I'orgue. Un Cornet 
 complet dans sa facture a par note cinq tuyaux de grosse taille, dont chacun porte un nom et un 
 caractere diif brents. Le premier tuyaux est un Bourdon de huit; le second un Prestant: le troisi- 
 erne un Nasard, quinte sup^rieure du Prestant; le quatrieme une Quarte de Nasard, octave du 
 Prestant; le cinquieme enfin est une Tierce au-dessus de cette octave. Ainsi, Vut du Cornet est k 
 la fois ut de huit-pieds en Bourdon, ut de quatre en Prestant, sol de trois en Nasard, ut de deux en 
 Quarte enfin mi d'un-pied cinqsepti^mes. 
 
 "Ainsi, dans toute sa longueur, le Cornet appuie chacune de ces notes ou de ses marches, 
 comme on dit, sur cinq notes k la fois; il y a done cinq tuyaux sur marche. Son r^gistre est done 
 un ensemble de cinq r^gistres, cinq tangles de tuyaux au lieu d'une, comme le jeux simples. 
 Mais le Cornet n'a pas toujours toute la longueur du clavier; quoique ces cinq rang^es soient ^ 
 I'unisson du Bourdon, du Prestant, etc., cependant elles en different par la taille, qui est plus 
 grosse et I'harmonie plus forte," — Regnier. 
 
THEIR ARTISTIC REGISTRATION 75 
 
 Great of the Organ built by Snetzler, in 1777, for the Parish Chiirch 
 of Rotherham, England: and we understand, from a pamphlet in 
 our possession, that the stop still exists in the Organ under that 
 name. Schulze introduced Mounted Cornets in the Great and 
 Swell Organs of the instrument he built for Doncaster Parish Church 
 in 1862. These still remain in the renovated Organ. In Bernard 
 Smith's Organs the Cornet was never mounted. 
 
 In all cases the scales of the pipes of the old Cornet were larger 
 than those of the corresponding pipes of the major Diapason or 
 Principal, and were much more loudly voiced. The compound tone 
 of the Cornet was, on account of the large scale of its pipes, flutey 
 in character : and owing to its highest pitched rank being a Tierce, 
 and uncovered by a fifth- or an octave-sounding rank, the voice of 
 the stop was necessarily somewhat harsh and cutting. 
 
 The old Cornet was chiefly used for playing out the melody of 
 the Chorals, its powerful voice rendering it highly effective for such 
 an office.* Being unbroken in its ranks, it was found serviceable in 
 covering the breaks in the screaming Mixtures of the time. In 
 England the old Cornet was frequently used in the rendition of 
 what were known as Comet Voluntaries, the chief features of which 
 were runs and figurative passages on the stop by the right hand. 
 The best known of such compositions are those by Stanley, Dupuis, 
 Bluet, and Russell, all of whom wrote between the years 1726 and 
 1813. 
 
 The old, short-compass, and loud-voiced Cornet finds no place 
 in the modem Organ ; and the name is now applied to stops of widely 
 different construction and office. At the present time the name is 
 usually given to a compound harmonic-corroborating stop of full 
 compass, composed of five or more ranks of small-scaled and high- 
 pitched pipes, voiced to yield a bright and singing quality of pure 
 organ-tone. But different qualities of tone may be obtained by 
 using flute-toned or string-toned pipes of small scales. Such being 
 
 * "Cornet, or 'Cornbtto,' is a mixture of a very wide measure, which begins generally at 
 c' or at the G below, and goes through the upper octaves of the manual. It has a strong intona- 
 tion, and a horn-like tone, which is well adapted for filling out. Sometimes, when hymns are to 
 be sung with a melody which is not familiar to the congregation, this register will be found very 
 efficient for the purpose of making the melody prominent, since the right hand plays the melody 
 upon that manual which contains the Cornet, while the left hand plays the accompaniment 
 upon some other manual, for which weaker registers are drawn. This Mixture has sometimes 
 five ranks, 8, 4, 2%, 2, and I ^ feet; sometimes four ranks, 8, 4, 2^, and i ^ feet; and some- 
 times three ranks, 4, 2%, and I % feet. In France, the lowest rank of this register is nothing 
 but a RohrflOte, 8 ft. Wilke deems it best to construct the Cornet with three ranks only, 
 but so that the lowest of them is a fifth, and next an octave, and the last a third, — 5 J^ ft., 4 
 ft., and 3 K ft., or 2 % ft., 2 ft., and i H ft. The latter arrangement is better suited for small 
 Organs, the forn.er for large ones." — Seidel. 
 
76 ORGAN-STOPS 
 
 the case, it will be seen that the modern Cornet is the antithesis in 
 every respect of the loud and harsh stop of the old masters. It is 
 usual and desirable in labeling the Cornet to qualify the name, so as 
 to convey some idea of its general tonality, accordingly, such terms 
 as DuLciANA Cornet, Dolce Cornet, Viol Cornet, etc., are ap- 
 propriate. The following is the composition of a five-rank stop, 
 formed of Dulciana pipes, which has been tested and found highly 
 satisfactory in registration : 
 
 Dulciana Cornet — V. ranks. 
 
 CC to BB . . ig 22 24 26 29. 
 
 C to B . . 12 15 17 19 22. 
 
 C to b" . . 8 12 17 19 22. 
 
 C to C4 ... I 8 10 12 15. 
 
 It will be observed that the middle rank is third-sounding 
 throughout, and that it is properly covered by the fourth and fifth 
 ranks, while the fifth rank is octave-sounding throughout all its 
 breaks. It would be difficult to devise a more satisfactory composi- 
 tion for a stop of this beautiful tonality. In the Swell of the Concert- 
 room Organ in the Music Hall, Cincinnati, there is a Cornet of six 
 ranks of small-scaled pipes, the composition of which is here given: 
 
 Dolce Cornet — VI. ranks. 
 
 CC to BB . 15 19 22 26 29 36. 
 
 C to B . . . 12 15 19 22 26 29. 
 
 C to b' . 8 12 15 19 22 26. 
 
 c= to 04 . . I 5 8 10 12 15. 
 
 Artistically voiced and scientifically graduated in strength of 
 tone throughout its ranks and breaks, such a Cornet would prove 
 extremely valuable in registration. In this direction, it is to be ob- 
 served that the composition in the lower two octaves — CC to B — 
 points to considerable brilliancy; that in the middle octave — c' to 
 b' — to sufficient richness of tone; while that in the two higher oc- 
 taves, — c^ to c*, — which belongs to the 16 ft. harmonic series, points 
 to great fullness, just where it is most required. 
 
 There is another form of modern Cornet which more fully de- 
 serves the name, and one we strongly recommend for general intro- 
 duction in all important Organs : we allude to the form in which all 
 the ranks are carried throughout the compass without a break. Of 
 this form we introduced two special Cornets in our scheme for the 
 Organ installed in the Festival Hall of the Louisiana Purchase Ex- 
 position. One of four ranks in the Expressive Subdivision of the 
 
THEIR ARTISTIC REGISTRATION 77 
 
 First Organ, composed of a Seventeenth, Nineteenth, Septieme, 
 and Twenty-second: and the other, a Viol Cornet— IV. ranks 
 (muted), in the string-toned Expressive Subdivision of the Third 
 Organ, composed of a Twelfth, Fifteenth, Nineteenth, and 
 Twenty-second. The pipes are of tin and of small scale. All Pedal 
 Organ Mixtures which have no breaks or short ranks in their com- 
 pass are strictly Cornets. The largest and most remarkable ex- 
 ample of this class of compound stop is that in the Pedal of the 
 Organ in the Wanamaker Store in Philadelphia, Pa. It consists of 
 ten complete ranks of open metal pipes, yielding pure organ-tone, 
 the principal rank being a Diapason, 16 ft. As a corroborating 
 stop it belongs to the 32 ft. harmonic series, and comprises four 
 octave, two third-, and four fifth-sounding ranks as follows : 
 
 Pedal Organ Grand Cornet — X. ranks. 
 
 I. 
 
 Diapason 
 
 Metal. 
 
 16 feet 
 
 6. 
 
 Super-Octave 
 
 Metal 
 
 4 feet 
 
 2. 
 
 Quint . 
 
 (1 
 
 10% " 
 
 7- 
 
 Octave Tierce 
 
 (1 
 
 3H " 
 
 3- 
 
 Octave 
 
 II 
 
 8 
 
 8. 
 
 Twelfth 
 
 ti 
 
 2H " 
 
 4- 
 
 Tierce 
 
 41 
 
 eVi " 
 
 9- 
 
 Fifteenth . 
 
 II 
 
 2 
 
 5- 
 
 Octave Quint 
 
 II 
 
 SVs " 
 
 10. 
 
 Nineteenth 
 
 " 
 
 iH " 
 
 The compound tone of this stupendous Cornet is that of a mag- 
 nificent lingual stop, and when registered with the Double Dia- 
 pason, 32 ft., or the Contra-Bombarde, 32 ft., or with both, it 
 produces a majestic harmonic tonal structure impossible on any 
 other Pedal Organ ever constructed. The only other stop of the 
 same class, in any way approaching that just described, known to 
 us is the one labeled Grand Bourdon in the Organ in the Cathedral 
 of Riga. It is composed of the following five complete ranks of open 
 wood pipes: — Principal, 16 ft. — Quint, 10^ ft. — Octave, 8 ft. — 
 Tierce, 6% ft. — Super-octave, 4 ft. 
 
 Tonality and Registration. — The value of the compound 
 harmonic-corroborating Cornet of the Dulciana or Dolce class 
 in artistic registration depends entirely on its tonality — the product 
 of its correct composition, the scales of its several ranks, and, above 
 all, of its fine voicing, and the scientific graduation of the tones of all 
 its ranks and their breaks in accordance with the natural laws of 
 musical sounds. Provided the Cornet is correctly constructed along 
 all these lines, it is a stop to be treasured in every Organ in which it 
 is introduced; and will become the delight of the organist in his 
 registrations, forming with stops of all tonalities combinations of 
 rare beauty and charm. From long experience with just such a 
 Cornet we can speak with authority in this direction. We have 
 
78 ORGAN-STOPS 
 
 found it to combine with labial and lingual stops of different pitches, 
 producing numerous very beautiful compound tones which are ab- 
 solutely unknown to organists who preside at Organs unprovided 
 with such refined tonal aid; and which have only the crude and 
 screaming Mixtures which characterize the prevailing inartistic 
 and rule-of-thumb methods of organ tonal appointment. Before a 
 truly satisfactory condition of tonality, offering the maximum of 
 opportunity for artistic registration, obtains in the Organ, all the 
 compound stops — Cornets and Mixtures — must undergo a radical 
 change in treatment : more art and science must be concentrated on 
 their production, and more time and care must be devoted to their 
 correct regulation and graduation of tone. 
 
 CORNET A PAVILLON, Fr.— The name given by Cavaill^- 
 CoU to a lingual stop, of 8 ft. pitch, inserted in the Grand-Orgue of 
 the instrument constructed by him, in 1841, for the Royal Church 
 of Saint-Denis. The name was suggested by the form of the resona- 
 tors employed, just as in the case of the Flute A Pavillon, the 
 pipes of which are surmounted by bells. Another example exists in 
 the Organ in the Church of Saint Vincent de Paul, Paris. 
 
 CORNETTINO, Ital. Ger., Zink.— A lingual stop of 2 ft. 
 pitch, and necessarily of short compass. This favored its introduc- 
 tion in the Pedal Organ. An example, labeled Cornettino, exists 
 in the Erstes Pedal of the Organ in St. Paul's Church, Frankfurt am 
 Main, built by Walcker. Respecting this stop Schlimbach remarks : 
 "Cornettino. Ein Rohrwerk, sell das zu den Posaunen gebrauch- 
 liche, unter dem Namen Zinken bekannte Discantinstrument nach- 
 ahmen. Es ist klein, und soUte eigntlich nur durchs halbe Clavier 
 gehen, indem man keine Basszinken hat." See Zink. 
 
 CORNO DI BASSETTO, Ital.— Fr., Cor de Basset. Ger., 
 Bassethorn. — A lingual stop of 8 ft. pitch, the pipes of which are 
 formed, in most examples, after the fashion of those of the Clari- 
 net. Topfer describes the stop as made of labial pipes; but, in its 
 best form, it has always been a lingual stop, made with free- or 
 striking-reeds, preferably the latter. The stop is by no means a 
 common one and few examples are to be found. As a manual stop 
 it is to be found on the third manual of the Organ in the Cathedral 
 of Lund, Sweden. A fine example exists in the Solo of the Organ in 
 St. George's Hall, Liverpool; and we inserted one in the Expressive 
 First Subdivision (Wood-wind) of the Organ installed in the Fes- 
 tival Hall of the Louisiana Purchase Exposition. As a Pedal Organ 
 
PLATE II 
 
 fl 
 
 CORNO DI 
 
 BASSETTO 
 
 9 
 
 DIAPASON 
 
 12 
 
 DOLCAN 
 
 '17 
 
 flOte 
 a pa villon 
 
 'la 
 
 flCte 
 harmonique 
 
THEIR ARTISTIC REGISTRATION 79 
 
 stop of 8 ft. pitch it is introduced in the Organs in the Cathedrals of 
 Ulm and Riga. According to Hopkins, a stop labeled Corno Bass- 
 ETTO, Soprano, 32 ft., was to be found in the Organ in the Cathe- 
 dral of Como, but regarding the form of this stop we have been 
 unable to obtain information. 
 
 Formation. — The form of the Corno di Bassetto or Bassethorn seems to 
 have varied greatly in the hands of different organ-builders in Germany and else- 
 where on the Continent. Topfer describes it as made in the form of a labial stop : 
 while Locher describes it as a smooth-voiced stop made with free-reeds, and, as a 
 rule, without resonators, similar to the Physharmonika. In all probability, as 
 their voices are described to be of a "smooth reed-character," the stops in the Ulm 
 and Riga Organs are free-reeds with some form of resonators. But these matters 
 are now of very little practical value. 
 
 The Corno di Bassetto, 8 ft., in its best form, as made to-day, is a striking 
 reed, and, being of the Clarinet family, is commonly furnished with plain cylin- 
 drical resonators completely open at top, similar to that shown in Fig. 6, Plate I., 
 but properly of a larger scale, so as to develop a fuller tone than that of the Clari- 
 net. With a similar aim, we strongly recommend the addition of a resonant 
 chamber to the top of the cylindrical tube of the form shown in the drawing of the 
 complete pipe. Fig. 8, Plate 11. This should have a screw adjustment for regula- 
 tion, as indicated, and may be further provided with a shade for fine toning. 
 Although organ-builders will not look with much favor on this- form of resonator, 
 on account of its troublesome construction, yet every means should be adopted to 
 perfect a stop of such importance. It can be made one of the most beautiful 
 lingual stops in the Organ. While the reeds and their tongues generally resemble 
 those of the Clarinet in form and curvature, they should be slightly larger in all 
 directions, to accord with the larger scale of the resonators. Larger boots are also 
 to be recommended, for they have more influence on tone than is commonly under- 
 stood ; unfortunately large boots cost more than small ones. 
 
 Although no authority is furnished by an orchestral instrument, there seems 
 to be no reason why a very valuable voice should not be given to the Concert-room 
 Organ in the form of a Contra-Corno di Bassetto or Double Basset-Horn, 
 i6 ft. We are strongly in favor of such a stop being introduced in every Concert- 
 room Organ just as it has been in the Organ in the Centennial Hall, Sydney, N. S. 
 W. A beautiful family might be created by the addition of an Octave Basset- 
 Horn, 4 FT. 
 
 Tonality and Registration. — The orchestral Corno di Bass- 
 etto is, strictly considered, a Tenor Clarinet with a compass from 
 FF to c^, but its tone is fuller and of richer reedy quality; and this 
 has to be produced very clearly in the organ stop, so as to differ- 
 entiate it distinctly from the Clarinet. Voiced by a master-hand 
 and with this aim, the Corno di Bassetto becomes invaluable as a 
 timbre-creator in artistic registration, combining perfectly and 
 prodvicing a beautiful series of tones with all classes of labial stops, 
 including such a compound stop as the Dulciana Cornet (g. v.). 
 The stop should be carefully developed by artistic voicers, and it 
 
8o ORGAN-STOPS 
 
 should find a place in every important Organ. In the properly ap- 
 pointed Concert-room Organ its place is in the division appropriated 
 to the stops representing the wood-wind forces of the grand orches- 
 tra. There its voice would be valuable both in tonal massing and as 
 a solo. One has only to turn to the compositions of Mozart and 
 Mendelssohn to realize the high estimation in which these masters 
 held the tones of the Como di Bassetto. 
 
 CORNO DOLCE.— The name given to a stop of 8 ft. pitch, con- 
 structed of inverted conical pipes, after those of the Dolce or Dol- 
 CAN. The name is misleading, for the tone of the stop has no horn 
 quality, inclining, on the other hand, to a flute-tone. It is not a 
 common stop, having nothing characteristic to recommend it. A 
 few examples exist in English Organs, as in the Organ in the Free 
 Trade Hall, Manchester. 
 
 CORNO FLUTE.— This name has been given to two widely 
 different stops, to neither of which it can be said to be highly appro- 
 priate; the two constituents forming it conflicting in a tonal sense. 
 The original Corno Flute is a lingual stop of 8 ft. pitch, formed 
 with resonators of wood, and voiced to yield a quiet tone inclining 
 to an Oboe quality. It was invented by the distinguished London 
 organ-builder, William Hill. An example of this stop exists in the 
 Organ in the Church of St. Olave, Southwark, Surrey. 
 
 The second form, of later date, is a metal labial stop of 8 ft. 
 pitch, invented by Herbert Norman, organ-builder, of Norwich. 
 The name, in this instance, seems to have been given to the stop 
 on account of the Horn-like tonality in its tenor portion and the soft 
 fluty character of its higher octaves. We are not surprised at this 
 tonal peculiarity, for we have long been of the opinion that the 
 characteristic tones of the orchestral Horn will be most successfully 
 imitated by labial pipes.* 
 
 CORNO INGLESE, Ital.— A lingual stop, of 8 ft. pitch, yield- 
 ing a reedy tone in imitation of that of the orchestral instrument 
 bearing the same name. For particulars respecting the stop, see 
 Cor Anglais. 
 
 CORNOPEAN.— A lingual stop of 8 ft. pitch, the tone of which 
 is intended to imitate that of the brass, wind-instrument originally 
 called Cornopean, but now known as the Comet k Pistons (Fr.). 
 
 * The stop in our Chamber Organ, of the Keraulophone class, was named by us Corno di 
 Caccia because of the remarkable imitation of the Horn tones it yielded in its tenor and middle 
 octaves. 
 
THEIR ARTISTIC REGISTRATION 8i 
 
 Stone describes the instrument as "intermediate between the 
 French Horn, Trumpet, and Bugle"; and this description would 
 point to the quality of tone desirable in the Cornopean of the 
 Organ, but which very rarely attends it. 
 
 The Cornopean was invented by the distinguished organ- 
 builder William Hill, of London, and was introduced in several of his 
 organs. The firm placed one in the Swell of the Organ in the Cen- 
 tennial Hall, Sydney, N. S. W. When made and voiced by a master- 
 hand the stop is distinct and agreeable, occupying a place, tonally, 
 between the Trumpet and the Horn. The resonators of the Corno- 
 pean are, like those of the Trumpet, inverted conical in form, and 
 vary considerably in scale, according to the quality and strength of 
 voice aimed at. The reeds should be of the closed variety; and the 
 tongues should be thick and carefully curved to produce a tone free 
 from the brassy clang of the Trumpet, but of a firm and singing 
 quality. There is no question respecting the value of a fine lingual 
 stop, having such an intermediate voice, in refined and expressive 
 registration in which the assertive clang of the Trumpet would be 
 destructive and that of the Horn too dead. In the properly ap- 
 pointed Concert-room Organ the Cornopean should find its place 
 in the division appropriated to the brass-wind stops. 
 
 Locher describes the Cornopean as " an 8 ft. labial stop of horn- 
 like tone." AUihn describes it much in the same manner in the 
 following words: "Cornopean (ital.), Paanshom, ein veraltete 
 Labialstimme von homartigem Ton. Zu deutsch etwa : Jubelhorn." 
 
 COPULA, Lat. — Ger. Koppel. — This term is used in two senses 
 in German organ nomenclature. It alludes to the mechanical appli- 
 ance, commonly known as the coupler, which connects claviers or 
 other portions of an Organ together temporarily. It is also applied 
 to certain labial stops having a tonality which seems to have the 
 property of binding together in a harmonious manner extreme voices 
 of other stops. The Koppelflote is an example. See Koppel. 
 
 CREMONA. — This very meaningless and inappropriate name 
 for an organ stop — labial or lingual — is obviously a corruption. 
 Hawkins, in his "History of Music," says: "The names and de- 
 scriptions of several musical instruments instruct us as to the nature 
 and design of many Stops in the Organ, and what they are intended 
 to imitate. For instance, in the Krummhorn, the tone of it origi- 
 nally resembled that of a small Cornet, though many organ-makers 
 have corrupted the word into Cremona, supposing it to be an imita- 
 tion of the Cremona Violin." 
 
82 ORGAN-STOPS 
 
 Max Allihn gives a more sensible usage of the term in the follow- 
 ing words: "Cremona bedeutet eine Labialstimme von streichen- 
 dem Tone. Die Cremonesergeige wird in Frankreich kurzweg Cre- 
 mona genannt. ' ' Under any conditions, the name of a town must be 
 inappropriate for an organ-stop, although not more so than the 
 name of a person written backwards, which has recently been added 
 to the list of stops. Such a method of naming is ridiculous and 
 should be discontinued. Surely the name of an organ-stop should 
 either indicate tone or some special formation of its pipes. 
 
 CROMORNE, Fr.— Ger., Krummhorn. — The name used by 
 French and German organ-builders to designate a lingual stop, the 
 tone of which somewhat resembles that of the Clarinet, but with a 
 smoother and mournful character. It is commonly of 8 ft. pitch. 
 Seidel, in his remarks on the Krummhorn, says: "Properly 'CoR- 
 MORNE,' from cor 'horn' and morne 'mournful, still, soft,' signifying 
 a soft, quiet Horn, is a lingual stop of a delicate intonation, of 8 ft. 
 or 4 ft. pitch, of tin or pipe metal, open or shaded, and sometimes 
 formed of small-scaled cylindrical pipes ' ' (like the Clarinet) . This 
 stop has been constructed in imitation of an old instrument, called 
 the Krummhorn (crooked horn), which had six holes, and was, at its 
 lower end, bent in the form of a half circle. 
 
 The Cromorne, 8 ft., has long been a favorite stop with the 
 French organ-builders. It appears in the Positif of the Organs in 
 the Royal Church of Saint-Denis; the Cathedral of Chartres; and 
 the Basilique du Sacr^-Coeur, Paris: in these Organs there is no 
 Clarinet. It is inserted in the Recit of the Organ in the Church of 
 Saint-Sulpice, Paris, in which there is no Clarinet: and in the 
 Recit, along with the Clarinet, in the Organ in the Conservatoire 
 Royal de Musique, Brussels. It occupies a place, along with th^ 
 Clarinette -Basse, i6 ft., and Clarinette-Aigue, 4 ft., in the 
 Positif of the Organ in the Cathedral of Notre-Dame, Paris. It is 
 inserted in the Positif of the Concert-room Organ in the Palais du 
 Trocadero, Paris; and in the Positif Expressif of the Organ in the 
 Albert Hall, Shef3&eld. We are not aware of any stop under the 
 name Cromorne, or having the characteristic tonality of the French 
 stop, having been inserted in an Organ constructed in England or 
 America. It may be taken for granted that unless the Cromorne 
 had been found valuable in registration by French organists, and 
 held in high estimation by such distinguished organ-builders as 
 Cavaill6-Coll, Merklin, Abbey, and Mutin, it would not have been 
 so systematically inserted in almost all the more important Organs 
 
THEIR ARTISTIC REGISTRATION 83 
 
 constructed in France. Such being the case it is worthy of considera- 
 tion as to the desirability of adding such a stop to the tonal appoint- 
 ment of the Organ of the Twentieth Century. To us it would seem 
 highly desirable.* 
 
 CYMBAL.— Fr., Cymbale. Ger., Cymbel, Zymbel. Ital., 
 CiMBALO. — The name used to designate a compound harmonic- 
 corroborating stop, usually composed of from four to seven ranks 
 of open, organ-toned pipes, of high pitch, breaking at every octave. 
 Its ranks are alternately octave- and fifth-sounding. Its name was 
 suggested by the likeness of its compound tone the clang of the or- 
 chestral Cymbals. Such a tone would seem at variance with the 
 harmonic-corroborating office of the stop; and as noise — even if it is 
 musical noise — is not desirable in any form of musical instrument, 
 there would seem to be little in favor of introducing so space-taking 
 and costly a stop in the Organ. The Cymbale seems, however, to 
 have been esteemed for some reason by the great French organ- 
 builder Cavaill^-Coll. In the Organ in the Royal Church of Saint- 
 Denis there is a Grosse Cymbale, of four ranks, and a Cymbale, 
 also of four ranks, in the Grand Orgue; and a Cymbale, of four 
 ranks in the Positif. In the Organ in the Church of Saint-Sulpice 
 there is a Cymbale of five ranks in the R^cit Expressif. In the Con- 
 cert-room Organ in the Albert Hall, Sheffield, there is a Cymbale of 
 four ranks in the Grand Orgue (Premier Clavier). There is a re- 
 markable example, of seven ranks, in the Concert-room Organ in 
 the Music Hall, Cincinnati; the composition of which is here given: 
 
 Cymbal — VII. ranks. 
 
 CC to BB . . 15 — 19 — 22 — 26 — 29 — 33 — 36. 
 
 C to B . . 12 — 15 — 19 — 22 — 26 — 29 — 33. 
 
 C to b' . . . 8 — 12 — 15 — 19 — 22 — 26 — 29. 
 
 c= to b' . . . . I — 5 — 8 — 12 — 15 — 19 — 22. 
 
 c-s to ci . . . DOUBLE — I— 5 — 8 — 12 — 15 — 19. 
 
 * "Le Cromorne (de I'allemand Krumm-Horn, Cornu torse), est encore un quatre-pieds qui 
 en forme huit, en raison de sa forte languette. On conQoit que, n'ayant pas la hauteur de tuy- 
 aux que comporte son ton, il rende des sous n6cessairement moins forts que la Trompelte, ou la 
 hauteur et le ton se trouvent d'accord. C'est n^anmoins le meilleur des jeux d'anches acces- 
 soires. II a le timbre clair, plus nourri que le Haulbois, tenant du Cor anglais et de la Clarinette 
 avec une teinte plus m^tallique et une certaine mollesse g utturale qui n'est pas sans gr&ce et qu'ou 
 nomme cruchement. La difi[icult6 est d'obtenir cet eflet k son point; avec trop de mollesse, le 
 Cromorne r41e ; avec trop de raideur, au lieu de crucher, il crache. . . . On peut le placer li tous 
 les claviers en lui donnant des tallies diverses, tnais il ne faut pas les jouer ensemble: leur timbre 
 est trop saillant et nerveux pour bien s'accorder 6n se doublant lui-m6me. II ne pourrait pas 
 mfime se poser en p6dale pour appuyer son chant au grand orgue; quoique, en tout autre cas, 
 isol6 en p^dale. il puisse faire bon effet, ici 6videmment le Cromorne en p^dale d^truira le peu 
 d'int^rSt qu'offre le Cromorne manuel. M616 i quelques fonds, il perd son 4pret6 et se prfit" 
 
84 ORGAN-STOPS 
 
 The Cymbal does not appear to have assumed any importance 
 in the practice of the organ-builders of Germany: we have, after a 
 somewhat hurried review, been able to find one instance of its intro- 
 duction. The stop appears on the Erste Manual of the Organ built 
 by Friedrich Ladegast for the Cathedral of Schwerin in 187 1. It is 
 described thus: "Cymbel 3 fach, 14 lothig; einen halben Ton enger 
 als, Mixtur grosster Chor 2': c' — g' — c^ repetirt nur einmal." 
 
 CYMBELREGAL, Ger.— An obsolete lingual stop, of either 4 
 ft. or 2 ft. pitch; the tone of which was of a metallic and ringing 
 character. See Regal. 
 
 CYMBELSTERN, Ger.— Literally Cymbal-star. This so-called 
 organ-stop, which was merely a mechanical device actuated by the 
 organ-wind, has been properly classed among the several puerilities 
 of old German organ-building. It was in the form of a star, to the 
 points of which small bells or metallic "jingles" were attached. 
 When caused to revolve, at the will of the organist, it gave forth a 
 tinkling sound. A few examples are said to exist; as in the Organs 
 in the Cathedral of Mersebtu-g; the Abbey Church, Weingarten; and 
 the Church of Waltershausen, near Gotha. 
 
 D 
 
 DECIMA, Ital. — The term used by Italian organ-builders to 
 designate the Tierce or Tenth, 3)^ ft. The following terms are 
 used by them for other harmonic-corroborating stops: Decima 
 QuiNTA — the Fifteenth, 2 ft.; Decima Settima — the Seven- 
 teenth, i^ FT.; and Decima Nona — the Nineteenth, iJ^ ft. 
 
 DIAPASON.— Ger., Prinzipal. Ital., Principale. Fr., Mon- 
 tre. — The word employed by the early English organ-builders, and 
 commonly qualified by the prefix Open, to designate the stop yield- 
 ing the foundation tone of the Organ; and which has been retained, 
 with the same signification, by English-speaking organ-builders to 
 the present day. In the term Diapason Normal it is used in the 
 sense of a standard of pitch. The word is derived from the Greek 
 Siaitaauv, the concord of the first and last tones. In Latin it 
 signifies an octave. 
 
 souvent mieux que les grands jeux d'anches h la diversity des expressions. M£lang6 avec une 
 Fiate ou un Bourdon de huit, ses notes sup6rieures imitent jusqu'^i un certain point la Clarinette; 
 avec le Preslanl, ses notes inf^rieures jouent le Basson. Le Cromorne, chantant k plusieurs par- 
 ties, les laisse ressortir toutes; avantage qui manque souvent ^ la Trompelte, dont les basses 
 ^crasent les dessus ; certains organistes I'accouplent ^ un Nasardy pour lui donner plus d'^nergie 
 mais seulement dans le cas oi il parle avec les f onds." — Regnier. 
 
THEIR ARTISTIC REGISTRATION 85 
 
 As a name for an organ-stop the word does not seem highly ap- 
 propriate, and we much prefer the more expressive one, Principal; 
 but it is not likely that the time-honored word will ever be altogether 
 abandoned. Under certain conditions, and for the sake of distinc- 
 tion, tonally, it may be desirable to use both words in the same stop 
 appointment. 
 
 Pitch. — -The stop appears in the Pedal Organ in two pitches — 
 32 ft. and 16 ft. When of the former pitch it is properly termed 
 Double Diapason, 32 ft. ; and when of the latter it may be simply 
 termed Diapason, its unison pitch being understood. In the Organs 
 commanded by the manual claviers it also appears in two standard 
 pitches — 16 ft. and 8 ft. When of the graver pitch it is correctly 
 termed Double Diapason, 16 ft.; and when of 8 ft. pitch it is 
 simply termed Diapason, its unison pitch being understood. In 
 preparing an Organ Specification, the pitches of all the Diapasons 
 must be given. 
 
 Formation. — The pipes of the Diapason are cylindrical in form and of large 
 scale, as shown in proper proportions in Fig. 9, Plate II. ; and when properly made 
 are of good pipe-metal, of ample thickness to withstand firmly the vibrations of the 
 air within them while speaking. The desire to save money has led to the use of 
 undesirably thin metal, as well as metal of inferior and insufficient quality. Such 
 a practice should be rigorously condemned and guarded against by every one 
 specifying or purchasing an Organ. It is impossible to obtain the necessary full 
 and firm foundation tone, characteristic of the perfect Diapason, from pipes con- 
 structed of poor or thin metal. The thickness of the upper lip of the mouth, 
 securing perfect rigidity and favoring correct and artistic voicing, is a factor of the 
 greatest importance. Different metals have been and still are being used in the 
 formation of the pipes of this important stop. The old builders used tin almost 
 pure, or very rich alloys of tin and lead; and, accordingly, we find, as in the cele- 
 brated Haarlem Organ, pipes one hundred and eighty years old in perfect condi- 
 tion to-day. How many Diapasons, constructed of poor, thin pipe-metal or zinc, 
 as commonly placed in modem Organs, will be found in good condition after the 
 lapse of even half that length of time? Whatever the metal or alloy may be, it is 
 essential that it be of ample thickness. This is particularly the case when cast 
 alloys of tin and lead are used, such as the different grades of spotted-metal. Even 
 when hard rolled metals are used, such as zinc or the Hoyt two-ply metal, the 
 matter of adequate thickness must be carefully attended to. Organ-builders, 
 depending upon the firmness of rolled zinc, combined with the desire to save 
 money, have very commonly used it of too thin gauges for Diapason pipes, in- 
 serting lips of spotted-metal or some such alloy. We strongly advise the disuse of 
 zinc for Diapason stops of 8 ft. pitch, but in the 16 ft. octave of the Double Dia- 
 pason it may be used if of ample thickness. Zinc may, with advantage, be used 
 for the feet of heavy pipes, provided they are properly lipped and toed with good 
 pipe-metal. The following Table may be accepted as a reliable guide, showing 
 the minimum desirable thicknesses of good spotted-metal for Diapason pipes. 
 The thicknesses are given in thousandths of an inch, and these are carried through 
 
86 
 
 ORGAN-STOPS 
 
 seven octaves, and are calculated on a scale for the CC pipe, 8 feet, not exceeding 
 seven inches in diameter, voiced on a wind-pressure not exceeding six inches. 
 
 TABLE SHOWING MINIMUM THICKNESSES OF GOOD SPOTTED- 
 METAL FOR DIAPASON PIPES. 
 
 
 i6' 
 
 8' 
 
 4' 
 
 2' 
 
 i' 
 
 6" 
 
 3" 
 
 c 
 
 O.IIO 
 
 0.080 
 
 0.065 
 
 0.055 
 
 0.040 
 
 0.030 
 
 0.025 
 
 c# 
 
 O.IIO 
 
 0.080 
 
 0.065 
 
 0.050 
 
 0.040 
 
 0.030 
 
 0.025 
 
 D 
 
 0.105 
 
 0.080 
 
 0.065 
 
 0.050 
 
 0.040 
 
 0.030 
 
 0.025 
 
 DS 
 
 0.105 
 
 0.075 
 
 0.060 
 
 0.050 
 
 0.040 
 
 0.030 
 
 0.025 
 
 E 
 
 0.1 00 
 
 0.075 
 
 0.060 
 
 0.050 
 
 0.040 
 
 0.030 
 
 0.020 
 
 F 
 
 O.IOO 
 
 0.075 
 
 0.060 
 
 0.050 
 
 0.040 
 
 0.030 
 
 0.020 
 
 n 
 
 0.095 
 
 0.070 
 
 0.060 
 
 0.045 
 
 0.035 
 
 0.030 
 
 0.020 
 
 G 
 
 0.095 
 
 0.070 
 
 0.060 
 
 0.045 
 
 0.035 
 
 0.030 
 
 0.020 
 
 G# 
 
 0.090 
 
 0.070 
 
 0.055 
 
 0.045 
 
 0.035 
 
 0.025 
 
 0.020 
 
 A 
 
 0.090 
 
 0.070 
 
 0.055 
 
 0.045 
 
 0.035 
 
 0.025 
 
 0.020 
 
 A# 
 
 0.085 
 
 0.065 
 
 0.055 
 
 0.045 
 
 0.035 
 
 0.025 
 
 0.020 
 
 B 
 
 0.085 
 
 0.065 
 
 0.055 
 
 0.045 
 
 0.035 
 
 0.025 
 
 0.020 
 
 If the Hoyt hard-rolled two-ply pipe-metal is used, the Table may be started, 
 for the CC, 8 ft., pipe, at gauge 0.070. 
 
 Scale. — The scaling of the Diapasons in Organs of the different 
 classes, and which are to be heard under different conditions, re- 
 quires the careful consideration of the organ expert. When two or 
 more Diapasons are inserted in an Organ, either in one or separate 
 Divisions, they should be scaled differently, so as to aid the voicer 
 in the production of the desirable diversity of tone. Large and in- 
 ordinate scales have been used by certain organ-builders, apparently 
 with the view of producing great volumes of sound, but the undue 
 preponderance of the bass destroyed their general tonal value. As 
 the true bass of the Organ obtains in the pedal department, the 
 value of the tenor and higher octaves of the manual stops, and of the 
 Diapasons in particular, should not be overshadowed by any ab- 
 normal development of the bass octave. Even under the most 
 scientific treatment the trebles of the finest Diapasons are unde- 
 sirably weak in proportion to their basses. The tonality of the 
 tenor and middle octaves have to be taken most care of by judicious 
 scaling and artistic voicing. Experience has gone far to prove that 
 nothing is gained by using a larger scale than 7 inches in diameter 
 for the CC, 8 ft., pipe. Indeed, Edmund Schulze, of Paulinzelle, the 
 artist representing the best school of German organ-building of the 
 nineteenth century, and who did much splendid work in England; 
 
THEIR ARTISTIC REGISTRATION 87 
 
 maintained that for the chief Diapason of the largest Church Organ, 
 6>^ inches in diameter was the extreme scale for its CC pipe, pro- 
 vided it was properly voiced. The CC pipe of his superb Diapason 
 in the Organ in the Parish Church of Leeds, Yorkshire, is only 6]^ 
 inches in diameter; yet the stop is the grandest of its class known to 
 us. The same scale appears in his celebrated Diapason in the Organ 
 in the Church of St. Mary, Tyne Dock. Equal in importance to the 
 measurement of the scale is its ratio. That favored by the great 
 German builders Sauer, Ladegast, Walcker, Reubke, and Schulze, 
 and adopted by the last named for Ins Diapasons in the Leeds and 
 Tyne Dock Organs, is the ratio i : V 8, which halves on the sixteenth 
 step or seventeenth pipe. We, however, prefer the ratio i : 2.66, 
 which halves on the eighteenth pipe, favoring a slight increase of 
 tone in the treble, always desirable. The following Tables give de- 
 sirable scales for Diapasons suitable for Concert-room, Church, 
 and Chamber Organs, voiced on winds of proper pressures : 
 
 TABLE OF DIAPASON PIPE DIAMETERS IN INCHES, RATIO i : -^T. 
 
 PIPES 
 
 CC 
 
 C 
 
 C 
 
 c' 
 
 C3 
 
 C4 
 
 I.— 
 
 6.60 
 
 3-93 
 
 2-33 
 
 1-39 
 
 0.82 
 
 0.49 
 
 II.— 
 
 6.32 
 
 3 76 
 
 2.23 
 
 1-33 
 
 0.79 
 
 0.47 
 
 III.— 
 
 6.06 
 
 3.60 
 
 2,14 
 
 1.27 
 
 0.76 
 
 0-45 
 
 IV.— 
 
 5- 56 
 
 330 
 
 1.96 
 
 1.16 
 
 0.69 
 
 0.41 
 
 v.— 
 
 5.10 
 
 3- 03 
 
 1.80 
 
 1.07 
 
 0.64 
 
 0.38 
 
 OP DIAPASON PIPE DIAMETERS IN INCHES, 
 
 RATIC 
 
 PIPES 
 
 CC 
 
 C 
 
 c 
 
 c = 
 
 C3 
 
 C4 
 
 I.— 
 
 6.68 
 
 4. 10 
 
 2-51 
 
 1-54 
 
 0.94 
 
 0.58 
 
 II.— 
 
 6.42 
 
 3-94 
 
 2.41 
 
 1.47 
 
 0.91 
 
 0-55 
 
 III.— 
 
 6.06 
 
 3.78 
 
 2.31 
 
 1.42 
 
 0.87 
 
 0-53 
 
 IV.— 
 
 5-56 
 
 3-34 
 
 2.05 
 
 125 
 
 0.77 
 
 0.47 
 
 v.— 
 
 5.10 
 
 3 08 
 
 1.89 
 
 1 15 
 
 0.71 
 
 0-43 
 
 Tonality. — The true tone of the Diapason is that which is 
 peculiar to and characteristic of the Organ, and which cannot be 
 produced by any other musical instrument. When at its best, it is 
 singularly pure and simple, being, like the normal tone of the tuning- 
 fork, almost entirely free from harmonic over-tones or upper partials. 
 It is this fact that makes the true Diapason ineffective as a melodic 
 stop, played in single notes ; while played in full chords its tones are 
 rich and impressive and generally beautiful. If prolonged, however, 
 it becomes cloying and palls upon the ear. It is this simple quality 
 which makes the Diapason tone the proper foundation of the tonal 
 structure of the Organ; upon which may be laid tonal combinations 
 of endless variety and beauty. 
 
88 ORGAN-STOPS 
 
 The following remarks from the pen of Professor R. H. M. 
 Bosanquet, an authority on tonal matters, are of interest : 
 
 "The scales, character, and voicing of the Open Diapason vary with 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 England were characterized by a rich sweet tone, and were not very powerful. 
 They were generally voiced on a light wind, having a pressure equivalent to that 
 of a column of water of from 2 to 2 J^ inches. The scale was in some cases very 
 large, as in Green's two Open Diapasons in the old Organ at St. George's, 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 Father Smith's original Diapasons in St. 
 Paul's Cathedral. But on the whole the old English Diapasons presented a lovely 
 quality of tone. English travelers 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 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 disappear- 
 ance of the old diapason-tone. However, it is possible with care to obtain Dia- 
 pasons presenting the sweet characteristics of the old English tone, combined with 
 sufficient fullness and power to form a sound general foundation. And there can 
 be no doubt that this should be one of the chief points to be kept in view in organ 
 design. 
 
 " The German Diapason was of an entirely different character from the Eng- 
 lish. 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 founda- 
 tion-work of comparatively great power was required to maintain the balance of 
 tone; the ordinary German Diapason was very loud, and we may say coarse, in 
 its tone when compared with the old English Diapason. The German stop was 
 voiced as a rule on from 3 /^ to 4 inches of wind, not quite twice the pressure used 
 in England. 
 
 " The French Diapason is a modem variety. It may be described as present- 
 ing 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 ' tinny ' 
 or metallic; or as approaching to that of a string instrument of rather coarse 
 character. Some modem English builders appear to aim at the same 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 con- 
 dition in conjunction with the requirement that the tone shall be full and of agree- 
 able quality."* 
 
 That we agree with everything stated by Professor Bosanquet is 
 proved by every word we have written on the subject during the 
 past forty years. Unquestionably, to the lover of sweet sounds — 
 which we claim to be— the true English diapason-tone is the most 
 lovely; that of the French Montre the most unsatisfactory : yet to 
 
 * Encyclopsedia Britannica: Ninth Edition. "Organ." 
 
THEIR ARTISTIC REGISTRATION 89 
 
 French ears, and those satisfied with power rather than refinement 
 of tone, it seems to be agreeable. Different tastes are born and 
 fostered under different conditions. 
 
 Voicing and Regulating. — As there are various tones produced 
 by stops labeled Diapason, so there are different schools of voicing, 
 not only peculiar to different countries but to varied classes of 
 voicers. Such being the case, it is obvious that no standard of dia- 
 pason- or pure foundation organ-tone has been in any way estab- 
 lished, or even suggested, in modern organ-work. Yet it must be 
 admitted that for such an all-important foundation organ-tone a 
 well-defined standard should be set and universally adopted. 
 
 At the present time, when wind-pressures of great variety are 
 used at the caprice of organ-builders, it seems a hopeless thing to 
 look for anything approaching a standard diapason-tone. As Pro- 
 fessor Bosanquet has pointed out, it has ranged in the past from the 
 refined and beautiful tones of the true English Diapasons, on 
 through the loud and coarse tones of the German Principals, to 
 the stringy and unsympathetic voices of the French Montres. 
 While it is obviously desirable that when two or more Diapasons 
 are inserted in an Organ, they should be of different scales, and 
 voiced to produce varied strengths and, within due limits, different 
 tints of true organ-tone ; there is certainly no call for them to yield 
 the coarse German quality, on the one hand, or the dry, "tinny," 
 or gambaish tonality favored by the French voicers, on the other 
 hand. 
 
 Scale, of course, is a matter of great importance, but it must be 
 conceded that other conditions are of equal, if not of greater, im- 
 portance in the production of true diapason-tone. These conditions 
 may be embraced under the general term Voicing, which includes 
 wind-pressure, wind-supply, and the artistic treatment of the mouth 
 and top of every pipe. First in order is the proper wind-pressure. 
 Experience has shown that for the production of the pure, smooth, 
 and beautiful tone characteristic of the true English Diapason, a 
 moderate wind-pressure is essential, accompanied by a copious 
 supply. The finest Diapasons in existence to-day speak on wind 
 of from 3 to 5 inches. For instance, the grandest and most beautiful 
 Diapason known to us is the larger of the two, made by Schulze, 
 in the Great of the Organ in the Parish Church of Leeds, already 
 alluded to, which speaks on a copious wind-supply of only 3^ inches 
 pressure. It is just worth while stating, as a lesson to voicers hit by 
 the high-pressure craze of the present time, the several pressures 
 used in this fine instrument, which owes so much of its grandeur and 
 
90 ORGAN-STOPS 
 
 beauty to the genius of Schulze. All the stops of the Pedal Organ 
 with its 32 ft. and 16 ft. reeds, are on wind of 3^ inches. The stops 
 of the Great Organ, with the exception of the Posaune, are on wind 
 of 3^ inches; the Posaune being on wind of 7 inches. The Swell 
 Organ is on wind of 3 inches; the Choir Organ is on wind oi 2]/^ 
 inches ; the Solo Organ, with the exception of the Tuba, is on wind 
 of 5 inches, the Tuba being on wind of 8 inches; and the Echo Organ 
 is on wind of i3^ inches. Although tonally appointed and appor- 
 tioned in the "good old-fashioned way," this instrument is par ex- 
 cellence a Church Organ; dignified and refined in tone, and admirable 
 in its fundamental office — the accompaniment of the musical service. 
 The Organ comprises 77 speaking stops, 1 1 of which are in the Pedal ; 
 having in all 5,060 pipes. 
 
 Careful experiment and observation go to prove that in the pro- 
 duction of a pure, pervading, and musically perfect normal diapason- 
 tone (or organ-tone) a volume of, and not high-pressure, pipe-wind 
 is the principal factor. The loud and coarse tones which character- 
 ize the great majority of the modern Diapasons voiced on winds of 
 undue pressures, have nothing like the pervading, traveling, and 
 sympathetic qualities and powers of the stops artistically voiced on 
 a copious supply of low-pressure wind. 
 
 It is somewhat surprising that the French voicers have so utterly 
 failed in realizing the value and beauty of the English diapason-tone. 
 They seem to have been satisfied with the cutting, "tinny, " tone of 
 their Montres. Even the great Cavaill^-Coll apparently did not 
 aim at anything better : and much of the stringy tonality of his stops 
 is due to the practice, he invariably followed, of slotting his pipes at 
 the top, for convenience in tuning. The true English Diapason 
 was never slotted; and no Diapason ever should be. Let modern 
 voicers take note of these important facts. 
 
 A certain method of voicing Diapasons has been introduced 
 during recent years, and is now practised by a certain class of voicers 
 — a method which we would never allow to be used in any Organ 
 over the construction of which we had any control. We allude to 
 the leathering of the upper lips of the pipes, with the view of im- 
 parting to them the necessary thickness and the desirable roundness 
 and smoothness. It is claimed, by the organ-builders who resort to 
 it, to greatly improve the tones of their pipes. Probably it does in 
 comparison with the tones produced by the unduly thin pipe-metal 
 they may have been accustomed to use. None of the great and 
 truly artistic organ-builders have resorted to this cheap and un- 
 desirable expedient. Let the mouths of the pipes be properly 
 
THEIR ARTISTIC REGISTRATION 91 
 
 formed with lips of sufficient thickness, as in old work and in that of 
 the great builders, and let their upper lips be properly adjusted and 
 smoothly rounded and there will be no necessity for leathering. We 
 presume the question of durability does not trouble the organ- 
 builder who calculates that the leathering will, in all probability, 
 outlast the rest of his lifetime ; but the question is of great impor- 
 tance to the Organ Committee or purchaser of the Organ. In what 
 condition would the Diapasons of the celebrated Haarlem Organ 
 be in to-day had its builder used thin metal, and leathered the 
 mouths of their pipes, in the money-saving method now in vogue? 
 We unhesitatingly affirm that the fine work of the past proves that 
 there is not the slightest excuse for leathering the lips of organ-pipes : 
 and the objectionable practice should be discountenanced by every 
 purchaser of an Organ. If a very thick and well-rounded lip is 
 desired, let a strip of pipe-metal be folded — just as the leather is 
 folded — and slipped on the upper lip and soldered in position. This 
 method would be most efficient, but unless imperatively specified 
 there would be no chance of its being adopted by the organ-builder 
 or voicer. Let lips of sufficient thickness be furnished, as in old 
 work, and let a proper school of voicing, on winds of moderate pres- 
 sures, be instituted, and there will be no need to resort to objec- 
 tionable and perishable leathering for the production of perfect 
 diapason-tone. 
 
 Next in importance to the production of a pure and beautiful 
 diapason-tone is its perfect regulation. This is a matter requiring a 
 sensitive ear and the expenditure of considerable time. Accordingly, 
 it is very seldom that one finds a Diapason accurately and artist- 
 ically regulated throughout its compass. Perfect regulation is essen- 
 tial to the beauty of an Organ; for a few badly regulated stops will 
 go far to destroy that beauty : this will especially be the case if the 
 Diapasons are not properly regulated, with due regard to an effec- 
 tive balance of tone in the treble octaves. There is always a ten- 
 dency to undesirable preponderance of tone in the bass octave; and 
 this should be overcome to as large an extent as possible both in the 
 voicing and regulating. A perfect Diapason is a work of science and 
 art that any pipe-maker and voicer may point to with justifiable 
 pride. 
 
 Combination and Registration. — The diapason-tone is to the 
 tonal structure of the Organ what the solid foundation of a building 
 is to its superstructure. As has already been stated, the pure organ- 
 tone yielded by the true and properly-voiced Diapason is simple in 
 its nature: and such being the case, it naturally lends itself to en- 
 
92 OAGAN-STOPS 
 
 richment by the addition of those tones which, by their presence, 
 impart so great a charm and beauty to the compound sounds of the 
 stringed instruments of the orchestra and the cultivated human 
 voice. Accordingly, to the simple prime tone of the Diapason must 
 be added a superstructure of upper partials or harmonic over-tones, 
 scientifically graduated in strength in accordance with the natural 
 laws of musical sounds. For this purpose are introduced in the 
 properly-appointed Organ the several derivatives of the Diapason 
 — the Octave, Mutation, and compound harmonic-corroborating 
 stops. A deficiency in any one of these classes seriously impairs 
 the desirable range of compound diapason-tones; and, accordingly, 
 divests the Organ proper of much of its usefulness and beauty. 
 This important fact is too largely neglected in the tonal appointment 
 of modem Organs. For the production of the various colors of 
 foundation-tone, not only have greater or lesser proportions of these 
 different harmonic-corroborating stops to be added to the Diapason; 
 but greater or lesser strengths in their voices are required. This 
 latter requirement points conclusively to the necessity for their tonal 
 control, through their inclosure in a swell-box. The numerous modes 
 of combining the Diapason and its harmonic derivatives alone, may 
 be classed under the term Diapason Registration. 
 
 In artistic registration the Diapason has a very important r61e; 
 for upon its foundation tone can be built an infinite ntunber of effec- 
 tive and beautiful combinations — the most dignified and impressive 
 the properly-appointed Organ places at the command of the musi- 
 cian. Colorings derived through combinations with flute-, string-, 
 reed-, and brass-toned stops are simply endless in their variety. 
 Indeed, registration on the foundation of the diapason-tone is a 
 study in itself, worthy of the organist's earnest attention ; for upon it 
 is based the entire fabric of artistic organ tonal combination. Such 
 registration and the tonal effects it produces belong exclusively to 
 the Organ. 
 
 Tuning. — The tuning of Diapason pipes deserves the attention 
 of those interested in artistic and good organ-building. The practice 
 of tuning such pipes by means of slotting them near their open ends, 
 so commonly adopted by the French organ-builders, is to be con- 
 demned on the ground that such slotting seriously injures the true 
 diapason-tone. Coning, which either expands or contracts the open 
 ends of the pipes, — flattening or sharpening their tones, — has, from 
 old times, been commonly adopted in tuning pipes of the Diapason 
 class from tenor C (4 ft.) upwards; but the practice has nothing to 
 recommend it save convenience. It is not desirable on tonal grounds, 
 
THEIR ARTISTIC REGISTRATION 
 
 93 
 
 because in any case of excessive spreading or contracting of the top 
 of a pipe the tone undergoes a certain alteration: and, further, the 
 necessary smart and often heavy blows of the weighty metal cones, 
 frequently repeated, tend to, and ultimately do, seriously injure the 
 top, mouth, or feet of the pipe. The most, and, indeed, only, de- 
 sirable system of tuning Diapason pipes is by means of adjustable 
 slides, which only require to be slightly raised or lowered in tuning; 
 but it is not to be expected that organ-builders will adopt this sys- 
 tem unless compelled to do so. Pipes that may be considered too 
 large to be conveniently tuned by slides should be cut a little longer 
 than their correct speaking lengths, and tuned by means of broad 
 tongues, cut in the manner shown in the accompanying illustration, 
 Fig. 10. If the pipes are properly cut to length, only fine tuning will 
 
 Fig. 10 
 
 be necessary by the easy and slight manipulation of the tongues. 
 No injury need ever be done to the pipes. This method can be 
 carried from the CC to the tenor C pipe, or even farther with ad- 
 vantage. The method will, of course, be carried through the i6 ft. 
 and 8 ft. octaves of the Double Diapason. 
 
 DIAPASON, WOOD.— Although German organ-builders have 
 proved that true diapason-tone can be produced from quadrangular 
 wood pipes, no French, English, or American organ-builder seems to 
 have devoted serious attention to the construction of Diapasons of 
 wood throughout. This is to be regretted, for we are convinced, 
 from observation of what has been done by German builders, that* 
 associated with metal Diapasons, a wood Diapason would be of 
 great value, doing away with all risk of sympathy, while building up 
 a grand volume of tone. Our attention was first directed to the 
 matter when we inspected the fine Organ in the Church of St. Bar- 
 tholomew, Armley, Yorkshire, constructed by Edmund Schulze. 
 
94 
 
 ORGAN-STOPS 
 
 In this instrument the bass octave of the Major Principal, 8 ft. , 
 in the Great Organ — a grand stop of pure organ-tone — is carried 
 down in wood pipes in a manner so perfect that the ordinary ear 
 fails to detect the transition from metal to wood. In the accom- 
 panying illustration, Fig. ii, is given the Front View and Longitu- 
 dinal Section of the lower portion of the BB pipe of this stop, drawn 
 to scale. It will be observed that the external slopes of the lower 
 
 O 
 
 o 
 
 (d 
 
 Fig. II 
 
 and upper lips, shown in the Section, closely resemble those of the 
 usual metal Diapason. The principal feature here is the recessed 
 and splayed cap A, which is brought almost to a sharp edge where it 
 forms the lower lip, in this respect resembling the metal lip. The 
 upper lip is thin and cut thin, as shown. As regards scale, the most 
 important dimensions are those of the BB pipe which immediately 
 adjoins the tenor C metal pipe. The tenor C pipe is 3^ inches in 
 diameter, with a mouth 3 inches wide and ^ inch high, and with a 
 wind-hole in the foot j^ inch in diameter. The BB wood pipe 
 measures, internally, 2ff inches in width by 3^ inches in depth, 
 with a mouth Vs inch high. In the same Organ, the Sub-Principal, 
 16 FT., has its two lower octaves of wood; and the Minor Principal, 
 8 FT., in the Choir Organ, has its bass octave of wood. All are speci- 
 mens of artistic voicing. 
 
THEIR ARTISTIC REGISTRATION 95 
 
 Both the Diapason, 16 ft., and Double Diapason, 32 ft., of 
 the Pedal Organ are commonly made of wood; but it is seldom one 
 hears the true diapason-tone produced by such stops as made at the 
 present time. The desire to obtain a powerful intonation, through 
 the use of large scales and wind of undue pressure, goes far to de- 
 stroy the tone which should always be sought for in such foundation 
 stops, and especially in those of the refined Church Organ. The now 
 common practice of applying the harmonic-bridge, with the view of 
 securing promptness and a certain clearness of speech, imparts a 
 stringy quality to the tone, in itself by no means disagreeable, and 
 which may, perhaps, be considered desirable in this age of borrowed 
 and poverty-stricken Pedal Organs. If properly voiced on a copious 
 flow of wind of a pressure not exceeding 6 inches, scales between 8 
 inches by 10 inches and 12 inches by 143^ inches for the CCC (16 ft.) 
 pipe will be ample. The German and other Continental builders, 
 in their appreciation of the true nature and office of the Pedal Organ, 
 and also of its adequate stop-apportionment, never, so far as we 
 have been able to learn, used inordinate scales. The largest scale 
 known to us in a German Organ is 12 inches by 14 inches; while the 
 majority of Pedal Organ Principals, 16 ft., rarely exceed 9 inches 
 by II inches. The late W. T. Best, of Liverpool, the best judge of 
 organ-tone in his day, invariably specified the scale of 10 inches by 
 12 inches. We have conclusively proved the scale of 8 inches by 
 10 inches to be perfectly suitable for a Chamber Organ, voiced even 
 on the low pressure of 2 3^ inches. On a higher pressure — say 4 
 inches — it would be sufficient for a Church Organ of ordinary size. 
 It must be borne in mind that this stop has to provide a properly 
 balanced bass to the Great Organ Diapason, 8 ft. 
 
 The most satisfactory scales for the Double Diapason, 32 ft., 
 are not proportionately so large as those desirable for the Diapason, 
 16 ft. It is undesirable, on the ground of scientific and artistic tonal 
 balance, that the sub-octave pitch should be as assertive as that of 
 the fundamental unison. 
 
 The most suitable minimum scale is 1 1 inches by 13^^ inches for 
 the CCCC pipe, halving on the eighteenth pipe : while the maximum 
 scale may be that adopted by Schulze for the fine stop in the Organ 
 in St. Bartholomew's Church, Armley; namely, 14!/^ inches by i834 
 inches. This scale is larger than that adopted by the same builder 
 for his Double Principals, in the Organs in Bremen Cathedral and 
 St. Mary's Church, Wismar, which measure only 12 inches by 15 
 inches. The equally celebrated builder, Ladegast, uses a still smaller 
 scale — 113^8 inches by 143^ inches — for the CCCC pipe of the 
 
96 ORGAN-STOPS 
 
 Double Principal, 32 ft., in his celebrated Organ in Schwerin 
 Cathedral. 
 
 DIAPASON PHONON.— The name introduced during late 
 years to designate a metal labial stop of 8 ft. and 16 ft. pitch, and 
 large scale, voiced to yield a powerful and pure organ-tone. The 
 pipes of the stop are of the same form and construction as those of 
 the standard Diapason. The stop and its name were introduced by 
 Hope-Jones, who adopted the cheap method of forming thick and 
 smoothly rounded upper lips to the mouths of its pipes — so desir- 
 able in all pipes of the Diapason class — by covering the thin metal 
 with perishable leather. For further remarks on this practice, see 
 Diapason. The Diapason Phonon will, naturally, be favored by 
 those who love loud sounds; and who advocate the construction of 
 brick-and-mortar or reinforced-concrete swell-boxes. 
 
 DIAPASON, STOPPED.— This name is an example of loose 
 terminology : the stop so named does not belong to the class yielding 
 pure organ-tone, and is not a Diapason in any sense of the word. 
 The so-called Stopped Diapason belongs to the Covered Flute- 
 work of the Organ. Long usage, however, is likely to prevail; and 
 in all probability, as there is no English equivalent for the German 
 term Gedeckt, it will be retained by English and American organ- 
 builders, in organ-stop nomenclature, for many years to come. For 
 form and other particulars, see Stopped Diapason. 
 
 DIAPHONE. — The name of a stop invented by Hope-Jones. 
 It is of peculiar construction. The tone of the Diaphone pipe is 
 created by pulses or vibrations generated in its resonator by the 
 rapid motions of a pallet actuated by compressed air (pipe-wind) 
 that enters the boot, which contains the mechanical portion of the 
 pipe. The pallet simply closes and opens the lower orifice of the 
 resonator so many times in a second, according to the size and pitch 
 of the pipe, acting much in the same manner as the striking tongue 
 in an ordinary lingual pipe. As the vibrating column of air in the 
 resonator controls the action of the pallet, when adjusted, the pitch 
 of the pipe is not affected by a change in the wind-pressure, while 
 the strength and quality of the tone are altered. The tone pro- 
 duced by the best examples is full and commanding; but owing to 
 the complex character of the mechanical portion of the pipes, and 
 the difficulty of regulating the action of the same, it is almost im- 
 possible to secure uniformity throughout even the short compass of 
 the Pedal Organ. There are also very grave questions regarding the 
 
THEIR ARTISTIC REGISTRATION 97 
 
 durability of the stop. These facts will effectually militate against 
 anything approaching a free introduction of the Diaphone. In all 
 probability it is destined to swell the ranks of the curiosities of 
 organ-building.* 
 
 DIVINARE. — The somewhat inappropriate term used to desig- 
 nate a covered stop of 4 ft. pitch, belonging to the Covered Flute- 
 work, the tone of which is singularly soft and singing, f Such a stop 
 is very desirable in the Choir of a Church Organ, in a Chamber 
 Organ, and in the Echo or Ancillary Aerial Organ of a Concert- 
 room instrument. Its presence would be productive of many charm- 
 ing effects in refined registration. The stop is made of both wood 
 and metal: when of wood, the pipes are of small scale, and made 
 narrow and deep so as to secure small mouths. Low-pressure wind 
 is desirable. 
 
 DOIFLOTE, DUIFLOTE, Ger.— Names used to designate the 
 covered, flute-toned stop, the pipes of which have double mouths, 
 commonly called Doppelflote (q. v.). 
 
 DOLCAN. — The name given to an open labial stop of 8 ft. pitch, 
 the pipes of which are of metal — in the best examples tin — the 
 bodies of which are in the form of a slender, inverted truncated cone, 
 as shown in Fig. 12, Plate II., which depicts a CC pipe in correct 
 proportions. The bass octave has been formed of, inverted pyra- 
 midal pipes of wood, but the metal ones are to be .preferred. The 
 scale of the Dolcan varies, as in other labial stops, according to the 
 volume and quality of the tone desired. The following scales^n the 
 ratio of 1 12.5 19 — halving on the nineteenth pipe — may be, accepted 
 as productive of satisfactory tones : 
 
 DOLCAN PIPE DIAMETERS IN INCHES— RATIO 1:2.519. 
 
 PIPES CC C C C C3 C4 
 
 AT MOUTH 3.38 2.13 1.34 0.84 0.53 0.33 
 
 AT TOP 4.96 313 197 124 078 0.49 
 
 AT MOUTH 
 
 3. 
 
 25 
 
 2 
 
 ■ 05 
 
 I 
 
 .29 
 
 
 
 .81 
 
 0. 
 
 51 
 
 
 
 32 
 
 AT TOP 
 
 5. 
 
 16 
 
 3 
 
 • 25 
 
 2 
 
 •05 
 
 I 
 
 ,29 
 
 0, 
 
 ,8i 
 
 0. 
 
 •51 
 
 * Particulars respecting the origin of the Diaphone, its forms and construction , accompanied 
 by fully detailed illustrations, are given in our work, "The Art of Organ-Building," Vol. I., pp. 
 399-400. Vol. II., pp. 619-622. 
 
 t " DIVINARE, fiflte de bourdon de quatre-pieds, fl&ie divine, est une singuliere traduction de 
 ce mot, et c'est la seule indiqu^e pour exprimer la quality divinement sup^rieure de cette flate 
 . . . i peu pres inconnue. — Regnier. 
 
 "DiviNARE (vom Lat.divinus, gottlich), sondern es gedecktes Flotenwerk zu 4'. Die In- 
 tonation dieser Stimme muss dem Namen nach sehr schon sein." — Seid»l. 
 
98 ORGAN-STOPS 
 
 The width of the mouth may be two-ninths or one-fifth the 
 internal circumference of the pipe at its mouth-line, according to 
 the strength of tone required; and its height may vary from one- 
 fifth to one-fourth its width, subject to the wind-pressure employed 
 and the tone aimed at by the voicer. When a very delicate tone is 
 required, on a low pressure of wind, — say 2)^ inches, — a mouth of 
 one-fifth the circumference should be adopted, having a height about 
 one-quarter its width ; and the languid should be finely nicked. The 
 upper lip should be of good substance, cut straight, and smoothly 
 rounded. 
 
 Tone and Registration. — ^When properly formed and artist- 
 ically voiced, the Dolcan yields a tone which is freer or more open 
 in quality than that of the true English Dulciana, having a some- 
 what plaintive and singing character, which is highly effective in 
 soft accompanimental music, and extremely valuable in the more 
 delicate and refined school of registration. The tone combines in 
 the most satisfactory manner with all the varieties of flute-tones, 
 giving them a peculiar charm; and also with the voices of the softer 
 lingual stops. The Dolcan's place is in the softer accompanimental 
 division of the Organ, where it need not displace the Dulciana. 
 
 DOLCE, Ital. — This name has been used to designate stops of 
 different formation and tone; but, as the name implies, all being 
 similar in one important direction — the possession of sweetness of 
 voice. The stop is introduced in important German Organs in both 
 8 ft. and 4 ft. pitch, as in the instrument in the Cathedral of Ulm.* 
 The Dolce has been made by German organ-builders of both wood 
 and metal, and of both cylindrical and inverted conical pipes, after 
 the fashion of those of the Dolcan (Fig. 12, Plate II.). A beautiful 
 example of this latter form, made by Edmund Schulze, exists in the 
 Echo of the Organ in the Parish Church of Leeds, England. It is of 
 small scale and its pipes are slightly conical, yielding a tone of a 
 quiet nasal quality ; and, being on wind of only i y^ inches pressure, 
 has a tendency to be slow, imparting a peculiar intonation to its 
 speech. In certain German examples the tones are inclined to be 
 stringy; but it is questionable if this is desirable. In our opinion, a 
 smooth, extremely soft, and horn-like tonality is to be preferred, 
 differentiating it from that of the Dolcan and Dulciana. The 
 Dolce, formed of inverted conical pipes, seems to have been intro- 
 
 *" Dolce 8' von Metall, ist. eine Stimme, welche im 2ten Manual der neuen Orgel in der 
 Peterskirche zu Petersburg disponiert ist und einen ^usserst weichen Toncharakter hat. Im 
 3ten Manual steht dasselbe Register von Zinn zu 4'. Auch haufiger in Sauerschen Orgeln finden." 
 — Seidel. 
 
THEIR ARTISTIC REGISTRATION 99 
 
 duced at an early date in English Organs; for it is stated on good 
 authority that John Snetzler inserted one in the Organ he built, in 
 1741, for the Parish Church of Chesterfield, Derbyshire. 
 
 It is to be regretted that the Dolce, in its proper form, has not 
 been more frequently introduced in important Organs : but it would 
 seem that the space it requires on the wind-chest, and the additional 
 metal and labor its construction calls for beyond what a small-scaled 
 cylindrical stop, such as the kindred Dulciana, demands, have 
 militated against its more general adoption by organ-builders. 
 There are, however, several good examples to be found in English 
 Organs constructed by leading English builders. A fine one exists 
 in the Organ in Emmanuel Church, Leicester. A Dolce, 16 ft., of 
 very beautiful tone — voiced by the artist, W. Thynne — is to be 
 found in the Chapel of St. Katherine's Convent, London. A Dolce, 
 8 FT. , is inserted in the Swell of the Organ in the Centennial Hall, 
 Sydney, N. S. W. Roosevelt inserted a Dolce, 8 ft., in the Swell of 
 the fine Organ he built for the First Congregational Church, Great 
 Harrington, Mass. The proper place for the Dolce in the Organ 
 would seem to be quite undecided by organists and organ-builders, 
 as the following particulars show; yet, in artistic tonal apportion- 
 ment, it has its proper and logical position. In the Great of the 
 Organ in the Second Church, West Newton, Mass. In the Swell of 
 the Gallery Organ in Emmanuel Church, Boston, Mass. In the 
 Choir of the Concert-room Organ in the Carnegie Music Hall, Pitts- 
 burgh, Pa. In the Echo of the Organ in St. Peter's Episcopal 
 Church, St. Louis, Mo. 
 
 The scale of the Dolce, 8 ft., varies in different examples, 
 though not to a large extent. The following scale of a representative 
 stop may be accepted as satisfactory, with low wind-pressures : 
 
 DOLCE PIPE DIAMETERS IN INCHES— RATIO i : 2.66. 
 
 PIPES CC C C C C3 c* 
 
 AT MOUTH 3.08 1.89 I. 15 0.71 0.43 0.27 
 
 AT TOP 4.10 2.51 1.54 0.94 0.58 0.35 
 
 The width of the mouth should not exceed one-fifth of the inr 
 ternal circumference of the pipe at its mouth line; and its height 
 need not exceed one-fourth its width unless a leaning toward a flute- 
 tone is desired. 
 
 DOLCE CORNET. — This stop, as the name implies, is com- 
 pound, harmonic-corroborating, and sweet-voiced. It is properly 
 formed of several ranks of very small-scaled open metal pipes, yield- 
 
lOo ORGAN-STOPS 
 
 ing a soft, singing quality of tone. When extreme softness is re- 
 quired, the ranks should be octave- and fifth-sounding only: but 
 when a more assertive tone is desired, a third-sounding rank should 
 appear in every break, as in the following example of five ranks : 
 
 Dolce Cornet — V. ranks. 
 
 CC to f ■ 12* — 15 — 17"— 19 — 22. 
 
 f#' to f» .8 —12*— 15 —17*— 19. 
 
 fii» to b3 . 1 — 8 —12*— 15 —17* 
 
 c3 to C . , I — 8 — 10 — 12 — 15. 
 
 It will be observed that the introduction of the Seventeenth 
 makes the stop a Sesqui altera in all save the top octave. Artist- 
 ically voiced and scientifically graduated in tone this Cornet would 
 be extremely valuable in refined registration. The following is a 
 satisfactory composition for a Cornet of four ranks, octave- and 
 fifth-sounding : 
 
 Dolce Cornet — IV. ranks. 
 CC to BB 15 19 22 26. 
 
 C to B 12 15 19 22. 
 
 c' to g3 ... 8 12 15 19. 
 
 g#3 to c4 I 8 12 15. 
 
 A Dolce Grand Cornet composed of complete, through ranks 
 of true Dolce pipes, of small scale, would be of great value in any 
 of the softer toned divisions or subdivisions, expressive, of the Con- 
 cert-room Organ, in which its presence would tend to complete the 
 harmonic structure. It may be composed of an Octave, 4 ft. ; a 
 Twelfth, 2% ft.; a Fifteenth, 2 ft. ; a Seventeenth, 1% ft.; 
 and a Nineteenth, iJ^ ft. The Seventeenth may be omitted if 
 considered too harsh in tone. 
 
 DOLCE FLUTE.— A softly-voiced stop of unimitative flute- 
 tone, more commonly known by the Italian name Flauto Dolce 
 (g. v.). 
 
 DOLCETTE. — The term, as a diminutive, properly applied to 
 designate the Octave Dolce, 4 ft. This is a valuable stop in re- 
 fined registration, corroborating the first upper partial tone of all 
 soft-voiced unison open stops, and imparting a foreign element to 
 the voices of the softly-toned covered stops, such as the Lieblich- 
 GEDECKTS, Flute A Cheminee, Cor de Nuit, etc. 
 
 DOLCIANO PROFUNDO.— The distinctive name we have 
 suggested for a Contra-Dulciana, 32 ft., when such a stop is 
 
THEIR ARTISTIC REGISTRATION loi 
 
 commanded by a manual clavier. We have shown, in our tonal 
 scheme for the Concert-room Organ of the Twentieth Century, how 
 this grave and most desirable soft-toned, open metal stop, of 32 ft. 
 pitch, can be derived from the Pedal Organ Contra-Dulciana, 
 adequately extended in compass, and be commanded, as an auxiliary 
 stop, by the First or Great Organ Clavier.* 
 
 DOLCISSIMO, Ital. — The term appropriately used to designate 
 the softest flute-toned stop made. The extended term, Flauto 
 DoLCissiMO, will, however, be found more expressive, especially if 
 the stop is voiced to yield an imitative tone — that of the orchestral 
 Flute played pianissimo. In its best form, the Dolcissimo is of 
 8 ft. pitch, constructed of small-scaled hard wood pipes, having very 
 narrow inverted mouths. It should be voiced on wind of low pres- 
 sure, not exceeding 2j^ inches, preferably oi i}/2 inches. It is an 
 ideal stop for a refined Chamber Organ ; and for the Choir or Echo 
 of a Church Organ, and the Ancillary Aerial Organ or other very 
 softly-toned division of a Concert-room instrument. In registration, 
 the Dolcissimo, 8 ft., will be found extremely valuable in imparting 
 a beautiful effect and a desirable firmness and body to the Vox 
 Humana and all the other softer-toned lingual stops, without de- 
 stroying their characteristic tonalities, which a loud-voiced Flute, 
 8 FT., would certainly do in combination.! 
 
 DOLZFLOTE, DULZFLOTE, Ger.— The name given by old 
 German organ-builders to an open wood stop of 8 ft. and 4 ft. pitch, 
 the pipes of which are of medium scale, yielding a soft and sweet 
 unimitative flute-tone. Seidel describes the stop thus : 
 
 "DoLZFLOTE, DuLZFLOTE, Flauto dulcis (susse Flote), auch 
 Tibia angusta, ist eine eng mensurierte offene Flotenstimme von 
 Holtz zu 4' und 8', von ausnehmend lieblichem und angenehmem 
 Tone. Im Pedal soil diese Stimme zu 16' unter dem Namen Flau- 
 tone vorkomen." See Flauto Dolce. 
 
 DOPPELFLOTE, Ger.— The term commonly used to designate 
 a covered wood stop of 8 ft. pitch, the pipes of which have two 
 mouths placed directly opposite each other, hence the name. As 
 usual with stops that require unusual conditions for their accommo- 
 dation on the wind-chest, and which call for special skill and more 
 than ordinary labor in their construction, the Dofpelflote has 
 never been a favorite with English and American organ-builders; 
 
 * See "The Organ of the Twentieth Century." Chap. XI., pp. 297 and 319- 
 
 t See the Aerial Organ in "The Organ of the Twentieth Century," pp. 329-331. 
 
102 ORGAN-STOPS 
 
 while its great tonal value seems to have been unrealized by the 
 organists of both countries. One, assuming to be an authority on 
 organ-stops, writing on the Doppelflote, displays a strange igno- 
 rance of its tonal character and value in registration. So far as we 
 have been able to learn, the first Doppelflote that appeared in an 
 English Organ was the one we inserted, in iSS^, in our own Chamber 
 Organ, under the ItaUan name, Flauto Primo, 8 ft. It occupied a 
 prominent position in the Second Expressive Subdivision of the 
 First Organ.* This beautiful stop was presented to us by the late 
 Hilbome L. Roosevelt, of New York. A few examples have since 
 appeared in English Organs, for the most part made by Continental 
 builders. Roosevelt held the Doppelflote in high estimation and 
 invariably placed one in the Great of all his important Organs. It 
 is to be regretted that so few examples appear in even large Organs 
 constructed in this country during the present period. One has been 
 wisely inserted in the Great of the Organ in the Carnegie Music Hall, 
 Pittsburgh, Pa. 
 
 Formation. — The Doppelflote, 8 ft., is usually formed of pipes of two 
 different scales and treatments, those from CC to BB being medium-scaled Ge- 
 DECKT pipes with single mouths, voiced to yield a full, round tone to carry down, as 
 closely as practicable, the characteristic quality of the principal portion of the 
 stop. From tenor C to the top, each pipe has two mouths, placed on the opposite 
 and narrower sides of a block in which a semicircular depression has been cut, 
 leaving two thin lower lips to the mouths. The mouths and caps are of the English 
 form, the lower lips being somewhat widely nicked, and the upper lips arched and 
 carefully formed and rounded. These and all other details are correctly shown 
 in the accompanying illustration. Fig. 13. In the Drawing i, is given a Longitu- 
 dinal Section of a pipe, cut through the mouths, at A, and showing the forms of 
 the block, cap, and wind- ways. Above, at B, is given a section of the stopper, 
 edged with cork and covered with soft leather. A Front View of one of the mouths 
 is given in Drawing 2, showing its height, the arching of the upper lip, the nicking 
 cf the lower lip, and the lateral splays. In the Drawing 3 is given a Transverse 
 Section through the mouths, showing the depression in the block, the lower nicked 
 lips, the windways, and the upper edges of the caps. All the parts are drawn in 
 correct proportion and to scale. It would seem to have been the practice of the 
 German organ-builders to use different woods in the formation of their Doppel- 
 FLOTES. In that on the Third Manual of the Organ built by Ladegast for the 
 Cathedral of Schwerin the pipes are of pine fronted with oak : and in that on the 
 First Manual of the Organ of St. Paul's Church, in the same city, the pipes are of 
 pine fronted with oak and mahogany. In the Roosfevelt Doppelflote, to which 
 allusion has been made, the pipes have sides of sugar-pine and fronts and caps of 
 close-grained mahogany. These are examples of fine pipe-making. 
 
 * We may here record the fact that, for the first time in the history of organ-building, three 
 independent tonal subdivisions were placed- on a single clavier — that of the First Organ; 
 namely, one unexpressive and two independently expressive. So far as we know this remarkable 
 and beautiful arrangement of tonal apportionment remains unique to-day (1920). See "The 
 Organ of the Twentieth Century," p. 334, 
 
THEIR ARTISTIC REGISTRATION 
 
 103 
 
 Scale. — The pipes of the Doppelflote, having double mouths, 
 require a scale providing a considerable depth in proportion to width. 
 This is exemplified by the following internal measurements taken 
 from the Roosevelt standard scale: Tenor C pipe 2j^ inches in 
 width by 33^ inches in depth; middle c' pipe 1 5^ inches in width by 
 2^ inches in depth; c^ pipe ^ inch in width by i j^ inches in depth. 
 This is an example of an irregu- 
 lar scale, arrived at by experience. 
 It will be observed that the pro- 
 portions of depth to width vary 
 as the scale ascends; the C pipe 
 being a little over one and a half 
 its width in depth; while the c^ 
 pipe is a little under twice its 
 width in depth. The height of the 
 mouth at the spring of its arched 
 upper lip ranges between one- 
 third and one-half its width, ac- 
 cording to the wind-pressure and 
 the volume of tone required. 
 The arching and thickness of the 
 upper lip are also important fac- 
 tors in tone production that the 
 voicer must decide. 
 
 Tone and Registration. — 
 The Doppelflote, when proper- 
 ly scaled and artistically voiced, 
 yields a singularly full and pure 
 unimitative flute-tone, having 
 more fiUing-up power and better 
 mixing quality than any other 
 unison covered stop of medium 
 power in the Organ. It is especi- 
 ally this mixing quality that gives 
 the stop its great value in refined 
 registration. Owing to the rarity 
 of the stop, organists have few opportunities of learning its import- 
 ance in tonal coloring. But having a beautiful Doppelflote in our 
 own Organ, and having carefully observed the use made of it in regis- 
 tration by a large number of distinguished English, French, and Ameri- 
 can Organists, during a period of eight years, supplemented by our 
 own studies, we have been able to learn the great value of the stop 
 
 Fig- 13 
 
104 ORGAN-STOPS 
 
 as, perhaps, no other man has done. The Doppelflote is specially 
 effective in combination with the softer-toned lingual stops of all 
 classes, imparting to their voices firmness and fullness, and in some 
 cases considerable richness, without injuring their characteristic 
 tonalities. In this direction, however, the Doppelrohrgedeckt or 
 DOPPELROHRFLOTE may be preferred (g. v.). 
 
 DOPPELFLOTENB ASS, Ger.— A medium-scaled covered wood 
 stop of i6 ft. pitch, formed with double mouths. This stop, which 
 furnishes the true bass to the Doppelflote, 8 ft., has its proper 
 place in the Pedal Organ, where its full and smooth fluty voice 
 Is of great value for accompaniment and in combination with the 
 lingual stops. A fine example of this uncommon stop exists in 
 the Second Pedal Organ of Schulze's important instrument in the 
 Marienkirche, at Lubeck. It is described thus: 
 
 ■ " Doppelflotenbass i6'. Holz. Eine weite, gedeckt Stimme 
 mit doppelten Labien. Der Ton ist etwas voller und runder, als 
 der des Subbass, und bildet zu den sanften Stimme der Orgel den 
 schonsten Bass." 
 
 DOPPELGEDECKT, Ger.— The name given to a covered wood 
 stop of 8 ft. and i6 ft. pitch, the pipes of which are of large scale, 
 and made, after the fashion of the Doppelflote, with two 
 mouths: the scale, however, differs from that of the Doppelflote, 
 in not havifig so great a depth in proportion to width. The tone is 
 fuller and richer than that of the ordinary single-mouthed Gedeckt, 
 8 FT., or Bourdon, i6 ft. 
 
 DOPPELROHRFLOTE, Ger.— A labial stop of 8 ft. and 4 ft. 
 pitch, which, as the name implies, is a modification of the Doppel- 
 flote in so much as it is what is known as a half -covered stop, while 
 the Doppelflote is a wholly-covered one. It is properly made of 
 wood throughout when of 8 ft. pitch; and when of 4 ft. pitch, of 
 wood save in its top octave, which is properly of metal, the pipes 
 there being too small to be conveniently made of wood. The wood 
 pipes are constructed in all essentials similar to those of the Doppel- 
 flote (Fig. 13), with the exception of the stopper, which is per- 
 forated as in the normal Rohrflote (g. v.). 
 
 Tone and Registration. — Owing to the perforation of the 
 stoppers of its pipes, the tone of the Doppelrohrflote is brighter, 
 lighter, and more open than that of the Doppelflote ; and on this 
 account is better adapted for combination with the tones of the 
 softer lingual stops. This fact should incline the designer of a Con- 
 
THEIR ARTISTIC REGISTRATION 105 
 
 cert-room Organ to place the Doppelrohrflote in the division 
 devoted to the stops representing the wood-wind forces of the or- 
 chestra. Placing the stop there, he will properly insert the fuller- 
 toned DOPPELFLOTE in the First or Great Organ, where its good 
 mixing voice will prove valuable in registration. The position of the 
 stop, of either of its pitches, in the Church Organ will properly de- 
 pend on the general tonal apportionment of the instrument. Ex- 
 amples of the Doppelrohrflote of both 8 ft. and 4 ft. pitches are to 
 be found in the Great of Miiller's Organ (1843) in the CathoUc 
 Church, at Katcher. Other examples, of both pitches, are inserted 
 in the Echo of the Grand Organ in the Cathedral of St. John, Bres- 
 lau.* The Doppelrohrflote, 4 ft., is an octave stop having all the 
 properties which render a labial stop of that pitch valuable in refined 
 registration. It is both a good harmonic-corroborating and timbre- 
 creating stop, the latter on account of its clear fluty voice. It can 
 be properly associated with the Doppelflote, 8 ft., in any suitable 
 division of the Organ; or, as in the instances given, with the unison 
 stop of its own class. 
 
 DOPPELROHRGEDECKT, Ger.— While this term may be 
 accepted as another name for the Doppelrohrflote (q. v.), the 
 stops alluded to being similar in general formation while differing 
 somewhat in scale proportion, the term may be properly applied to a 
 stop, of 8 ft. pitch, yielding a fuller tone than either that stop or the 
 Doppelflote. To produce this more assertive voice, the scale of 
 the DOPPELROHRGEDECKT is larger than, and not so deep in propor- 
 tion to width as are the scales of the other stops alluded to. In 
 preference to duplicating the Doppelflote, it may, on the leading 
 principle of tonal variety, be desirable to introduce the Doppel- 
 rohrgedeckt, 8 ft., along with the Doppelrohrflote, 4 ft., in a 
 contrasting division of the Organ. 
 
 DOPPELSPITZFLOTE, Ger.— As the name implies, this stop 
 is a variation of the Spitzflote (q. v.), its pipes having double 
 mouths. It has been made of metal and wood and of 8 ft. and 4 ft. 
 pitch. An example, of the latter pitch and of wood, exists in the 
 Echo of the Grand Organ in the Church of St. Mary Magdalene, 
 
 * In our remarks on the formation of the DoppelflGte, we mentioned the use of different 
 hard woods in the construction of its pipes as displaying conscientious care on the part of Ger- 
 man organ-builders. Here, again, we have similar evidence of this care, and examples of fine 
 pipe-making. The DoppelrohrflOtes in the Organ in the Catholic Church, at Katcher, are 
 chiefly of oak, pine being used only in the treble of the 8 ft. stop. In the same stops in the Organ 
 in the Cathedral of Breslau all the pipes are made of maple. When will such a commendable 
 practice be followed by the organ-builders of this country? 
 
Io6 ORGAN-STOPS 
 
 Breslau. Wood was, in all probability, used on account of the con- 
 venience it afforded, in the quadrangular pipes, for the formation 
 of the double mouths. It is also probable that, as in the case of the 
 other double-mouthed wood stops, the pipes of the Doppelspitz- 
 FLOTE were made of greater depth than width; a treatment which 
 could not be applied to metal pipes. We are of opinion that very- 
 beautiful and valuable voices could be added to the Organ by stops 
 of i6 ft. and 8 ft. pitch, of wood, of medium scale, and constructed 
 in the pyramidal form of the Doppelspitzflote. But we are afraid 
 that the time and trouble such stops would entail, beyond what the 
 construction and voicing of ordinary straight and single-mouthed 
 wood stops call for, will effectually prevent organ-builders advocat- 
 ing their introduction. 
 
 DOUBLE BASSOON.— The lingual stop of i6 ft. pitch, the tone 
 of which imitates as closely as practicable that of the Double Bas- 
 soon of the orchestra, the compass of which extends from BBBb to 
 F, and, accordingly, covers the compass of the Pedal Organ, with the 
 exception of the two top notes, to which department of the Organ 
 the stop may be considered to properly belong. See Bassoon and 
 
 CONTRAFAGOTTO. 
 
 DOUBLE CLARINET.— A hngual stop of i6 ft. pitch, the 
 pipes of which are similar in formation to those of the unison Clari- 
 JSTET (g. v.). The stop was, so far as we can learn, first made by 
 Wedlake, organ-builder, of London, in 1863, and inserted in an 
 important Chamber Organ. Artistically voiced, and placed in an 
 expressive division, the Double Clarinet would prove a valuable 
 voice in the Concert-room Organ, affording a different tonal coloring 
 from that of the Double Bassoon, 16 ft. It would also be valuable 
 as a Pedal Organ stop, carrying down the manual Clarinets. 
 
 DOUBLE DIAPASON.— The stop formed of large-scaled open 
 cylindrical metal, or quadrangular wood, pipes, voiced to yield pure 
 organ-tone. When introduced in a manual Organ it is of 16 ft. 
 pitch, and when placed in the Pedal Organ it is of 32 ft. pitch. In 
 almost all satisfactory examples of the manual stop the pipes are 
 formed of metal throughout their compass. In all the finest existing 
 examples the pipes are of tin or high-class alloy ; their larger pipes 
 being displayed in the cases, forming salient towers or other effec- 
 tive features. A notable exception to this general and desirable 
 rule is to be found in the remarkably fine stop, labeled Sub-Princi- 
 pal, 16 FT., in the Great of the Organ in St. Bartholomew's Church, 
 
THEIR ARTISTIC REGISTRATION 107 
 
 Armley, Yorkshire, which is formed of open wood pipes from CC to 
 B, and of metal from c' to the top note. Though perfectly successful 
 in this instance, such a method should not be ventured upon by any 
 one less skilled than the master who made and voiced the Armley 
 stop. 
 
 The manual Double Diapason, 16 ft., has its pipes formed in 
 all respects similar to those of the manual Diapason, 8 ft. (g. v.), 
 while its relative scale should be smaller; its tenor C (8 ft.) pipe 
 being from two to four pipes less in scale than the CC (8 ft.) pipe of 
 the unison stop. The voices of the respective stops should follow 
 the same relative proportions. The tone of the double stop should 
 never dominate that of the foundation unison stop. 
 
 The Double Diapason, 32 ft., as introduced in the Pedal Organ, 
 is formed throughout of either metal or wood; but on account of its 
 great cost metal has been comparatively seldom used. In Organs of 
 the first magnitude the stop exists in both materials complete, as in 
 the Concert-room Organs in St. George's Hall, Liverpool, and the 
 Centennial Hall, Sydney, N. S. W. The Double Diapason scale 
 varies greatly in different metal stops : for instance, the CCCC pipe 
 in the Liverpool Organ measures 25 inches in diameter; that in the 
 Organ built by Walcker for the Music Hall, Boston, Mass., in 1863, 
 was 22^ inches in diameter; that in the Organ in the Monastery 
 Church, at Weingarten, is about 15}/^ inches in diameter; and .that 
 in the celebrated Haarlem Organ is 15 inches in diameter. In the 
 last named three Organs English tin was used for all the displayed 
 pipes of the stop including those of which the diameters are given. 
 The bottom octave of the stop in the Liverpool Organ is of thick zinc. 
 Several stops having scales ranging between those just quoted are to 
 be found in other important Organs. While it is not possible or 
 desirable to lay down a hard and fast rule for general adoption in 
 the scaling of this exceptional stop, we can strongly recommend the 
 use of the moderate scales favored by the most advanced German 
 and other Continental organ-builders. It is, however, quite safe to 
 say that with proper voicing and a copious winding there can be no 
 necessity to exceed the scale of the Sub-Principal, 32 ft., of the 
 Haarlem Organ. 
 
 The Pedal Organ Double Diapason, 32 ft., formed of wood 
 throughout is the prevailing form, and when properly scaled and 
 voiced is all that can be desired in so grave a stop. It must be borne 
 in mind that its office is not to disturb the unison fundamental tone 
 of the Pedal Organ, but to enrich it by harmonic creation. As in 
 the case of the metal stop, inordinate scales have been adopted with 
 
io8 
 
 ORGAN -STOPS 
 
 no appreciable advantage. One extreme example may be given : the 
 Double Diapason, 32 ft., in the Organ in the Wanamaker Store in 
 Philadelphia, Pa., has its CCCC pipe measuring internally 22^ 
 inches in width by 27^ inches in depth.* The Scales adopted by 
 two of the most celebrated German builders may be safely accepted 
 as the most desirable maximum and minimum ones for general use. 
 The fine stop in the Organ, by Schulze, in St. Bartholomew's, Arm- 
 ley, measures 14}^ inches in width by i8}i inches in depth. This 
 scale is larger than that adopted by the same builder for his Double 
 Principals in the Organs in Bremen Cathedral and St. Mary's 
 Church, Wismar, which measure 12 inches in width by 15 inches in 
 depth. The equally distinguished builder Ladegast used a still 
 
 I I 
 
 Fig. 14 
 
 smaller scale — 1 1 ^g inches in width by 14 J^ inches in depth — ^for the 
 32 ft. stop in his Organ in the Cathedral of Schwerin. We can speak 
 from experience of the satisfactory character of a stop of a similar 
 small scale in an Organ constructed to our Specification. As it is of 
 more importance in so large and grave a stop that it should speak 
 promptly and distinctly than that its exact timbre should be con- 
 sidered, steps were taken by the German builders to secure this de- 
 sirable result by the most effective means at their disposal, leading 
 to the application of the harmonic-bridge. Different forms of the 
 bridge were employed, which, by creating harmonic upper partial 
 tones, added greatly to the clearness of speech and tonal value of 
 the stop. The unique method in which the bridge was applied by 
 Schulze, is shown at A in Fig. 14, which is a Section through the 
 
 * This monster pipe called for in its construction over one thousand square feet of 3 inch 
 sugar pine. It weighs l,735 lbs. 
 
THEIR ARTISTIC REGISTRATION 109 
 
 mouth of the largest pipe of the Double Principal, 32 ft., in his 
 Armley Organ. In Section B is shown the usual form and manner 
 of applying the harmonic-bridge. The bridge imparts not only 
 prompter speech to the pipes but a string quality to their tones. 
 This must have been sufficiently marked in the stop in the Schwerin 
 Organ to decide Ladegast to label it Violon, 32 ft. 
 
 In German Organs the Double Diapasons bear the more appro- 
 priate names Prinzipal, 16 ft., Prinzipalbass, 16 ft. In the Pedal 
 Organ they appear under the names Prinzipalbass, 32 ft. , Gross- 
 prinzipal, 32 FT., and Grossprinzipalbass, 32 ft. In French Or- 
 gans the stops appear as: Montre, 16 ft. (when mounted in the 
 case). Principal Basse, 16 ft. and 32 ft., Contrebasse, 16 ft., 
 Flute Ouverte, 16 ft. and 32 ft., and simply Flute, 32 ft. In 
 Italian Organs the stops are commonly named Principale Basso, 
 16 FT. and 32 FT. In Spanish Organs the usual name is Flautado. 
 
 DOUBLE DULCIANA— The name properly employed to desig- 
 nate a manual stop of 16 ft. pitch, formed in all respects similar 
 to the unison Dulciana. When correctly made and artistically 
 voiced by a master-hand it yields a pure organ-tone of extreme 
 beauty and refinement. It is greatly to be regretted that voices of 
 this class are so much neglected by organ-builders and so little 
 desired by organists; but these facts may be accounted for by the 
 modern and present craze for loud tones and high wind-pressures. 
 Purity, refinement, and delicacy of intonation seem to be at a dis- 
 count in the organ-building of to-day. The Double Dulciana 
 forms a perfect Double for the Choir Organ, especially should it be 
 in an uninclosed division; and it is the most beautiful open stop of 
 16 ft. for the Chamber Organ. On account of its small scale, it fur- 
 nishes desirable display pipes, while its soft and beautiful tone favors 
 such an exposed disposition. When inserted in the Pedal Organ, it 
 is correctly labeled Dulciana, 16 ft., being simply a unison stop in 
 that department. In the Pedal Organ, a Double Dulciana would 
 be a small-scaled open metal stop of 32 ft. A Double Dulciana, 
 16 FT., exists in the Swell of the Organ in St. Mark's Church, St. 
 John's Wood, London. For further particulars see Contra-Dul- 
 ciANA and Dulciana. 
 
 DOUBLE MELODIA — An open wood stop, of medium scale 
 and of 16 ft. pitch, belonging to the manual department of the 
 Organ. On account of the great length of the pipes in its lower 
 octave, and especially when height is limited for its accommodation, 
 the stop is usually formed of open pipes from tenor C (8 ft.) to the 
 
no ORGAN-STOPS 
 
 top note; the bass octave being in Lieblichgedeckt or some suit- 
 able form of covered pipes, of soft tone, voiced to carry down as 
 closely as possible that of the open pipes. The open pipes, like those 
 of the unison Melodia, have inverted mouths. A fine example of 
 the Double Melodia, i6 ft., exists in the Great (tower section) of 
 the Organ in the Cathedral of the Incarnation, Garden City, Long 
 Island, N. Y. See Melodia. 
 
 DOUBLE TROMBONE.— The Pedal Organ lingual stop of 
 32 ft. pitch, similar in all respects to the Contra-Trombone, 32 ft. 
 (g. v.). 
 
 DOUBLE TRUMPET.— The manual lingual stop of 16 ft. 
 pitch, formed of metal pipes of the same construction, and voiced in 
 the same manner, as the pipes of the unison Trumpet, 8 ft., of 
 which stop it is the true Sub-octave. It is the most appropriate and 
 generally useful lingual stop of 16 ft. pitch for the Great Organ; 
 forming with the Trumpet, 8 ft., and Clarion, 4 ft., the complete 
 family of the Trumpet-toned stops. To be of full value in combina- 
 tion, the voice of the Double Trumpet must be markedly sub- 
 ordinate to that of the unison stop, so that it can be freely used 
 without destroying the dominance of the unison tone of the Trum- 
 pet. This subordination also renders the Double Trumpet ex- 
 tremely valuable in general registration with the foundation stops 
 of the Great Organ, and especially so if it is inclosed so as to be flex- 
 ible and expressive. It may be accepted as an axiom that in proper 
 organ-building and tonal appointment every lingual stop must be 
 endowed with powers of flexibility and expression. Without such 
 powers, lingual stops are practically valueless in solos and in refined 
 and artistic registration. For particulars of formation, see Trumpet. 
 
 DOUBLETTE, Fr.— In French Organs the Doublette is an 
 open cylindrical metal stop of 2 ft. pitch, belonging to the harmonic- 
 corroborating series of the manual foundation-work, properly yield- 
 ing pure organ-tone.* The term is used by German and English 
 
 * The following particulars, from the pen of a distinguished French authority on the Organ 
 will be read with interest and profit by the Organist : 
 
 *'La Doublette, ou simplement le deux-pieds, car c'est le ton de son plus grand tuyau,est 
 par cette raison mfime la double octave du huit-pieds pris pour base gSn^rale du ton d'orgue, 
 puisque le huit-pieds, avons-nous dit, est k I'unisson de la voix commune de I'homme. La dou- 
 blette est done I'octavedu prestant, ouverte comme lui, de taille m6diocre commelui.etcomme 
 lui d*6tain fin. Cependant, la finesse de retain est gSn^ralement n6glig£e, parce que I'exiguitfi 
 de diamfetre et de hauteur compense, ou est cens€e compenser le tranchant que donne la finesse 
 du m^tal. 
 
 "Elle embrasse toute T^tendue du clavier, parce que son harmonie sert de liaison entre les 
 jeux de mutation et les fonds, et donne aux jeux d'anches m61ang£s de jeux de fond un degr6 
 
THEIR ARTISTIC REGISTRATION in 
 
 organ-builders to designate a stop composed of two ranks of open 
 metal pipes of different pitches. In the Organ in the Cathedral of 
 Merseburg, a Doublette of 4 ft. and 2 ft. ranks is inserted in the 
 Hauptwerk: and in the same Division of the Organ in the Refor- 
 mirten Kirche, Elberfeld, there is one of 2^ ft. and 2 ft. The 
 Doublette is not a common stop in EngUsh Organs, but examples, 
 of 2 ft. and I ft. ranks, exist in the Great and Swell of the Organ in 
 St. George's Hall, Liverpool. We are strongly in favor of Dou- 
 blette s being made timbre-creating by their ranks being formed of 
 pipes of contrasting tonalities : they would then belong to the tonal 
 appointment of the entire Organ, not specially to its foundation- 
 work. 
 
 DRUMS. — Ital, TiMPANL Ger., Pauken.— Drums were intro- 
 duced in many old Organs, and were, in some cases, mounted on the 
 case and mechanically beaten by figures of angels. After having 
 long been classed among the curiosities of the organ-builders' art, 
 Drums are again being introduced in Theater Organs and in a cer- 
 tain type of Concert-room Organ. To what extent such accessories 
 are desirable may be left to individual opinion : we would rather see 
 them remain as obsolete curiosities. 
 
 DUIFLOTE, Ger. — The old and practically obsolete name for 
 the double-mouthed, covered wood stop now known as the Doppel- 
 FLOTE (g. v.). 
 
 DULCET. — An open metal labial stop of 4 ft. pitch. In its 
 proper and most desirable form it is a Dulciana Octave, and has 
 been sometimes called Dulciana Principal in English organ 
 nomenclature. The pipes are of small scale, and formed and voiced 
 in all respects similar to those of the unison Dulciana, 8 ft. Its 
 scale may properly vary according to the tonal apportionment of 
 the division of the Organ in which it is placed : but when associated 
 with the Dulciana in any manual division its scale should be two 
 or three pipes less, accordingly, the CC pipe of the Dulcet, 4 ft., 
 
 d'acuit^ particuliere, Cependant, quoique plac6e aux claviers de grand orgue et de positif , elle ne 
 se trouve guere sur celui de recit, ou ne figurent que des jeux de solo, ni sur le clavier connu \k 
 Paris surtout) sous le nom de clavier de bombardes. La doublette ne s'emploie gufere seule que 
 par accident, par exemple pour imiter I'effet d'un sifflet adouci. Unie k la quarte de Nazard, 
 qui est son unisson, ellesiffle avec une grande vigueur. Mdlang^eauxfonds dequatre-pieds.elle 
 yproduit I'effet semblable;maissit6t qu'onla m61eaux huit-pieds, surtout sans yjoindre comme 
 transition le quatre-pieds, elle crie, siffle ou g6mit d6sagr6ablement et fait perdre toute noblesse 
 aux r6gistres de fonds. Cependant, j 'ai oui souvent la doublette, accoupl^e ^ un seul bourdon de 
 seize, produire sous des doigts habiles et dans certains passages un effet singulier, que je n'oserais 
 dire agr6ablc, de peur de donner aux organistes mediocres I'idSe de I'essayer; I'effet ne serait pas 
 le mSme. " — Regrier. 
 
112 ORGAN-STOPS 
 
 would be of the same diameter as the D or D# pipe of the unison 
 DuLCiANA. The most desirable material for the stop is tin, and 
 next to that Hoyt's Two-ply Pipe Metal, which lend themselves to 
 the delicate manipulation necessary for the production of the light 
 and singing ' ' silvery tone, ' ' characteristic of the stop. The Dulcet, 
 4 FT., was introduced by Samuel Green (probably between 1780 and 
 1790), when soft and refined organ-tones were appreciated by music 
 lovers, and was used by him, in association with the Dulciana, in 
 certain of his Swell Organs under the name Dulciana Principal. 
 Octave and Super-octave stops of the Dulcet class are prac- 
 tically unknown in modern Organs; the prevailing craze for high 
 wind-pressures and the crude taste (or want of taste) for musical 
 noise, having swept away such beautiful and winning voices. Or- 
 ganists have to learn what tonal wonders lie in refined registration 
 into which such voices enter with tonal effects absolutely unknown 
 to them on the noisy Organs of to-day. 
 
 DULCIAN, DOLCIAN, Ger.— The name given to a lingual stop 
 yielding a soft tone, resembling that of the Bassoon, and of 8 ft. 
 and 16 ft. pitch. It is formed with striking- and free-reeds, and with 
 slender inverted conical and pyramidal resonators of metal and 
 wood. Examples are found, in either of the pitches, in different 
 divisions of the Organ. The Dulcian, 8 ft., exists in the Echo of 
 the celebrated Haarlem Organ; and in the Pedal of the Organ in the 
 Evangelical Church, Munster. The Dulcian, 16 ft., is introduced 
 in the Oberwerk of the Organ in the Cathedral of Konigsberg; in the 
 Femwerk (Third Clavier) of the Organ in St. Petri-Kirche, Berlin; 
 in the Riickpositiv of the Organ in St. Catherine's Church, Ham- 
 burg ; as a free-reed stop, in the Pedal of the Organ in the Cathedral 
 of Merseburg; and in the Piano Pedal of the Organ in the Cathedral 
 of Schwerin, where it is a free-reed furnished with resonators of wood. 
 
 DULCIANA. — A stop formed of open labial pipes of cylindri- 
 cal form and small scale, of 8 ft. pitch in the manual Organs and 
 16 ft. pitch in the Pedal Organ. The stop appears to have been in- 
 troduced for the first time by John Snetzler in the Organ he built in 
 1754, under the direction of the distinguished Dr. Bumey, for the 
 Church of St. Margaret, Lynn Regis, Norfolk. Ever since then the 
 Dulciana has been a great favorite with Enghsh organ-builders, 
 and numerous beautiful examples exist in English Organs. We have 
 not been able to find the Dulciana, 8 ft., in its true form in any 
 French Organ; and neither it, nor any equivalent under another 
 name, is mentioned by Regnier. We find a Dolciane, 8 ft., in the 
 
THEIR ARTISTIC REGISTRATION 113 
 
 Rdcit of the Chamber Organ built for the late Alexandre Guilmant 
 by Mutin, of Paris : this was in all probability suggested by the Eng- 
 lish stop, with which M. Guilmant was familiar. On the other hand, 
 however, we find an octave stop, labeled Dulciana, 4 ft., in several 
 important Organs ; for instance, in the R^cit of the Organ in the 
 Church of Saint-Sulpice, and in the Bombarde of the Organ in the 
 Church of Saint-Eustache, Paris. We have not been able to find 
 any trace of the Dulciana in connection with old German Organs ; 
 but it appears, invariably on the First Clavier (Hauptwerk), in 
 several of Walcker's large Organs, as in those in the Cathedral of 
 Riga, and St. Petrikirche, Lubeck. 
 
 Formation and Scale — The pipes of the Dulciana are cylindrical and 
 formed similar to those of the Diapason, 8 ft., of which it is, strictly considered, 
 the proper diminutive. Its scale being small and its voice having to be extremely 
 clear and perfectly uniform in tone, the pipes must be carefully made of tin or 
 high-class metal. The scale of the true Dulciana, 8 ft., varies slightly, according 
 to the class of Organ for which it is designed, the position it is to occupy in the 
 Organ, and the acoustical conditions under which it has to be heard. In so delicate 
 and sensitive a stop as the true English Dulciana every condition should be 
 carefully considered affecting its scaling and voicing. The following scales, in two 
 desirable ratios, will be found, with careful formation and artistic voicing of the 
 pipes, to produce satisfactory results under favorable conditions: 
 
 DULCIANA PIPE DIAMETERS IN INCHES, RATIO 1:2.519. 
 
 pipes CC C C c* c3 c" 
 
 I. 3.25 2.05 1.29 0.81 0.51 0.32 
 
 II. 338 2,13 1.34 0-84 0,53 0.33 
 
 DULCIANA PIPE DIAMETERS IN INCHES, RATIO 1:2.66. 
 
 PIPES CC C c" C» C3 c< 
 
 L 3.34 2.05 1.25 0.77 0.47 0.29 
 
 II. 3.48 2.13 I. 31 0.80 0.49 0.30 
 
 The smaller scales to the ratio i : 2.519 give a comparatively full treble; while 
 those to the quicker ratio i : 2.66 keep the lower octaves comparatively full toned. 
 The selection made by the tonal artist will, or should, depend on the special stop- 
 appointment of the division of the Organ in which the Dulciana is to be placed. 
 In the tradesman organ-building of to-day, and the general don't-careism on the 
 part of organists, such considerations of tonal propriety and refinement are either 
 not realized or are ignored. When will the organist arise who will gloat over the 
 beauties of his glorious instrument, as the violinist gloats over the wonders of his 
 Stradivarius? The width of the mouth of the Dulciana pipe should not exceed 
 one-fifth the internal circumference, while, except in a stop intended for a true 
 Chamber Organ, it should rarely be less. The height of the mouth may vary from 
 one-fifth to one-third its width, according to the method of the voicer, the wind- 
 pressure employed, and the character of the tone desired. The mouths of all the 
 pipes, except, perhaps, those of the top octave, should be furnished with ears of 
 S 
 
114 ORGAN-STOPS 
 
 slight projection, aiding clean articulation. On no account are the pipes to te 
 slotted for tuning if the true tone of the Ditlciana is desired. The larger pipes 
 should be furnished with tvining-slides, as recommended for the Diapason. This 
 expedient will prevent the pipes being injured by repeated tuning with the cones; 
 and will secure uniformity in their voices, their open tops remaining at all times of 
 the correct internal diameters. Such matters as these should be attended to by 
 the organ expert in his Specifications. 
 
 Tone and Registration. — The true English Dulciana has a 
 pure organ-tone of a sweet singing, silvery, quality — a tone seldom 
 heard in Organs built during late years. To ears vitiated by con- 
 stant association with powerful and more or less coarse musical 
 sounds — the product of inordinate wind-pressures — such refined 
 tones as those of the Dulciana, in their purity, seem poor and in- 
 sipid; accordingly, voicers proceed to improve the stop by what they 
 call giving it color; removing it from its proper and time-honored 
 place in the tonal appointment of the Organ, and throwing it among 
 the Salicionals and quasi string-toned stops. The Dulciana is 
 either a Dulciana or it is not one; and every voicer should be re- 
 quested to remember that important fact, and, at the same time, 
 asked to improve his overblown labial and lingual stops, leaving the 
 Dulciana queen of the soft organ-toned cantabile group. 
 
 The place for the Dulciana, 8 ft., is in the Choir or chief accom- 
 panimental division of the Church Organ; certainly not in the Great 
 (or Hauptwerk) where Walcker has invariably placed it. In the 
 Concert-room Organ its proper position is in the softest-toned divi- 
 sion, whatever it may be. In such approved situations it will prove 
 most valuable in registration, furnishing a foundation or background 
 for numerous combinations of tone-colors. Its reposeful and can- 
 tabile voice renders it of great use in quiet solo effects; and in giving 
 body to combinations of special tones without in any marked manner 
 affecting their normal character. In registration with soft-toned 
 open, covered, and half -covered Flutes, 8 ft. and 4 ft. pitch ; with 
 delicately voiced string-toned stops; with the more refined lingual 
 stops; and with its Octave, the Ccelestina, 4 ft., and such a com- 
 pound stop as Dulciana Cornet, or, better still, the Harmonia- 
 .(Etheria, the Dulciana contributes to the production of numerous 
 compound tones of great beauty, refinement, and charm. Let not 
 the true Dulciana disappear from the Organ. 
 
 DULCIANA CORNET.— The compound harmonic-corroborat- 
 ing stop, commonly formed of five ranks of high-pitched Dulciana 
 pipes; yielding delicate silvery tones, representing the higher upper 
 partials of the prime unison, suitable for combination with the softer 
 
THEIR ARTISTIC REGISTRATION 115 
 
 labial and lingual voices of the Organ, and, accordingly, entering 
 into countless tonal combination's into which the ordinary full-toned 
 Mixtures could not possibly be introduced. The stop has been 
 formed of octave- and fifth-sounding ranks, and also of octave-, 
 third-, and fifth-sounding ranks, in all cases, owing to their high 
 pitch, requiring several breaks in their compass. The following is 
 the composition of an example of proved excellence under all tests 
 in combination and artistic registration: 
 
 DuLCiANA Cornet — V. ranks. 
 
 CC to BB 19 22 24 26 29. 
 
 C to B . . . . 12 15 17 19 22. 
 
 c" to b' . . . 8 12 17 19 22. 
 
 C to c< . . . I ,8 10 12 15. 
 
 This stop carefully regulated and graduated in tone in strict 
 accordance with the natural laws of compound musical sounds, 
 becomes one of the most useful agents in the building up of expres- 
 sive tonal structures of a refined and fascinating character. It is so 
 sympathetic that it can be used with a single Dulciana or any soft 
 unison stop in the Organ. The Dulciana Cornet or some equiva- 
 lent, should be introduced in every Organ of any importance; and 
 it should be the only compound stop in the true Chamber Organ. 
 
 DULCIANA PRINCIPAL.— The term employed by Samuel 
 Green, organ-builder to King George the Third (1780- 1796), to 
 designate, according to the English nomenclature, a stop of 4 ft. 
 pitch and of the Dulciana class : what would now be more correctly 
 called Dulciana Octave. It has been said: "The organs built by 
 Green are characterized by a peculiar sweetness and delicacy of tone, 
 entirely original; and, probably, in this respect he has never been 
 excelled. " It is to be hoped that the mantle of Green will some day 
 fall on the shoulders of one of the aspiring organ-builders of the 
 twentieth century. 
 
 DULCIMER. — The name given by Thomas Schwarbrook to a 
 stop, composed of metal strings, inserted in the Organ erected by 
 him, in 1733, in the Church of St. Michael, Coventry. It was, in all 
 probability, sounded by a hammer action, as the real Dulcimer was 
 played. Respecting this notable Organ, Dr. Rimbault remarks: 
 "This noble instrument (Schwarbrook's masterpiece) cost £1400. 
 It originally contained three remarkable stops — the Harp, LutE: 
 and Dulcimer; but, in consequence of the ' difficulty of keeping the 
 stnngs in tune,' they were removed in 1763." 
 
n6 ORGAN-STOPS 
 
 DUOPHONE.— The name given by G. W. Till, of Philadelphia, 
 to an open labial stop, of 8 ft. pitch, recently invented by him; the 
 pipes of which are of wood, having inclined sides, and mouths fur- 
 nished with metal upper lips and cylindrical harmonic-bridges.* 
 The tone of the stop is dual, the prime tone and its first upper partial 
 being produced in almost equal volume, and is remarkable on ac- 
 count of its penetrating and traveling quality without undesirable 
 loudness. 
 
 ECHO BOURDON.— A Bourdon, i6 ft., of small scale and 
 soft intonation, the pipes gf which are of wood, preferably of oak or 
 maple, finished as thin as conditions will permit, and otherwise con- 
 structed like the ordinary Bourdon. This stop differs from the 
 7 ;eblichgedeckt in its tone, chiefly on account of the different 
 proportions and treatment of the mouths of its pipes, and, accord- 
 ingly, in a special style of voicing. The best tone is obtained on 
 wind of low pressure, between i J^ and 2}^ inches. The stop may be 
 considered the English equivalent of the German Bourdonecho, 
 and is an ideal stop for the true Chamber Organ. 
 
 ECHO DIAPASON. — The appropriate name for a pure organ- 
 toned unison stop, the scale of which is midway between that of the 
 full-toned Diapason, 8 ft., and that of the true Dulciana, and thf 
 voice of which ii also a medium one. Such a medium stop is ex- 
 tremely valuable in certain divisional tonal apportionments, fur- 
 nishing foundation organ-tone commensurate with the requirements 
 of the divisions. 
 
 The pipes of the Echo Diapason are formed precisely as those of 
 the foundation Diapason ; their only difference lying in the subdued 
 character of their tones largely due to their being voiced on wind of 
 low pressure — not exceeding 2J4 inches, but preferably less. The 
 following scale is suitable for the stop : 
 
 ECHO DIAPASON PIPE DIAMETERS IN INCHES, RATIO i : 2.66. 
 
 PIPES CC C c" c' c' c* 
 
 4.82 2.95 I. 81 I. II 0.68 0.42 
 
 The mouth, in width, should not exceed two-ninths of the inter- 
 
 * For full particulars and drawings of this stop, See "The Organ of the Twentieth Century 
 ^a^es 100^,451-2. 
 
THEIR ARTISTIC REGISTRATION 117 
 
 nal circumference of the pipe, and should be cut up only sufficient to 
 produce the pure organ-tone required. The upper lip must not be 
 leathered; and the pipes must not be slotted for tuning. 
 
 Tone and Registration. — Like all unison stops yielding pure 
 organ-tone, the Echo Diapason furnishes a foundation or back- 
 ground for fine effects of tonal coloring, to which it gives richness 
 and neutral body. The delicate tone of this stop is extremely recep- 
 tive and lends itself to the most refined nuances and effects of tonal 
 light and shade. It combines perfectly with all the softer tonal 
 colors that can be thrown upon it by the contrasting voices of labial 
 and lingual stops; in this direction resembling the still softer and 
 equally pure-voiced Dulciana (g. v.). 
 
 ECHO DULCIANA.— A small-scaled, open, metal stop, of 8 ft. 
 pitch, the pipes of which are formed similar in all respects to those 
 of the English Dulciana, of which stop it is the proper diminutive 
 in scale and tone. It may be said to occupy an intermediate posi- 
 tion between the Dulciana and the Vox Angelica, 8 ft., when 
 these stops are properly related. It should have a pure organ-tone 
 of a cantabile character, rendering it peculiarly suitable for the 
 softest division of the true Chamber Organ. The following scale 
 may be accepted as suitable for the stop, relative to the scales given 
 for the Dulciana (g. v.), ratio i : 2.66: 
 
 ECHO DULCIANA PIPE DIAMETERS IN INCHES, RATIO i : 2.66. 
 
 PIPES CC C C C= C3 C4 
 
 2.84 1.74 1.06 0.65 0.40 0.24 
 
 The width of the mouth should not exceed one-fifth the internal 
 circumference of the pipe; while its height may vary from one-fifth 
 to one-third its width, according to the wind-pressure employed, 
 the volume of Jhe tone desired, and the special method of voicing 
 followed. 
 
 Registration. — As the Echo Dulciana yields a tone which is 
 properly a diminutive of that of the Dulciana, its offices in regis- 
 tration are practically similar with regard to the stops of soft tonal- 
 ity suitable for combination, and, accordingly, reference may be 
 made to the remarks under Dulciana. As a single echo voice this 
 stop is the most desirable in the Organ. It completes the family, 
 which stands thus: Dulciana, 8 ft.; Echo Dulciana, 8 ft.; Dul- 
 cet, 4 FT. ; and Dulciana Cornet, V. ranks. 
 
 ECHOFLOTE, Ger. — The name that has been used to designate 
 an extremely soft fiute-toned stop of 8 ft. or 4 ft. pitch, commonly 
 
Ii8 ORGAN-STOPS 
 
 of wood and covered or half -covered, made still softer by inclosure 
 in a box. Sometimes the stop has been simply labeled Echo; and 
 Locher remarks: "When this word alone appears on a draw-stop 
 knob, it indicates an exceedingly soft, flute-like stop, which is often 
 placed in a swell-box, separate from the main body of the Organ." 
 On the same single term, Seidel says: "A simple Echo consists of a 
 single flute-toned register of soft intonation which stands behind the 
 Organ, and receives its wind through long conveyances. A com- 
 pound Echo consists of several stops, standing behind the Organ in a 
 separate box, the inside of which is lined with felt or cloth, so that 
 if this Echo-work is played upon, the tones will seem to come from 
 without the church. The Echo often contains also a Mixture, for 
 instance a Cornett, which is then called the Echo-Cornett." 
 
 ECHO GAMBA. — The name found in certain EngHsh Organs, 
 designating a stop of the Gamba class yielding a soft and somewhat 
 cold string-tone. An example, of 8 ft. pitch, exists in the Swell of 
 the Organ in York Minster. It is usually made of small-scaled metal 
 pipes from tenor C, the bass octave being added, very inappro- 
 priately, in covered wood pipes, as in the Organs in St. Saviour's 
 Church, Eastbourne, and All Saints' Church, Wokingham. In its 
 original tonality the stop is of little mterest or value. 
 
 ECHO OBOE. — The name given by Edmund Schulze, organ- 
 builder, of Paulinzelle, to an open wood labial stop, of 8 ft. pitch, 
 invented by him, the pipes of which are of small scale and about 
 twice their width in depth. The mouth is furnished with a small, 
 snaip-edged harmonic-bridge, which rests on a sunk and sloped 
 cap; the edge of the cap at the wind-way is thin; and the upper lip 
 is cut sharp.* The voice of the stop is a peculiar compound of reed- 
 tone and string-tone, and is singularly delicate and pleasing, though 
 not highly suggestive of that of the Oboe of the orchestra. A beau- 
 tiful example, made by Schulze, exists in the Echo of the Organ in 
 St. Bartholomew's Church, Armley, Yorkshire: it is of tenor C 
 compass, being grooved into the bass of the Vox Angelica, 8 ft. 
 Another fine example, by Abbott & Smith, of Leeds, exists in the 
 Echo of the Organ in the Parish Church of Leeds. Both these re- 
 markable stops speak on wind of 1 3^ inches pressure. 
 
 ENGELSTIMME, Ger.— The name originally given to a lingual 
 stop of the Vox Humana class; and subsequently to a stop also 
 
 * A full description and drawings of the Echo Oboe are given in our work, " The Art of Organ. 
 Building," Vol. II., pp. 48i-48»- 
 
THEIR ARTISTIC REGISTRATION 119 
 
 called Vox Angelica (g. v.). Of the stop Seidel remarks : "Angel- 
 ica (vox), die Engelstimme, ein angenehmes, aber jetzt veraltetes 
 Rohrwerk zu 8'. Es geht nur durch die oberen Oktaven vom ein- 
 gestr. c an. Dieses Register scheint eine fruhere Art der Vox Hu- 
 mana zu sein." 
 
 ENGLISH HORN.— Ger. , Englisch Horn. Fr. , Cor Anglais. 
 Ital., Corno Inglese. — This stop derives its name from the orches- 
 tral instrument, which is a reed of the Oboe family, having a com- 
 pass extending from tenor E two octaves and a fifth. Accordingly, 
 the stop need not be carried below tenor C ; but, as incomplete stops 
 are undesirable in a properly appointed Organ, it is proper to insert 
 it, as a stop of 8 ft. pitch, of the full compass. For further particu- 
 lars see Cor Anglais. 
 
 ENGPRINZIPAL, Ger. (fromewg— narrow).— The name which 
 has been sometimes used by the old German organ-builders to desi^ 
 nate a Principal, 8 ft. , of small scale and soft intonation, so as to 
 distinguish it from the foundation Principal of full scale and tone. 
 
 ERZAHLER, Ger. — The name given by Ernest M. Skinner, 
 organ-builder, of Boston, to an open metal labial j,top, of 8 ft. pitch, 
 introduced by him in 1904. The Erzahler pipe is similar to that 
 of the Gemshorn in being conical in form; but differing from it in 
 having the diameter of its top opening only one-fourth of the dia- 
 meter at its mouth line, in being slotted near the top, and having a 
 mouth width equal only to one-fifth of the larger circumference of 
 the body. 
 
 The tone of the stop is compound and singularly bright; this is 
 due to the octave being distinctly produced in combination with the 
 unison or prime tone. In addition to this there is a peculiarity in the 
 tone which suggested the somewhat fanciful name to the introducer 
 of the stop. Examples exist in several Skinner Organs. 
 
 EUPHONE, EUPHONIUM.- Fr., Euphone. Ger., Euphon. 
 — The name derived from the Greek word Eili/xovo?, and properly 
 given to a lingual stop, the tone of which is intended to imitate that 
 of the brass instrument of the same name, a member of the Saxhorn 
 family, the compass of which is a little over three octaves from CC. 
 The stop is, accordingly and properly, of 8 ft. pitch, extending, in 
 keeping with the Euphonium, over the richest portion of the manual 
 compass of the Organ, but necessarily carried through the higher two 
 octaves. Fine stops of the same tonality and 16 ft. pitch have been 
 made, and these are, perhaps, the more valuable. A Euphon, 8 ft., 
 
I20 
 
 ORGAN-STOPS 
 
 exists on the First Manual of the Organ in the Cathedral of Riga: 
 and representative examples of the stop of i6 ft. pitch exist in the 
 Roosevelt Organs in the Cathedral of Garden City, L. I., and the 
 Auditorium, at Chicago. All are free-reed stops. 
 
 /~A 
 
 Formation. — The Euphone as made by German 
 and French organ-builders are invariably free-reed 
 stops, and their tones are smooth and pleasing. Differ- 
 ent forms of resonators have been devised for the pur- 
 pose of producing the desired tone, some of very pec- 
 uliar form, but those most approved are either of the 
 plain inverted conical form, shorter and of smaller 
 scale than those used for the Trumpet, as adopted 
 by Roosevelt; or of the same form surmounted by 
 some contracting or shading device, preferably a shori^ 
 truncated cone, as shown at the top of the resonator ir 
 the drawing of the complete pipe, 2, Fig. 1 5. In other, 
 and less effective, examples the inverted conical res- 
 onators are closed at top and slotted for the emission 
 of wind and sound. The drawings in Fig. 15 are 
 accurately made to scale from a C (4 ft. pitch) pipe 
 constructed by the well-known German organ-pipe 
 maker, August Luakhuff. All free-reed pipes re- 
 quire for their prompt and satisfactory speech large 
 boots; and this is shown in the Section i, which also 
 shows the free-reed, the block in which it is inserted, 
 and the tuning-wire. The length of the boot is 13^ 
 inches, while the entire length of the resonator is only 
 25^ inches. The largest diameter of the resonator 
 is 2 '/s inches, and that of the opening at top i J^ 
 inches. The length of the tongue is 2.25 inches and 
 its width 0.27 inch. 
 
 Tone and Registration. — The tones 
 produced by the several stops, of different 
 formation, that have been named Euphone 
 have varied greatly. It appears that in the 
 first and earlier forms no attempt was made 
 to imitate the voice of any particular wind 
 instrument. The first stop to which the name 
 appears to have been given was that inserted 
 in the Organ of the Cathedral of Beauvais, 
 Fig. 15 in 1829. During the following year, Sebas- 
 
 tian Erard inserted a Euphone, as an expres- 
 sive free-reed, in the Organ of the Royal Chapel of the Tuileries, 
 Paris. Regarding the tones of these stops nothing is clearly known, 
 but, judging from the peculiar forms of their resonators, which were 
 
 w 
 
THEIR ARTISTIC REGISTRATION 121 
 
 short, covered, and slotted, their tones must have been somewhat 
 muffled and probably inclining toward the Bassoon quality. The 
 tones of the later examples, such as those made by Roosevelt, Luak- 
 huff, Zimmermann of Paris, and others, are open, smooth, and full ; 
 but not strongly resembling those of the Euphonium.* 
 
 A soft, full tone, imitative of that of the Euphonium played by 
 a master, is greatly to be desired in the Organ ; but, like that of the 
 orchestral Horn, it seems almost impossible to obtain it from lingual 
 pipes. It might, however, be produced by a dual stop, formed by 
 the artistic combination of a labial and a lingual rank of -pipes. 
 Such a stop would be very valuable in impressive solos ; just as the 
 Euphonium is par excellence a solo instrument: and one can easily 
 realize that it would also be extremely valuable in refined registra- 
 tion, especially in its proper 8 ft. pitch. In its 16 ft. pitch it would 
 be an important addition to the expressive forces of the Pedal 
 Organ. 
 
 FAGOTTO, Ital. — A lingual stop, of small scale, and 8 ft. pitch, 
 voiced to yield a tone imitative of that of the orchestral instrument 
 of the same name. See Bassoon. 
 
 FAGOTTONE, Ital.— This term, which has the Italian aug- 
 mentative ending, has been used to designate a lingual stop of the 
 Fagotto family, properly of 32 ft. pitch, and of a full and impressive 
 voice. It is a Pedal Organ stop, and practically carries down the 
 voice of the Contrafagotto, 16 ft., an octave lower. It has, how- 
 ever, no equivalent in the orchestra. An example exists in the Organ 
 of the Church of San Alessandro, Milan. The name has also been 
 given to stops of 16 ft. pitch, the scales of which are larger and the 
 voices fuller than those of the imitative Contrafagotto. An 
 example exists in the Swell of the principal Organ in the Cathedral 
 of Como. 
 
 FELDFLOTE, FELDPFEIFE, FELDPIPE, Ger.— Lat., Fis- 
 tula MiLiTARis. — An open labial stop, of a penetrating flute- or 
 fife-tone, hence its names. It has been made by German organ- 
 builders, according to Schneider (Organist of the Cathedral of 
 Merseburg, 1835), of metal and wood, and of 4 ft., 2 ft., and i ft. 
 
 * The beautiful stop made by Roosevelt for our Chamber Organ, and named by him Eu- 
 PHONE, had a voice which seemed to incline so much, in its higher compass, to the tone of the 
 Bass Saxophone that we labeled it Contra-Saxophone, i6 ft. 
 
122 ORGAN-STOPS 
 
 pitch. Owing to its very assertive voice, the stop seems never to 
 have been a favorite, and it does not appear in modern German 
 Organs. Organs of every class are better without high-pitched 
 screaming voices; and one can understand the disappearance of the 
 Feldflotes of 2 ft. and i ft. pitch. 
 
 FERNFLOTE, Ger.— Literally Distant or Echo Flute. Prop- 
 erly applied, this name indicates a small-scaled labial stop of 8 ft. 
 and 4 ft. pitch, yielding the softest flute-tone produced by organ- 
 pipes; but the name has been applied to softly-voiced stops of differ- 
 ent classes, and both of wood and metal, open and covered. In the 
 Organ in the Church of St. Mary, Tyne Dock, constntcted by Ed- 
 mund Schulze, the Fernflote, 8 ft., is in the form of an extremely 
 soft Spitzflote. 
 
 FERNHORN, Ger.— Literally Distant or Echo Horn. The 
 name that has been given to a half-covered labial stop of metal and 
 of 8 ft. pitch. It is practically an Echo Nachthorn. The stop 
 would be suitable for the true Chamber Organ, and for a soft an- 
 cillary division of a properly appointed Concert-room Organ. It 
 should be voiced on wind of a pressure not exceeding 2 3^ inches. 
 
 FIFE. — Fr., FiFRE. Ger., Pfeife. — ^An open metal labial stop 
 of 2 ft. or I ft. pitch, yielding a shrill flute-tone, resembling that of 
 the military Fife, the compass of which extends about two octaves 
 from d^ As an organ-stop, the Fife, 2 ft., differs from the Piccolo, 
 2 FT., only in the character and loudness of its voice. The latter 
 stop is much to be preferred; accordingly the Fife is seldom met 
 with. An example of the Fifre, i ft., as made by the French build- 
 ers, and of comparatively soft tonality, exists in the Postif of the 
 Organ in the Cathedral of Abbeville. It is not a desirable stop for 
 the Organ of to-day. 
 
 FIFFARO, Ger. — The name sometimes given by the old German 
 organ-builders to a stop, the voice of which imitated that of the or- 
 chestral Flute. Schneider thus briefly describes it: "Fiffaro, 
 Queerpfeife, eine kleine Stimme von 4 oder 2 Fuss. " See Quer- 
 
 FLOTE. 
 
 FIFTEENTH, SUPER-OCTAVE.— The names used to desig- 
 nate open, metal labial stops, yielding pure organ-tone, and sounding 
 two octaves above the unisons. Accordingly, in the manual divi- 
 sions the Fifteenth is of 2 ft. pitch, and in the Pedal Organ of 4 ft. 
 pitch. The stop belongs to the foundation-work of the Organ, rep- 
 
THEIR ARTISTIC REGISTRATION 123 
 
 resenting the third upper partial tone of the prime unison of the 
 department in which it is placed. Its scale is, accordingly and 
 properly, calculated from that of the foundation Diapason or Prin- 
 cipal, 8 ft. or 16 ft., being usually made two or three pipes less in 
 diameter; the voicer taking care of the necessary reduction in the 
 strength of tone. The old English organ-builders, including Ber- 
 nard Smith, of Temple Church fame (1684), and John Harris, made 
 their Fifteenths only one pipe less in scale than the corresponding 
 pipes of their Diapasons, simply voicing them softer than the in- 
 termediate Octaves, 4 ft. In modern Organs, as a rule, the Fif- 
 teenth, 2 ft., is made of too large a scale, and voiced much too 
 assertive in tone; builders, desiring to get as much sound as possible 
 out of the pipes, overlooking the scientific side of the matter, and 
 the fact that the true office of the stop is primarily a harmonic-cor- 
 roborating one, and that it should be treated as such in the tonal 
 appointment of the Organ. In proportionate strength, the tone of 
 the Fifteenth should be about 50% that yielded by the fundamen- 
 tal Diapason, and be clear and singing in quality. 
 
 Tone and Registration. — The tone of the Fifteenth, 2 ft., 
 being of the pure organ class, as required by its primal office in the 
 tonal structure of the Organ, proves to be of considerable value in 
 registration, especially so when of the proper relative strength, as 
 recommended above. Its pure organ-tone — practically free from 
 harmonics — blends perfectly with every other tone produced by 
 organ-pipes, labial and lingual ; imparting the elements of clearness 
 and brilliancy to the heavier and duller tones of many unison and 
 double stops, without sensibly impairing their characteristic voices. 
 This is surely a valuable property and one to be made much use of 
 in artistic registration. Of course, to be of maximum value, the 
 Fifteenth must be voiced to the proper strength of tone, as stated 
 above. 
 
 FIFTH, QUINT.— Fr. and Ger., Quinte. Ital., Quinta.— 
 The name properly applied to a stop the voice of which is at the in- 
 terval of a perfect fifth above the unison. In the Pedal Organ the 
 Fifth is of 10% ft. pitch, and in the manual divisions it is of 5}/^ ft. 
 pitch. . These stops, under different qualifications, may be of metal 
 or wood, and open, covered, or half -covered. See Quint. 
 
 FLACHFLOTE, Ger.— The name given to a labial stop of 8 ft., 
 4 ft., or 2 ft. pitch, the pipes of which are of metal or wood, and 
 either conical or of the same measurement throughout, according 
 to the fancy of the builder and the quality of the tone desired. 
 
124 ORGAN-STOPS 
 
 According to Wolfram the stop resembles the Gemshorn and 
 Spitzflote.* Seidel describes its tone as somewhat thin but not 
 disagreeable, t In his illustration, the Flachflote pipe is shown 
 cylindrical, terminating in a truncated cone having a small opening 
 at top, closely resembling the Spindeflote pipe. The mouth is 
 shown very narrow; but as the illustration is badly drawn this detail 
 cannot be depended on. Although the stop seems to have usually 
 been made of metal, there is one, of 4 ft. pitch, made of pear-tree 
 (Birmbaumholz) in the Organ of the Church of St. Boniface, at 
 Langensalza. It would seem probable, from the name, which means 
 Flat Flute, that the original Flachflote was made of wood, its pipes 
 being flat in form, with the mouth on a wider side. Under other 
 conditions the name would seem meaningless; and German organ- 
 builders generally had some sensible reasons for naming their stops. 
 It would be well if such a practice obtained here to-day; for some 
 names, having no relation to form or tone, which have appeared in 
 certain stop lists of late, if they were not objectionable in their ab- 
 surdity, would be only laughable. 
 
 FLAGEOLET. — Ger., Flageolett. Ital., Flageoletta. 
 Span., Flautim. Lat., Fistula Minima.— A metal labial stop of 
 2 ft. and I ft. pitch, the pipes of which are cylindrical in form and of 
 a medium scale. The proper tone of the stop is liquid, clear, and 
 somewhat penetrating, in imitation of the voice of the old English 
 Flageolet, the instrument for which it is generally understood Han- 
 del wrote the obbligato in the song, "O ruddier than the cherry" 
 ("Acis and Galatea"). In some English Organs the Flageolet, 
 2 FT., is a wood stop, of small scale, and a clear fluty voice. The 
 metal stop appears in several German and Dutch Organs in both 
 pitches. Of 2 ft. pitch, the Flageolet exists in the Organs of the 
 Cathedral of Magdeburg, and the State Church, Triebel: and of i ft. 
 pitch in the Organs in the Marienkirche, Lubeck, and the Church of 
 St. Stephen, Nymengen. In the celebrated Haarlem Organ the stop 
 appears in the Echo of i }/^ f t. pitch. A Flageolet, 2 ft. , is inserted 
 in the Swell of the Roosevelt Organ in the Cathedral of the Incarna- 
 tion, Garden City, L. 1. ; but it is rarely inserted in modem Organs. 
 
 * ' ' FlachflcJte, eine ofEene sehr angenehme Flotenstimme 4 oder 8 Fuss mit kegelformigen 
 Korpern. Sie erhalt breite Labien mit engem Aufschnitt, und ist tibrigens dem Gemshorn und 
 der Spit2fl8te ahnlich." — Wolfram. 
 
 t ' ' Flachflote ist eine Labialstimme, deren Pfeifen nach Art des Gemshorns spitz zulaufen 
 Die Pfeifen haben breite Labien, einen weiten Aufschnitt und Seitenbarte, daher ist der Ton der 
 Stimme nicht voU, sondern flach. iibrigens gerade nicht unangenehm. Sie wird zu 8, 4, 2, und l' 
 und zwar konisch und cylindrisch zugleich angetroffen, die 8- und 4 fiissige heisst zuweilen 
 GrossflachflGte." — Seidel. 
 
THEIR ARTISTIC REGISTRATION 125 
 
 Tone and Registration. — The position of the Flageolet, in 
 the tonal economy of the Organ, is somewhat undecided; but as a 
 stop of 2 ft. pitch, having a pure flute-tone of less power than that 
 of the Orchestral Piccolo, 2 ft., it would unquestionably prove a 
 valuable addition to an Organ, properly occupying a place in a 
 manual division to which the softer-toned accompanimental stops 
 are apportioned. Voiced to imitate as closely as possible the tone 
 of the true Flageolet, it would become the best stop of super-octave 
 pitch for a solo or an accompanimental obbligato, just as the Flageo- 
 let was employed by Handel in ' ' Acis and Galatea. ' ' In registration, 
 it would be found more generally useful than either the Fifteenth 
 or the Orchestral Piccolo; both of which are too assertive in any 
 combinations save those of full tonality. 
 
 FLAGEOLET HARMONIQUE, Fr.— An open metal labial 
 stop, yielding a bright tone, closely resembling that of the true 
 Flageolet. Its pipes are cylindrical, of medium scale, and double 
 the standard speaking length; and have the perforation in their 
 bodies, as usual in harmonic pipes. See Flute Harmonique. A 
 Flageolet Harmonique, 2 ft., appears in the Postif of the Grand 
 Organ in the Royal Church of Saint-Denis, constructed by MM. 
 Cavaille-Coll, in 1841. 
 
 FLAUTADA, Span. — The name applied by Spanish organ- 
 builders to open lingual stops yielding flute- and organ-tone. Thus : 
 Flautada de 13 signifies a Flute or Principal, 8 ft.; Flautada 
 DE 26 signifies a Flute or Double Diapason, 16 ft.; and Flau- 
 tada DE 52, the stop belonging to the Pedal Organ, is in all essen- 
 tials similar to the Double Diapason, 32 ft. Examples are to be 
 found in the Organs of the Cathedrals of Burgos, Seville, and Valla- 
 dolid, and also in other important Spanish instruments. 
 
 FLAUTINO, Ital. — This word, terminating in the Italian dim- 
 inutive, ino, is employed to designate a flute-toned stop of small 
 size. In its best form, it is an open metal stop of 2 ft. pitch, formed 
 of cylindrical pipes of small scale, voiced to yield a flute-tone softer 
 than that of the proper Flageolet, 2 ft. Examples exist in the 
 Organs in the Cathedral of Milan and the Church of San Gaetano, 
 Florence. In the Choir of the Organ in the Jesuit's Church, at 
 Cologne, is a Flautino of 4 ft. pitch. In modern Organs the name 
 should be given only to the stop of 2 ft. pitch. The stop has been 
 frequently and incorrectly labeled Flautina. 
 
 Registration. — The Flautino, 2 ft., when properly voiced is 
 
126 ORGAN-STOPS 
 
 a very valuable stop ; and being so closely allied to the Flageolet, 
 of the same pitch, in tonality it can be used instead of that stop in 
 artistic registration. In this direction reference may be made to the 
 remarks under Flageolet. 
 
 FLAUTO AMABILE, Ital.— The suggestive name given to a 
 small-scaled labial stop, of either 8 ft. or 4 ft. pitch, properly con- 
 structed of open wood pipes, yielding an extremely delicate and 
 sweet unimitative flute-tone. In its best form, its pipes are slender, 
 about one and a half times their width in depth, and have inverted 
 mouths. The pipes should be made of clear spruce, fronted with 
 mahogany or white maple so as to allow their mouths being carefully 
 and accurately formed. Examples of the stop exist in the Organs 
 of the German Church, at Montreux, and the Church of Saint- 
 Martin, at Vevey. 
 
 Voiced on wind of low pressure, the Flauto Amabile 4 ft., is an 
 ideal stop for the true Chamber Organ; and of either 8 ft. or 4 ft. 
 pitch it is suitable for insertion in the softest division of a Church or 
 Concert-room Organ. 
 
 FLAUTO AMOROSO, Ital.— This name has been employed to 
 designate an open metal stop of small scale and 4 ft. pitch, voiced 
 to yield an extremely soft and singing quality of unimitative flute- 
 tone. A fine Flauto Amoroso, 4 ft., exists in the Echo of the im- 
 portant Organ in the Church of SS. Peter and Paul, Liegnitz, in 
 Silesia, built by Buckow, in the year 1 839. Stops of this refined class 
 are held in little esteem by organ-builders of to-day in their craze 
 for high-pressures and loud voicing. When will the musical world 
 protest against such crude and inartistic treatment of the Monarch 
 of all Instruments? 
 
 FLAUTO D'AMORE, Ital.— Fr., Flute d'Amour.— The name 
 given to special stops formed of small-scaled wood pipes, yielding a 
 peculiarly delicate and fascinating flute-tone. The stop is generally 
 of 4 ft. pitch, which is that most desirable in solo passages and regis- 
 tration; but it has been made of 8 ft. pitch. An example, labeled 
 Flute d'Amour, 4 ft., exists in the Choir of the small Organ in the 
 Marienkirche, at Goerlitz, built by Buckow, in the year 1838. It is 
 the only stop of 4 ft. pitch in the Choir formed entirely of soft- 
 voiced stops. 
 
 Formation. — The pipes of the Flauto d'Amore, 4 ft., have been made of 
 different forms and proportions, according to the fancy of the organ-builder, 
 resulting, of necessity, in slight differences in tonality. The most satisfactory 
 
THEIR ARTISTIC REGISTRATION 
 
 127 
 
 form, in our estimation, is that here briefly described. The pipes partake of the 
 character of those of the Lieblichgedeckt and the Rohrflote; being small in 
 scale and in general formation like those of the former; and having perforated 
 stoppers like those of the latter stop. The tone of the Flauto d'Amore is, accord- 
 ingly, a combination of the voices of the two stops just named, but properly softer 
 than either. The construction of the Flauto d'Amore pipe is clearly shown in 
 the accompanying illustration, Pig. 16. In the Longitudinal Section, i, the for- 
 mation of all portions of the mouth is correctly delineated; and the manner in 
 which the stopper, A, is formed and perforat- 
 ed is shown. It will be observed that the 
 vertical perforation (Fr. cheminee) does not 
 extend through the entire length of the stop- 
 per, but opens into the larger transverse 
 perforation, B. This is an important exped- 
 ient. As the perforations of the stoppers af- 
 fect the quality of the tone of the pipes, their 
 lengths must, of necessity, be graduated reg- 
 ularly throughout the compass of the stop : 
 and as this graduation of length would be 
 difficult, and would make the stoppers in 
 the higher octaves inconveniently short, if 
 the perforations were carried through them 
 and dictated their lengths, the expedient 
 of the transverse perforation was happily 
 adopted, rendering correct graduation possi- 
 ble without interfering with the convenient 
 length of the stoppers. The transverse per- 
 forations would not be required in the stop- 
 pers of the lower pipes, for they could be per- 
 forated throughout and made of the proper 
 graduated lengths. The diameters of the 
 vertical perforations may vary according to 
 the scale of the pipes and the quality of the 
 tone desired : that of the largest pipe need not 
 exceed J^ inch, while that of the smallest pipe 
 may be J^ inch. The Front View, 2, shows 
 
 the desirable proportions of the mouth; but its height may vary according to the 
 wind-pressure used and the quality of tone desired. For its most characteristic 
 tones, the Flauto d'Amore should be voiced on wind of from 1}^ to 2}^ inches. 
 
 Fig. 16 
 
 Tone and Registration. — The tone of the Flauto d'Amore, 
 when correctly made and voiced by a master, is the most beautiful 
 of those produced by the half -covered stops; occupying a place in 
 the tonal economy of the Organ that neither the Flute a Cheminee 
 nor the Rohrflote can fill. Its extremely delicate and sympathetic 
 voice fails to recommend it during the present craze for loud and 
 screaming stops: its appearance will, accordingly, be rare in Organs 
 in this country — never, probably, voiced on the proper low wind- 
 
128 ORGAN-STOPS 
 
 pressures.* Its proper place is in the accompanimental division of 
 the Church Organ and in the softest-toned division of the Concert- 
 room Organ, where it will be invaluable, as an octave voice, in re- 
 fined and artistic registration. It imparts a beautiful tonality, as 
 we have proved, to the Vox Humana, especially for a soprano solo. 
 
 FLAUTO DI PAN, Ital.— The name given to an organ-stop, 
 probably on account of the similarity of its tone to the sounds of the 
 time-honored Pandean Pipes — one of the precursors of the Organ. 
 It has been made of 2 ft. and i ft. pitch, but is very uncommon in 
 either, having been found, in all probability, to have little to re- 
 commend it tonally. As a stop of 2 ft. pitch it appears in the Ober- 
 werk, and as one of i ft. pitch in the Pedal of the Organ in the 
 Cathedral of Lund, Sweden. It is likely to be classed among ob- 
 solete stops. 
 
 FLAUTO DOLCE, Ital.— Fr., Flute Douce. Ger., Dolzflote, 
 DuLZFLOTE. — ^An open labial stop of small scale, the pipes of which 
 are of metal or wood, and of 8 ft. or 4 ft. pitch. As the name implies, 
 the tone of the stop is soft, and when at its best it resembles that of 
 the orchestral Flute in piano passages. Regnier describes it thus: 
 
 "Flauto Dolce, la Flute douce, Dulzflcete, que les facteurs de 
 France ont eu tort de confondre avec la fliite allemande beaucoup 
 plus fine et vive, est un registre egalement ouvert et de tres-menue 
 taille, mais d'un ton plus rond et eminemment doux." 
 
 The Flauto Dolce, in either pitch, is suitable from every point 
 of view for insertion in the Chamber Organ ; or in the Choir or Echo 
 of larger Organs when extreme delicacy and refinement of intona- 
 tion is desired. An example of 8 ft. pitch, of wood, exists in the 
 Choir of the Organ in the Marienkirche, at Goerlitz.f A beautiful 
 example of 4 ft. pitch, of metal, exists in the Echo of the Organ in 
 the Parish Church of Leeds, where it speaks on the appropriate wind 
 
 * We made one of fine cedar for our own Organ, voiced on wind of 2 5^ inches, and its tone 
 was very delicate and beautiful. 
 
 t The Organ in the Marienkirche, at Gorlitz, in Silesia, constructed by the celebrated organ- 
 builder, Buckow, in 1S38. It is a small instrument, containing only fifteen speaking stops, three 
 of which are given to the Pedal Organ. It is, however, to the stop-apportionment of the Choir 
 Organ that we desire to direct the attention of organists and others interested in refined organ- 
 building. It comprises the following four stops: ViOLA DA Gamba, 8 ft., metal; Dolciano, 
 8 FT., wood; FlOte Douce, 8 ft., wood; and FlOte d'Amour, 4 ft., wood. It requires little 
 imagination on the part of anyone, with some knowledge of organ-stops, to realize the beauty 
 and charm which must characterize the tones of this little Choir: and it, as the work of a dis- 
 tinguished artist, certainly gives a lesson to twentieth-century lovers of musical noise. But it 
 seemshopeless to look for any immediate improvement so long as organists continue to approve 
 of. or remain indifferent toward, the inartistic and tasteless doings in the great majority of 
 voicing-rooms to-day. 
 
THEIR ARTISTIC REGISTRATION 129 
 
 pressure oti]4, inches. This fine stop was made by Edmund Schulze 
 
 FLAUTO MAGGIORE, Ital. Ger., Majorflote.— The term 
 appropriately employed to distinguish the most important or dom- 
 inating flute-toned stop in the Organ — the stop holding the same 
 commanding position in the flute-work as the Principal or Dia- 
 pason holds in the foundation-work of the instrument. The Flauto 
 Maggiore is properly an open wood and metal stop of 8 ft. pitch 
 and large scale, voiced to yield a rich unimitative flute-tone of con- 
 siderable volume. We flnd the principal flute-toned stop, of 8 ft. 
 pitch, in the Great of the Organ in the Cathedral of Breslau, labeled 
 Majorflote : and the same name is given to a corresponding stop 
 in the Choir Organ. The term has also been applied to a full-toned 
 covered stop of 8 ft. pitch, in the Great of the Grand Organ in the 
 Church of St. Elizabeth, at Breslau. There is much to recommend 
 the name for general adoption, when confined to a unison stop of 
 dominating unimitative flute-tone, for it clearly denotes its position 
 in a tonal scheme. 
 
 FLAUTO MINORE, Ital.— The name appropriately employed 
 to designate an unimitative flute-toned stop of secondary impor- 
 tance as regards strength of tone, placed in any division of the Organ 
 in which a more powerful flute-toned stop, labeled Flauto Mag- 
 giore (g. v.), is inserted. The German equivalent — Minorflote — 
 has been adopted to designate a flute-toned stop of 4 ft. pitch, as in 
 the Organ in the choir of the Cathedral of Breslau. In this latter 
 sense the term is undesirable; for the terms Flauto Maggiore and 
 Flauto Minore should refer to tone, — the only matter of impor- 
 tance to the organist, — not to the sizes of the stops only, which call 
 for other distinguishing names. 
 
 FLAUTONE, Ital.— Fr., Fluton.— The name given by the 
 Italian organ-builders to a large-scaled, flute-toned stop, yielding a 
 smooth and somewhat subdued voice. The pipes of this stop are 
 either open or covered, according to the ideas of the builder, or, 
 probably, according to the stop-apportionment of the divisional 
 Organ in which it is placed. The Flautone in the North Organ in 
 the Cathedral of Milan is of metal with a covered wood bass; while 
 that in the Choir of the Organ in the Church of San Gaetano, 
 Florence, is a metal stop of 8 ft. pitch, the pipes of which are appar- 
 ently open.* 
 
 * "A la pSdale, les Italiens I'emploient sous le nom de Flautone, Fluton, ou grosse flute douce. 
 Celle de huit-pieds, qui est la plus usit6e, chante admirablement les adagios en solo ou en chceur, 
 
I30 ORGAN-STOPS 
 
 FLAUTO TEDESCO, Ital.— The name given by the old ItaUan 
 organ-builders to an open wood stop, of medium scale, and 8 ft. 
 pitch. The stop resembles, both in the form and tone of its pipes, 
 the English Clarabella. Examples are to be found in several 
 Italian Organs; as in the North Organ in the Cathedral of Milan; 
 and in the Organ in the Church of Santa Maria des Vignes, Genoa. 
 It also existed in the old Organ, by Hermann, in the Church of 
 Santa Maria di Carignano, Genoa; but was removed when the 
 present Organ was constructed by Bianchi in 1863.* 
 
 FLAUTO TRA VERSO, Ital.— Fr., Flute Traversiere. Ger., 
 Traversflote, Querflote. — The names used by different organ- 
 builders to designate the stop of 8 ft. and 4 ft. pitch, the pipes of 
 which are properly of wood and harmonic, yielding a tone closely 
 imitating that of the orchestral Flute. Ever since the invention of 
 harmonic pipes, this important stop has deservedly become a great 
 favorite, and many fine examples are to be found in well-appointed 
 Organs, notably in those of the great German builders; as in the 
 Ladegast Organ in Schwerin Cathedral. The stop is made of pine 
 and pear-tree, and is thus described by J. Massmann, Grossherzogl, 
 Musikdirector in Wismar: 
 
 "Flauto Tra verso 8', off en aus Tannen- und Birnbaum-holz; 
 hat einen weichen und schonen Ton, der Querflote des Orchesters 
 sehr ahnlich; die Pfeifen der hochsten Octaven tiberblasend." See 
 Orchestral Flute. 
 
 FLOTENBASS, Ger.— An open labial stop of 8 ft. pitch, the 
 pipes of which are of wood, of large scale, and yield a powerful un- 
 imitative flute-tone. It is properly a Pedal Organ stop, appearing 
 in' that department of the Organs in the Gewandhaus, at Leipzig, 
 and the Domkirche, Lubeck. As a covered stop, an example ap- 
 pears in the Piano Pedal of the Organ in the Cathedral of Schwerin. 
 As a stop of 16 ft. pitch, examples exist in the Walcker Organs in the 
 Cathedrals of Riga and Vienna. The stop is the same as the Bass 
 Flute (g. v.) of English and American Organs. 
 
 FLOTENPRINCIPAL, Ger.— The name given by Walcker to 
 the principal unison and the attendant octave stop placed on the 
 Fourth Manual (Echo) of the Organ in the Cathedral of Riga. The 
 
 mais seule a la main; il ne faut pourtant pas trop augmenter le nombre des parties, la confusion 
 s'y jetterait, et adieu I'effet instrumental. " — Regnier. 
 
 * In adopting a consistent Italian stop nomenclature for our own Chamber Organ, we applied 
 the name Flauto Tedesco to what was practically a soft-voiced English Clarabella, 8 ft. 
 See " The Organ of the Twentieth Century," pp. 334-S. 
 
THEIR ARTISTIC REGISTRATION 131 
 
 stops are of open pipes, yielding flute organ-tone, and are valuable 
 in imparting a distinctive tonality to the division, which is strongly 
 flute-toned throughout. Of its seventeen stops, nine are flute-toned 
 and the most important labial stops in the division. The two stops 
 specially alluded to are labeled respectively Flotenprincipal, 8 ft., 
 and Flotenprincipal, 4 ft. 
 
 FL^TE A BEC, Fr.— The name that has been given to a flute- 
 toned stop of ordinary form the tone of which was supposed to imi- 
 tate that of the old Flute a Bee. Engel, speaking of this instrument, 
 says: "The most common FlMe d, bee was made with six finger 
 holes, and its compass embraced somewhat more than two octaves. 
 . . . There was often a key on this instrument in addition to the 
 finger-holes. This flute was much in favor in England; hence it was 
 called in France ' FKite d' Angleterre. ' The flageolet, the smallest 
 flMe d. bee, was formerly played in England even by ladies." The 
 instrument was also called the Whistle Flute, and was played by a 
 small ivory mouthpiece or beak, hence its French name. The Ital- 
 ians appear to have called this instrument Flauto a Becco or Flauto 
 Suabile. 
 
 FLtTTE A CHEMINfiE, Fr.— Eng., Chimney Flute. Ger., 
 RoHRFLOTE. — The stop in its proper form, as constructed by the 
 French organ-builders, is of metal and of large scale; its pipes being 
 furnished with sliding caps, from the centers of which rise small 
 tubes, or so-called chimneys, which give the stop its peculiar name.* 
 The Flute a Cheminee appears in certain French Organs of both 
 8 ft. and 4 ft. pitch, although it is properly a unison stop. There can 
 be no doubt, however, regarding the value of the octave voice in 
 effective registration. An example of 4 ft. pitch exists in the Choir 
 of the Organ in the Cathedral of Abbeville. For particulars respect- 
 ing the formation of the pipes of the stop, see Rohrflote. 
 
 * La FlOte a Chemin£e tient le milieu entre les jeux bouch6s et les flutes ouvertes. Si elles 
 6taient tout k fait bouch^es, il ne leur faudrait que la demi-hauteur des tuyaux ouverts; mais 
 ouvertes en partie, elles doivent avoir environ les deux tiers de hauteur des fonds ouverts de 
 m6me ton. Dans cette hauteur des Rohrflceten , on comprend celle de la chemin6e pos6e au centre 
 de la calotte. Nous I'avons expliqu6 : une partie du son se propage par cette ouverture, I'autre 
 par la bouche, apres s'fitre heurt^e i la partie couverte du sommet. Le son qui sort par la chem- 
 inee demande la m£me 616vation de tuyau que dans les jeux ouverts; et il faudrait bien la lui 
 donner si la partie calott6e du sommet ou viennent se heurteur les vibrations, pour ressortii an 
 partie par les Ifevres du tuyau, ne ramenaient pour leur part ce tuyau a I'dtat de bourdon, et n'en 
 diminuaient par consequent la hauteur. Pour donner plus de facility au son de se propager par la 
 bouche, on ouvre celle-ci davantage, on igueule, comme on dit, les flutes ^ chemin6e plus que les 
 fliites ouvertes et que les simples bourdons. II va sans dire que plus on les veut sonores, plus 
 on eiargit la taille, qu'en g^n^ral on tient trfes-grosse. Ces flfites se font d'6tain et h. barbes de 
 chaque c6te de la bouche, pour en diriger I'intonation et 1 'accord. " — Regnier. 
 
132 ORGAN-STOPS 
 
 FLtJTE A FUSEAU, Fr.— A metal labial stop, of 8 ft. and 4 ft. 
 pitch, yielding an unimitative flute-tone, the pipes of which are 
 tapered or spindle-shaped, hence its name. An example exists on the 
 Fourth Manual of the Organ in the Church of Saint-Nicholas, at 
 Blois. The Flute a Fuseau is practically the same as the German 
 Spindelflote (g. v.). 
 
 FLtTE A PAVILLON, Fr.— The name given by the French 
 organ-builders to a full-scaled metal labial stop, of 8 ft. pitch, the 
 pipes of which have cylindrical bodies surmounted with bells of in- 
 verted conical form. Hence the distinctive and appropriate name. 
 It is to be regretted that the labor attending the construction of its 
 pipes, combined with the difficulty of finding proper standing room 
 for them on wind-chests of ordinary dimensions, has seriously inter- 
 fered with a desirable introduction of this fine stop in important 
 Organs. The Flute a Pavillon was first brought before the notice 
 of the English organ-builders by Ducroquet, of Paris, in the Organ 
 he sent to the London Exhibition of 185 1. It was received with 
 great favor, and several fine examples were made by different build- 
 ers and pipe-makers, especially by John Courcelle, the celebrated 
 reed voicer, and teacher of George Willis, of equal fame.* So fine 
 were his stops, that in one Organ the name Courcellina was given 
 to the stop. An example, under this name, exists in the Organ of 
 the Church of St. John, Portsea. One, under the proper French 
 name, exists in the Back Great of the Concert Organ in the Town 
 Hall, Leeds, Yorkshire; and one, under the English name, — Bell 
 Diapason, — in the Great of the Organ in the Oratory, Brompton, 
 London. Notable French examples exist in the Grand Orgue of the 
 Organ in the Church of Saint-Sulpice; and in the same division of 
 the Organ in the Church of Saint-Eustache, Paris. Both in France 
 and England the stop appears to have fallen into disuetude. We 
 introduced a Flute a Pavillon, 8 ft., in the scheme of the Fourth 
 Organ (Solo) of the Concert-room Organ installed in the Festival 
 Hall of the Louisiana Purchase Exposition, 1904. 
 
 Formation. — The FlGte A Pavillon pipe comprises two leading portions, a 
 cylindrical body, and a bell (pavilion) in the shape of an inverted truncated cone, 
 attached to a short cylindrical portion which slides on the open end of the body 
 for the purpose of tuning, as neither coning nor slotting is admissible for that 
 operation. The cylindrical body is formed in all respects similar to that of the 
 Principal or Diapason, 8 ft. , as shown in Fig. 17, Plate 11. The short cylindrical 
 
 * In our own Chamber' Organ the Tromba and Clarinetto were by Courcelle and the Obob 
 by Willis. 
 
THEIR ARTISTIC REGISTRATION 133 
 
 portion, to which the bell is attached, fits closely to the body, its lower edge being 
 diagonally cut, so as to have a screwlike motion against a small projecting button 
 of solder on the body, as indicated. Accordingly, in tuning the pipe it is only 
 necessary to raise or lower the bell by turning it slightly of the right or left. By 
 such a simple method of tuning, the timbre of the pipe will remain constant, and 
 the bell will remain firmly in position : both important matters. The mouth of the 
 FlOte a Pa VILLON is of the same width as that of a Diapason pipe of the same 
 scale, but is cut higher; the height depending largely on the pressure of the wind 
 used and on the volume of tone desired. The pipes should, in all cases, be copi- 
 ously winded and high pressures avoided. It is questionable if any of the French 
 or English stops were voiced on wind of higher pressure than 3}^ inches. The 
 proportions of the bell vary according to the quality of the tone required, but its 
 desirable dimensions are one and one-half the diameter of the pipe in height, and 
 one and two-thirds the diameter of the pipe in its diameter at top, as shown in 
 Fig. 17. The proportions have been modified by different pipe makers. 
 
 Tone and Registration. — The stop has been labeled by certain 
 English organ-builders Bell Diapason, as by Bishop in the Organ 
 of the Oratory, Brompton; but the term is misleading, for the tone 
 of the stop is not the pure organ-tone of the true Diapason. The 
 stop belongs to the flute-work of the Organ, and this fact the French 
 organ-builders recognized when they gave the original name to it. 
 The proper tone of the stop is a combination of pure organ-tone and 
 unimitative flute-tone, characterized by a singular richness and 
 fullness, yet not unduly assertive. It inclines, in certain fine ex- 
 amples, to a horn timbre, which can be intensified, if desired, by 
 slotting or perforating the bell after the fashion of the Keraulo- 
 PHONE tuning-slide. There can be no question as to the tonal value 
 of the Flute A Pavillon in full registration, in which important 
 lingual stops take prominent part, and call for effective backgrounds 
 of labial tones. Acccffdingly, while the stop finds a proper place in 
 the Great or Grand Orgue of French and English instruments, its 
 rich compound tone makes it a valuable, and, perhaps, a more valu- 
 able, voice in another division of the Organ richer in lingual stops. 
 It was that consideration led us to insert it in the Fourth Organ of 
 the instrument installed at the Louisiana Purchase Exposition, 
 which contained seven very important lingual stops. If the science 
 and art of tonal combination and artistic registration were carefully 
 studied by organ-builders, and better understood by organists than 
 they seem to be in many quarters to-day, a better and more rational 
 system of stop-apportionment would soon appear in new Organs. 
 
 FLtTE A PYRAMIDE, Fr.— The term used to designate an 
 open labial stop of 8 ft. and 4 ft. pitch, the pipes of which are square 
 and inverted pyramidal in form, resembling those of the Dolcan in 
 
134 ORGAN-STOPS 
 
 being larger at the top than at the mouth-line, and especially in the 
 pipes of the bass octave, which have been made of wood (See DoL- 
 can). The name would be more appropriately applied to a stop 
 the pipes of which are directly pyramidal ; that is, square, and larger 
 at the mouth-line than at the top, in this respect resembling the 
 pipes of the Spitzflote, Gemshorn, and Cone Gamba. We have 
 made wood pipes of this form, having extremely low inverted 
 mouths, which, voiced on wind of 2^ inches, yielded exquisite tones 
 having a rare combination of imitative flute- and string-tones, both 
 of which could be distinctly heard as if fighting for supremacy. 
 There is much to be done in this direction that has not been dreamt 
 of : but the trouble and skill involved in the formation of such pyra- 
 midal pipes will effectively condemn them in the organ-building 
 world. 
 
 FLtJTE CONIQUE, Fr.— The name given by Cavaille-CoU to 
 open stops, of 16 ft. pitch, inserted by him in the Grand-Orgue and 
 Solo of the Organ in the Church of Saint-Sulpice, Paris. The stops 
 are flute-toned, and are practically Double Spitzflotes. 
 
 FLtTTE CREUSE, Fr.— The term that has been used by 
 French organ-builders to designate a stop, of full scale, yielding a 
 powerful unimitative flute-tone: it is in all essentials, as the name 
 implies, similar to the German Hohlflote (q. v.). 
 
 FLtJTE DOUCE, Fr.— An open labial stop, of small scale, 
 yielding a soft and pure flute-tone, approaching an imitative quality. 
 An example exists in the Positif of the Organ in the Church of Saint- 
 Sulpice, Paris. Another example is to be found in the same division 
 of the Organ in the Cathedral of Notre-Dame. Both stops are of 4 
 ft. pitch; evidently the one preferred by the distinguished builder, 
 Cavaille-Coll, although he introduced one, of 8 ft. pitch, in the 
 Positif of the Organ in the Madeleine, Paris. See Flauto Dolce. 
 
 FLtTE HARMONIQUE, Fr.— Eng., Harmonic Flute.— 
 The principle of formation which obtains in the Flute Harmonique 
 was long known as applied to wood pipes, the tones of which were 
 more or less imitative of those of the orchestral Flute. The first 
 metal stops to which the principle was applied were constructed by 
 MM. Cavaill^-CoU, of Paris, and inserted in the Organ erected by 
 them, in the year 1841, in the Royal Church of Saint-Denis, near 
 Paris. The series of Harmonic Flutes in the Organ is so note- 
 worthy that the stops which belong to it deserve enumeration here 
 In the Grand Orgue — Flute Traversiere Harmonique, 8 ft., and 
 
THEIR ARTISTIC REGISTRATION 135 
 
 Flute Octaviante Harmonique, 4 ft. In the Positif— Flute 
 Harmonique, 8 FT., and Flageolet HarmoKique, 2 ft. In the 
 R^cit-ficho Expressif— Flute Harmonique, 8ft., Flute Octavi- 
 ante Harmonique, 4 ft., and Flute Octavin Harmonique, 2 ft. 
 The stop derives its name from the fact that the pipes which form 
 the larger portion of its compass are so formed and voiced as to yield 
 their first harmonic upper partial tones instead of the tones which 
 normally belong to their full lengths; the tones so produced having 
 a distinctive timbre of special tonal value, which has secured the 
 stop universal adoption. 
 
 Formation. — The FlGte Harmonique, properly so-called, is formed of open 
 cylindrical pipes of metal, or straight quadrangular pipes of wood, of large scale. 
 Prom about the note f ' the pipes are made of twice thestandard speaking length. 
 In the Harmonic FlCte, 4 ft., the harmonic pipes are carried to about G; and the 
 Harmonic Piccolo, 2 ft., should be harmonic throughout. Indeed, it is desirable 
 in the unison stop to commence the harmonic pipes on middle c'. Open pipes of 
 wood or metal of the normal speaking lengths are used for the lower portions of 
 the stops of 8 ft. and 4 ft. pitch ; of these, which present no unusual treatment, it is 
 unnecessary to speak here. The FlOte Harmonique, 8 ft., we select for descrip- 
 tion and illustration is that in the Great of the Concert-room Organ by Cavaille- 
 Coll in the Town Hall of Manchester, a stop we had the opportunity of examining 
 and measuring. The lowest harmonic pipe of this stop is g', as shown in correct 
 proportions in Fig. 18, Plate II. The pipe is 2.37 inches in diameter and 29)^ 
 inches in effective length from the mouth line. At a distance of 13 inches from the 
 lower lip of the mouth, a hole % inch in diameter is pierced, as indicated, opposite 
 A, in the illustration. The mouth is i J^ inches in width and ts inch in height, 
 having a straight upper hp, and the languid closely and finely nicked. Through 
 the agency of the small perforation in the body, which prevents the formation of a 
 node in the middle of the internal column of air, and by the pipe being slightly 
 overblown, a note is produced which is about an octave of that which normally 
 belongs to a pipe of the length of 29}^ inches. The bass and tenor of this stop are 
 of open wood pipes the CC pipe having the scale of 5.00 inches in width and 6.50 
 inches in depth. The metal non-harmonic pipe c", has a diameter of 2.75 inches, 
 and a speaking length of 22 inches, belonging to a very large scale. Certain organ- 
 builders prefer, and, we think, wisely, to form the Harmonic Flute, 8 ft. , entirely 
 of metal, commencing the double-length harmonic pipes at f'.* For particulars 
 respecting the formation of harmonic pipes of wood, see Orchestral Flute. 
 
 Tone and Registration. — The tones produced by the har- 
 monic pipes of the Flute Harmonique differ considerably from 
 those yielded by open pipes of the standard speaking lengths : this is 
 due to the large scale allowed by the perforated double-length pipes, 
 which would be excessive and undesirable in pipes of half their 
 length, yielding notes of similar pitch under ordinary conditions; 
 
 * For further details respecting formation of harmonic pipes, see "The Organ of the Twen- 
 tieth Century,*' page 388. 
 
136 ORGAN-STOPS 
 
 and also to the prominence of certain upper partial tones, generated 
 by the necessary and special voicing and overblowing of the pipes, 
 which impart a peculiar and characteristic timbre to the compound 
 sounds they produce. Although the tones of the metal Flute 
 Harmonique, as originally and usually formed and voiced, are not 
 strictly imitative they differ considerably from those of the ordinary 
 stops which belong to the flute organ-tone class: they are clearer, 
 more penetrating, and to some extent more valuable in combina- 
 tions and registration of an assertive character. In artistic registra- 
 tion with all classes of lingual stops, except the Vox Humana, the 
 Flute Harmonique, 8 ft., fulfills its highest office; and, accordingly, 
 should find a place in the division of the Organ which is richest in 
 lingual stops. This is especially desirable in a properly stop-appor- 
 tioned Concert-room Organ, in which provision for the greatest 
 range of tonal contrasts by means of effective and convenient regis- 
 tration should be made.* 
 
 FLtTTE OCTAVIANTE, Fr.— The term used by French organ- 
 builders to designate an open flute-toned stop, of either metal or 
 wood, and of octave, or 4 ft. pitch. This stop in its most effective 
 form is constructed of harmonic pipes from tenor F, or better still 
 from tenor C, the lower pipes being of large scale and standard 
 speaking lengths. In this form it is called Flute Octaviante Har- 
 monique ; the first example of which was inserted by MM. Cavaille- 
 Coll in the Organ erected by them in the Royal Church of Saint- 
 Denis. See Flute Harmonique. 
 
 FLtTE OUVERTE, Fr.— The general name given by French 
 organ-builders to large-scaled open stops, formed of metal or wood, 
 and yielding an indeterminate flute-tone: hence its convenience can 
 be realized. The Flute Ouverte is of 32 ft., 16 ft., 8 ft., and 4 ft. 
 pitch, as shown by the tonal appointment of the Pedal Organ of the 
 Organ in the Royal Church of Saint-Denis, in which examples of all 
 these four pitches are to be found. In English nomenclature, these 
 four Pedal Organ stops would be labeled Double Diapason, 32 ft., 
 Diapason, 16 ft.. Octave or Flute, 8 ft., and Super-octave, 
 
 4 FT. 
 
 FLtJTE POINTUE, FLtTE A POINTE, Fr.— The name given 
 to an open metal stop of 8 ft. and 4 ft. pitch, the pipes of which are 
 conical in form, resembling those of the Spitzflote. A flute-toned 
 
 * See the tonal apportionment of the Fourth Organ, in Chapter XI. of "The Organ of the 
 Twentieth Century," page 311. 
 
THEIR ARTISTIC REGISTRATION 137 
 
 stop of 4 ft. pitch bearing this uncommon name exists in the Grand 
 Orgue of the instrument built by Clerinex for the Church of Saint- 
 Martin, at Li^ge. 
 
 FLUTTUAN, Ger. — The uncommon name given to a short com- 
 pass manual stop of 16 ft. pitch, the pipes of which are of open 
 wood. An example, having the compass from middle c' to g', con- 
 structed of pear-tree, exists on the Second Clavier of the Organ in the 
 Church of Neu-Ruppin. Seidel describes the stop and its tonality 
 thus: 
 
 "Fluttuan 16' steht in der Orgel zu Neu-Ruppin im Mittel- 
 
 klavier von c' bis g^ und hat sehr schwache Bretter von Bimbaum- 
 
 holz. Diese Stimme ist sehr weit mensuriert, hat engen Aufschnitt, 
 
 • Starke Intonation und einen homartigen Klang; die Bassoktaven 
 
 sind durch Quintaton erganzt." 
 
 FOURNITURE, Fr.— Eng., Furniture.— The name given to a 
 compound harmonic-corroborating stop composed of three or more 
 ranks of open metal pipes of medium scale, the ranks usually being 
 alternately octave- and fifth-sounding. With the aim of obtaining 
 greater assertiveness, a third-sounding rank has sometimes been 
 added ; but this rank will not be called for if there is a Sesquialtera 
 on the same manual. The general pitch of the Fourniture is, 
 properly, higher than that of any other compound stop introduced 
 in the Organ ; and as the pipes composing the stop are of necessity 
 very small, the ranks have to break at every octave. When prop- 
 erly voiced and scientifically graduated in strength of tone, the 
 stop adds great richness and brilliancy to all combinations in which 
 it enters. This fact has been pointedly commented on by Regnier.* 
 The following examples of Fournitures of four and five ranks may 
 be accepted as representative compositions suitable for insertion in 
 important Organs. The first, of four ranks, is composed of octave- 
 
 *"La Fourniture, ou mixture, est un jeu multiple, ordinairement quadruple, de menue 
 taille, fait de I'dtain le plus fin et le plus doux. Le plus grand tuyau de la Fourniture mesure sa 
 hauteur sur celle des tuyaux rang6s sur le ni6me sommier et correspondant au mSme clavier. 
 
 *' Ainsi le premier ut d'une Fourniture place au grand orgue d'un seize-pieds y a quatre-pieds, 
 et deux au positif. L'harmonie de la Fourniture est brillante, fine, et destin6e a des roulements 
 rapides. On pent dire que son efEet sur I'oreille est comparable en harmonie k celui que ferait 
 sur la vue une parure d'acier poli et tall6 en diamants. On lui donne toute r6tendue du clavier, 
 trois rangs de tuyaux pour le moins et jusqu'k sept et neuf . Mais son melange, au lieu de proc6- 
 der comme le Cornet, marche par quinte et octave qui s'arrfitent k peu de distance de leur point de 
 depart pour reprendre, comme nous aliens le voir, la composition de la premiere note: I'm/ pour 
 la Fourniture ^ trois rangs est celle-ci: «/^, sol^, ut^: on ajoute le sol^, si la Fourniture a quatre 
 tuyaux par note: Viiti, si elle en a cinq; le sol3, si elle en a six; enfin Vut*, si elle en a sept, comme 
 nos plus grandes orgues. Au positif, on prend la Fourniture k I'octave sup6rieure. Si le positif 
 n'est qu'un quatre-pieds, on prend la Fourniture h. la super octave. " — Regnier. 
 
138 ORGAN-STOPS 
 
 and fifth-sounding ranks: the second, of five ranks, is composed of 
 octave-, third-, and fifth-sounding ranks : 
 
 FOURNITURE — IV. RANKS. 
 
 CC to BB 
 
 C 
 
 to B 
 
 c 
 
 to b- 
 
 c 
 
 to b' 
 
 c 
 
 to c* 
 
 CC to BB 
 
 C 
 
 to B 
 
 c 
 
 to b- 
 
 c" 
 
 to b' 
 
 C3 
 
 to C 
 
 22 26 29 33. 
 
 19 22 26 29. 
 
 15 19 22 26. 
 
 12 15 19 22. 
 
 8 12 15 19. 
 
 FOURNITURE — V. RANKS. 
 
 24 26 29 33 36. 
 
 19 22 24 26 29. 
 
 15 17 19 22 26. 
 
 12 15 17 19 22. 
 
 8 12 15 17 19. 
 
 As all the intervals in these examples belong to the 8 ft. harmonic 
 series, both stops are suitable for insertion in any manual division of 
 the Organ in which extreme brightness of harmonic structure is 
 desired: relative strength of tone and perfect regulation being ob- 
 served in all cases. 
 
 The FOURNITURE was introduced by the old English builders in 
 several of their Organs, commonly of few ranks. Renatus Harris, 
 in 1670, introduced one, of three ranks, in the Great of his Organ 
 in the Church of St. Sepulchre, London. John Avery, in 1794, in- 
 serted one, of three ranks, in the Choir of his Organ in Croydon 
 Church; and one of two ranks, in the Choir of his Organ in St. 
 Margaret's Church, Westminster. Although, for obvious reasons, 
 the istop has not been a favorite with later builders, Willis inserted 
 FouRNiTURES, of five ranks, in the Pedal Organ and the Swell of his 
 instnmient in St. George's Hall, Liverpool; and Hill has inserted 
 FOURNITURES, of five ranks, in the Great and Swell of the Organ in 
 the Centennial Hall, Sydney, N. S. W. 
 
 The FOURNITURE appears in numerous Organs by French build- 
 ers. Confining our remarks to instruments constructed by France's 
 greatest organ-builder, Aristide Cavaille-Coll, we find a Grosse 
 FOURNITURE, of four ranks, in the Grand-Choeur of the Organ in 
 the Church of Saint-Sulpice, Paris; a Fourniture, of five ranks, in 
 the Grand-Orgue of the Organ in the Church of Saint-Sernin, Tou- 
 louse; a Fourniture, of five ranks, in the Bombarde of the Organ 
 in the Church of Saint-Ouen, Rouen; and a Fourniture, of five 
 ranks, in the Grand-Orgue of the Concert-room Organ erected by 
 him in the Albert Hall, Sheffield, England. 
 
THEIR ARTISTIC REGISTRATION 139 
 
 FRENCH HORN. — The name commonly given to a lingual stop 
 of 8 ft. pitch, formed and voiced to yield tones imitating as closely 
 as practicable those of the orchestral Horn. It is undesirable to 
 continue this full name; for, as Dr. W. H. Stone points out, "The 
 designation ' French ' is commonly added to the name of the orches- 
 tral Horn, from the fact that a circular instrument of this nature, 
 without crooks or other appliances, was, and still is, used in France 
 for hunting. Its tones are, "coarse and boisterous, only fit for the 
 open air and for woodland pastimes." For description of the organ- 
 stop see Horn. 
 
 FUGARA. — The name that has been used to designate an open 
 stop of metal or wood, commonly of 8 ft. and 4 ft. pitch, the tone of 
 which is somewhat indeterminate in character; in some examples 
 inclining to a cutting string quality, and in others to a combination 
 of string and horn tones. Locher says: "The Fugara has much in 
 common with the Gamba, while in quality of tone it stands between 
 it and the Geigenprincipal."* The stop appears to have been 
 held in high favor by German organ-builders of the later school. 
 Examples, of 8 ft. pitch, exist in the Organs in the Cathedrals of 
 Ulm, Vienna, Ltibeck, Merseburg, and Schwerin; and, of 4 ft. pitch, 
 in the Organs in the Cathedrals of Riga and Schwerin. The Fugara 
 doss not seem to have been valued by the French organ-builders, 
 very seldom appearing in their Organs. One, of 4 ft. pitch, is in- 
 troduced in the Positif of Merklin's Organ in the Church of Saint- 
 Sulpice, Paris. 
 
 FULLFLOTE, Ger. — The name given by German organ-build- 
 ers to a covered metal stop of large scale, yielding a powerful un- 
 imitative flute-tone. It is described by Seidel thus : "Fullflote, 
 4 Fusston gedeckt, aus 10 lot. Metall, steht im Hauptwerk der von 
 Buckow in Jahren i8f? in der Stadtpfarrkirche zu Triebel in der 
 Niederlausitz erbauten Orgel von 25 klangbaren Stimmen." 
 
 FULL MIXTURE. — A compound harmonic-corroborating stop, 
 formed of full-scaled open metal pipes, yielding pure organ-tone of 
 
 * " La Fugara est une vari6t6 de la longue et incisive famille des r^gistres 6troits et f ermes de 
 m^tal. Elle a plus de clart6 et non moins de mordant que la Viole. Malgr6 sa douceur de voix, 
 elle rappelle plus aussi le son de Violon que la Gambe de huit-pieds. La Fugara se fait g6n6rale- 
 ment de huit et de quatre, rarement de seize." — Regnier. 
 
 "Fugara, Vogara, auch Tibia aperta (ofFene Flote), ist ein ziemlich bekanntes offenes 
 Flotenwerk zu 4' und 8' im Manual, von enger Mensur aus Holz oder Zinn. schwerer Ansprache 
 undfast so schneidendem aberhellerem Tone wie die Gamba. Diese Stimme soil, wiewohlsehr 
 selten, auch zu 16' vorkommen." — Seidel. 
 
140 ORGAN-STOPS 
 
 volume and strength commensurate with the requirements of the 
 tonal appointment of which it forms a part. It belongs to the tonal 
 structure of the foundation-work, and, accordingly, finds its proper 
 place in the First or Great Organ, imparting great richness and full- 
 ness to all combinations in which it enters. The following is the 
 composition of an effective stop of five ranks : 
 
 Full Mixture — V. ranks. 
 
 CC to G . . . 12 15 19 22 26. 
 
 G# to f' . 8 12 15 19 22. 
 
 £#■ to f ; 5 8 12 15 19. 
 
 f#» to C I 5 8 12 15. 
 
 The intervals in the two higher breaks — ^f#' to C — belong to the 
 16 ft. harmonic series, and give great fullness and firmness to this 
 usually weak portion of the compass. A Mixture, of four ranks, 
 can be formed by omitting the fifth rank, witiipjit seriously impairing 
 the tonal value of the stop which lies in the rank^ of lower pitch. 
 This, like all other compound harmonic-corroborating stops, must 
 be graduated in strength of tone as it ascends the manual compass. 
 
 FULLQUINTE, Ger. — The name used by some German organ- 
 builders to designate the manual Quint, sJ/^ ft., which belongs to 
 the 16 ft. harmonic series, and should appear only in a tonal division 
 in which there is a stop of 16 ft. pitch. The Fullquinte may be of 
 wood or metal, and of open or covered pipes. When drawn with a 
 full-toned stop of 8 ft. pitch, it produces the differential 16 ft. tone. 
 
 GAMBA, Ital. — Fr., Gambe. Ger., Gambe. — This term ap- 
 plied alone in stop nomenclature, as it very frequently has been and 
 still is, is senseless ; it literally signifies leg, and it would seem difficult 
 to apply that term to an organ-stop with any degree of propriety. 
 It is merely a wrong abbreviation of the name Viola da Gamba given 
 to the old instrument which was the precursor of the Violoncello. 
 Long usage, however, has so established the single term Gamba, 
 that it will probably remain, along with other undesirable terms, for 
 a long time in the modem organ-builder's nomenclature. We 
 strongly recommend the abandonment of the senseless t«rm, and 
 the adoption of the expressive term Viol in its place.* The stop 
 
 * viol was the English generic name of the stringed and bowed instruments which, developed 
 from the mediaeval Fiddle, preceded the Violin, and were used in England between the fifteenth 
 
THEIR ARTISTIC REGISTRATION 141 
 
 which has passed under the simple name Gamba has commonly- 
 been formed of open cylindrical pipes of metal, of medium scale, and 
 8 ft. pitch, voiced to yield a more or less pronounced unimitative 
 string-tone. In its original form, as made by German organ-builders, 
 the stop was slow of speech and had a disagreeable "spitting" effect 
 when commencing to speak : these defects have been removed in all 
 later examples. We find the term used alone in the Org'an in York 
 Minster, and in the generality of the Organs made by Walker & 
 Sons. The term is frequently used in combination with other terms 
 having reference to the shape of the pipes forming the stop or some 
 peculiarity in its tonality, thus : Bell Gamba, Cone Gamba, Echo 
 Gamba, Contra-Gamba, 16 ft., etc. Translate these terms into 
 English and realize how absurd they are. See Viola da Gamba. 
 
 GAMBENBASS, Ger.— The labial stop of 16 ft. pitch, formed of 
 open cylindrical metal pipes of medium scale, which furnishes the 
 true Pedal Organ bass to the manual Viola da Gamba, 8 ft. The 
 stop has been labeled in full, showing this relatiotnship, as stated by 
 Seidel: "Die gewohnliche Tongrosse der Gamba ist im Manual 
 gewohnlich 8', selten 4', wo sie im letztern Falle Viola heisst, mit 
 der Altviola oder Bratsche im Einklang steht und der wahre Rep- 
 rasentant derselben ist, im Pedal kommt sei zu 16' unter dem Namen 
 Viola di Gambenbass oder Gambenbass vor." 
 
 GAMBETTE, Fr. — ^An open metal stop of the Viol da Gamba 
 family, of 4 ft. pitch, the pipes of which are of the same form and 
 tone as those of the unison stop. An example of the Gambette, 
 4 FT., exists in the Great of the Organ in the Marienkirche, Lubeck. 
 It also exists in the Great of the Organ in the Cathedral of the In- 
 carnation, Garden City, L. I., and other large Roosevelt Organs. 
 In Organs of any importance the Gambette should accompany the 
 Viola da Gamba, 8 ft., giving desirable aid in tonal grouping and 
 artistic registration. 
 
 GEDAMPFTREGAL, Ger.— The name used to designate an 
 old lingual stop of the Regal family, characterized by a muted or 
 muffled tone. Both the stop and its name are now obsolete. See 
 Regal. 
 
 century and the end of the eighteenth. The "Chest of Viols'" occupied an honored place in 
 almost every lordly mansion. It commonly comprised a Bass Viol, Tenor Viol, Alto Viol, and a 
 Treble Viol. In more important " Chests" these four instruments were duplicated. In some 
 "Chests" the Altos were omitted. The curious can see all these instruments in the Crosby 
 Brown Collection, in The Metropolitan Museum of Art, New York City. 
 
142 ORGAN-STOPS 
 
 GEDECKT, Ger. — The term is here given in its correct orthogra- 
 phy (past participle of decken — to cover). The form Gedackt is 
 frequently used both by German and English-speaking organ- 
 builders, but, being incorrect, should be abandoned in stop nomen- 
 clature. The simple term Gedeckt is used generally to indicate a 
 covered stop of wood or metal and of four, eight, sixteen, or thirty- 
 two feet pitch. In the Walcker Organ in the Cathedral of Ulm three 
 Gedeckts of 8 ft. pitch and two of i6 ft. pitch are so labeled. These 
 five stops have, beyond their pitches, no distinctive tonal coloring, 
 all yielding normal covered flute-tone. The only other stop-name in 
 which the term appears is Kleingedeckt, 4 ft. To distinguish the 
 several covered stops, the pipes of which vary either in form or the 
 quality of covered tone they yield, German organ-builders have 
 introduced such compound names as the following: Angenehm- 
 
 GEDECKT, DOPPELGEDECKT, DOPPELROHRGEDECKT, GELINDGEDECKT, 
 
 Grobgedeckt, Grossgedeckt, Humangedeckt, Kleingedeckt, 
 Lieblichgedeckt, Musiciergedeckt, Rohrgedeckt, Stark- 
 GEDECKT, Stillgedeckt, and Weitgedeckt. See these names. 
 The Gedeckts are made of all pitches from 16 ft. to 2 ft. ; but rarely 
 of the last high pitch. 
 
 GEDECKTBOMMER, Ger.— The term, rarely used, to desig- 
 nate a covered stop of 8 ft. foundation tone, voiced and overblown 
 so as to sound the harmonic twelfth, if not exclusively, more promi- 
 nently than the prime tone. A stop of this name and tonality was 
 inserted in the Hauptmanual of the Organ built by Eugenius and 
 Adam Casparini (1703) for the Church of SS. Peter and Paul, Gor- 
 litz. It is described by Seidel and other authorities as a Quint- 
 aten.* The name given the stop would seem to imply a disturbed 
 or uncertain tonality, caused by its dual voice. The only covered 
 stop of this class introduced in modern Organs is the Zauberflote 
 (q. v.), invented by the late W. Thynne, of London. 
 
 GEDECKTFLOTE, Ger.— a covered wood or metal stop of 
 medium scale and of 8 ft. or 4 ft. pitch, but commonly of the latter. 
 Its tone is of an unimitative flute quality as free from the harmonic 
 Twelfth as possible. Generally its tone resembles that of the Dop- 
 pelflote, but, necessarily, less full owing to its pipes having single 
 mouths and being smaller in scale. 
 
 * ' ' Gedact-Pommer. Pommer soil so viel sein als Bombarda. In der Gorlitzer Orgel hinge- 
 gen soil, wie Adelung anfuhrt, nach Boxbergs Beschreibung, diese Stimme eine starke QuintA' 
 T5Nr gewesen sein."' — Schlimbach-Becker, Leipzig, 1843, 
 
THEIR ARTISTIC REGISTRATION 143 
 
 Tone and Registration.— Such a voice as that described is 
 valuable in registration, combining well with, and imparting de- 
 sirable body to, imitative string-toned and lingual stops. As a rule, 
 there are too few stops of 4 ft. pitch introduced in modern Organs 
 for effective tonal combination and artistic registration : too much 
 dependence being placed on octave coupling, which, in its only 
 desirable form, interferes with the independence of the coupled 
 claviers. An octave obtained on any clavier by coupling on itself is 
 inadmissible in tonally correct and artistic registration. 
 
 GEDECKTQUINTE, Ger. — A covered harmonic-corroborating 
 stop of 5}4 ft. pitch, belonging to the 16 feet harmonic series, and, 
 accordingly, suitable for insertion in any division of the Organ in 
 which there are important stops of 16 ft. pitch. When combined 
 with a stop of 8 ft. tone it creates the differential 16 ft. tone. Of 
 10% ft. pitch it belongs to the 32 ft. harmonic series, and is suitable 
 for the Pedal Organ, where in combination with the Diapason, 
 16 FT., it generates the differential 32 ft. tone. These differential 
 tones, however, are not so effective as those generated by open stops. 
 
 GEIGENOCTAV, Ger.— Eng., Viol Octave.— The appropri- 
 ate name for the open metal stop of 4 ft. pitch which is the true 
 Octave of the Geigenprincipal, 8 ft. (q. v.). The scale of its pipes 
 should be a little smaller than that of the corresponding pipes of the 
 unison stop. Its voice should be distinctly softer than, while similar 
 in tonal character to, that of the Geigenprincipal, rendering it 
 extremely valuable in artistic registration. 
 
 GEIGENPRINCIPAL, GEIGENPRINZIPAL, Ger— Eng., 
 Violin Diapason. — A metal labial stop of 8 ft. pitch, the pipes of 
 which are cylindrical, and of medium scale in the best examples. 
 Its tone is, as the name implies, a combination of organ-tone and 
 string-tone, the former predominating in a decided manner. The 
 German name is to be preferred, for the stop is not, strictly classed, 
 a Diapason. Better English terms, in any case, would be those we 
 have used; namely. Viol Principal, Grand Viol, and Viol Dia- 
 pason; the last being less appropriate than the others, while, in 
 part, it recognizes old terminology. In form, the pipes of the Gei- 
 genprincipal are similar to those of the Principal or Diapason, 
 only being smaller in scale and slightly different in mouth-treat- 
 ment. The scale of the CC (8 ft.) pipe varies in different examples 
 from 4 inches to 53^ inches in diameter, the mean being the most 
 desirable scale for general adoption. While the Geigenprincipal 
 
144 ORGAN-STOPS 
 
 is rightly a unison manual stop, and invariably appears as such in 
 EngUsh and American Organs, German organ-builders have formed 
 it of i6 ft., 8 ft., and 4 ft. pitch, as shown in Walcker's Organ in the 
 Cathedral of Riga. In that important instrument, comprising 116 
 speaking stops, there is a Geigenprincipal, 16 ft., on the Second 
 Manual, and Geigenprincipals, 8 ft. and 4 ft., on the Third 
 Manual. It would be more expressive to label the 4 ft. stop Geigen- 
 OCTAV. The stop does not seem to have found favor among French 
 organ-builders, for we have not been able to find a single instance of 
 its insertion, or that of an equivalent, in any French Organ. The 
 French organ-builders appear to have been, and indeed are, 
 strangely conservative in all matters of tonal appointment. 
 
 Tone and Registration. — The tone of the Geigenprincipal 
 varies considerably in examples made by different builders; in this 
 as in almost all the other stops, there being no standard studiously 
 worked up to. It is easy to imagine an organist saying: " I have a 
 beautiful Geigenprincipal in my Organ which I find very valuable 
 in registration"; while another may, with equal propriety, say: 
 " I rarely use my Geigenprincipal, for its tone is neither agreeable 
 alone, nor sympathetic in combination with other stops." This 
 should not be. The proper voice of the stop is a combination of pure 
 organ-tone with a bright string-tone in due subordination ; the latter 
 imparting that richness to the foundation tone which has won the 
 stop universal approval among German- and English-speaking organ- 
 builders and organ-lovers. This compound voice, in which certain 
 concordant upper partial tones are present, is extremely valuable 
 in artistic registrations, in which fullness combined with a delicate 
 string quality is called for, and in which so refined a string-tone as 
 that of the Viola d'Amore would be too pronounced. We admit 
 that such tonal refinements are not appreciated by the general class 
 of organists in the noisy craze of to-day. 
 
 GEIGENREGAL, Ger.— An old lingual stop, of 8 ft. pitch, the 
 tone of which, from a slight string quality, somewhat resembled that 
 of the Geige or Violin. Both stop and its name are now obsolete. 
 See Regal. 
 
 GELINDGEDECKT, Ger. (from gelind— mild).— A covered 
 stop, of 16 ft. or 8 ft. pitch, the pipes of which are of the usual foims, 
 and constructed of wood or partly of wood and partly of metal. As 
 its name implies, the stop, when properly scaled, and voiced under a 
 moderate wind-pressure, yields a soft and refined tone which should 
 be less assertive than that of a Lieblichgedeckt, inserted in the 
 
THEIR ARTISTIC REGISTRATION 145 
 
 same Organ, and of the same pitch. It is rarely, if ever, desirable to 
 duplicate stops of the same character having the same strength of 
 tone in an Organ, even should they be inserted in different tonal 
 divisions. 
 
 Tone and Registration. — The Gelindgedeckt, 8 ft., is a 
 stop of great value in refined registration, specially so when its voice 
 partakes of the tonality of the Quintaten. This desirable voice is 
 best obtained from small-scaled wood pipes, voiced on wind of very 
 low pressure: and to be of the greatest value it should occupy a 
 place in the softest tonal division of the Organ.* In such a position 
 it would combine in a charming manner with practically every other 
 stop, labial or lingual, in the division. 
 
 GEMSHORN, Ger.— Fr., Cor de Chamois.— The name given 
 to an open labial stop, the pipes of which are conical in form when of 
 metal and pyramidal when made of wood. As a manual stop, it is 
 made of 8 ft., 4 ft., and 2 ft. pitch; and as a Pedal Organ stop it is of 
 16 ft. pitch, properly designated Gemshornbass (g. v.). The tone 
 of the true Gemshorn is rich, clear, and penetrating, having a beau- 
 tiful timbre which may be classed as between a normal reed-tone 
 and a string-tone. This most desirable tone differs according to the 
 tastes of the organ-builders of different countries and the ideas of 
 different voicers.f Of 8 ft. pitch, the stop is inserted in the Haupt- 
 werk (First Manual) of all Walcker's Organs of any importance from 
 that in the Cathedral of Riga, downwards. It is invariably of 8 ft. 
 pitch, and, we presume, of metal throughout, as it should be in all 
 good Organs. In the Choir of the Organ in the Town Church of 
 Fulda it exists as an 8 ft. stop, the bass and tenor octaves of which 
 are of wood and the others of tin. The Gemshorn, 8 ft., in the 
 Hauptwerk of the Organ in St. Paul's Church, Schwerin, has its 
 bass octave of covered wood pipes, the remainder of the stop being 
 of tin. In the Great of the Organ in the chief Protestant Church of 
 
 * We have placed the Gelindgedeckt, in our tonal scheme for the Concert-room Organ of 
 the Twentieth Century, in the Ancillary Aerial Organ, all the nineteen stops of which are on wind 
 of I J^ inches. We give the scale of the CC (8 ft.) pipe 1.78 inches in width by 2.28 inches in 
 depth, the scale ratio being i: 2.3, halving on the twenty-first pipe. See "The Organ of the 
 Twentieth Century," pp. 329-330. 
 
 t " Le Cor de Chamois ou Gemshorn est une des jolies flutes 6troites et ouvertes dont Thar- 
 monie suit celle du Salicional, mais plus delicate encore. Ses tuyaux, plus pointus que ceux de la 
 Spitz-Flate, les sons clairs mais loin tains qui s'^chappent de ses levres serr6es, lui ont sans doute 
 valu le nom qu'il porte. On le fait d'6'tain ou d'^toffe tant qu'il ne descend pas plus bas quehuit- 
 pieds. A seize on pent employer le bois. On le confond, mais k tort, avec deux rfigistres d'assez 
 semblable timbre, mais i- tuyaux bouch^s, Coppet-Pltele, Spieljlcete; enfin, il ne d^daigne pas de 
 figurer comme quinte {Gemshorn-Quinte ou Cylinder-Quinte) et de produire alors sur une mass* 
 de violes un assez curieux effet. Le Gemshorn chantant se melange volontiers avec la Hohlfitsle, 
 qui lui donne beaucoup de force par son harmonie voilte, mais profonde. " — Regnier. 
 
146 ORGAN-STOPS 
 
 Utrecht Geh^shorns of both 4 ft. and 2 ft. pitch are inserted. The 
 stop has been made of 16 ft. and several mutation pitches, but these 
 have been sfildonj resorted to.* As a Pedal Organ stop of 16 ft. 
 pitch it deserves the attention of every artist organ-builder and 
 expert. 
 
 Formation. — The pipes of the Gemshorn are invariably of the form of 
 elongated and ^lender truncated cones; their open tops having diameters equal to 
 one-third of the diameters at their mouth lines. This is a generally recognized 
 rule; but, like all rules in pipe-proportions, it is open to slight modification under 
 artistic treatment and special voicing. The scale of the Gemshorn like that of 
 all other stops, varies according to the ideas and aims of different organ-builders, 
 and the volume and quality of the tone desired. A scale suitable for a Church or a 
 Concert-room Organ stop, in the ratio 1:2.519, gives the CC (8 ft.) pipe a diameter 
 at the mouth Ijne of 41.96 inches, and a diameter at the top of 1.62 inches; the C 
 pipe diameters of 3.13 inches and 1.02 inches; and the c^ pipe diameters of 1.9 
 inches and o.6ij inch. The illustration. Fig. 19, Plate III., shows a CC pipe accu- 
 rately drawn to this scale. For a Gemshorn placed in a softly-toned division of a 
 large Organ or inserted in a true Chamber Organ a smaller scale should be used. 
 
 Tone and Registration. — As before stated, the proper tone 
 of the Gemshorn is rich, clear, and penetrating, having a beautiful 
 timbre which may be classed between a normal unimitative reed- 
 tone and a viol-tone. It is this compound tone, more or less rich in 
 the lower harmonics, which renders the stop, in its different pitches, 
 so valuable in artistic registration. The tone, however, differs under 
 the treatments and ideas of different voicers; and is, of necessity, 
 affected by different scales and the relative proportions of the lower 
 and upper diameters of the pipes. Under all conditions the tone of 
 the true Gemshorn is so desirable and distinctive that it favors the 
 introduction, when possible, of the entire family of 16 ft., 8 ft., 4 ft., 
 2% ft., and 2 ft. stops. Such a family would give practically limit- 
 less means for effective and refined registration, and, accordingly, the 
 creation of numerous beautiful timbres in combination with labial 
 stops of the Flute and Viol classes, and with all the softer-voiced 
 lingual stops. The great value of gathering families of stops of dis- 
 tinctive tonalities, and placing them in contrasting divisions, is 
 absolutely unrecognized in the organ-building and organ-designing 
 world to-day, which continues to be quite satisfied with the old- 
 
 *" Gemshorn ist eine allgemein bekannte, brauchbare und sehr angenehme Fldtenstimme 
 welnhe, mit oben spitzig zulaufenden Pfeifen versehen ist. Dei Pfeifen haben zuweilen Seiten- 
 barte zu beiden Seiten des Aufschnittes. Man findet dies Register im Manual zu 8', 4', 2' und i', 
 zu letzten beiden Grossen zuweilen unter dem Namen Super-Gemshorn und im Pedal zu 16' 
 wo es Gemshornbass heisst. Als Quintstimme zu 10 %', 5 H'. 2 %' und i H' kommt dieses 
 Register ebenfalls im Pedal und Manual unter dem Namen Gemshornquinte vor. Die Pfeifen 
 sind gewohnlich von Zinn oder Metall, bei den 16 fussigen durfte vielleicht hier und da Holz in 
 Anwendung gebracht werden. '* — Seidel. 
 
PLATE III 
 
 m 
 
 l\9 11.23 'Ua^ 
 
 GEMSHORN HORN KESAULOFHONE 
 
 '2d waa 
 
 Obuu okchestral oboe 
 
THEIR ARTISTIC REGISTRATION 147 
 
 fashioned and systemless manner in which stop-appointments are 
 made. 
 
 GEMSHORNBASS, GROSSGEMSHORN, Ger.— The Pedal 
 Organ stop, of 16 ft. pitch, which furnishes the proper bass to the 
 manual Gemshorn, 8 ft. The pipes of this important and beautiful 
 stop are either made of metal throughout, or of wood and metal, 
 the former material being confined to the 16 ft. octave. This stop 
 should be inserted in every Pedal Organ of the first rank, furnishing 
 a beautiful bass, of a medium weight, to countless manual tonal 
 combinations. By extension to forty-four notes, a very desirable 
 Octave can be derived from it, extremely valuable in Pedal Organ 
 registration. The subject of such registration has not received the 
 attention it deserves ; mainly, if not altogether, owing to the gener- 
 ally insufficient and too often miserable tonal appointments of 
 modern Pedal Organs. See Gemshorn. 
 
 GEMSHORNQUINTE, Ger.— An open labial stop, the pipes 
 of which are of metal throughout, or, as in the case of the largest 
 stop, of wood and metal. The pipes are formed in all respects simi- 
 lar to those of the Gemshorn (g. v.). This stop is fifth-sounding, as 
 its name implies; and, accordingly, is found of 10% it., 5H ft., 2% 
 ft. , and I }/i ft. pitch ; the last pitch being rarely used. A Gemshorn- 
 quinte, 10/^ FT., of metal throughout, exists in the Pedal of the 
 Grand Organ in the Cathedral of Breslau; one of sj^ ft., also of 
 metal, exists in the Pedal of the Organ in the Church of St. Eliza- 
 beth, in the same city ; and one of 2% ft. is introduced on the Second 
 Manual of the Organ in the Cathedral of Schwerin. 
 
 GERMAN GAMBA.— The name given by English organ- 
 builders to an unimitative string-toned labial stop made by old 
 German organ-builders, the speech of which was so slow as to render 
 it necessary to draw along with it another quick-speaking stop or 
 KoPPEL (g. v.), commonly in the form of a Koppelflote. The 
 German Gamba, as made by a German organ-builder, was first 
 introduced into England by Schulze, of Paulinzelle, in the Organ he 
 built for the Parish Church of Doncaster, Yorkshire. The stop, un- 
 desirable on account of its tardy speech as well as its peculiar in- 
 tonation, has properly fallen into desuetude, being interesting only 
 as the precursor of the modern string-toned stops. 
 
 GLOCKENSPIEL, Ger.— Fr., Carillon. Ital, Campanella, 
 Campanetta. — Correctly considered under its original German 
 name this is a mechanical or percussion stop, of short compass. 
 
148 ORGAN-STOPS 
 
 formed of dish-shaped bells, spiral rods, stee* bars, or bell-metal 
 tubes, sounded by a hammer-action, somewhat resembling that 
 of a pianoforte, actuated by a pneumatic or electro-pneumatic me- 
 chanism in the modern Organ. In old Organs the Glockenspiel 
 was generally little better than a curiosity in organ-building. Ex- 
 amples still exist in some old German Organs, as in those in the 
 Churches of St. Catherine, St. Nicholas, and St. Jacobi, at Hamburg.* 
 The percussion Glockenspiel, or what is commonly and appro- 
 priately called the Carillon in its modern form of tubular bells, 
 although it cannot be strictly considered a legitimate organ-stop, 
 has now become a recognized adjunct to the tonal appointment of 
 both Church and Concert-room Organs: and it must be admitted 
 that when artistically used it is not without its claim for recognition, 
 as an effective element in tone production in combination with cer- 
 tain labial stops, and occasionally in solo-effects. Indeed, it might 
 be extended in compass and depth of tone so as to admit of the 
 proper rendition of bell-music, such as that composed and performed 
 by the great carillonneur, Matthias van den Gheyn, of Louvain. 
 
 GLOCKLEINTON, GLOCKENTON, Ger.— An open metal 
 labial stop properly of large scale and 2 ft. pitch, voiced to yield a 
 tone which has a ringing quality suggestive of that of bells. It is 
 described by Seidel thus: "Glockleinton (Tonus fabri) ist ein 
 weit mensuriertes Pfeifenregister, welches so klingen soil, als wenn 
 man mit einem Hammer auf einen wohlklingenden Amboss schlagt. 
 
 ♦"Glockenspiel. Carillon. C'est chezles AUemands un jeu compost de clochettesaulieu 
 del'fitre de tuyaux. Ordinairement, on le place dans Tin t6rieur derrierele principal en montre; 
 quelquefois il est a I'exterieur ou Ton voit des anges places dans une gloire tenant d'une main una 
 clochette sur laquelle ils frappent avec un marteau qu'ils portent dans I'autre main. . . Les 
 carillons ne s'6ntendent ordinairement que dans les deux octaves saperieures du clavier; cepen- 
 dant, il parait qu'il s'en trouve de quatre octaves, at qua celui de Teglise Saint-Michel a Ohrdruff 
 a cette ^tendue. II an axiste aussi k la p6dala. Au lieu de timbres en forme de cloche, on emploie 
 quelquefois des tiges metalliques tourn^es en spirales et assuj6ties sur une caisse sonore quiaug- 
 menterintensit6 de leurs sons. Un des inconvenients des carillons, est de n'fitre presque jamais 
 d'accord avec I'orgue dont la temperature fait varier continueilement les jeux de fond dans des 
 proportions qui ne sent point dans le m^ma rapport que celles des variations des m^taux. Les 
 marteaux qui frappent les timbres ou les tiges metalliques sont repousses par un ressort apresles 
 avoir mis en vibration, afinde n'en pasarreterleson. " — Hamel. 
 
 "Glockenspiel, Carillon, ist ein Register, welches statt der Pfeifan abgestimmte Glocken 
 hat. Gewohnlich ist es im Innarn der Orgel hinter den Prinzipalpfaifan angebracht. um dan 
 Klang racht nahe zu bringen, zuweilen wird es auch von Engeln, welche in einer Glorie ange- 
 bracht sind und in der einen (beweglichen) Hand ein Hammerchen, in der andern eine Glocke 
 haltan, geschlagen. Manche Glockenspiele siad mit einem Dampfer von Leder, Tuch u. dergl. 
 versehen, um das Ineinanderschwirren der Tone zu verhindern. Die Glockenspiele gehen ge- 
 wohnlich nur durch die zwei obaren Oktavan des Manuals, doch giebt es auch Glockenspiele im 
 Pedal. Da der Glockenton sich auf eine hochst auffallende Art von dam Pfeifenton absondert, 
 und die Glocken nie mit den Pfeifen genau zusammenstimmen, auch die Andacht der Gemeinde 
 durch dieses Klimperwerke gestort wird, so ware es zu wunschen, dass derglaichen unnutze 
 Register gar nicht mehr verfertigt Wurdan und die hier und da vorhandenen ausser Gebraucb 
 kamen. " — Seidel-Kothe. 
 
THEIR ARTISTIC REGISTRATION 149 
 
 Diese Stimme steht zu 2' im Oberwerk der Gorlitzer Petri-Orgel." 
 
 A stop of this class and pitch is hardly to be recommended for 
 insertion in the proper tonal appointment of any Organ constructed 
 to-day. As a Super-Octave it would be much too assertive in tone 
 to be used in refined and artistic registration; except, perhaps, in 
 full organ effects, and even in such it might disturb perfect tonal 
 balance. 
 
 GRAND BOURDON, GROS BOURDON, Fr.— A covered stop 
 of wood, of large scale, and of 32 ft. pitch, the pipes of which are 
 formed in all respects similar to those of the ordinary Bourdon, 
 16 FT. (5. v.). It appears in the Pedal of the Organ in the Church 
 of Saint- Vincent de Paul, Paris. See Contra-Bourdon. 
 
 The term Grand Bourdon has been employed by Walcker to 
 designate a very important Pedal Organ compound harmonic-cor- 
 roborating stop, of five complete ranks, belonging to the 32 ft. har- 
 monic series. The composition of this stop and the scales of its 
 CCC pipes are as follows : 
 
 Grand Bourdon — V. ranks. 
 
 Principal, 16 ft. . Width, 220 mm. Depth, 280 mm. 
 
 Quint, 10% ft. 
 
 Octave, 8 ft. . 
 
 Tierce, 6% ft. At mouth, 
 
 At top. 
 Super-octave, 4 ft. 
 
 no 
 
 108 
 
 74 
 48 
 
 65 
 
 " 153 
 
 " 131 
 
 106 
 
 64 
 
 80 
 
 It will be observed that all the ranks are formed of wood pipes; 
 and that the Tierce 62/5 ft., is formed of pyramidal pipes of the 
 Spitzflote type, doubtless with the aim of imparting a lighter and 
 timbre-creating voice to this third-sounding rank ; as is always desir- 
 able in the third-sounding ranks of compound harmonic-corrobo- 
 rating stops. 
 
 GRAND CORNET. — The name properly employed to designate 
 a compound harmonic-corroborating stop, the several ranks of which 
 belong to the 16 ft. harmonic series, and extend throughout the 
 manual compass without a break. An example, of V. ranks, exists 
 in the Bombarde of the Cavaill6-Coll Organ in the Church of Saint- 
 Ouen, Rouen. The stop is desirable only in a tonal division in which 
 there are two or more assertive stops of 16 ft. pitch, preferably lin- 
 gual. But when the Grand Cornet is made, as it should be, a 
 timbre-creating stop, its value is great in combination with both 
 labial and lingual stops. An example of such a stop is here given: 
 
150 ORGAN-STOPS 
 
 Timbre-creating Grand Cornet — V. ranks. 
 
 I. FhtTE A CHEMiNfiE . . . Metal 8 Feet 
 II. Spitzquinte . . . Metal sM " 
 
 III. ViOLETTA ... Tin 4 " 
 
 IV. Gemshorn - .... Metal 2% " 
 V. Piccolo .... Metal 2 
 
 The composition of timbre-creating compound stops will, of 
 necessity, be dictated by the stop-apportionments of the Organs in 
 which they are placed. 
 
 GRAND PRINCIPAL, GRAND DIAPASON.— Names that 
 have been employed to individualize the most important unison 
 (8 ft.) stop of pure organ-tone, occupying a place in the foundation- 
 work of an Organ. It was used in the First or Great Organ of the 
 Concert Organ installed at the Louisiana Purchase Exposition, in 
 1904. The term is desirable when there are three or more Diapasons 
 introduced together in any Organ, indicating the tonal preeminence 
 of one of the series. 
 
 GRAND VIOL. — The name employed to individualize the most 
 important unison (8 ft.) stop yielding unimitative viol organ-tone, 
 inserted in an Organ: in this respect occupying a more command- 
 ing position, tonally, than the Geigenprincipal, 8 ft. An example 
 exists in the unexpressive Subdivision of the First or Great Organ 
 of the principal Organ in the Church of Our Lady of Grace, Hoboken, 
 N.J. 
 
 The term grand has been applied to other stops for the purpose 
 of indicating their relative importance; we, accordingly, find such 
 terms as Grand Flute, Grand Octave, Grand Cornet, and 
 Grand Mixture. 
 
 GRAVISSIMA, Lat. — This term, which appears in the tonal 
 schemes of certain important modern Pedal Organs, must not be 
 understood to designate an independent stop. It is simply the 
 acoustical effect, or what is properly designated the differential tone, 
 produced naturally by the combination of tones of 32 ft. and 213^ 
 ft. pitch, standing at the interval of a perfect fifth apart, thus : 
 
 Generating Tones. Differential Tone. 
 
 CCCC32FT.— GGGG21MFT. • • • CCCCC 64 FT. TONE 
 
 16 24 8 vibrations 
 
 There are three ways of producing what is more expressively 
 termed the Vox Gravissima, varying in effectiveness, i. By 
 
THEIR ARTISTIC REGISTRATION 151 
 
 associating with the Double Diapason, 32 ft., an independent 
 Sub-Quint, 2i1/^ ft., tonally the most effective method. 2. By 
 extending the compass of the Double Diapason seven notes, and 
 introducing a Quint coupler acting on the same stop and sounding 
 its notes in fifths. 3. By extending the Diapason, 16 ft. , downward 
 to GGGG, and coupling it to the Double Diapason, 32 ft. We 
 are in favor of the first method, because it allows the Sub-Quint or 
 Grossquintenbass, 21^/^ ft. (g. v.), to be used in combination with 
 any other labial or lingual stops of 32 ft. pitch. This arrangement ob- 
 tains in the Pedal of the Schulze Organ in the Cathedral of Bremen. 
 In the Organ erected by the Hutchins-Votey Organ Company, in 
 Woolsey Hall, Yale University, the Gravissima was produced by 
 the combination of the open wood Double Diapason, 32 ft., and a 
 Quint, 213^ ft. tone, derived from the Contra-Bourdon, 32 ft. 
 
 There has not been sufficient experience gained as yet respecting 
 the acoustical effects of the extremely grave differential tones on the 
 proper voices of the Organ for any accurate conclusion to be reached 
 respecting their nature. It is quite evident, however, that they 
 can have no claim to be classed as musical sounds of a 64 ft. octave. 
 When, as Helmholtz states, determinate musical tones cease at that 
 produced by 41.25 vibrations, what can be said of those sounds 
 produced between 8 and 16 vibrations per second? The combina- 
 tion of the two generating stops certainly produces a remarkable 
 acoustic effect, evidently due to the generation of a great series of 
 harmonic over-tones : hence the sole value of the Vox Gravissima. 
 
 GROBGEDECKT, GROSSGEDECKT, Ger.— Lat., Pileata 
 Magna. — The terms signifying "great covered stop," and used by 
 German organ-builders to designate a large-scaled and loud-voiced 
 covered stop of 16 ft. or 8 ft. pitch, commonly inserted in a manual 
 division. A Grossgedeckt, 16 ft., exists in the Great of the Organ 
 in the Church of St. Dominic, Prague; and a Grobgedeckt, 8 ft., is 
 placed on the First Manual of the Walcker Organ in the Synagogue, 
 Berlin. 
 
 The word grobe has been used as a prefix, for the purpose of indi- 
 cating strength of tone, in the case of several other stop-names. We 
 accordingly find in old lists such terms as Grobcymbel, Grobmix- 
 TUR, Grobposaune, Grobregal, etc. 
 
 GROSSDOPPELGEDECKT, Ger.— A covered wood stop of 
 16 ft. pitch, the pipes of which are properly of large scale, deep in 
 proportion to their width, and have double mouths, after the fashion 
 of the DOPPELFLOTE (g. v.). The stop is suitable for the Pedal Or- 
 
152 ORGAN-STOPS 
 
 gan or for a manual division in which there are powerful labial or 
 lingual stops of unison (8 ft.) pitch. Carefully made and artistically 
 voiced, this important stop, in combination, would be productive of 
 many fine and uncommon tonal effects in which gravity would be a 
 special element. 
 
 GROSSFLOTE, Ger.— Fr., Grosse FlOte.— An open wood 
 stop of medium scale and properly of 8 ft. pitch; usually placed in a 
 full-toned manual division of the Organ, while it forms a good Oc- 
 tave, 8 FT, for the properly appointed Pedal Organ. In the general 
 form of its pipes it resembles the English Clarabella, but it is 
 voiced to yield a more powerful tone of an unimitative flute organ- 
 tone. For this purpose, the mouths are cut high and their upper 
 lips made thick, carefully rounded, and polished with black-lead: 
 this last is seldom done in ordinary trade practice. Leathered lips 
 should be avoided. 
 
 Tone and Registration. — When the Grossflote is properly 
 made and voiced to yield its characteristic tone, it is very valuable 
 in registration in which a background of full unimitative flute-tone 
 is required. It combines in the most effective manner with all the 
 more powerful lingual stops, imparting great body and firmness to 
 their tones without destroying their characteristic voices. 
 
 GROSSGEDECKT, Ger.— The term appropriately applied to a 
 large-scaled covered stop, of i6 ft. pitch, yielding a pure covered- 
 tone similar to that of the true Lieblichgedeckt, i6 ft., but of 
 much greater volume and assertiveness. Its place is in a manual 
 division of the Organ, in which there are powerful lingual and other 
 commanding stops, where it will play an important rdle in effective 
 registration.* 
 
 GROSSHOHLFLOTE, Ger.— The Pedal Organ stop of i6 ft. 
 pitch, the open pipes of which are of wood and formed and voiced 
 in all respects similar to those of the raianual Hohlflote, 8 Fi". 
 See Hohlflote. 
 
 GROSSNASAT, Ger.— Fr., Gros Nasard, Grosse Quinte.— 
 This mutation stop, which is of lo^ ft. pitch in the Pedal Organ 
 and sJ^ ft. pitch in the manual divisions, is made of either wood or 
 metal and both in open and covered forms. In the first pitch it 
 belongs to the 32 ft. harmonic series, and in the higher pitch to 
 16 ft. harmonic series. As Grossnasat, io^^ ft., it exists as an 
 
 *See " The Organ of the Twentieth Century," pp. 311, 312. 
 
THEIR ARTISTIC REGISTRATION 153 
 
 open stop in the Pedal of the Organ in the Cathedral of Halberstadt. 
 As Grossnasard, 10% ft. of wood, it is inserted in the Pedal of 
 the Organ in the Cathedral of Merseburg. It appears as Grosse 
 QuiNTE, 10?^ FT., in the P^dale, and as Grosse Quinte, sJ^ ft., 
 in the Clavier des Bombardes, in the Grand Organ in the Cathedral 
 of Notre-Dame, Paris. The stop of 10% ft. pitch was inserted in the 
 Pedal, and of both 10% ft. and 53^ ft. pitch in the First or Great 
 division of the Concert Organ installed in the Festival Hall of the 
 Louisiana Purchase Exposition, 1904. 
 
 Tone and Registration. — The value of the harmonic-creating 
 or corroborating tones, such as those of 10% ft. and 53^ ft. pitch, in 
 registration is hardly realized at the present time, owing to the 
 rarity of their introduction in modern Organs. In a scheme lying 
 before us, for a much-divided Organ of 283 speaking stops, there is 
 only one Pedal Organ stop of 10% ft. pitch, and only one manual 
 stop of 53^ ft. pitch, showing how little attention is paid by the or- 
 gan-builder of to-day, even in his greatest essays, to the scientific 
 side of his art; and how little thought or care he bestows on provid- 
 ing the organist with proper material for varied and artistic regis- 
 tration.* How long are organists to remain content with the results 
 of incompetency which handicap them at every turn in their essays 
 in registration? Surely it is time that science and art are infused 
 into the tonal appointment of important Organs. 
 
 GROSSOCTAV, Ger.— The name given by Walcker to an open 
 labial stop, of 8 ft. pitch, placed on the First Manual of the Organ 
 in Paulskirche, Frankurt a. M. The term is used because, strictly 
 considered, the manual is of 16 ft. pitch, containing, including the 
 Principal, three stops of 16 ft. pitch. In the Pedal of the same 
 Organ is a stop of 16 ft. pitch labeled Grossoctavbass. 
 
 GROSSPOSAUNE, Ger.— The term employed by German organ- 
 builders to designate the dominating lingual stop, of 32 ft. pitch, 
 belonging to the Pedal Organ. It is, as its name implies, similar in 
 all essentials to the Contra-Trombone, 32 ft. (5. v.). This grave 
 stop has not been a favorite with German organ-builders. In the 
 
 * If the reader will refer to our scheme for the Concert-room Organ, given in Chapter XI, of 
 "The Organ of the Twentieth Century," he will find we have provided in the Pedal Organ one 
 fifth-sounding labial stop of 21 H ft., one labial stop of 10 % ft., and one lingual stop of 10 H ft. 
 pitch. Properly distributed in the several manual Organs, are six labial stops of s H ft., and two 
 lingual stops of 5 M ft. pitch. In addition to these important stops, there are six fifth-sounding 
 stops oi 2% ft. pitch. In all, seventeen fifth-sounding stops out of the total number of 230 
 speaking stops in the entire tonal scheme: yet we know, on both scientific and artistic grounds, 
 there is not one fifth-sounding stop too many to meet the requirements of artistic registration 
 and scientific timbre-creaticn. 
 
154 , ORGAN-STOPS 
 
 Pedal of the Organ in the Nicolaikirche, Leipzig, the stop is labeled 
 PosAUNE, 32 FT. The stop is a free-reed. 
 
 GROSSPRINZIPAL, Ger.— Fr., Gros Principal.— The name 
 appropriately given to the open labial stops of 16 ft. pitch in the 
 manual divisions and 32 ft. pitch in the Pedal Organ, yielding pure 
 organ-tone, and, accordingly, belonging to the foundation-work of 
 the Organ. It exists, of 32 ft. pitch in the Pedal of the Organ in the 
 Marienkirche, Liibeck. It also exists, as a displayed stop of English 
 tin, of 16 ft. pitch, in the Organ in the Church of Waltershausen. 
 These stops are similar to the English Double Diapasons of 
 corresponding pitches. 
 
 GROSSQUINTENBASS, Ger.— This name is given to a covered 
 stop, of 21)^ ft. pitch, inserted in the Pedal of the Organ in the 
 Cathedral of Bremen. The stop strictly belongs to the 64 ft. har- 
 monic series, and was evidently introduced with the view of pro- 
 ducing the acoustic differential tone which we have termed Vox 
 Gravissima (see Gravissima). This fine Organ of 59 speaking 
 stops, was built by Schulze, of Paulinzelle. 
 
 GROSSREGAL, Ger.— An old lingual stop of the Regal family, 
 the only peculiarity of which existed in its grave pitch, which was of 
 16 ft. The stop is no longer made and its name is obsolete. See 
 Regal. 
 
 GROSSTERZ, Ger.— Fr., Grosse Tierce.— This mutation 
 harmonic-corroborating stop is of 6^/5 ft. pitch in the Pedal and 31^ 
 ft. pitch in the manual Organs. In the former it belongs to the 32 
 ft. harmonic series, and in the latter to the 16 ft. harmonic series; 
 in each case corroborating the fourth upper parial tone of the prime 
 of the corresponding series. A Grosse Tierce, 6^/5 ft., is inserted 
 in the Pedale, and a Grosse Tierce, 3)4 ft., in the Bombardes, in 
 the Grand Organ in the Cathedral of Notre-Dame, Paris. 
 
 The stop may be formed of pipes of metal or wood and either 
 open or covered, according to the quality of the tone desired. In 
 any case, the tone should be somewhat subdued, for third-sounding 
 tones are liable to be undesirably assertive and penetrating, and, 
 accordingly, have to be confined to full-toned combinations. When 
 properly subordinated to the fifth-sounding stops, the Tierces 
 become extremely valuable in artistic registration, imparting dis- 
 tinctive tonal coloring. 
 
 GROSSUNTERSATZ, Ger.— A large-scaled covered stop of 
 
THEIR ARTISTIC REGISTRATION 155 
 
 wood, and of 32 ft. pitch, belonging to the Pedal Organ. An ex- 
 ample, under the name, exists in the Pedal of the Organ in the 
 Church of Waltershausen. The Organ was built by Trost, of Alten- 
 burg, in 1730. When of medium scale, the stop has been commonly- 
 labeled Unte^satz, 32 FT., as in the Pedals of the Organs in the 
 Cathedral of Merseburg and the Nicolaikirche, Leipzig. A stop of 
 the same form and pitch, but of smaller scale, occupies a place on 
 the First Manual of Walcker's Organ in Paulskirche, Frankfurt, a. 
 M., where it is labeled Manual-Untersatz, 32 ft. 
 
 A covered stop of this grave pitch cannot be pronounced entirely 
 satisfactory, and utterly fails to take the place of an open stop of 
 32 ft. Cheapness and limitations of space are the only arguments 
 that can be advanced in favor of its introduction, either as a Pedal 
 Organ or a manual stop. If it is made, we strongly advise its being 
 voiced with the harmonic-bridge, so as to generate as great a series 
 of harmonic upper partials as possible: these partials alone give 
 tonal value to the lower octave and a half of the stop ; the prime tones 
 of which are not per se musical sounds. 
 
 H 
 
 HALBPRINZIPAL, Ger.— The term sometimes used by the old 
 German organ-builders to designate the half-length Principal; 
 namely, the ordinary organ-toned Octave, 4 ft. Schlimbach says: 
 " Halbprincipal so viel als Principal 4 Fuss, well das gewohnliche 
 Hauptprincipal 8 Fuss hat. Zuweilen bedeutet es auch Octav 8 
 Fuss." The old English organ-builders abbreviated the term, and 
 called the stop, simply and illogically. Principal, 4 ft. The correct 
 term, now coming into general use, is Octave, 4 ft. 
 
 HARFENPRINZIPAL, Ger.— A manual, open labial stop of 
 8 ft. pitch, the pipes of which are cylindrical and of small scale. 
 The stop was commonly made of tin, and voiced to yield a delicate 
 compound tone, which, in quick arpeggio passages, bore a faint re- 
 semblance to those of the orchestral Harp. The effect was secured 
 by the presence of certain upper partial tones which are prominent 
 in the sounds produced by plucked gut strings. Seidel says : " Har- 
 FENPRINZIPAL ist ein lieblich intoniertes Prinzipal, welches einen 
 der Harfe ahnlichen schnarrenden Ton haben soil." The stop is 
 disused and the name is obsolete. 
 
 HARFENREGAL, Ger. — A soft-toned lingual stop, the tones 
 
156 ORGAN-STOPS 
 
 of which bore a remote resemblance to the twang of harp strings 
 when roughly plucked. The stop and its name are both obsolete. 
 
 HARMON lA ^THERIA, Grk.— A compound harmonic-cor- 
 roborating stop, composed of two or more ranks of very small-scaled 
 and delicately voiced metal pipes. In its most desirable form it is 
 composed of ^Eoline labial pipes (See ^oline); but in this ex- 
 tremely refined form it is at present practically unknown. The stop 
 has been made in different forms. It appears, under the unusual 
 name "Harmonica .^Etherica, " of two ranks, in the Echo of the 
 Organ, built by Schulze, in the Parish Church of Doncaster, York- 
 shire. In Walcker's Organ in Riga Cathedral a Harmonia ^the- 
 RiA, of three complete ranks — Twelfth, 2% ft., Fifteenth, 2 ft., 
 and Seventeenth, 1% ft., — is placed on the Third Manual. 
 Similar stops are inserted in the Organ in the Gewandhaus, Leipzig, 
 and several other Walcker Organs. The German organ-builders do 
 not seem to have carried the stop beyond three ranks, nor do they 
 appear to have made breaks in the ranks. 
 
 Formation. — While a stop of through ranks, such as adopted by Walcker and 
 other builders, formed of small-scaled and softly voiced pipes, could not fail to be 
 very useful ; a Harmonia jEtheria, in the form of a Mixture, composed of several 
 ranks of high-pitched ./Eoline or Vox Angelica pipes would be extremely valu- 
 able as a harmonic-corroborating stop in the softest toned manual division of an 
 artistically appointed Organ. It certainly should find a place in the Organ of the 
 twentieth century. The following is the appropriate composition for a full stop 
 of six ranks : 
 
 Harmonia ^theria — VI. ranks. 
 cc to F# . . 15 — 17' — 19 — 22 — 26 — 29. 
 
 G to f# . . 12 — 15 17* — 19 — 22 — 26. 
 
 g" to f# . . 8 — 12 — 15 — 17* — 19 — 22. 
 
 g» to c« . I — 8 — 12 — 15 — 17* -19. 
 
 Should this composition be considered too full, the third-sounding break* in 
 each rank may be omitted, making a five-rank stop. If the Seventeenth is re- 
 tained, it should be voiced softer than the octave- and fifth-sounding ranks, for 
 that interval is, otherwise, very liable to be too assertive. This refined harmonic- 
 corroborating stop should speak on wind of ij^ inches to 2j^ inches, and be most 
 scientifically regulated. The pipes to be of tin. 
 
 Tone and Registration. — Properly made and artistically 
 voiced, the Harmonia .^Etheria should yield a singing, silvery, 
 compound tone of great beauty; so delicate that, in registration, it 
 may be employed with any of the softest unison stops in the Organ, 
 string- or flute-toned. As a harmonic-corroborating or timbre- 
 creating stop it would be difficult to overrate its value — a value 
 absolutely unrealized in the present noisy-organ epoch. 
 
THEIR ARTISTIC REGISTRATION 157 
 
 HARMONICA, HARMONIKA, Ger.— An open labial stop, 
 usually of 8 ft. pitch, the pipes of which are of wood, of small scale, 
 and voiced to yield a combination of flute-tone and string-tone of a 
 soft and beautiful quality. The stop has long been a favorite with 
 German organ-builders, while it is practically unknown by those of 
 this and other countries: indeed, both in the design and construc- 
 tion of wood stops, generally, the German organ-builders have 
 always taken the lead, surpassing all others. Both French and 
 English organ-builders have favored metal pipes, under the mis- 
 taken impression, perhaps, that a better tone could be obtained 
 from them than from wood pipes; but more likely from the fact that 
 metal-pipes are more easily made and voiced. This was the rock 
 Willis split upon in his tonal appointment of the Organ in the Royal 
 Albert Hall, South Kensington, London. In that large Organ there 
 are only two complete wood stops, and the tone of the instrument 
 suffers accordingly. 
 
 Fine examples of the Harmonika, 8 ft., exist on the Third 
 Manuals of the Organs, by Walcker, in the Cathedrals of Riga and 
 Ulm, and in the Concert Organ in the Gewandhaus, Leipzig. It 
 exists in the Echo of the Organ in the Cathedral of Lund, Sweden, 
 in which it is said to produce "a most beautiful effect." The stop 
 is of wood. Equally good examples, labeled Harmonica, 8 ft., 
 exist in the Echo of the Schulze Organ in the Parish Church of Don- 
 caster, and in the Choir of the Organ in the Church of St. Bartholo- 
 mew, Armley, Yorkshire. 
 
 Formation. — The scale and form of the Harmonica vary in different examples ; 
 and while in the generality of cases its pipes are straight, in some examples they 
 are slightly pyramidal. For the stop of 8 ft. pitch, formed of straight, square 
 pipes, Haas, the distinguished German organ-builder, has recommended the 
 following small scale: 
 
 SCALE OF HARMONICA, 8 FT. 
 
 CC C C c" c» 
 
 66 mm. 40 mm. 24 mm. 15 mm. 9 mm. 
 
 We are in favor of a slightly larger scale and the slower reduction secured by 
 the ratio i : 2.66, which halves on the eighteenth pipe. The following is our pro- 
 posed scale, in inches, for square pipes: 
 
 SCALE OF HARMONICA, 8 FT.— RATIO i : 2.66. 
 
 CO C c c" C3 C4 
 
 2.84 1.74 1.06 0.65 0.40 0.25 
 
 Some German organ-builders use scales which give the pipes of the Harmonica 
 a greater depth than width. An example of this treatment obtains in the fine stop 
 
158 
 
 ORGAN-STOPS 
 
 in the Armley Organ, in which the pipes from middle c' to the top note are about 
 twice their width in depth. Schulze seems to have found this extreme proportion 
 favorable to the production of very soft and refined qualities of tone. The chief 
 peculiarity of the Harmonica pipe is the formation of its mouth and attendant 
 cap, shown in the accompanying illustration. Fig. 20, which presents a Front View 
 and Sections of the mouth portion of the C pipe of the Armley stop. It will be 
 seen that the mouth is circular, hollowed on the inside of the pipe so as to present 
 
 a thin lip to the wind-stream. The manner in which this is done is shown in the 
 Sections 2 and 3. The size of the circular mouth varies according to the quality 
 and strength of the tone desired, but it should not be less than one-half the internal 
 width of the pipe. It will be observed in Section 2 that the cap is compound, 
 being formed of an inner, wedge-shaped piece, which forms the lower lip of the 
 mouth; and an outer piece, in which the wind- way is carefully cut in the manner 
 shown, in black, in the Transverse Section of the mouth, 3. In the formation of 
 the compound caps extreme care and accuracy must be observed in graduating 
 the thickness and slope of the wedge-piece, and smoothly roimding and polishing 
 with black-lead its upper edge or lip.* The chief difficulty in connection with the 
 voicing of this beautiful stop lies in the adjustment of both parts of the caps with 
 relation to the circular mouths, and the exact proportions of the wind- ways, so as 
 to obtain a perfectly even intonation throughout the compass. As a rule, the cap 
 is adjusted to cover about one-third of the diameter of the mouth, but different 
 
 * The dimensions given by Topfer-Allihn for the outer portion of the cap (Frosch) and the 
 inner wedge-piece (Platte) are of sufficient importance to be given here : " Die Lange der grossten 
 Frosche kann so mm betragen und nimmt ab bis zu 36 bis 40 mm. Die Dicke kann fur die 
 grosseren Pfeifen 20 mm und fur die kleineren zwischen 8 bis 10 mm betragen. Es versteht sich, 
 dass die vordere Dicke der Platte von den hochsten Tonen bis zum tiefsten gleichm^sig zuneh- 
 men muss, well ausserdem die Gleichmassigkeit des Tones darunter leiden wurde. Man kann 
 diese Dicke fur Co 8 Fuss 5 mm und fur c3 0,2 mm setzen. Bei diesen Annahmen erh^lt man die 
 vordere Dicke der Platte ftir c" = 2. 2 mm ; fur c' = i mm ; f iir c^ = 0.4s mm. Die hintere Dicke 
 nimmt von 8 mm bis zu 3 mm ab. " — " Die Theorie und Praxis des Orgelbaues, " p. 232. 
 
THEIR ARTISTIC REGISTRATION 159 
 
 positions are adopted according to the tonality desired. While pine may be used 
 for the sides and backs of the pipes, it is necessary, with such a form of mouth, for 
 their fronts and caps to be of some close-grained hard wood : preferably beech for 
 the caps. 
 
 Tone and Registration. — The tone of the Harmonica in its 
 finest quality is extremely refined, being a combination of flute- and 
 string-tone, in some examples inclining to one and in some to the 
 other tonality. Locher says it "is a very tender 8-ft. string-tone 
 stop, of narrow scale, intonated between the .(Molina and Sali- 
 ciONAL." According to Topfer-Allihn, "Es ist eine Stimme von 
 atherischem Charakter, welche bei sanften Altargesangen zum 
 Gemiite des stillen Beters spricht." Although in the case of this 
 stop one cannot speak from actual experience, it is not difficult to 
 arrive at a fairly accurate estimation of its value in refined registra- 
 tion. It has hitherto been, and will continue to be inserted in the 
 softest-toned division of the Organ, where it will be associated with 
 stops — labial and lingual — of varied tonalities and, properly, of 
 equally refined voices, admitting of combinations of great variety 
 and beauty. If the Harmonica inclines to flute-tone, the most 
 effective registrations will be those with labial stops of string-tone 
 and the lingual stops. It will be specially valuable with the Vox 
 Humana, should one be present. On the other hand, if the Har- 
 monica inclines (as many German examples seem to do) to string- 
 tone, its most effective registrations will be with stops of flute-tone 
 and pure organ-tone, imparting to them a delicate brilliancy and 
 clearness. To the lingual stops it will add firmness and richness. 
 In the registration of stops of soft and refined tonalities the principle 
 of tonal contrast should always be observed. The Harmonica 
 should speak on wind of i J^ inches to 2j^ inches presstu-e. 
 
 HARMONICABASS, Ger.— A Pedal Organ labial stop, of 16 
 ft. pitch, formed of small-scaled open pipes of wood, voiced on a 
 low-pressure wind, and yielding (like the Harmonica, 8 ft., to which 
 it is the true bass) a tone in which both refined fiute-tone and string- 
 tone are combined. A representative example of this uncommon 
 stop exists in the Pedal of the Organ in the Catholic Church, at 
 Berne, Switzerland. Locher describes this stop as "specially suita- 
 ble for the accompaniment of soft passages." 
 
 The pipes should be constructed and voiced in the same manner 
 as those of the Harmonica (g. v.) ; and the following scale will be 
 found suitable. As this stop would be required to furnish the bass 
 to combinations of soft stops, it should be voiced on wind of 2]^ 
 or 3 inches. 
 
l6o ORGANtSTOPS 
 
 SCALE OF HARMONICABASS, i6 FT— RATIO i: 2.66. 
 
 CCC CC C G 
 
 4-44 2.73 1.67 1.25 
 
 HARMONIC CLARIBEL.— The name given by Thomas 
 Casson, organ-builder, of London, to a Harmonic Flute of a large 
 scale and full intonation, constructed by him. Other English organ - 
 builders have used the name to designate harmonic stops of a similar 
 character. A fine example exists in the Organ constructed by Nor- 
 man & Beard, of Norwich, in 1905, for the Colston Hall, Bristol. 
 This stop is of 8 ft. pitch, and speaks on high pressure wind. Its 
 pipes have inverted mouths, and are of double standard length and 
 harmonic from c" to the top note. Such a treatment is favorable to 
 the augmentation of the treble. 
 
 HARMONIC CLARION.— Fr., Clairon Harmonique.— This 
 lingual stop is the true Octave of the Harmonic Trumpet, 8 ft., 
 and is, accordingly, of 4 ft. pitch. The pipes are formed in all re- 
 spects similar to those of the unison stop, being of about double the 
 normal speaking lengths, voiced on high-pressure wind to speak the 
 octave pitch. The Clairon Harmonique was invented by Aristide 
 Cavaille-Coll, and introduced for the first time in the Recit-Echo 
 Expressif of the Organ in the Royal Church, Saint-Denis, con- 
 structed in 1 841. 
 
 HARMONIC DIAPASON.— The name used by Bryceson 
 Brothers, organ-builders, of London, to designate a large-scaled 
 labial stop of Diapason formation, the pipes of which are, in the 
 more important examples, of double the standard speaking length 
 and harmonic from G or c' to the top note. The aim of the build- 
 ers was to produce a volume of powerful foundation-tone; but, as 
 might be expected on scientific grounds, the result was anything but 
 pure organ-tone. The step was in the wrong direction, and, natur- 
 ally, the result was a powerful and unpleasant flute-tone. Examples 
 exist in certain Organs by Bryceson Brothers, notably one in the 
 Organ built in 1882 for the Concert Hall, Paisley, Scotland. Such a 
 stop is not a desirable addition to the Organ of to-day, which is 
 over-furnished with unduly assertive voices. 
 
 HARMONIC FLUTE.— Fr., Flute Harmonique.— The stop 
 formed of cylindrical metal pipes of 8 ft. and 4 ft. pitch. In the uni- 
 son stop the pipes from the middle octave to the top note are made 
 of double the normal speaking lengths; and are voiced and so blown 
 
THEIR ARTISTIC REGISTRATION i6i 
 
 as to speak the octaves of the tones properly belonging to the full 
 lengths of the pipes so treated. For full particulars respecting this 
 important" stop, see Flute Harmonique. This stop was invented 
 by Cavaill^-Coll, and inserted, for the first time, in the Organ in the 
 Royal Church, Saint-Denis, in the year 1841. 
 
 The Harmonic Flute has been very successfully constructed of 
 wood in several forms. For particulars respecting those yielding 
 imitative flute-tone, see Orchestral Flute. 
 
 HARMONIC PICCOLO.— Fr., Piccolo Harmonique.— A 
 cyHndrical metal stop, of 2 ft. pitch ; the pipes of which are double 
 the standard speaking lengths, and are formed and voiced in all 
 respects similar to those of the harmonic portion of the Harmonic 
 Flute, 8 ft. (g. v.). An example of this stop under the name Oc- 
 TAViN Harmonique, 2 ft., was inserted by Cavaille-Coll in the 
 Recit-Echo Expressif of the Organ in the Royal Church, Saint- 
 Denis, in the year 1841. See Flute Harmonique. 
 
 HARMONIC TRUMPET.— Fr., Trompette Harmonique. 
 Ger., Harmonietrompete. — A lingual stop, of 8 ft. pitch, the reeds 
 of which are of special formation, and the resonators of inverted 
 conical form are, for the greater portion of its compass, of greater 
 lengths than those required for the ordinary Trumpet, 8 ft. The 
 reeds are of the open class and of large scale, and the tongues are 
 thick and well curved, so as to respond properly to the high-pressure 
 wind on which the stop is voiced; producing powerful tones, which 
 are the octaves of those which naturally belong to the lengths of the 
 resonators. Accordingly, the resonator of eight feet in length in the 
 Harmonic Trumpet yields a note of the same pitch as that pro- 
 duced by the resonator of four feet long in the ordinary Trumpet, 
 both stops being of 8 ft. pitch. The double-length resonators usually 
 commence at tenor C. 
 
 The Trompette Harmonique was invented by Aristide Cavaille- 
 Coll, and used for the first time in the Organ erected, in 1841, in 
 the Royal Church, Saint-Denis. One Trompette Harmonique was 
 placed in the Positif ; two in the Grand Orgue; and two in the Recit- 
 ficho Expressif; all of 8 ft. pitch.* These stops, voiced on compara- 
 
 * " La trompette harmonique du clavier de r6cit est. par sa puissance et par I'excellence des sons 
 qu'elle produit, incomparablement sup6rieure k tout ce que Ton connaJt en ce genre. Le carac- 
 tfere tout-^-fait particulier de ses basses, lorsqu'on I'emploie comme partie chantante accom- 
 pagn^e des jeux de fond, est d'un effet admirable. On en peut dire autant des s6ries de jeux de 
 flutes harmoniques qui donnent h, I'ensemble de I'orgue tant de rondeur et de puissance. " — J. 
 Adrian de La Page, in Report to the Soci^t^ des Beaux-Arts, on the Organ in the Royal Church 
 Saint-Denis, 1844. 
 
162 ORGAN-STOPS 
 
 tively low-pressure wind, were widely different in tone from the 
 corresponding stops subsequently developed by Willis and other 
 leading English organ-builders, who adopted suitable high wind 
 pressures to produce the rich tone desired. 
 
 Tone and Registration. — The tone of the Harmonic Trum- 
 pet varies considerably, according to the method in which it is 
 voiced and the pressure of the wind on which it speaks. The tones 
 of the French stops are, like the generaUty of the French striking- 
 reed stops, somewhat hard and brassy, due to the thinness and 
 peculiar curvature of their tongues, combined with wind of moder- 
 ate pressure. On the other hand, the Harmonic Trumpets made 
 by the Willis school of reed-voicers, in which thick tongues are used, 
 beautifully curved so as to strike the echalote with a smooth uncurv- 
 ing motion, yield, under high-pressure wind, full rich tones, which, 
 practically free from objectionable brassy clang, are imitative of the 
 tones of the orchestral Slide Trumpet played by a master. 
 
 The office of so powerfully-voiced a stop as the Harmonic Trum- 
 pet is necessarily limited in artistic registration. Its chief value is 
 in solo passages of an orchestral character, and when suitably 
 accompanied. It is also suitable in very full combinations in which 
 it assumes the dominating tonality, assisted, perhaps, by its true 
 Octave the Harmonic Clarion, 4 ft. , or the Tuba Clarion, 4 ft. 
 Powerful as its voice is and naturally rich in harmonics, it can be 
 effectively colored by the addition of loud-toned harmonic-cor- 
 roborating stops, simple and compound. The Harmonic Trumpet 
 should never be placed in an unexpressive division of an Organ. 
 
 HARMONIC TUBA.— The most powerful lingual stop, of 8 ft. 
 pitch, inserted in the Organ. Its pipes are of large scale, having 
 resonators of inverted conical shape and double the normal standard 
 length. The reeds are formed similar to, but slightly larger in scale 
 than, those of the Harmonic Trumpet {q. v.). The stop is voiced 
 on wind of fifteen inches upward, according to the volume and power 
 of the tone required. Reeds with double tongues have been sug- 
 gested for this impressive stop; but they are too troublesome to 
 make, too uncertain in speech, and too difficult to tune, ever to 
 favor their adoption: and it is questionable if they are desirable; for 
 sufficient musical noise can be produced by the single-tongued reeds 
 for all legitimate effects in dignified music. 
 
 Tone and Registration. — The proper tone of the Harmonic 
 Tuba is full, sonorous, and commanding; dominating all the voices 
 of the 8 ft. stops, labial and lingual, in the Organ. Its use is, accord- 
 
THEIR ARTISTIC REGISTRATION 163 
 
 ingly, limited to rare and very special effects, chiefly of an orchestral 
 character, and to grand climaxes in which a "full organ" burst of 
 sound is called for. The stop is, therefore, only necessary and appro- 
 priate in Concert-room Organs of the first magnitude. Although 
 stops of this dominating assertiveness have in several noteworthy 
 cases been thoughtlessly — not to use a stronger expression — ^planted 
 in exposed and uncontrollable positions, it is surely unnecessary to 
 insist, on both artistic and common-sense grounds, that the Har- 
 monic Tuba be placed under control and in an expressive division 
 of the Organ. Its place is either in the Solo Organ or, better still, in 
 the Brass-wind division of the properly schemed Concert-room 
 Organ. Generally, the remarks anent the registration of the Har- 
 monic Trumpet apply in the case of the stop under review, although 
 the Harmonic Trumpet must be considered to be more generally 
 useful than the more powerful Harmonic Tuba. 
 
 HARMONIC TWELFTH.— A covered labial stop, of 2% ft. 
 pitch, the pipes of which are of metal, of medium scale, and stopped 
 so as to have speaking lengths equal to one and one-half times the 
 lengths of the standard open pipes of the corresponding pitch. Thus, 
 the CC pipe of the Harmonic Twelfth, having a speaking length 
 of 4 ft., yields, on being properly voiced and overblown, a tone of 
 the same pitch as that of an open pipe of 2% ft. speaking length. 
 
 The Harmonic Twelfth was introduced by Thomas Casson, 
 and inserted in the Organ installed in the London Organ School and 
 certain other instruments constructed, under his supervision, by 
 the Positive Organ Company, of London. It has been made by some 
 other builders. 
 
 Tone and Registration. — The tone of the stop is properly full, 
 smooth, and clear; and owing to its having comparatively few upper 
 partial tones of an assertive character it mixes well, and is more 
 agreeable in combination than the open Twelfth, 2^ ft., which 
 belongs to the foundation harmonic series. It is on this account less 
 prominent, while it is more effective as a timbre-creating stop in 
 combination with both labial and lingual stops of the softer class. 
 It may, accordingly, be considered more valuable in artistic regis- 
 tration than any open-toned Twelfth. In fact, it can be used in 
 such registration ten times for once that the Twelfth of the foun- 
 dation-work can be used. Its proper position is in a soft-toned divi- 
 sion of the Organ ; and it is specially to be recommended for insertion 
 in the chief accompanimental division of the properly appointed 
 Church Organ. 
 
i64 \jKGAN-STOPS 
 
 HARMONIEFLOTE, Ger.— The name given to an open labial 
 stop, of 8 ft. pitch, the pipes of which are of wood and of small scale, 
 narrow and deep, voiced on wind of low pressure. In the best 
 examples the tone is soft and singing, in character between the 
 voices of the Harmonica and the Melodia, while it is less assertive 
 than either. Desirable as a stop of this tonality would be when re- 
 finement is aimed at, it is not likely to be favored during the present 
 prevailing craze for loud and crude intonation. Such a flute-toned 
 stop would be ideal for a properly appointed Chamber Organ. We 
 are not aware of a single example obtaining in an English or Ameri- 
 can Organ. 
 
 HARP. — Commonly, in modern Organs, a percussion stop, of 8 
 ft. pitch, formed of metal or wood plates or bars, suspended over 
 tuned resonators, and struck by a hammer-action, electrically com- 
 manded by a manual clavier. The compass of the stop is usually of 
 49 notes — CC to c^ — but is properly made of the full manual com- 
 pass, 6 1 notes. Different opinions obtain respecting the most desir- 
 able material for the resonant bars; some maintaining that the Harp 
 tone is better imitated by sonorous wood than metal. The latter, 
 however, is generally used. To produce the desired tone, the 
 hammers have to be very carefully padded, and the action artis- 
 tically adjusted. 
 
 Ill I733> Thomas Schwarbrook inserted in his Organ in the 
 Church of St. Michael, Coventry, three remarkable string stops — 
 Harp, Lute, and Dulcimer. But owing to the difficulty of keeping 
 the strings in tune, the stops were removed in 1763. Some attempts 
 have been made to furnish the modern Organ with a string Harp, 
 sounded by plectra. 
 
 HAUTBOIS D'AMOUR, Fr.— Ital., Oboe d'Amore.— A lingual 
 stop of the Oboe species, the pipes of which have resonators of small 
 scale, partly covered so as to impart to the tone a singular softness 
 and refinement which, in all likelihood, suggested its name.* This 
 stop seems to be no longer made, being displaced, along with other 
 softly-toned stops, by those of more powerful and less beautiful 
 voices. The stop should be revived for insertion in the true Cham- 
 ber Organ, and in the softest and accompanimental divisions of the 
 Church and Concert-room Organs. 
 
 * "Hautbois d' Amour. Hat mit der vorhergehenden Stimme viel Aehnliches, doch musssie 
 wie die Vox humana halb gedeckt sein. Man findet sei zu 8 Fusston, und kleiner darf sie ihrer 
 Natur nach auch nicht sein." — Schlimbach, 184J. 
 
THEIR ARTISTIC REGISTRATION 165 
 
 HAUTBOY.— Fr,, Hautbois.— Ital. and Ger., Oboe.— A lingual 
 stop, of 8 ft, pitch, the tone of which imitates, more or less closely, 
 that of the orchestral instrument of the same name. The resonators 
 of the ordinary Hautboy are slender and of standard length, and 
 are surmounted by long inverted conical bells, which are sometimes 
 shaded. The variety of the stop designated the Orchestral Oboe 
 has been made with resonators of different forms and proportions, 
 with the view of obtaining a close imitation of the tone of the or- 
 chestral instrument. In England and America the Hautboy is 
 invariably a striking-reed; but in France and Germany the free- 
 reed stop seems to have been preferred. An example exists on the 
 Second Manual of Ladegast's fine Organ in Schwerin Cathedral. 
 For description and illustration of the striking-reed stops, see Oboe 
 and Orchestral Oboe. 
 
 r- 
 
 HELLFLOTE, HELLPFEIFE, Ger.— This name, which signi- 
 fies Clear-toned Flute, has been given by German organ-builders to 
 an open labial stop, of 8 ft. pitch, the pipes of which are of wood and 
 of small scale, voiced to yield a clear semi-imitative flute-tone, of 
 medium strength, and of good mixing quality. Schlimbach does not 
 mention the stop; and Seidel dismisses it in these words: "Hell- 
 PFEIFE, ein offenes Flotenwerk zu 8' von besonders helium Ton. " 
 For description of the corresponding English stop, see Clear Flute. 
 
 HOHLFLOTE, HOHLPFEIFE, Ger.— Fr., Flute-Creuse.— 
 Dtch. HoLFLUiT, HoLPijp. — This name, which means Hollow-toned 
 Flute, is used to designate an open labial stop, of 8 ft., 4 ft., and, 
 sometimes, 2 ft. pitch, the pipes of which are of large scale, made, in 
 the most characteristic examples, of wood, and voiced to yield a 
 full, somewhat dull, and hollow tone, which has suggested its name. 
 Examples exist in several of the more important Walcker Organs, 
 including those in Riga Cathedral and the Gewandhaus, Leipzig. 
 In both these Organs they are of 8 ft. pitch. In the Organ in Pauls- 
 kirche, Frankfurt a. M., the Hohlflote is of 4 ft. pitch. They are 
 all placed on the First Manual — the proper division (the Great) in a 
 Church Organ. In the properly stop-apportioned Concert-room 
 Organ it should find a place in the Wood-wind division, and in the 
 subdivision devoted specially to the Flutes.* 
 
 * "La FlOte-Creuse {die Hohlfiale) est une fliite de grosse taille en 6toffe e' mieux en bois 
 pour r^pondre h. son nom et sonner le creux du sapin par ces Ifevres ^troitement pi'nc6es. On la 
 peutfairede toutesles hauteurs; k seize-pieds. elle est fort originale, mais aussi rare qu'a deux;£L 
 huit-pieds, elle chante avec beaucoup de m61ancolie ; g^n^ralement, on ne la m61ange qu'avecles 
 jeux effil^s et tranchants." — Regnier. 
 
1 66 
 
 ORGAN-STOPS 
 
 Formation. — The Hohlflote, of wood, is made in different forms; all with the 
 aim of obtaining from pipes of moderate scales the maximum volume of the tone 
 peculiar to the stop, while speaking on a copious supply of wind at a moderate 
 pressure. We cannot do better than describe the formation of the pipes of two 
 representative stops, made and voiced by the distinguished artist, Edmund 
 Schulze, of Paulinzelle. The first stop, from the Organ formerly in the Town Hall 
 of Northampton, was formed of quadrangular pipes of greater width than depth, 
 with the mouth cut on a wide side. The lower portion of a pipe of this stop is 
 shown, in Front View and Longitudinal and Transverse Sections, in Fig. 21. The 
 
 Fig. 21 
 
 mouth is of the German form, cut up equal to one-half its width, having a straight 
 upper lip, and its side-pieces and the upper portion of the cap sloped toward the 
 lower lip. The second stop, from the Organ in the Church of St. Peter, Hindley, 
 is formed of triangular pipes of greater depth than width, with the mouth cut on 
 the narrow Side. The lower portion of the middle C pipe of this stop is shown in 
 Front View and Longitudinal and Transverse Sections, in Fig. 22. The peculiar 
 formation of the pipe is clearly indicated by the Sections. The internal dimen- 
 sions are ij^ inches in width at the mouth by 2 J^ inches in depth.* These meas- 
 urements give an internal transverse area equal to that of a quadrangular pipe of 
 I J^ inches in width by i j^ inches in depth. The adoption of the triangular form 
 is simply for the purpose of obtaining a mouth large in proportion to the transverse 
 area of the pipe, as in the case of the preceding example. The mouth is % inch in 
 height and arched as shown. Hohlflote pipes have also been made of greater 
 depth than width, as in the stop in the Great of the Organ in the Public Halls, 
 Glasgow, constructed by Lewis, of London. The tenor C pipe of this stop meas- 
 ures 2j^ inches in width by 2^inches in depth. The mouth, formed on the wide 
 way of the pipe, is cut up i /% inches in height, and its upper lip is thick and care- 
 fully rounded, as is generally the case in Hohlflote pipes. The bass octave of 
 this stop is, as usual, of large-scaled covered pipes. Provision for a copious supply 
 
 * In speaking of the width of a pipe, allusion is invariably made to the internal dimension of 
 the side in which the mouth is cut. A pipe may, therefore, be described as having a greater depth 
 than width, or greater width than depth, according to the location of its mouth. 
 
THEIR ARTISTIC REGISTRATION 
 
 167 
 
 of wind is necessary in the pipes of the Hohlflote. The stop has in some in- 
 stances been made of metal; but, in the matter of tone, it cannot be considered the 
 true stop when of that material. 
 
 Tone and Registration. — The proper full unimitative flute- 
 tone of the Hohlflote, 8 ft., somewhat dull and hollow in its char- 
 acter, places the stop almost in a class by itself. Its recognized 
 place is in the Great Organ, where its voice is of the most value in 
 combination, imparting great firmness and tonal solidity to the uni- 
 
 iir 
 
 Fig. 22 
 
 son foundation tone, and fullness to the voices of the lingual stops 
 belonging to that fundamental division. The tone being deficient 
 in harmonic upper partials of high pitch, and free from any of an 
 assertive character, prevents its assuming the ofiice of a timbre- 
 creator, while it admits of its being freely used in registration as a 
 body-builder. To be of maximum use, the stop should be placed 
 under control and rendered flexible and expressive. By affording 
 tones of different degrees of assertiveness, its value in registration 
 with exposed stops will be greatly increased. In full effects it will 
 largely help in binding the various tonalities and the several pitches 
 together, admitting of a free use of the compound harmonic-cor- 
 roborating stops at their ftill tones. In the Second Pedal of the Organ 
 in the Cathedral of Ulm there is a Hohlflote of two feet pitch. 
 Speaking of this stop, Locher remarks: "As a particularly rare 
 specimen, I found this stop in Ulm Munster, as a 2 ft. pedal stop, 
 where combined with other stops on the Upper Pedal, it gives, with- 
 out need of any coupler, a power of expression belonging almost ex- 
 
i68 ORGAN-STOPS 
 
 clusively to the manuals. To explain the term ' Upper Pedal, ' I 
 must say that at Ulm, as well as in the Church of St. Paul, Frank- 
 furt-on-the-Main, in the Marienkirche, Lubeck, and in the Stifts- 
 kirche, Stuttgart, there aro two pedal claviers placed one above the 
 other (Hke the manuals) instead of the customary single clavier."* 
 
 HOHLFLOTENBASS, Ger.— An open labial stop, of i6 ft. 
 pitch, the pipes of which are of wood, quadrangular in form, and 
 mouthed and voiced similar to those of the Hohlflote (g. v.). It 
 furnishes the proper bass to the manual unison stop, and is, accord- 
 ingly, a Pedal Organ stop; but rarely introduced in modern Organs. 
 
 HOHLQUINTE, Ger.— An open labial stop, of sM ft- 2% ft., 
 and I ]/i ft. pitch, the pipes of which, in the two lower pitches, are 
 commonly made of wood, and, in the i]/^ ft. pitch, of metal. In 
 formation and tone, the stop resembles the unison Hohlflote. As 
 a tone-building harmonic-corroborating stop it would prove valu- 
 able in either the Great or the Solo of a large Church or Concert- 
 room Organ. Its tone not being highly distinctive, the stop lends 
 itself very freely to combinations of both labial and lingual stdps. 
 In the Pedal Organ the Hohlquinte, sJ^ ft., finds its most use- 
 ful place; while those of 2^ ft. and ij^ ft. belong to the manual 
 department.! 
 
 HOHLSCHELLE, Ger.— The term that has been employed by 
 German organ-builders to designate a Quintaten. Schlimbach 
 says: "Hohlschelle. 1st ein veralteter Beiname der Quintaton." 
 From the name, which means Hollow-Bell, it might be supposed that 
 the tone of the stop resembled that of the Hohlflote, strongly in- 
 clining to that of the Hohlquinte — a compound tone that might 
 prove very valuable in artistic registration. Perhaps it is to be re- 
 
 * In our work, "The Art of Organ-Building," Vol. II., pp. 14s, 146, we give a Section and 
 Plan of the double pedal claviers of the Ulm Organ, made from drawings furnished by Messrs. 
 Walcker, of Ludwigsburg, the builders of the Organ. 
 
 t *' Mais ce qu'il faut bien retenir, comme nous I'avons d6jk fait remarquer et comme le prou- 
 vent encore les quintes tiroes des r^gistres etroits, c'est qu'a peu pres tous les jeux de fends alle- 
 mandsengendrentleur quinte, et que sa g6n6ration par un r6gistre special donne ^la quinte tous 
 lescaract&resdecer6gistre,la montre, par exemple, a sa quinte ouverte, et de m6me mesure 
 qu'elle et de mfimes proportions. 
 
 ' ' Cette affection des AUemands pour la quinte est logique ; ils ne veulent pas accompagner 
 leursfondsavecdesfondsseulement, parce que c'est un accompagnement sans vigueur;ilsnele 
 feront pas non plus avec des timbres 6clatants comme les jeux d'anches; la quinte leur offre un 
 renfort tout simple et se marie convenablement avec le chant, qui occupe une part siimportante 
 dans leur culte ext^rieur. Quand la quinte est ^ chemin6e, comme en France, c'est souventle 
 Nasard; elle se nomme Rohrnasad, Rohrquinl; quand elle ne s'accorde qu'avec les fends d'un 
 degr6sup6rieur, on Tappelle souvent Quinta ex octava; quand elle est Ella deuzieme.onlanomme 
 en Italic Dodecima, k la dix-neuvieme, Decima-Nona." — Regnier. 
 
THEIR ARTISTIC REGISTRATION 169 
 
 gretted that some of the tones due to the skill of the old voicers are 
 no longer heard in the Organ. 
 
 HORN, ORCHESTRAL HORN.— Fr., Cor d'Orchestre. 
 Ital., CoRNO. Ger., Horn. — Stops named Horns were introduced 
 by some of the old English organ-builders. Renatus Harris, Junr., 
 erected an Organ, in 1724, in St. Dionis Backchurch, in which he 
 inserted a stop labeled French Horn. In 1730, Richard Bridge 
 inserted a similar stop in the Organ he built for Christ Church, 
 Spitalfields ; and another, in 1741, in the instrument he erected in 
 the Church of St. Anne, Limehouse, London. All these stops were 
 doubtless designed to imitate in their tones those of the Horn of the 
 time, which was first used in England, in 1720, at the performance, 
 in London, of Handel's opera ' ' Radamisto. ' ' What success attended 
 the organ-builders' imitations can only be surmised. 
 
 The orchestral Horn of to-day produces tones — ^open and hand- 
 closed — which are sui generis, and particularly difficult to imitate 
 by organ-pipes, lingual or labial. Yet essays have been made by 
 skillful pipe-makers and voicers, chiefly with lingual pipes, which 
 have been attended with such good results that there are hopes of a 
 satisfactory imitation some day rewarding their labors. The tones 
 of the orchestral Horn are so peculiarly smooth and tender, that we 
 have long held the opinion, supported by effects that have come 
 before our notice, that there is a likelihood of a good imitation of the 
 Horn tones being produced by metal labial pipes. At present, how- 
 ever, no serious attempt has been made in this direction. 
 
 Neither the French nor German organ-builders seem to have 
 considered the beautiful tones of the orchestral Horn either capable 
 or worthy of imitation ; and, accordingly, have made a great mistake. 
 In all the lists of stops of Walcker Organs we have examined, we 
 have only found Horn, 8 ft., given once, in that of the Concert- 
 room Organ in the Philharmonic, Warschau. In this instrument it 
 is inserted, along with the Oboe, 8 ft., in the soft-toned Third 
 Manual division, where it is expressive. Two Horns, of 8 ft. pitch, 
 were inserted by the celebrated German organ-builder, Edmund 
 Schulze, in the Organ in the Parish Church of Doncaster, but neither 
 of these can be considered imitative. In the stop-appointments of 
 French Organs we have been unable to find a single instance of the 
 introduction of the imitative Horn or Cor d'Orchestre. It, 
 accordingly, seems to have been left to English and American artists 
 in reed-voicing to develop the imitative Horn to a state approach- 
 ing all that can reasonably be expected of lingual organ-pipes. 
 
170 ORGAN-STOPS 
 
 Formation. — In certain attempts made, during the latter part of the last 
 century, by English organ-builders to produce tones resembling those of the or- 
 chestral Horn, lingual pipes were used having resonators of inverted conical form, 
 like those of the Trumpet, but usually of a larger scale; in which some device of a 
 muting character, such as a perforated disc of metal, was inserted so as to obtain 
 tones having the peculiar tonality of the closed or "hand notes " of the orchestral 
 instrument, which are absolutely free from brassiness or reediness. In other stops, 
 the resonators were shaded to obtain the desired subdued tones. Such expedients 
 proved only partly successful, and merely pointed the way to more effective 
 methods, involving the adoption of resonators of widely different forms and pro- 
 portions : of these two representative examples will be sufficient, both due to Ameri- 
 can ingenuity and skill. 
 
 The most successful Horn which has come under our notice is that recently 
 produced by the Hook and Hastings Company, organ-builders, of Kendal Green, 
 Mass., through whose courtesy we are able to describe and illustrate the formation 
 of the pipes of the stop. It will be seen, on referring to the illustration. Fig. 23, 
 Plate III., that the resonator employed is mainly of the inverted conical form, but 
 differing from all other resonators of the form, in being closed at top with a conical 
 cap, soldered on, and having a slot, with double adjustment for regulating and 
 tuning, cut close to its upper end, as shown. It can be readily understood that the 
 peculiar cap exerts a considerable mellowing effect on the tone in conjunction with 
 the adjustable slot through which alone the subdued sound finds free egress. The 
 slot is properly placed in a line with the tuning-wire, but it is so placed in the illus- 
 tration that both it and the wire can be properly shown. The measurements of 
 the pipe are as follows: The length of the resonator, exclusive of the conical cap, is 
 2 feet 3J^ inches; diameter at top 3% inches; height of cap internally 5^ inch. 
 Length of slot (subject to alteration) 2]^ inches; width ys inch; distance from top 
 edge of resonator i J^ inches. The measurements of the sound-producing portions 
 are : The length of the reed (echaloie) from the under side of the block is i M inches, 
 the width of the tongue {languette) at its free end is ii inch, and where it enters 
 the block ^ inch. The reed is of the closed form, its perforation commencing ^ 
 inch from the lower end. 
 
 The second noteworthy example is the Horn which Mr. E. M. Skinner, organ- 
 builder of Boston, Mass., added some years ago to the list of imitative stops. 
 The formation and proportions of the pipes of this stop forcibly illustrate by 
 what very dissimilar treatments similar results are obtained. In this case it may 
 be stated that the resonator, instead of being of large scale and after the Trum- 
 pet model, is extremely slender and, accordingly, very slightly tapered. Also 
 unlike that of the other Horn, it is open at top, and has a short cylindrical por- 
 tion carrying an adjustable slide shaded by a partially attached disc of metal. 
 The measurements of the tenor C pipe are as follows: The length of the res- 
 onator is 3 feet 3J^ inches (subject to slight alteration), and its internal diameter 
 at top is 1.63 inches. The measurements of the sound-producing portions are: 
 The length of the reed from the under side of the block is 2 j^ inches; the width of 
 the tongue at its free end is 1^ inch, and where it enters the block j^ inch. The 
 reed is of the closed form, its perforation being about i ^ inches long, commencing 
 about ^ inch from the lower end. Of examples of less importance it is unnecessary 
 to speak. As a specially refined tone, entirely free from clang or brassiness, is 
 required, it is necessary that a suitable wind-pressure be adopted for the imitative 
 Horn. This may vary under certain conditions; but, in our opinion, it should 
 
THEIR ARTISTIC REGISTRATION 171 
 
 never exceed twelve inches. The stop represented by the pipe illustrated in Fig. 
 23 was wisely voiced on wind of eight inches, which should never be exceeded in a 
 Church Organ Horn. 
 
 Tone and Registration. — The closer the tone of the organ 
 Horn approaches the tones of the orchestral instrument the greater 
 will its value be in solo work and in registration. But, it may reason- 
 ably be asked, to which of the characteristic tones of the orchestral 
 Horn is it most desirable for the tone of the organ stop to approach ? 
 The two tones of the Horn are the open and closed; the latter being 
 also designated the hand-tones, because they are formed by inserting 
 the hand, in a special manner, and more or less, into the bell of the 
 instrument while it is being played. These tones are widely different 
 in sonorousness, and call for great skill on the part of the performer 
 to reconcile them.* It would seem most desirable for the voicer of 
 the Horn to aim at obtaining a tone as free from brassy clang as 
 possible in striking-reed pipes, and approaching closely the tender 
 sympathetic tonality of what are known as the " half -stopped notes" 
 of the orchestral Horn. Such a tonality would give the Horn, 8 ft., 
 an individuality of peculiar charm and value both in solo effects and 
 in refined registration ; separating its voice from the voices of all the 
 other lingual stops in the Organ; and placing itself, as it were, mid- 
 way between them and the voices of the organ-toned labial stops. 
 With such an intermediate tonality it is not difficult to realize the 
 unique position the imitative Horn would occupy in registration 
 with the more refined and contrasting stops of the Organ. To even 
 such a distinctive stop as the Vox Humana it would impart volume 
 and dignity of peculiar value in a tenor solo. In combination with 
 the Flutes it would create tones of beautiful colorings. In the 
 properly-appointed Concert-room Organ its correct place is in the 
 Brass-wind division; while in the Church Organ its appropriate place 
 is in an expressive accompanimental division. 
 
 HORNBASSLEIN, Ger.— The name given, according to Schlim- 
 bach (1843), to a Pedal Organ stop, of 2 ft. pitch, formed of open 
 metal pipes of medium scale. The stop is represented in the Pedal 
 Organ of Walcker's instrument in the Cathedral of St. Stephen, 
 Vienna, under the name Octavbass, 2 ft. While stops of this high 
 
 * Dr. W. H. Stone remarks : "Between the stopped or 'hand notes' and the open notes there 
 is an obvious difference in character and quality which it is impossible wholly to suppress, but 
 which may be sufficiently modified soasnotto offend the ear. This object is attained by blowing 
 the open notes softly, so as to reduce the contrast between their sonorousness, and the closed or 
 'stuffed ' [ilouffi) character of those modified by means of the hand. " — Grove's " Dictionary of 
 Music." 
 
172 ORGAN-STOPS 
 
 pitch are common in German Pedal Organs, they are practically 
 unknown as independent stops in French, English, and American 
 Pedal Organs. They should, however, appear both in the full Com- 
 pensating Mixture, and the Pedal Grand Cornet. 
 
 HORN DIAPASON. — The name that has been used to designate 
 a metal stop, of 8 ft. pitch, the pipes of which resemble in formation 
 and scaling those of the true Diapason, but which are modified in 
 tone by being boldly slotted and, necessarily, slightly increased in 
 length. The effect of the slotting is the introduction of certain har- 
 monic upper partials into the pure organ-tone belonging to the 
 normal Diapason, changing it into a horny and somewhat stringy 
 quality which fails to satisfy the sensitive musical ear. The value of 
 the tone is, in our opinion, not sufficient to warrant its insertion in 
 any save a Concert-room Organ of the first magnitude, in which it 
 may be valuable in building up a full volume of foundation tone 
 through the absence of tonal sympathy with the pure Diapason 
 voices. With this view, it may occupy a place in the First or Great 
 Organ. Messrs. Walker & Sons, organ-builders, of London, appear 
 to favor the stop, having introduced it in several of their important 
 instruments. They inserted a Horn Diapason, 8 ft., in the Greats 
 of the Organs in St. Martin's Church, Leicester, and the Church of 
 St. Mary-le-Bow, London; and in the Swells of the Organs in York 
 Minster; and Holy Trinity Church, Chelsea, London. We inserted 
 the stop in the Third Organ, or Wood-wind division, in our scheme 
 for the Organ installed in the Festival Hall of the Louisiana Purchase 
 Exposition, 1904, chiefly on account of its value in contrasting 
 combinations. 
 
 HORNLEIN, Get. — The name employed, according to Schlim- 
 bach (1843), to designate a manual stop, of 2 ft. pitch, which may 
 be either of the Gemshorn or the Nachthorn tonality. Such a stop, 
 both as a harmonic-corroborator and timbre-creator, would be 
 found valuable in artistic registration, furnishing a vivid contrast 
 to the Piccolo, 2 ft. The term Hornlein was applied, in the orig- 
 inal Organ in the Cathedral of Lucerne, to a soft-toned lingual stop 
 of 8 ft. pitch. 
 
 HUMANGEDECKT, Ger.— a covered stop, of 8 ft. pitch, the 
 soft and compound tone of which seemed to imitate a refined human 
 voice.* The pipes were of similar formation to those of the Lieb- 
 
 *" Human heifst so viel als lieblich. dar Humangedeckt: ein liebliches, angenehmes, ge- 
 decktes Register. Man findet es gewohnlich zu 8 Fusston." — Seidel. 
 
THEIR ARTISTIC REGISTRATION 173 
 
 UCHGEDECKT, 8 FT., but of somewhat smaller scale, and voiced on 
 wind of lower pressure. 
 
 A stop of this description would be a valuable addition to the 
 tonal forces of the true Chamber Organ, and also to the tonal appor- 
 tionment of the Choir or chief accompanimental division of the 
 Church Organ, in which great refinement of tone is essential. 
 
 JEU fiRARD, Fr. — The name given to a free-reed stop, invent- 
 ed by firard, of Paris, and inserted by him in the Organ erected in the 
 Tuileries, now destroyed. Like all properly-constructed free-reed 
 stops, the Jeu fiRARD was furnished with very large boots. Its res- 
 onators were in the form of a short inverted cone, surmounted by a 
 hemispherical capping, having a perforation, where the two forms 
 joined, for the escape of the condensed air and the emission of the 
 sound. The tone of this stop is stated to have been agreeable but 
 rather mufHed, as might be expected from a free-reed under such a 
 resonator. The stop is now obsolete. See Regal. 
 
 JUBALFLOTE, Ger.— An open labial stop of 8 ft. and 4 ft. 
 pitch, the pipes of which have double mouths, and yield a full un- 
 imitative flute-tone.* A Jubalflote, 8 ft., exists in Walcker's 
 Organ in St. Paul's Church, Frankfurt. It also exists, of both 8 ft. 
 and 4 ft. pitch, in the Pedal of the Organ in the Church of SS. Peter 
 and Paul, Goerlitz. Hopkins gives, in his specification, a third 
 Jubalflote, of 2 ft. pitch, but we question his accuracy in this 
 small matter. 
 
 JULA, Ger. — The name given, according to Schlimbach and 
 Seidel, to the Spitzflote, 8 ft., but for what reason neither au- 
 thority gives any information. The term Julaquinte has, after the 
 same fashion, been used to designate a similar stop of either 5}^ ft. 
 or 2% ft. pitch. 
 
 JUNPERNREGAL, Ger.— An old lingual stop, which was 
 usually made of 8 ft. and 4 ft. pitch; but an example of 16 ft. pitch 
 exists, or did exist about fifty years ago, in the Choir of the Organ 
 in the Church of St. Dominick, Prague. Like all old Regals, the 
 stop is one of the tonal curiosities of the art of organ-building. See 
 Regal. 
 
 * " JubalflOte, ein Bezeichnung fiir.ein offenes Flotenwerk 8' Oder 4', auch mit doppelter 
 Labiierung, kommt im deutschen und amerikanischen Orgelbau vor. Der Name ist enttiommen 
 aus I. Mos. 4, 21. " — Tbpfer-Allihn. 
 
174 ORGAN-STOPS 
 
 JUNGFERNSTIME, Ger.— Lat., Vox Virgine.— The term 
 which has occasionally been employed by German organ-builders 
 to designate an open labial stop, the pipes of which were cylindrical, 
 of small scale, and properly made of tin in the best examples. The 
 stop, voiced on wind of low pressure, yielded a tone of an extremely 
 refined and delicate character, probably closely resembling that of 
 the Vox Angelica, 8 ft., of to-day. It was usually and properly 
 made of unison (8 ft.) pitch, but an Octave seems to have sometimes 
 been made. 
 
 K 
 
 KALBERREGAL, Ger.— An obsolete lingual stop of the old 
 Regal family, which received its remarkable name from the subdued 
 and lowing character of its voice, which somewhat resembled that 
 of a calf (Kalb). See Regal. 
 
 KERAULOPHONE, Grk.— This name, compounded from the 
 Greek words Kspa? — a horn, auXo? — a pipe or flute, and ipwvi^ — voice 
 or sound, is used to designate an open metal labial stop, of 8 ft. 
 pitch. The stop was originally made by Gray & Davison, organ- 
 builders, of London; and was introduced by them, for the first time, 
 in the Organ they constructed, in 1843, for the Church of St. Paul, 
 Knightsbridge, London. The stop is common in English Organs, 
 but has very seldom been made by Continental builders : an example 
 appears in the Positif of Merklin's Organ in the Chtu"ch of Saint- 
 Eustache, Paris. We have been unable to find an example in any 
 Organ built by Walcker, Ladegast, or any other great German organ- 
 builder: but Locher states that a Keraulophone was inserted by 
 Steinmeyer, in 1880, in the Organ in the Frauenkirche, Munich. 
 Roosevelt, of New York, showed his wise appreciation of the value 
 of this stop by inserting it in some of his important Organs. He 
 placed it in the Great of his Organ in Grace Church, and in the Solo 
 of the Organ in the Church of St. Thomas, New York City; in the 
 Echo of the Organs in the Auditorium, Chicago; the Cathedral of 
 The Incarnation, Garden City, L. I., and the First Congregational 
 Church, Great Harrington, Mass. English organ-builders are, to- 
 day, very unwisely abandoning the stop. 
 
 Although the name of the stop under consideration has com- 
 monly been rendered Keraulophon, it seems clear to us that, as its 
 last syllable is derived from the word (puvig, it should be rendered 
 Keraulophone ; agreeing with many other words which derive their 
 
THEIR ARTISTIC REGISTRATION 1 75 
 
 terminations from the same Greek word — such as Euphone, Sten- 
 TORPHONE, DiAPHONE, graphophone, microphone, telephone, etc. 
 The French term is Kerauloph6ne. Roosevelt invariably used the 
 final e in his stop names. 
 
 Formation. — The pipes of the Keraulophone are cylindrical in form and of 
 medium scale. The desirable maximum scale in the ratio l : 2.66 — halving on the 
 eighteenth pipe — givesHhe CC pipe a diameter of 3.94 inches; the C pipe a di- 
 ameter of 2.41 inches; the c ' pipe a diameter of 1.47 inches, and the c" pipe a diame- 
 ter of 0.34 inches. Smaller scales have been adopted by different builders, and 
 are desirable when the stop is destined for an Echo Organ or a Chamber Organ : 
 but too small a scale will destroy the characteristic tone of the stop, which should 
 be round and rich. The mouth of the Keraulophone pipe should be one-fifth 
 the circumference of the pipe in width, and about one-fourth its width in height. 
 This latter proportion, however, depends upon the wind-pressure — which should 
 not exceed 3}^ inches — ^and the quality of the tone desired. The upper lip is 
 straight and not cut sharp, being smoothly rounded, and the nicking of the 
 languid is moderately fine. The mouth has ears of small projection and without 
 any harmonic attachment. The characteristic feature of the pipe, and that which 
 is the principal factor in the production of its special tone, is its perforated tuning- 
 slide, as shown at A in Fig. 24, Plate III. The length of the slide is about two and a 
 half times its own diameter ; and its perforation is made the distance of one diame- 
 ter from its top edge, as indicated. In the CC pipe the diameter of the perforation 
 should be 0.79 inch; in the C pipe 0.56; and regularly diminishing to 0.14 inch in 
 the c ■• pipe. The slides must be so accurately fitted to the bodies of the pipes as to 
 firmly retain their position, while they can be easily tapped up or down in 
 the process of tuning. Metal of good substance must be used for this stop ; and 
 Hoyt's Two-ply Pipe-Metal is highly suitable, being specially firm at moderate 
 thicknesses. 
 
 Tone and Registration. — The tone of the Keraulophone 
 when in its true form and artistically voiced is full, smooth, and in 
 the principal portion of its compass so strongly resembling the tone 
 of the "hand notes " of the orchestral Horn as to have suggested its 
 name.* In this respect the Keraulophone may be said to stand 
 alone among labial stops : and its present neglect by English organ- 
 builders goes far to show how little they appreciate refinement of 
 tone, and the great value of timbre-creating voices in the Organ. 
 There is not sufficient roar or scream in the Keraulophone to please 
 the present prevailing want of taste in the organ-building world. 
 
 We can speak, from long experience, of the great value of the 
 true English Keraulophone in refined and artistic registration. 
 Its building-up and vivid-coloring properties are remarkable; and 
 in this direction it is specially valuable in association with both open 
 and covered, unimitative, flute-work. It combines admirably with 
 
 * In the Keraulophone in our own Chamber Organ this horn-like tone was so pronounced 
 that we labeled it Corno di Caccia. It spoke on wind of 2 H inches. 
 
176 ORGAN-STOPS 
 
 all the softer lingual stops; and would form an effective helper to the 
 Orchestral Horn. The proper situation of the stop is in the true 
 accompanimental divisions of the Church and Concert-room Organs. 
 It would also be very valuable in the Wood-wind division of the 
 properly-apportioned Concert-room instrument. 
 
 KINURA. — The name, derived from the Greek word xivupa — 
 Harp; and given by Hope-Jones to a lingual stop, of 8 ft. pitch, 
 somewhat resembling a poor Oboe in tone, and, accordingly, having 
 nothing to recommend it for adoption in any class of Organ. It was, 
 however, introduced by him in the Organ installed in McEwan Hall, 
 Edinburgh; and in a few other instruments. 
 
 KLEINGEDECKT, Ger.— The name given to a covered stop 
 of 8 ft. and 4 ft. pitch, of small scale, and yielding a delicate unimita- 
 tive flute-tone. This stop, according to Regnier, is of metal and of 
 4 ft. pitch only, and of small scale; but this is not altogether correct, 
 for in the Choir of the Organ in the Church of St. Michael, Hamburg, 
 there is a Kleingedeckt, 8 ft., of wood — probably a diminutive in 
 scale and voice of the usual Lieblichgedeckt, 8 ft. Examples, of 
 4 ft. pitch, exist in the Organs in the Cathedral of Ulm and the Town 
 Church of Fulda. 
 
 The prefix klein — small, has been employed by German organ- 
 builders in the names of other organ-stops; we, accordingly, find the 
 following: Kleincimbel, Kleinflote, Kleinflotenbass, Klein- 
 regal, and Kleinterz (i % ft.). The prefix is employed to indicate 
 either octave pitch or small scale. 
 
 KLEINPRINZIPAL, Ger.— Literally Small Principal. The 
 term which has occasionally been employed to designate the Octave, 
 4 FT., of pure organ-tone, the scale of which is adjusted from that of 
 the Majorprinzipal, 8 ft. This octave stop is identical with the 
 old English Principal, 4 ft., and the Halbprinzipal of the old 
 German organ-builders. See Octave. 
 
 KLEINREGAL, Ger. — An obsolete stop of the old Regal 
 family, which derived its name from the small size of its pipes of 4 ft. 
 pitch. There seems to have been nothing special about its tone. 
 See Regal. 
 
 KNOPFREGAL, Ger.— Literally Knob-Regal. An obsolete 
 lingual stop, of 8 ft. pitch, which, as in the case of several other old 
 Regals, derived its name from the peculiar form of the resonators 
 of its pipes. The resonator consisted of a short cylindrical body or 
 tube surmounted by a globular head, across which a narrow slit or 
 
THEIR ARTISTIC REGISTRATION 177 
 
 opening was cut for the escape of the pipe-wind and the emission 
 of the sound. The head in some examples assumed a pear-shape or 
 some other bulbous form. See Regal. 
 
 KOPFREGAL, Ger. — One of the curious and now obsolete 
 lingual stops, which, like several others of the Regal family, de- 
 rived its name from the form of the resonators of its pipes. The 
 usual form of the resonator was that of a short body surmounted by 
 a headpiece in the shape of two truncated cones joined together at 
 their bases; a form which, considerably modified, has been followed 
 in the resonators of the free-reed Cor Anglais. This form, however, 
 was not invariably adopted in the old Kopfregal of the early Ger- 
 man organ-builders. See Regal. 
 
 KOPPEL, Ger. — The term employed by old German organ- 
 builders to designate a labial stop, usually of the flute-toned family, 
 and of different pitches; peculiarly suitable, on account of its un- 
 pronounced tone and good mixing quality, for combination or cou- 
 pling with almost any other stop in the Organ. Another somewhat 
 useful office of the Koppel was that of a "helper," commonly em- 
 ployed to help or cover the slow speech of certain stops, notably the 
 German Gamba (g. v.). This valuable stop in the old Organs was 
 sometimes labeled Koppelflote when of 8 ft. pitch, and Koppel- 
 OCTAVE or KOPPELOKTAV when of 4 ft. pitch. Seidel remarks: "It 
 is a common labial stop, covered, of 4 ft., 8 ft., or 16 ft. pitch, and in 
 some very few cases it is open, like the Hohlflote. It belongs to 
 the manual department. The 16 ft. stop is termed Gross-Koppel; 
 the 8 ft. stop is found under the name Copula Maior; and the 4 ft. 
 stop under the name Copula Minor. Some call the Gemshorn a 
 Koppelflote. The Koppel is sometimes a description of Quint, 
 5J^ it., 2% ft., and ij^ ft-, .a-^d in this case it is open, like the Hohl- 
 flote. Koppel means also a variety of Mixture, of two or three 
 ranks. There is a Koppel of three ranks in the Pedal of the Organ 
 in the Church of St. Dominick, Prague, composed of a Twelfth, 
 234 ft., a Fifteenth, 2 ft., and a Seventeenth, i% ft." 
 
 Tone and Registration. — Although such a stop as the German 
 Koppel is not required in its office of helper in the Organ of to-day, 
 it is just worth while considering the use of a unison stop, preferably 
 of wood, having a pure organ-tone of medium strength, for the pur- 
 pose of coupling with, and imparting desirable smoothness and body 
 to certain labial and lingual stops — especially the latter. Such a 
 stop, which might appropriately be called a body-builder, would be 
 extremely valuable in artistic registration, in combination with the 
 
178 ORGAN-STOPS 
 
 more cutting string-toned stops and such lingual stops as the Clari- 
 net, CoRNO Di Bassetto, Fagotto, and Vox Humana. With the 
 last-named it would go far to remove the prominence of the objec- 
 tionable nasal twang so commonly and unfortunately characteristic 
 of the stop.* 
 
 KURZFLOTE, Ger.— Fr., Flute Courte.— Literally Short 
 Flute. A cylindrical metal labial stop, of medium scale, and 4 ft. 
 pitch, yielding an unimitative flute-tone of an agreeable quality. 
 An example exists in the Echo of the Organ in the Cathedral of 
 Lund, Sweden. 
 
 KUTZIALFLOTE, Ger.— This, according to Wolfram (1815), is 
 a small-scaled, flute-toned stop, of 4 ft. and 2 ft. pitch. According 
 to both Seidel and Hamel, it is an open stop of 4 ft., 2 ft., and i ft. 
 pitch; while it is sometimes met with of ij^ ft. pitch. The pipes of 
 the KuTziALFLOTE, 4 FT., havc been properly made of wood, while 
 those of the stops of higher pitch are of metal. A Kutzialflote, 
 I ft., exists in the Great of the Church of St. Dominick, Prague; 
 and one, of ij/^ ft. pitch, in the Organ in Kreuzkirche, Dresden. 
 Beyond its affording examples of the employment of complete stops 
 of such high pitches, there is nothing further calling for special 
 comment. 
 
 LARIGOT, Fr. — Eng., Nineteenth. Ital., Decima Nona. — 
 An open cylindrical metal stop, of ij^ ft. pitch in the manual de- 
 partment and 2^ ft. in the Pedal Organ, f The pipes are properly of 
 small scale; but, when forming the independent stop, are invariably 
 voiced too loud and piercing. The fact seems to be ignored that the 
 
 * While performing on the Organ in St. George's Hall, Liverpool, the great master of the 
 Organ, the late W. T. Best, invariably used a body-giving stop along with the Vox Humana. 
 
 t"LARiGOT (from an old French word I'arigot, for a small flute or flageolet, now obsolete), 
 the old name for a rank of small open metal pipes, the longest of which is only i yi ft. speaking 
 length. . . . It is first met with, in English Organs, in those made by Harris, who passed many 
 years in France, and who placed one in his instrument in St. Sepulchre's, Snow Hill [London], 
 erected in 1670. " — E. J. H., in "A Dictionary of Music and Musicians." 
 
 ' ' Le Larigot est la quinte de la Doubleite, par consequent I'octave sup^rieure du Nasard, et la 
 superoctave du Gros-Nasard, On le fait, ou plut6t on le faisait de grosse taille et d'6toffe: seize 
 pouces, ou quarante-trois centimetres, k son premier tuyau. On le placait d'ordinaire au positif , 
 ^cause de son peu de hauteur; mais il est tombg en d^su^tude dans la facture frangaise oil Ton 
 ne s'est pas sufHsamment pen6tr£ de la n^cessit^ d'assembler toujours les trois degr^s de I'har- 
 monie pour I'avoir complete, quatre, huit et seize-pieds, et dans ceux-ci, les deux et demi, cinq 
 et dix-pieds. Quand les trois degr^s de quinte 6taient tir6s avec les trois, quatre et cinq degr6s de 
 sons toniques, I'effet ^ ce qu'il parait en 6tait si per^ant qu'on a encore gard6 dans la conversation 
 I'expression vulgaire de jouer h. Tire-Larigot, pour signifier un vacarme solennel." — Regnier. 
 
THEIR ARTISTIC REGISTRATION 179 
 
 Larigot is a mutation stop belonging, in its different pitches, to an 
 8 ft. or 16 ft. foundation harmonic series; and, to be of true value as 
 a harmonic-corroborating stop should be subordinated in tone to the 
 prime unison tone of the series to which it belongs. The Larigot, 
 1^4 FT., seldom appears as a complete and independent stop, but 
 examples exist in the Grand Choeur of the Organ of the Cathedral of 
 Notre-Dame, and in the Positif of the Organ in the Church of Saint- 
 Sulpice, Paris. There is much to be said in favor of this practice of 
 introducing the Larigot as an independent stop. For further 
 particulars see Nineteenth. 
 
 LIEBLICHFLOTE, Ger.— The name sometimes used to desig- 
 nate a small-scaled labial stop, formed of either wood or metal. 
 The name refers to the tone only, which, freely rendered, signifies 
 Lovely-toned Flute. The pipes are invariably covered, and form the 
 correct Octave Lieblichgedeckt. If properly made and artis- 
 tically voiced, the wood stop is to be preferred to that of metal, 
 although fine examples in the latter material have been produced. 
 So long as zinc or inferior pipe-metal can be used, the wood stop is 
 not likely to be favored by organ-builders. 
 
 Tone and Registration. — The true Lieblichflote, 4 ft., 
 yields a soft unimitative flute-tone free from any prominent har- 
 monics: accordingly, as an octave stop it is extremely valuable in 
 registration, brightening and enriching almost all classes of unison 
 (8 ft.) tone, without impairing their individual colorings. As a rule, 
 there are too few stops of 4 ft. pitch introduced in modem Organs; 
 for, as they corroborate the first and principal upper partial tone of 
 all open labial stops of 8 ft. pitch, their value is unquestionable and 
 their importance only second to that of the unison stops. The Lieb- 
 lichflote should be introduced in the manual division in which the 
 Lieblichgedeckts of 16 ft. and 8 ft. pitch are placed, practically 
 completing that valuable family of covered stops. It may be re- 
 marked, that as the stops of 16 ft. and 8 ft. pitch will properly be 
 made of wood, it may be desirable to secure a somewhat lighter and 
 brighter tone by having the Lieblichflote made of a high-grade 
 alloy or Hoyt's hard-rolled Two-ply Pipe-Metal. 
 
 LIEBLICHBORDUN, Ger.— A covered wood stop, of 16 ft. 
 pitch, and small scale; the pipes of which are constructed on the 
 Bourdon model, and voiced, on wind of moderate pressure, to 
 produce a soft and good mixing quality of tone, in which the second 
 upper partial is slightly in evidence. In this respect differing from 
 the purer-toned Lieblichgedeckt. A good example exists in the 
 
iSffl ORGAN-STOPS 
 
 Great of the Schulze Organ in the Church of St. Peter, Hindley, 
 Lancashire. The CCC pipe of this stop measures, internally, 3^ 
 inches by 5 inches, with a mouth 3^ inches in height. 
 
 LIEBLICHGEDECKT, Ger.— The name appropriately given 
 by the German organ-builders to a covered labial stop, of small 
 scale, and 16 ft. and 8 ft. pitch. The larger stop is usually and 
 properly made of wood throughout; while the stop of 8 ft. pitch, 
 which should, preferably, be made of wood throughout, has in some 
 examples its two or three higher octaves made of metal. On the 
 Fourth Manual of the Ladegast Organ in the Cathedral of Schwerin, 
 the LIEBLICHGEDECKT is formed of metal throughout.* Both the 
 stops belong to the manual divisions of the Organ. Instances of the 
 insertion of the stops of both pitches in the same division obtain on 
 the Second Manuals of the Organs in Christuskirche, Aachen, and 
 Predigerkirche, Erfurt. The stop of 16 ft. pitch is inserted on the 
 Second Manual and that of 8 ft. pitch on the Third Manual of the 
 Organ in St. Petrikirche, Lubeck. We have not been able to find a 
 single instance of the insertion of the Lieblichgedeckt, 16 ft., in 
 the Pedal of a German or other Continental Organ. 
 
 It is strange that the value of a soft-toned unison stop in the 
 Pedal Organ has been so systematically overlooked by all Continen- 
 tal organ-builders and organists. It would seem that the desirability 
 for refinement in Pedal Organ tone never entered their brains; yet 
 on artistic grounds alone its necessity must be obvious to everyone 
 endowed with musical sense and taste. It is not too much to say 
 that the presence of such a stop as the Lieblichgedeckt, 16 ft., is 
 imperative in all well-appointed Pedal Organs; unless its insertion 
 is not absolutely necessary through the presence of a Dulciana, 
 16 ft. In the Pedal of a Concert-room Organ, or a Church Organ of 
 any pretensions to proper tonal appointment, both stops should 
 certainly be present, and from these, by extension, may be derived 
 valuable Octaves, 8 ft. 
 
 Formation and Scale. — In general formation the pipes of the Lieblichge- 
 deckt differ in no essential from those of the Bourdon, the only distinction lying 
 in scale, proportions of mouth, and treatment in voicing. The Lieblichgedeckts 
 of different German organ-builders vary in scale and in the proportions of depth 
 to width, the latter, carrying the mouth, being of the most importance. In the 
 softer toned stops the pipes are narrow in proportion to their depth ; while in the 
 louder voiced stops the pipes approach the square. The most satisfactory propor- 
 tion being as two to three. This is practically the proportion adopted by Edmund 
 
 * It is described thus: "'Lieblichgedeckt 8', aus I2ldth, Zinn; Mensur 4)^; ebenfalls von 
 zarter Intonation, das schw&chste Gedeckt in der Orgel." 
 
THEIR ARTISTIC REGISTRATION i8i 
 
 Schulze, of Paulinzelle, for the Lieblichgedeckt, 8 ft., in the Choir of his Organ 
 in the Church of St. Peter, Hindley, England, the CC pipe of which measures, 
 internally, 2I4 inches in width by 3}^ inches in depth. The following scale, in 
 inches, to the ratio i : 2.66 — halving on the eighteenth pipe — is practically that 
 adopted by Schulze: 
 
 SCALE OF LIEBLICHGEDECKT, 8 FT.— RATIO 1 : 2.66 
 
 PIPES 
 
 CC 
 
 c 
 
 c 
 
 c 
 
 c 
 
 c< 
 
 WIDTH 
 
 2.13 
 
 1-31 
 
 0.80 
 
 0.49 
 
 0.30 
 
 0.2( 
 
 DEPTH 
 
 3.08 
 
 1.89 
 
 I 15 
 
 0.71 
 
 0.43 
 
 0.2 
 
 As the pipes in the two high octaves are very small, it will be generally deemed 
 desirable to form them of metal in the usual shape. It is not in these octaves that 
 the individuality of the stop obtains. For insertion in a large Concert-room Organ, 
 the following slightly larger scale may be found desirable: 
 
 SCALE OF LIEBLICHGEDECKT, 8 FT.— RATIO i : 2.66. 
 
 PIPES 
 
 CC 
 
 C 
 
 c 
 
 C 
 
 c> 
 
 C 
 
 WIDTH 
 
 2.95 
 
 1,81 
 
 I. II 
 
 0.68 
 
 045 
 
 0.26 
 
 DEPTH 
 
 3 94 
 
 2.41 
 
 1-47 
 
 0.91 
 
 0.55 
 
 34 
 
 Regarding the Lieblichgedeckt, 16 ft.,. suitable for insertion in a manual 
 division, different opinions obtain among organ-builders on the question of scale. 
 It is certain, however, that a small scale is desirable: and when it is inserted along 
 with the Lieblichgedeckt, 8 ft., in the same division, it should be of a somewhat 
 smaller scale than the unison stop, so as to be voiced slightly subordinate in tone. 
 Dr. Hopkins, in his work, "The Organ,'' gives a scale for a Choir or Swell Lieb- 
 lichgedeckt, 16 ft., apparently of German origin. The CCC pipe is 3 J^ inches 
 in width by 5 inches in depth; the CC pipe is 2 3^ inches in width by 3 inches in 
 depth; and the C pipe is i Clinches in width hy iji inches in depth. The scale 
 is irregular, not being developed on any standard ratio. It approaches most closely 
 to the ratio i : 2.519, halving on the nineteenth pipe. The following scale will be 
 suitable for a Pedal Organ stop of 16 ft. pitch: 
 
 ,E OF PEDAL LIEBLICHGEDECKT, 
 
 16 FT., 
 
 —RATIO 1:2.519. 
 
 PIPES CCC CC 
 
 C 
 
 G 
 
 width 3.79 2.39 
 
 1.50 
 
 115 
 
 DEPTH 5.36 3.38 
 
 2.13 
 
 1.62 
 
 Of equal importance to the scale is the form of the mouth; and that, in its pro- 
 portions of height to width, differs considerably from the mouths of the generality 
 of wood pipes belonging to other stops of the flute-toned family. The height of 
 the mouth is an important factor in the production of the pure organ flute-tone of 
 the true Lieblichgedeckt. In no case should it be less than half its width in 
 height; while it may with advantage exceed its width in height, as in the stop in 
 the Swell of the Organ in St. Peter's, Hindley, the CC pipe of which has a mouth 
 2}4 inches wide and 2}4 inches high. The lower portion of this pipe, in correct 
 proportions, is shown in Front View and Section in the accompanying illustration. 
 Fig. 25. The mouth of the CC pipe of the Choir stop is 2}4 inches wide and i J^ 
 inches high. In the smaller scales, mouths ranging from three-quarters to their 
 
1 82 
 
 ORGAN-STOPS 
 
 entire width in height may be used with advantage tonally. The thickness of the 
 upper lip is another factor in the production of satisfactory tone. This may vary 
 in the CC pipe, from a quarter to half an inch (the thicker lip producing the 
 smoother tone), and be cut square or have carefully rounded edges: and the lip 
 may be straight, as in the illustration, or arched. Pipes having mouths of so 
 great a height in proportion to width require a copious supply of wind, desirably 
 of moderate pressure, for their proper speech. The manual stop should speak on 
 wind of 3 3^ inches and the pedal stop on wind of from 4 inches to 5 inches. 
 
 Fig. 25 
 
 Tone and Registration — The tone of the properly made and 
 artistically voiced Lieblichgedeckt is very beautiful, being of a 
 singularly pure organ flute quality almost free from its first upper 
 partial tone. It may be accepted as the most refined tone produced 
 by the covered stops of the Organ; while it is equal to the finest 
 tones of the half-covered stops. The purity of its tone renders it 
 extremely valuable in simple combination and artistic registration, 
 chiefly on account of its perfect mixing quality, and its forming so 
 fine a background for the display, so to speak, of pronounced tone- 
 colors furnished by stops having imitative voices. The value, from a 
 registration point of view, of the entire family of the Lieblich- 
 GEDECKTS, 16 ft., 8 ft., $}/s ft., and 4 ft., has not been properly, if at 
 all, recognized by organ experts and designers; and their special 
 value when grouped in the same division has been altogether un- 
 realized. The Lieblichgedeckt, 53^ ft. , may be omitted should a 
 stop of the same pitch and of the flute-toned class be considered 
 
THEIR ARTISTIC REGISTRATION 183 
 
 more desirable in the stop apportionment of the division.* But we 
 strongly recommend retaining the complete family. 
 
 LIEBLICHGESCHALLT.— The name, derived from the 
 German, given by Hope- Jones to a small-scaled metal Lieblich- 
 GEDECKT, 8 FT., voiced to yield a very soft tone, as if it was an echo 
 of that of the normal full-toned Lieblichgedeckt. Otherwise of no 
 special interest. 
 
 LIEBLICHQUINTE, Ger.— The covered labial stop, of 5H ft. 
 pitch, belonging tc the Lieblichgedeckt family; the pipes of which 
 are formed in all respects similar to those of the Lieblichgedeckt 
 (g. v.). 
 
 LITICE. — Lat., LiTUUS. — "A curved brass trumpet, clarion, 
 used by cavalry" (Nail). — The name that has been used by old 
 German organ-builders to designate a lingual stop yielding a piercing 
 tone. It is described by Seidel : " Liiice oder Lituus ist einerlei mit 
 Zink, Krummhorn oder Cornett." Schlimbach agrees with this 
 definition. Now obsolete. 
 
 LLENO, Span. — The name used by Spanish organ-builders, as a 
 general appellation for all compound harmonic-corroborating stops 
 or Mixtures. 
 
 LUTE. — The name given to an organ-stop formed of strings, in 
 all probability sounded by plectora or "jacks," after the method 
 followed in the Harpsichord. The stop was introduced by Thomas 
 Schwarbrook, organ-builder, of Warwick, in his masterpiece, the 
 Organ in the Church of St. Michael, Coventry, constructed in 1733. 
 Dr. Rimbault says: "This noble instrument cost £1400. It origi- 
 nally contained three remarkable stops — the Harp, Lute, and Dul- 
 cimer; but, in consequence of the 'difficulty of keeping the strings 
 in tune,' they were removed in 1763." History is repeating itself: 
 after the lapse of more than a century and a half the Harp stop is 
 again appearing in the Organ, and, perhaps, the Lute and the Dulci- 
 mer will find their imitations in the Organ of the Twentieth Century. 
 
 M 
 
 MAJORBASS, Ger. — The name that has sometimes been used 
 to designate the Pedal Organ covered labial stop, of 32 ft. pitch, as 
 
 * The stop apportionment here alluded to will be found fully developed in the First Expres- 
 sive Subdivision of the Second Organ, in our scheme for the tonal appointment of the Concert- 
 room Organ, given in "The Organ of the Twentieth Century," page 303. 
 
184 ORGAN-STOPS 
 
 in the Organ in the Church of St. Elizabeth, Breslau. The stop has 
 been better known as the Untersatz, 32.FT., as in the Organ in the 
 Cathedral of Schwann. Walcker has employed the term Grand 
 Bourdon, 32 ft. , in the Organs in the Cathedrals of Ulm and Frank- 
 furt a. M. : and this term is appropriate for the stop in our own 
 Organs to-day. We find the stop under the name Contra-Bourdon 
 in certain English and American Organs. 
 
 MANUALUNTERSATZ, Ger.— The name to be found in cer- 
 tain important Organs constructed by Walcker, of Ludwigsburg, 
 designating a manual covered labial stop, of 32 ft. pitch. This very 
 grave stop is never carried below tenor C, chiefly on account of the 
 great size of the pipes composing its bottom octave, but also to avoid 
 giving undesirable gravity and dullness to the manual bass. Ex- 
 amples of the MANUALUNTERSATZ, 1 6 FT., Under that name, exist in 
 the First Manual divisions of the Organs in the Cathedrals of Ulm 
 and Vienna. This grave stop has been seldom introduced in English 
 Organs; examples exist in the Greats of the Organs in the Parish 
 Churches of Leeds and Doncaster, labeled Sub-Bourdon, 32 ft. 
 Under the name Contra-Bourdon, 32 ft.. Hill has inserted it in 
 the Great of the Organ in the Centennial Hall, Sydney, N. S. W. 
 All these stops commence at tenor C. We have not been able to 
 find a single example in a French Organ. 
 
 Tone and Registration. — It is very questionable if such a stop 
 as the MANUALUNTERSATZ is necessary in any Church Organ, es- 
 pecially if it is of the ordinary Bourdon quality of tone. If, however, 
 it should be deemed desirable in a very large instrument, it should 
 certainly be of the Lieblichgedeckt family. The heavy droning 
 tone of the ordinary Bourdon should be avoided. In the Concert- 
 room Organ of the first magnitude such a stop, in its most desirable 
 form, may be introduced in the foundation division — First or Great 
 Organ — but there an open stop of pure organ-tone is greatly to be 
 preferred. To meet this demand, without entailing the necessity of 
 cumbering the division with a rank of such large pipes, a soft-unison 
 Pedal stop, preferably a Dulciana, 16 ft., may be borrowed and 
 made to speak on the manual clavier from tenor C. In our scheme 
 for the Concert-room Organ of the Twentieth Century, we have 
 suggested adding an Auxiliary Stop, of full compass, under the 
 name Dolciano Profundo, 32 ft., derived from the Contra- 
 DuLCiANA, 32 ft., of the Pedal Organ, necessarily extended to 61 
 notes.* It is quite obvious that a stop of this soft and pure organ- 
 
 * See "The Organ of the Twentieth Century," pp. 297 and 319. 
 
THEIR ARTISTIC REGISTRATION 185 
 
 tone would be productive, in registration with the double and unison 
 foundation stops of the First Organ, of many tonal effects of a dig- 
 nity and grandeur never yet heard in organ music. 
 
 MEERFLOTE, Ger.— The name that has been given to the 
 stop commonly designated Unda Maris {q. v.). 
 
 MELODIA. — An open labial stop, of 8 ft. pitch, having an un- 
 imitative flute-tone of a smooth and singing quality, in certain 
 examples inclining slightly to a horn-like intonation. This fine stop, 
 in its proper form, may be said to be unknown in English organ- 
 building; its closest representative being the Waldflote (g. v.), 
 many fine examples of which exist in English Organs. In the soft- 
 toned Fourth Manual of the Walcker Organ in the Cathedral of 
 Riga, the stop exists under the name Melodica, 8 ft. An example 
 exists in the Choir of the Hook and Hastings Organ in the Music Hall, 
 Cincinnati, 0.; the tone of which is described as "round, rich, and 
 mellow. " A Melodia, 8 ft., of a pure and beautiful tone, existed in 
 the Choir of the Organ constructed by the Hutchings-Votey Com- 
 pany for Woolsey Hall, Yale University. The organ-builders who 
 seem at the present time to realize most clearly the value of the 
 Melodia are MM. Casavant Freres, of St. Hyacinthe, P. Q. Ex- 
 amples exist in the Choirs of their Organs in Emmanuel Church, 
 Boston, and the Second Church of West Newton, Mass. ; and in 
 the Positif of the Organ in the Church of Notre-Dame, Montreal, 
 Canada; where it bears the French name Melodie. 
 
 Formation and Scale. — The pipes forming the true Melodia are of wood 
 and quadrangular: white pine being used for their sides and backs, and some close- 
 grained hard wood, such as mahogany or maple, for their fronts from tenor C to 
 the top note. The pipes of the bass octave may have fronts of pine with hard 
 wood mouth pieces. The mouths are of the inverted form, and are cut up about 
 one-third their width in height. The caps to be of hard wood, hollowed, and the 
 wind-way formed in them, and to be set below the under lip of the mouth just 
 sufHciently to produce perfect intonation. The block is set about half the internal 
 width of the pipe below the under lip. The scale of the stop varies in different 
 examples, but the following may be accepted as suitable : 
 
 SCALE OF MELODIA, 8 FT., IN INCHES,— RATIO 1:2.66. 
 PIPES CC C c» C C3 C4 
 
 WIDTH 3.34 2.05 1.25 0.77 0.47 0.29 
 
 DEPTH 4.44 2.73 1.67 1.02 0.63 0.38 
 
 It is a common practice to insert the bass octave in covered pipes, so as to save 
 money; but this practice is contrary to the canons of artistic and correct organ- 
 building, one of which is: Each stop in the Organ must be carried throughout its 
 compass in pipes of its own class and tonality. 
 
1 86 ORGAN-STOPS 
 
 Tone and Registration. — When artistically voiced, on wind of 
 low presstire, the tone of the true Melodia is very beautiful: as 
 before stated, it is of an unimitative flute quality, smooth and sing- 
 ing, inclining in the tenor and middle octaves to a horn tonality. 
 This latter is largely due to the smooth speech of the pipes; just as 
 in the case of the Keraulophone. The appropriate place for the 
 Melodia is in the Choir or accompanimental division of the Church 
 Organ, and in the softest-toned division of the Concert-room Organ.* 
 It is a perfect stop for the true Chamber Organ. 
 
 It is hardly necessary to point out that a stop of this beautiful 
 and refined tonality is invaluable in artistic registration. Perfect in 
 mixing quality and capable of receiving tonal coloring of any class, 
 it furnishes an admirable foundation for the most delicate labial and 
 lingual combinations. It is a perfect body-giver to the Vox Hu- 
 mana, imparting roundness and fullness where it is so greatly required. 
 
 MENSCHENSTIMME, Ger.— The term employed by the old 
 German organ-builders to designate a lingual stop which, in its 
 peculiar tone, imitated in some respects the human voice while 
 singing. See Vox Humana. 
 
 MESSINGREGAL, Ger. — ^An obsolete lingual stop, the tone of 
 which was strongly suggestive of the clang of brass wind instruments. 
 See Regal. 
 
 MITTELFLOTE, Ger.— This term, which has neither reference 
 to formation nor tonality, has been employed to designate a Flute, 
 of 4 ft. pitch, simply because it occupied a middle position between 
 Flutes of 8 ft. and 2 ft. pitch in the same division of the Organ. 
 This name is a good example of the vagueness and senselessness one 
 too frequently meets with in organ-stop nomenclature. 
 
 MITTELGEDECKT, Ger.— The term that has been used by 
 old German organ-builders to indicate a Gedeckt which occupies a 
 middle position between two other stops of the same family, placed 
 in the same division of an Organ. Schlimbach says: "Wenn z. B. 
 auf einen Clavier Gedact 8, 4, und 2 Fusston sich zugleich befindet, 
 so ist das von 4 Fusston das Mittelgedact." 
 
 MIXTURE.— Lat., Miscella. Ger., Mixtur. Dtch., Mix- 
 tuur. Ital., Ripieno. Span. Lleno. — The generic name for all 
 
 *In our tonal scheme for the Concert-room Organ, the Melodia, 8 ft., is placed in the 
 Ancillary Afirial Organ, where it speaks on wind of i]^ inches. It is, accordingly, available 
 for registration purposes on any manual clavier. See " The Organ of the Twentieth Century." 
 Pages 329 and 33 1- 
 
THEIR ARTISTIC REGISTRATION 187 
 
 compound harmonic-corroborating stops, applied generally to such 
 stops as are composed of octave- and fifth-sounding ranks of ordi- 
 nary open metal labial pipes, and to such compound stops as do not 
 call for any special name indicative of peculiar composition, forma- 
 tion, or intonation. The Mixture may be composed of two or 
 more ranks of pipes, according to the tonal structure or appoint- 
 ment of the division of the Organ in which it is placed. The different 
 pitches of the separate ranks and their breaks are dictated by that 
 tonal structure, and the number and nature of the single harmonic- 
 corroborating stops that are included in the divisional appointment. 
 
 The presence of a Mixture, of suitable size and appropriate 
 composition and tonality, is essential in every important division of 
 an Organ — pedal and manual — in which a proper scientific and ar- 
 tistic tonal structure or effective stop apportionment is essayed. 
 This fact has, of late years, been systematically neglected or ignored 
 by unscientific and inartistic organ-builders : and almost completely 
 unrealized or misunderstood by organists, who have been content to 
 accept the opinion of self-interested organ-builders on the subject. 
 It is quite easy to see on what grounds organ-builders hate all com- 
 pound harmonic-corroborating stops; and it is proper that some 
 light be let in upon the matter. 
 
 In the first place, the willingness of musicians to allow the elimi- 
 nation of Mixtures in the tonal appointment of Organs has been 
 largely, if not entirely, due to the very crude, unscientific, and 
 highly objectionable form in which organ-builders have commonly 
 constructed, voiced, and regulated them. Such stops, producing 
 loud screaming voices, more like the noise of smashing glass than 
 musical sounds, entirely at variance with their scientific and tonal 
 office in the economy of the Temple of Tone, are certainly better 
 absent than present in any Organ. It seems questionable if or- 
 ganists have given sufficient study to the subject to realize the great 
 value, both from a scientific and musical point of view, of a correctly 
 proportioned and artistically voiced and regulated Mixture, in 
 effective registration, and in the production of the richest tones the 
 Organ can furnish. 
 
 In the second place, organ-builders have, during recent times, 
 strongly advocated the elimination of compound harmonic-cor- 
 roborating stops, not on any contention based on scientific or musical 
 grounds, which they were in no form able to advance; but because 
 the formation of such complex stops are undesirably troublesome; 
 involving a considerable amount of scientific knowledge, and what to 
 them seems an unprofitable expenditure of high-class skilled labor 
 
1 88 ORGAN-STOPS 
 
 in their formation, artistic voicing, and scientific tonal graduation. 
 In short, the organ-builder fails to see sufficient remuneration, in 
 dollars, for such stops; and relying on the apathy, if not the want of 
 knowledge, on the part of the organist, he cries, "Away with all 
 Mixtures!" 
 
 In old Organs the introduction of compound stops was carried 
 to an extent altogether unwarranted by either scientific or artistic 
 demands. Two instances may be given : in the Great of the Organ 
 in the Old Church, Amsterdam, finished in 1686, there are eighteen 
 ranks, and also in the Choir eighteen ranks of Mixture work; and 
 in the Organ in the Monastery Church, at Weingarten, finished in 
 1750, there are no fewer than ninety-five ranks of Mixture work, 
 two stops alone having twenty and twenty-one ranks, respectively. 
 Such excessive apportionment — out of all reason on any grounds — 
 has naturally led to a swing in the opposite direction, which has 
 ended, as we now see, in a too sparing introduction, or frequently in 
 the entire omission, of Mixtures ; creating a starvation in the true 
 and the most characteristic tones of the Organ, a fact that is greatly 
 to be regretted. 
 
 The largest compound harmonic-corroborating stop we have 
 examined and know of in a modern Organ is the Harmonic Mix- 
 ture, of fourteen ranks (784 pipes), in the Organ in the Edinburgh 
 University. Turning to examples in modern German organ-build- 
 ing, and selecting two representative instruments by Walcker, of 
 Ludwigsburg, we find in the Organ in the Cathedral of Riga — an 
 instrument of 124 speaking stops — on the First Manual, fifteen 
 ranks of Mixture work; on the Second Manual, ten ranks; on the 
 Third Manual, four ranks; on the Fourth Manual, three ranks; and 
 in the Pedal Organ, twelve ranks, including the Grand Bourdon, 
 V. ranks. In all, forty-four ranks. In the Organ in the Cathedral 
 of Ulm — an instrument of 107 speaking stops — on the First Manual, 
 twenty-one ranks of Mixture work; on the Second Manual, eleven 
 ranks; on the Third Manual, five ranks; and in the Pedal Organ, 
 five ranks. In all, forty-two ranks. No such apportionments of 
 Mixture work are to be found in modern Organs built in any other 
 country. In the Organs constructed by CavailM-Coll we find an 
 adequate amount of Mixture work provided : for instance, in the 
 Organ in the Church of Saint-Sulpice, Paris, there are in the Grand- 
 Choeur (portion of the Grand-Orgue), nineteen ranks; in the Positif, 
 six ranks; in the R6cit, fourteen ranks; and in the Solo, five ranks. 
 This is the largest apportionment of Mixture work we have been 
 able to find in a French Organ. 
 
THEIR ARTISTIC REGISTRATION 189 
 
 Formation. — The formation of a Mixture, properly proportioned to the stop- 
 appointment of the division of the Organ in which it is placed, calls for a certain 
 amount of scientific knowledge and a keen appreciation of the value of musical 
 sounds. The prevailing "rule-of -thumb" methods are invariably attended by 
 failure. 
 
 A properly formed Mixture comprises different ranks of pipes of high pitches ; 
 which, as they cannot be carried complete throughout the compass of the division 
 in which the stop is placed, have to be divided into two or more portions, tech- 
 nically termed breaks; each of which, in each rank, commences on a pipe of a lower 
 pitch, so as to allow the stop to be carried throughout the compass of the division. 
 This arrangement is shown in the following example — a Mixture, of five ranks, 
 composed of octaves and quints, breaking on each octave of the compass: 
 
 MIXTURE— V. RANKS. 
 
 RANKS I. II. III. IV. V. 
 
 BREAK I. CC to BB . 19 22 26 29 33. 
 
 " 2. C to B . . 15 19 22 26 29. 
 
 " 3. C to b' . . 12 15 19 22 26. 
 
 " 4. C" to b» . 8 12 15 19 22. 
 
 " 5. C to Cl . . I 8 12 15 19. 
 
 All the sounds produced by the pipes, in the several breaks and ranks, serve to 
 corroborate the harmonic upper partial tones of the unison sounds, with which 
 they combine, throughout the compass of the clavier. Accordingly, to everyone 
 conversant with the phenomena of compound musical sounds, the value of, and, 
 indeed, the necessity for the introduction of compound harmonic-corroborating 
 stops — represented by Mixtures of proper formation — in the Organ must be 
 evident and incontestable. 
 
 It is well known to all who have devoted any serious study to the phenomena 
 of musical sounds, that in those produced by the cultivated human voice and the 
 string instruments of the orchestra, the prime tones are accompanied by a great 
 number of upper partials or harmonic over- tones ; and that these sensibly decrease 
 in strength as they rise in pitch, until they become inaudible. This important 
 natural law has to be recognized in the proper voicing and regulating of the Mix- 
 tures and all the harmonic-corroborating stops in theOrgan. It is not too much to 
 say, and our extended observation supports the assertion, that this acoustical 
 phenomenon has been seriously, if not altogether, ignored by all organ-builders 
 who have hitherto constructed Mixtures: and, accordingly, stops so unscien- 
 tifically constructed have outraged the natural laws of musical sounds, and have 
 destroyed, instead of enriching and beautifying, the voices of the Organ with which 
 they were combined. 
 
 Tone and Registration. — The tone of the Mixture varies ac- 
 cording to the nature of the pipes of which it is composed. It may be 
 of pure organ-tone, belonging to the foundation-work, corroborat- 
 ing the harmonic upper partial tones of the prime tones of the Dia- 
 pasons; and infusing into them rich compound tones, so satisfying 
 to the cultivated musical ear. Or the Mixture may be so construct- 
 ed of pipes of special tonalities as to become both harmonic-cor- 
 
190 ORGAN-STOPS 
 
 roborating and timbre-creating; finding its proper place in different 
 tonal divisions, according to their stop-apportionments. 
 
 In artistic registration, a properly constructed, voiced, and re- 
 gulated Mixture is of the greatest value; entering into combina- 
 tions of infinite variety, either in its office of harmonic corroborator 
 or timbre-creator, and imparting to them elements of singular 
 brilliancy and beauty all but unknown in organ music to-day. We 
 have practically proved that a five-rank Mixture can be scaled, 
 voiced, and regulated, so as to become one of the most valuable and 
 generally useful stops in refined and effective registration. We have 
 heard beautiful passages rendered on such a Mixture while in com- 
 bination with a Piccolo, 2 ft., only; and equally beautiful solo 
 passages when combined with the Vox Humana alone. The Mix- 
 ture, in whatever division of the Organ it is placed, should be in- 
 closed and rendered flexible and expressive. 
 
 For further particulars respecting Mixtures, see Acuta, Caril- 
 lon, Clarion Mixture, Compensationsmixtur, Cornet, Cymbal, 
 Dolce Cornet, Dulciana Cornet, Fourniture, Full Mixture, 
 Harmonia .(Etheria, Plein-Jeu, Sesquialtera, and Tertian. 
 
 MONTRE, Fr. — The term commonly used by French organ- 
 builders to designate such foundation and organ-toned and highly- 
 finished metal stops as may be mounted and displayed in the buffet 
 or case of an Organ. For such a purpose, the Montres are usually 
 made of tin, highly burnished, and may be of 32 ft., 16 ft., or 8 ft. 
 speaking lengths, as in the Organ in the Royal Church of Saint-Denis. 
 Sometimes the term is applied to the Prestant, 4 ft., when its pipes 
 are mounted and displayed. All the Montres are most carefully 
 fashioned, having the boldly-formed French mouth, and being of 
 tin brightly burnished, produce a fine effect in combination with the 
 dark woodwork of the case.* 
 
 MOUNTED CORNET.— The name given by the old English 
 
 * "La Montre. Jeu labial ouvert, le plus ordinaire men t de moyenne taille, dont tous les 
 tuyaux ou la plupart sont en Evidence, en montre, comme les plus brillants et les plus parfaits. 
 Le m6tal, qui est bu doit 6tre d'fetain fin, revfit un poli digne de rivaliser avec les mfitaux d'Ulm 
 ou de I'Escurial. Les bouches de montre sont ordinairement ^cussonn^es, c'est-^-dire que leurs 
 l&vres. au lieu d'etre simplement pliees comme dans le tuyau commun, sont form^es de deux 
 pieces rapport^es, courb^es et termin^es en forme d'6cusson. . . . 
 
 " Nos montres frangaises ont les trots degrfis de ton, seize, huit. et quatre-pieds: k cette der- 
 nifere dimension, elles prennent le nom de prestant; elles vont rarement ^ trente-deux ou m6me 
 vingt-quatre-pieds, k cause de la quantity de vent, de m6tal, et d'espace n^cessaire; souvent 
 mSme la montre de seize n'exhibe pas ses plus gros tuyaux, qui, simplement en bois, cachent leur 
 humble costume k rint6rieur du buffet. D'autres fois, on apergoit en montre de magnifiques 
 vingt-quatre et trente-deux-pieds qui n'appartiennent qu'^ la p6dale de Torgue; mais la montre 
 s'entend toujours des tuyaux correspondant aux claviers manuels. " — Regnier. 
 
THEIR ARTISTIC REGISTRATION 191 
 
 organ-builders to a compound stop, of short compass, which, to 
 economize room inside the Organ, was mounted, above the main 
 wind-chest, on a small wind-chest designed for its reception alone; 
 the wind to its pipes being conveyed from the grooves of the main 
 chest by conveyances — one for each note of its compass. The 
 Mounted Cornet consisted usually of five ranks of large-scaled 
 open metal pipes, yielding a full dominating tone, though sometimes 
 the unison rank was inserted in covered pipes. Its ranks comprised 
 a Diapason, or a Flute a Cheminee, and an Octave, Twelfth, 
 Fifteenth, and Seventeenth. In old English Organs its compass 
 never extended below middle c'; but in German Organs, in which 
 the stop held a more important office, it usually was carried down to 
 tenor C. Hopkins says the Mounted Cornet "was chiefly used for 
 playing out the melody of the chorals upon, and for the performance 
 of an obsolete kind of voluntary : but it is of great use in large Organs 
 in hiding the breaks in the several compound stops, as it proceeds 
 itself without any 'repetitions.' In Father Smith's Organs the 
 Cornet was never 'mounted,' but stood on the sound-board." 
 Schulze introduced a Mounted Cornet, of four ranks and tenor C 
 compass, in both the Great and Swell divisions of the Organ in the 
 Parish Church of Doncaster. There is no call for the Cornet of 
 short compass, in any form, in the Organ of the Twentieth Century. 
 
 MUNDFLOTE, Ger.— Literally Mouth-Flute. An open labial 
 stop of metal, and of 2 ft. pitch; similar in all essentials to the 
 French Flute A B"ec (g. v.). The stop has no distinctive flute 
 tonality. A stop under the name exists in the Organ in the Cathe- 
 dral of Konigsberg. 
 
 MUSETTE, Fr.— Ger., Sackpfeife.— The Musette was a small 
 Bagpipe much used in olden times by the people of different Euro- 
 pean countries ; and the Musette of the Organ is supposed to imi- 
 tate the characteristic tone of that old instrument. The Musette, 
 as made in France, is a free-reed stop, having resonators of small 
 scale and inverted conical form, made of tin, and yielding a bright 
 and pleasing tone, as might be produced by a small and weak species 
 of Bagpipe.* Examples of the stop have been made with striking- 
 
 * " La Musette, le Chalumeau {Sackpfeife, Schalmey). Jeu d'anche de forme pyramidale, 
 en 6tain fin comme la plupart des timbres effil^s. La Musette a quatre-pieds de hauteur et huit de 
 ton. Le timbre, plus faible que celui du Cromorne. imite assez bien le chetif instrument dont on 
 lui a donn6 le nom. Dom Bedos disait de la Musette: ' Ce jeu est encore peu connu, dans le 
 royaume.' 11 y est tous les jours moins connu, et si dans certaines m61odies populaires et rares, 
 tol6r6es par I'Eglise qui se fait toute h. tous, il pent paraitre utile, il n'est jamais n^cessaire. " — 
 Regnier. 
 
192 ORGAN-STOPS 
 
 reeds and slender cylindrical, covered, and perforated resonators, 
 producting refined and characteristic tones. We introduced a free- 
 reed Musette, 4 ft., to serve as an Octave to the free-reed Corno 
 Ingle SE, 8 ft., in the Second Organ of our scheme for the Organ 
 installed in the Festival Hall of the Louisiana Purchase Exposition, 
 1904. The Musette when of its true and characteristic tonality is a 
 valuable voice in the properly-appointed Concert-room Organ. It 
 mixes well and, accordingly, enters freely into combinations of a soft 
 and distinctive character. It is peculiarly useful in music of a pas- 
 toral description. 
 
 MUSICIRGEDECKT, Ger.— A name sometimes given by the 
 old German organ-builders to a covered stop, of 8 ft. or 4 ft. pitch, 
 yielding a peculiarly soft and sweet unimitative flute-tone. Schlim- 
 bach, a great authority on old stops, describes it thus: "MusiciR- 
 GEDACKT. Die Bestimmung dieses Gedacts ist: zui Begleitung der 
 Musik gebraucht zu werden. Man findet es zu 8 und 4 Fusston, 
 still intonirt. Man vergleiche Kammerflote. " This stop was prob- 
 ably identical with the later Gelindgedeckt (q. v.). 
 
 N 
 
 NACHTHORN, Ger.— Fr., Cor de Nuit. Ital., Pastorita.— 
 In addition to the name first given, German organ -builders have 
 occasionally employed the term Nachtscha^l, which signifies 
 Night-sound. The stops bearing these names in German and French 
 Organs are formed of covered or open labial pipes, usually of metal 
 but in some examples of wood. It is found of 8 ft. and 4 ft. pitch, 
 and very rarely of 2 ft. pitch. According to Wolfram (1815), the 
 covered Nachthorn resembles the Quintaten both in formation 
 and tone, but its pipes are of larger scale. The open stop has pipes 
 resembling those of the Hohlflote. The tone of the Nachthorn 
 is round, soft, and agreeable; and in fine examples has, as its name 
 implies, a combination of flute and horn tones, which imparts in- 
 dividuality to the stop.* Wolfram alludes to this horn-like tonality. 
 
 *"La Pastorita ou le Nachthorn, cor de nuit. Cette fldte de bois ou A'itoSe, tant6t 
 bouchfie, tantdt ouverte, mais toujours large et trapue, se fait souvent de quatre-pieds etnedes- 
 cend jamais k plus de profondeur que huit; son timbre est agr^able, son harmonie delicate. 
 Ouverte, elle se rapproche de la flute creuse, mais on tient alors sa taille plus 6troite et ses Ifevres 
 plus serr^es. BouchSe, elle imite le son du cor dans le lointain et dans le silence dfes nuits, d'o^ 
 lui vient son nom ; ^ cette fin, on lui donne une plus large taille qu'a un des plus curieux bourdons 
 allemands, le Quinlaton, si I'on ne veut pas qu'elle lui emprunte son principal effet, Bien des 
 facteurs promettent un nachthorn de qxiatre-pieds, qui ne tiennent pas autre chose que I*'" — 
 Regnier. 
 
THEIR ARTISTIC REGISTRATION 193 
 
 A representative example of the covered Nachthorn, 8 ft., of large 
 scale, exists in the Positif Expressif of the Cavaille-Coll Organ in the 
 Albert Hall, Sheffield. One of 4 ft. pitch appears in the Pedal of the 
 Organ in the Garrison Church, Berlin; and one of 2 ft. pitch in the 
 Echo of the celebrated Haarlem Organ. Seidel says: "Im Pedal 
 heisst diese Stimme Nachthornbass, ist sie 2 fiissig, so kommt sie 
 zuweilen unter dem Namen Nachthornchen vor." 
 
 NASARD, Fr.— Ger., Nasat, Nassart. Ital. and Span., 
 Nasardo. — The name given to a manual labial stop, of 2% ft. pitch, 
 the pipes of which are of metal, and either open or covered. It is 
 the equivalent of the Twelfth, 2% ft. in English and American 
 Organs, when in its open form, although it differs in tone according 
 to its position in the stop-appointment of the Organ. In all cases it 
 is a harmonic-corroborating stop, representing the nth upper par- 
 tial tone of the 32 ft., the 5th upper partial tone of the 16 ft., and the 
 2nd upper partial tone of the 8 ft. harmonic series. When inserted 
 in the foundation division of the Organ, it is properly formed of open 
 metal pipes, scaled, voiced, and regulated in strength of tone with 
 respect to the Major Principal or Diapason, 8 ft. (See Twelfth). 
 When inserted in a soft-toned division of an Organ, it sometimes 
 assumes the form of a Flute a Cheminee. A Nasard, 2% ft., 
 exists in the Recit Expressif of the Organ in the Church of Saint- 
 Sulpice; and others are introduced in the Grand Orgue and the 
 Bombarde of the Organ in the Royal Church, Saint-Denis. The stop 
 frequently appears in French Organs, named Quinte, 2^ ft. 
 Nasards are to be found on the Third Manual of the Organ in the 
 Cathedral of Ulm, and on the First Manual of the Protestant Church 
 at Mulhausen. A Nasat, 2% ft., exists in the Echo of the Grand 
 Organ, and another in the Choir Organ in the Cathedral of Breslau. 
 
 The corresponding stop, of 53^ ft., called Gros Nasard, belongs 
 to the harmonic structure of the Pedal Organ. An example exists 
 in the Pedal of the Organ in the Royal Church, Saint-Denis. See 
 Grossnasat. 
 
 NASARD FLtJTE. — The name given by its introducer, George 
 W. Till, of Philadelphia, Pa., to a labial dual stop, formed of a 
 metal Flute Harmonique, 8 ft., and a metal Nasard Harmoni- 
 QUE, 2% FT. ; and introduced, for the first time, in the Concert Organ 
 in the Wanamaker Store, in Philadelphia, Pa., where it occupies a 
 place in the Great Organ, speaking on wind of 5 inches. This com- 
 pound stop is essentially timbre-creating, yielding a tone of a re- 
 
194 ORGAN-STOPS 
 
 markable quality and volume, impossible of production by a stop, 
 however voiced, having only a single rank of pipes. As we have said 
 elsewhere, the existence of such a dual stop multiplies to an un- 
 dreamt of extent the resources of the flute-toned forces of the Organ, 
 when used in combination. The tone might well earn the stop the 
 name Grand Quintaten, 8 ft.* 
 
 NASARD GAMBA. — The name given by its introducer, George 
 W. Till, of Philadelphia, Pa. , to a labial dual stop, formed of a metal 
 Gamba, 8 FT., having the compass of CC to c', and a tin Nasard 
 Game A, 2^ ft., of the same compass. The unison stop is voiced to 
 yield a powerful string-tone, so as to firmly establish the unison pitch. 
 The Nasard is voiced to yield a clear but a decidedly subordinate 
 string-tone. The combined ranks, which speak on wind of 1 5 inches, 
 produce a tone of wonderful richness and color-value; unlike any- 
 thing known to be yielded by a single-ranked string-stop. The 
 Nasard Gamba was designed for, and introduced for the first time 
 in, the Swell of the Concert Organ in the Wanamaker Store, in Phila- 
 delphia, Pa.t 
 
 NASON. — The name used by the old English organ-builders to 
 designate a covered stop of wood, of 4 ft. pitch, yielding a soft flute- 
 tone, inclining to that of a Quintaten. The stop was practically 
 an Octave Stopped Diapason. A Nason, oi i}4 ft. pitch, was 
 inserted by Casparini in the Echo of the Organ he erected, in 
 1703, in the Church of SS. Peter and Paul, Gorlitz. It is probably 
 still in existence. The name has entirely disappeared from modem 
 nomenclature. 
 
 NINETEENTH.— Fr., Larigot. Ital., Decima Nona.— A 
 mutation, harmonic-corroborating stop, of ij^ ft. pitch in the 
 manual department, and 2% ft. pitch in the Pedal Organ. In its 
 proper form, it corroborates the fifth upper partial tone of the unison 
 tone of the department of the Organ in which it is placed. The 
 Nineteenth is invariably formed of open metal pipes, which should 
 be scaled in proportion to the scale of the principal unison stop with 
 which it is associated. When it appears as a separate stop it is 
 almost invariably voiced much too loud, seriously impairing its 
 tonal value in combination and registration. It, however, seldom 
 appears as a complete and separate stop : but certain old English and 
 
 * Full particulars of the formation and scales of this stop are given in "The Organ of the 
 Twentieth Century," pp. 104-5. 
 
 t Full particulars of the formation and scales of the Nasard Gamba are given in " The Organ 
 of the Twentieth Century." pp. 105-6. 
 
THEIR ARTISTIC REGISTRATION 195 
 
 modern French organ-builders have favored it in that form. Under 
 the name Larigot, iJ/^ ft., it appeared as an independent stop in 
 the Great of the Organ built by Renatus Harris, in 1670, for the 
 Church of St. Sepulchre, Snow Hill, London. He also introduced 
 one in the Organ he built for the Church of St. Peter, Mancroft, 
 Norwich. The stop is inserted, in its complete form, in the Grand- 
 Choeur of the Organ in the Cathedral of Notre-Dame; and in the 
 Positif of the Organ in the Church of Saint Sulpice, Paris: both by 
 CavailM-Coll. 
 
 The Ni>fETEENTH, ij^ FT., may form a complete rank in a Cor- 
 net; but it commonly appears, in a broken form, in the ranks of 
 Mixtures. As a harmonic-corroborating stop, it should, in what- 
 ever form it appears, be graduated softer in tone as it rises in pitch, 
 in accordance with the natural laws of musical sounds. 
 
 o 
 
 OBOE, Ital. — Eng., Hautboy. Fr., Hautbois. Ger., Hoboe. 
 — A lingual stop, of 8 ft. pitch, which belongs to the manual depart- 
 ment of the Organ. Two varieties of the stop are introduced in the 
 Organ to-day. The older and still prevailing form cannot be con- 
 sidered as imitative in tone ; but in the finest examples of the strictly 
 modern forms the tones produced closely resemble those of the 
 orchestral Oboe. The former stop is labeled, simply, Oboe ; while 
 the imitative stop is properly labeled Orchestral Oboe; under 
 which name it will be found fully described. The Oboe in its com- 
 mon and unimitative form is best suited for a Church Organ in 
 which only one is inserted; because, unlike the Orchestral Oboe 
 with its somewhat thin and characteristic voice, it is an all-round 
 useful stop when a soft-toned lingual voice is desirable. It is gen- 
 erally found in Organs of any pretensions toward completeness ; and, 
 indeed, in most small instruments. 
 
 Formation. — The resonators of the unimitative Oboe, 8 ft., are approxi- 
 mately of the standard speaking lengths; and are in the form of slender tapered 
 tubes surmounted by long inverted conical bells, after the fashion of the conical 
 and belled tube of the orchestral Oboe. In its best treatment, the resonator has 
 its bell shaded by a disc of spotted-metal, soldered to its edge so as to allow about 
 one-half being bent up, to any required extent, in the process of regulating the 
 tone of the pipe. Shaded resonators are not invariably used but they are unques- 
 tionably the most desirable, for without them artistic toning is practically im- 
 possible. The form of.the Oboe pipe just described is shown in Fig. 26, Plate III., 
 which represents a pipe of a lower octave of the stop. As the pipes become shorter, 
 the relative proportions of their tubes and bells are largely altered ; until in the top 
 
196 ORGAN-STOPS 
 
 octave there is little difference in their respective lengths. The reeds or Schalotes 
 of this stop are of medium scale and are invariably of the closed class, having 
 small triangular openings which extend from the thick discs which close their 
 lower ends. The tongues or languettes are correspondingly slender in form and of 
 medium thickness, and have a slight and finely-formed curve, preventing coarse- 
 ness or brassiness of intonation. 
 
 The formation just described is that of the striking-reed stop, as constructed 
 in this country and in England; but the Oboes of the French and German organ- 
 builders have frequently been made with free-reeds. An example exists on the 
 Second Manual of the Organ, built by Friederich Ladegast, in 1 871, for the Cathe- 
 dral of Schwerin. Of late years, however, the French have adopted the striking- 
 reed. French examples are rare. 
 
 Tone and Registration. — The tone of the unimitative Oboe 
 varies according to the proportions of its pipes, the pressure of the 
 wind on which it speaks, and the method and musical sense of its 
 voicer : but its most desirable tone is smooth and of medium strength, 
 inclining, in the finer examples, to a plaintive quality, which imparts 
 a certain charm and impressive character to it. With such a voice, 
 the stop becomes extremely valuable both in solo passages and in 
 combination; occupying in a softly-toned division about the same 
 position as that held by the Trumpet in the Great or fundamental 
 division of the Organ. Under such conditions the Oboe is extremely 
 valuable in artistic registration. It combines perfectly with both 
 open and covered flute-toned stops, imparting to their voices rich- 
 ness and dignity. It also imparts to the keen voices of the string- 
 toned stops, imitative and unimitative, a fullness and impressiveness 
 highly desirable, without seriously affecting their characteristic 
 voices. It is questionable if there is another lingual stop in the 
 modern Organ more generally useful in refined registration : of course 
 this last remark applies only to the Oboe produced by a master- 
 hand. It is remarkable that so valuable a stop should have been 
 systematically neglected by Cavaille-CoU. In not one of his Organs 
 have we been able to find an Oboe. 
 
 OBOE D'AMORE, Ital.— The orchestral instrument of this 
 name— the French, Hautbois d'Amour — now almost obsolete, has a 
 "tone more veiled and pathetic than that of the ordinary orchestral 
 Oboe." This tone is due to the different form of its bell, which is 
 globular with a somewhat contracted opening, contrasting with the 
 flaring bell of the ordinary Oboe. This fact leads to the construction 
 of an organ-stop, having resonators formed with the slender tubes of 
 the Oboe surmounted by small bells, in the shape of two truncated 
 cones soldered together at their bases, after the fashion of those of 
 the CoRNO Di Bassetto, Fig. 8, Plate II. The addition of a stop 
 
THEIR ARTISTIC REGISTRATION 197 
 
 producing a quality of tone between that of the unimitative Oboe 
 and the imitative Orchestral Oboe would be a valuable addition 
 to the tonal forces of the Concert-room Organ. 
 
 OBOE-FLUTE.— The name given by William Hill, organ-build- 
 er, of London, to an open labial stop, of 4 ft. pitch, and small scale, 
 which yielded a soft flute-tone combined with a slight reedy intona- 
 tion. He introduced it in the Organ he installed in Worcester Cathe- 
 dral. It was probably not considered sufficiently distinctive to 
 recommend its general adoption, for it was disused. There is room, 
 however, in the Organ of the present century for a timbre-creating 
 Octave, in the voice of which flute- and reed-tones are in full com- 
 bination. Ample proof obtains that such a desirable stop could be 
 made, wood pipes being used. 
 
 OBOE-HORN. — The name given by Hope- Jones to a stop de- 
 veloped by him from the common unimitative Oboe, by imparting 
 to it a broader and somewhat hornlike intonation. As a compromise 
 between the Oboe and Horn, without the advantage of either, such 
 a stop has very little to recommend it. An example exists in the 
 Organ in LlandafE Cathedral, Wales. 
 
 OCARINA. — ^An open metal labial stop, of 4 ft. pitch, which 
 yields a hollow fluty tone, resembling that of the instruments of the 
 same name.* The special pipes of this purely modern and uncom- 
 mon stop commence at tenor C and extend to the top note. The 
 pipes have cylindrical bodies surmounted by long and slightly 
 spreading bells, the proportions of which may be realized from the 
 following dimensions of the c^ pipe. The speaking length of this 
 pipe is 63/^ inches; the cylindrical body being 33^ inches long and 
 1. 13 inches in diameter; while the bell is 3 inches long and the diame- 
 ter of its open end is i .69 inches. The mouth is Vs inch in width, and 
 about one-fotarth its width in height : its upper lip is straight, and the 
 languid is finely nicked. The pipe is tuned by means of a strip cut 
 from a small slot in the bell. We obtained these particulars from the 
 stop in the Choir of the Organ in the Church of St. Mary, Bradford, 
 Yorkshire, constructed by M. C. Annessens, of Gramont, Belgium. 
 There is a stop of the same name in the Positif of the Organ, built 
 by A. Am^zua, in 1903, for Seville Cathedral. 
 
 * "OCAWNE {It,), A series of seven musical instruments [of different pitchesl made of terra 
 cotta pierced with small holes [and having whistle-like mouthpieces], invented by a company of 
 performers calling themselves the Mountaineers of the Apennines. With these instruments, 
 which are of a soft and sweet, yet ' traveling ' quality of tone, operatic melodies with simply- 
 harmonized accompaniments were given." — "A Dictionary of Musical Terms." Stainer and 
 Barrett. 
 
198 ORGAN-STOPS 
 
 OCTAVE.— Ger., Octav. Ital., Ottava. Span., Octava. 
 Dtch., OcTAAF.— The name properly used by German, Italian, 
 Spanish, Dutch, American, and to some extent by English and 
 French organ-builders, to distinguish the chief stop of octave or 
 4 ft. pitch in a manual division, and of 8 ft, pitch in the Pedal Organ. 
 The French organ-builders commonly use the term Prestant for 
 the stop, of 4 ft. pitch, which belongs to the foundation-work; occa- 
 sionally applying the term Octave, of the same pitch, to some sub- 
 ordinate stop. In this relationship we find both terms in the stop- 
 apportionment of the Grand-Orgue in Cavaill^-CoU's fine instru- 
 ment in the Cathedral of Notre-Dame, Paris. In the Pedale of the 
 same Organ, we find the term Octave illogically applied to a stop of 
 4 ft. pitch. In this department such a stop is strictly a Super- 
 octave or Fifteenth. But organ-builders are not distinguished 
 for their regard to correct stop nomenclature. 
 
 The old English organ-builders invariably used the term Princi- 
 pal, 4 FT.; and the practice has been largely followed up to the 
 present time. Proof of this may be readily found. In a list of speci- 
 fications of thirty-three Organs, constructed by J. W. Walker & 
 Sons, of London, between the years 1858 and 1904, we find the term 
 Principal, 4 ft., used fifty-nine times in the manual divisions, and 
 Principal, 8 ft., twelve times in the Pedal Organ: whereas the 
 term Octave occurs only eight times, chiefly in the Organ in York 
 Minster, constructed in 1903. At the present time American organ- 
 builders wisely and almost invariably use the term Octave. 
 
 As the Octave, 4 ft., is the leading stop of medium pitch in the 
 manual foundation-work, it is commonly and properly the one first 
 correctly pitched and tuned, the other stops below and above it in 
 pitch being tuned from it. It was probably on this account that the 
 old English builders gave the name Principal to the stop. There 
 seems to be no other apology possible for so illogical an appellation. 
 
 Formation. — The Octave, 4 ft., which strictly belongs to the foundation- 
 work of the Organ, is composed of open cylindrical metal pipes, formed in all re- 
 spects similar to the pipes of the Diapason, to which they are tonally related. In 
 old English work the scale of the CC (4 ft.) pipe was commonly made one pipe 
 smaller than the tenor C (4 f t.) pipe of the Diapason, 8 ft. In modem work it has 
 frequently been made two pipes smaller in scale. Unscientifically voiced as the 
 Octave commonly is, a smaller scale would seem desirable. When the Diapason 
 ^cale is of the ratio i : 2.66 (See Diapason), — 'halving on the eighteenth pipe, — 
 it may be desirable to have the scale of the Octave of the ratio i : 1/ 87— halving 
 on the seventeenth pipe. 
 
 Tone and Registration. — The Octave is essentially and prop- 
 
THEIR ARTISTIC REGISTRATION 199 
 
 erly a harmonic-corroborating stop, and its chief office is to establish 
 the first and most important upper partial of the tone produced by 
 the fundamental unison. Accordingly, while its voice should be of 
 pure organ-tone, similar to that of the Diapason, it must be suffi- 
 ciently soft to intimately combine with and enrich the unison tone 
 without disturbing its pitch. A properly proportioned Octave is 
 of great importance and value in registration ; combining with other 
 labial stops than the Diapasons, and also with lingual stops, im- 
 parting to their voices clearness and brilliancy. 
 
 In a division of the Organ in which there is no Diapason, the 
 Octave should partake of the character of the principal labial unison 
 or be suitable for combination with it in artistic registration. In this 
 case the Octave will generally serve as a solo stop, a timbre-creating, 
 and a harmonic-corroborating one. 
 
 The term Octave has been frequently applied as a prefix to the 
 names of stops, to indicate their pitch with relation to the unison 
 pitch of the divisions in which they are placed, or with relation to 
 some musical interval calculated from that unison. Accordingly, 
 we find stops bearing the compound names: Octave Dulciana, 
 Octave Fifteenth, i ft., Octave Flute, Octave Gamba, Octave 
 Quint, 2% ft., Octave Twelfth, iJ^ ft., etc. 
 
 OCTAVE OBOE.— The lingual stop, of 4 ft. pitch, bearing 
 this name has been inserted in certain important modern Organs. 
 It is the proper Octave of the unimitative Oboe, 8 ft. An example 
 exists on the Second Manual of the Organ in the Cathedral of Riga; 
 and examples exist in the Choir and Solo of the Organ in the Cen- 
 tennial Hall, Sydney, N. S. W. Hutchings inserted one, under the 
 name Oboe Clarion, 4 ft., in the Chancel Swell of the Organ he 
 installed in the Church of St. Bartholomew, New York City. We 
 inserted one in the First Subdivision of the Third Organ — repre- 
 senting the wood-wind forces of the orchestra — in our tonal schemfe 
 of the Organ installed in the Festival Hall of the Louisiana Purchase 
 Exposition, 1904. 
 
 Although the introduction of such a soft-toned stop as the 
 Octave Oboe is, or should be, is extremely rare, there can be no 
 question regarding the value of its voice in expressive registration. 
 The present prevailing craze for musical noise is not favorable to 
 the introduction of refined voices in the Organ, or to the develop- 
 ment of artistic registration. 
 
 OCTAVE VIOLA.— An open metal labial stop, of 4 ft. pitch, 
 the tone of which is intended to imitate that of the orchestral Viola. 
 
200 ORGAN-STOPS 
 
 An example exists in the Swell of the Willis Organ in St. George's 
 Hall, Liverpool. Another, labeled Viola, 4-ft., exists in the Great 
 of the same instrument, where it serves as the Octave to the Vio- 
 loncello, 8 FT. Neither stop is highly imitative. 
 
 Imitative string-toned stops, of 4 ft. pitch, are extremely rare; 
 but their value in tonal-coloring and artistic registration must be 
 evident to everyone who has studied the combinations of organ- 
 stops scientifically and practically. The imitative stop is more 
 appropriately termed Violetta (g. v.). As a harmonic-corroborat- 
 ing and timbre-creating stop it should find a place in every Concert- 
 room Organ; preferably in the String division, ancillary or otherwise, 
 where it forms the most perfect Octave. 
 
 OCTAVIN, Fr. — The term sometimes employed by French 
 organ-builders to designate an open metal labial stop, of 2 ft. pitch; 
 equivalent, in all essentials, to the Super-octave or Fifteenth in 
 English and American Organs. Examples of the Octavin exist in 
 the R^cit Expressif of the Organs in the Cathedral of Notre-Dame 
 and the Church of Saint-Sulpice, Paris. 
 
 OCTAVIN HARMONIQUE, Fr.— The name given to an open 
 labial stop, of 2 ft. pitch, all the pipes of which are of double the 
 standard speaJring length, and voiced harmonically; examples of 
 which exist in the Recit-ficho Expressif of the Organ in the Royal 
 Church, Saint-Denis, and in the Organ in the Church of Saint- 
 Vincent de Paul, Paris. The stop is flute-toned, and is practically a 
 Harmonic Piccolo. 
 
 OFFENBASS, Ger. — The name that has been used by certain 
 German organ-builders to designate an open bass stop simply in 
 contradistinction to the covered stop Gedecktbass. It is an open 
 appellation, conveying no idea of pitch or tonality. Without the 
 addition of some expressive qualification such a term must be con- 
 sidered practically valueless. 
 
 OFFENFLOTE, Ger.— The name given by German organ- 
 builders to an open wood stop, of 8 ft. or 4 ft. pitch, yielding an 
 unimitative flute-tone closely resembling that of the English Clara- 
 BELLA. The stop obtains, under the simple name Flote, in the 
 Organ in the Cathedral of Ulm. We find the German word offen 
 used in other compound stop-names, as Offenquintflote and 
 Offenflotenquinte, meaning Open flute-toned Quint. 
 
 OPEN DIAPASON.— The term employed by English organ- 
 
THEIR ARTISTIC REGISTRATION 201 
 
 builders from the middle of the seventeenth century to designate the 
 principal foundation stops both in the manual and pedal depart- 
 ments of the Organ. In the former it is invariably of 8 ft., and in 
 the latter of 16 ft. pitch; these being the standard unison pitches of 
 the respective departments. The prefix open was applied to dis- 
 tinguish the stop from the one, of the same pitch, illogically named 
 Stopped Diapason, which is in no sense a Diapason, being a 
 covered wood stop, strictly belonging to the Flute-work of the 
 Organ. For full particulars see Diapason. 
 
 OPHICLEIDE.— Fr., Ophicleide. Ger., OPHiCLEifD. Ital., 
 Officleide. — The name derived from o<^i<; — a serpent, andxXsiq — 
 a key, and given to a large brass instrument of extensive compass 
 and powerful voice. The organ-stop to which the name is applied 
 is supposed to imitate the tone of the orchestral instrument. It is a 
 striking-reed of large scale and powerful intonation, of 8 ft. pitch 
 in the manual divisions, and 16 ft. pitch in the Pedal Organ. The 
 Ophicleide was first introduced by W. Hill, of London, in the Great 
 of the Organ he erected in the Town Hall of Birmingham. It is 
 labeled Great Ophicleide, 8 ft., and speaks on high-pressure wind. 
 In the Organ in St. George's Hall, Liverpool, there are three Ophi- 
 CLEiDES, of 8 ft. pitch, inserted in the Great, Swell, and Solo divi- 
 sions, and one, of 16 ft. pitch, in the Pedal Organ. As a proof of the 
 old-fashioned system of tonal appointment pervading this instru- 
 ment, the only Ophicleide endowed with flexibility and power of 
 expression is that in the Swell Organ.* The stop in the Solo Organ 
 speaks on a wind of 22 inches pressure : it is a superb stop of its class, 
 buf its value is unfortunately circumscribed through its voice being 
 beyond artistic control. 
 
 Formation. — The pipes of the Ophicleide have resonators of inverted conical 
 form, of full speaking length and large scale, made of thick spotted-metal or zinc. 
 Their reeds or ichalotes are also of large scale and of the open variety. These have 
 tongues or languettes of hard rolled brass, thick, and carefully curved, so as to 
 produce a tone full and commanding, but without brassy clang ; so as to resemble 
 as closely as practica.ble the full round tones of the orchestral Ophicleide. 
 
 * "Before the recent renovation [1898], the Swell Organ was the only expressive division in 
 the instrument ; for in the year 1855 the introduction of more than a single swell-box was neither 
 appreciated nor understood. It is, indeed, remarkable that for upwards of forty years the Solo 
 Organ of fifteen stops, including four high-pressure reeds, remained uninclosed and entirely 
 devoid of flexibility and powers of expression; and, to our mind, it is still more remarkable that 
 when the swell-box was applied to the Solo Organ in 1898, the four high-pressure and very power- 
 ful reed stops were left uninclosed. It is not too much to say that had these noisy stops been 
 placed under control their utility and effectiveness would have been increased tenfold. In our 
 opinion, while it was right to inclose the eleven stops of the Solo Organ, it was positively bar- 
 barous to leave the very stops which call most loudly for tonal control in the whole Organ ab- 
 solutely uncontrollable. " — "The Art of Organ-Building." Vol. II., p. 730. 
 
202 ORGAN-STOPS 
 
 Registration. — Unless used under perfect control and more or 
 less subdued, the Ophicleide is practically valueless in general 
 artistic registration, and even under such control it is only good in 
 exceptional effects. It is occasionally employed as a solo stop when 
 it is expressive; but its principal use and value is in impressive cres- 
 cendo passages and grand climaxes. Under all circumstances, a 
 lingual stop of so powerful a voice has to be very carefully used; and 
 will always be so when commanded by a true musician and artist. 
 It will, however, be beloved by the lover of musical noise. 
 
 ORCHESTRAL BASSOON.— The name properly given to the 
 lingual stop, of 8 ft. pitch, the tones of which successfully imitate 
 those of the orchestral Bassoon. The pipes of the most satisfactory 
 examples of the stop have resonators of wood or metal, conical or 
 pyramidal in form and of very small scale. The true compass of the 
 Bassoon of the orchestra does not extend beyond eb'; accordingly, 
 above this note the stop is completed in what are practically Or- 
 chestral Oboe pipes (See Orchestral Oboe). The tone of the 
 Orchestral Bassoon should throughout its compass be of greater 
 body than that which characterizes the Orchestral Oboe, so as to 
 give a marked individuality to the stop. For further and full par- 
 ticulars, see Bassoon. 
 
 ORCHESTRAL CLARINET.— The name properly employed 
 to designate the lingual solo stop formed and voiced to yield a tone 
 imitative of that of the orchestral Clarinets. For general particulars 
 respecting the formation, tonality, etc., of the Clarinet, 8 ft., of 
 the Organ, see Clarinet. As it has been found that the Clarinet, 
 in its usual form, is rendered much more closely imitative of the tone 
 of the orchestral instruments, by having a soft-toned labial stop of 
 perfect blending quality combined with it, we would suggest that 
 the term Orchestral Clarinet be confined to a dual stop so 
 formed. In our experience we have found that a covered wood flute- 
 toned stop — preferably a small-scaled and softly-voiced Doppel- 
 FLOTE, 8 FT. — combines perfectly with the lingual stop, and pro- 
 duces a compound tone of remarkable imitative quality. It is in 
 the imitation of the chalumeau register of the Clarinet of the orches- 
 tra that the voicer will meet with the principal difficulty; but this 
 can be largely overcome by skillful voicing, without causing any 
 perceptible break in the tone of the stop. 
 
 ORCHESTRAL FLUTE.— Fr., Flute Traversiere. Ital., 
 Flauto Tra VERSO. Ger. Concertflote. — The stop to which these 
 
THEIR ARTISTIC REGISTRATION 203 
 
 names are properly applied yields tones as closely imitative of those 
 of the Flute of the orchestra as are practicable in a rank of organ- 
 pipes, blown by wind of uniform pressure. There are only two 
 Flutes employed in the orchestra, the Flauto Traverso and the 
 Flauto Piccolo; accordingly, the range of tone to be imitated is very 
 limited. Several forms of both metal and wood pipes have been 
 devised, by organ-builders of different nationalities, for the produc- 
 tion of satisfactory Orchestral Flutes. The most effective 
 examples which have come to our observation are those labeled 
 Flauto Traverso, of both 8 ft. and 4 ft. pitch, in the Organ in the 
 Parish Church of Doncaster, Yorkshire, made by Edmund Schulze 
 of Paiilinzelle. In these we find cylindrical pipes of wood employed 
 yielding tones almost identical with those of the orchestral instru- 
 ment. Another beautiful example, by the same artist, of 8 ft. pitch 
 and tenor C compass, exists in the Echo of the Organ in the Parish 
 Church of Leeds, where it speaks on wind of ij^ inches. The stop 
 appears under the names Concertflote, 8 ft., and Traversflote, 
 4 FT., on the Second Manual of the Organ in the Cathedral of Liibeck. 
 In its most expressive name, Orchestral Flute, 8 ft., it exists in 
 the Solo of the Organ in the Music Hall of the Carnegie Institute, 
 Pittsburgh : and, of 4 ft. pitch, in the Solo of the Organ in St. George's 
 Hall, Liverpool. Under the name Flauto Traverso, of 8 ft., 4 ft., 
 and 2 ft. pitch, it is introduced in the Solo of the Organ in the Cen- 
 tennial Hall, Sydney, N. S. W. The stop of 2 ft. pitch should have 
 been labeled Orchestral Piccolo. The stop exists in French 
 Organs under the name Flute Traversiere, 8 ft., as in the Organ 
 in the Church of Saint-Sulpice, Paris; and under the uncommon 
 name Flute d'Orchestre, 8 ft., in the Recit of the Organ in the 
 Cathedral of Albi. 
 
 Formation. — Three forms have been adopted for the wood pipes of the 
 Orchestral Flute; namely, cylindrical, quadrangular, and triangular; all of 
 which are, in the best examples, harmonic in the principal portion of their com- 
 pass. In the 8 ft. stop the harmonic pipes should commence on c", and in the 4 ft. 
 stop on tenor C. 
 
 The pipes which produce tones most closely resembling those of the orchestral 
 Flute are formed of circular tubes of hard wood, having small mouths, placed in 
 relation to their blocked ends just as is the embouchure of the orchestral Flute. 
 Their caps are formed so as to direct the wind-stream across their mouths, just as 
 the wind from the human mouth is directed across the embouchure of the orches- 
 tral instrument. The cylindrical pipes are invariably harmonic, and, accordingly, 
 are about double the standard speaking length.* Flutes of this imitative form are 
 
 * A full description, accompanied by accurately detailed drawings, of the fine cylindrical 
 stops in the Organs in the Parish Churches of Doncaster and Leeds, made by Schulze, is given in 
 
204 ORGAN-STOPS 
 
 met with in high-class German work; but we are not aware of one ever having 
 been made by a French, English, or American organ-builder; their cylindrical 
 Flutes being invariably of metal, and, when imitative, harmonic. 
 
 Very successful Orchestral Flutes have been made with quadrangular 
 harmonic pipes, usually of 4 ft. pitch. These are usually square, though in some 
 cases slightly deeper than wide. Their mouths are circular and inverted: and 
 their caps, which cover a small portion of the mouths, are formed so as to direct 
 the wind-stream in the manner described above.* A good example of the Orches- 
 tral Flute, 4 ft., formed of harmonic triangular pipes, is furnished by the stop 
 in the Echo of the Concert-room Organ in the Town Hall of Leeds. The harmonic 
 pipes commence on the tenor C key and are carried to the top. The bottom octave 
 is of nonharmonic pipes. The form and construction of the triangular pipes are 
 shown in Fig. 27, in which are given a Front View and Longitudinal and Trans- 
 verse Sections of the largest one. The following are the measurements of the three 
 pipes yielding the 2 ft., i ft., and Ji ft. notes, taken in the Organ. C, 2 ft. tone, — 
 width 2 ?^ ins. ; depth along sides 2 ins. ; length from lower lip 3 ft. 10 ins. ; distance 
 of perforation from lower lip I ft. 9 ins.; diameter of perforation )/i in.; width of 
 mouth I Yi ins. ; height of mouth ^ in. ; and block sunk below lower lip of mouth 
 J^ inch. Pipe c", i ft. tone, — width l^ ins.; depth along sides i J^ ins.; length 
 from lower lip i ft. 10 ins. ; distance of perforation from lower lip 1 1 ins. ; diameter 
 of perforation ^ in. ; width of mouth yi in. ; height of mouth ^ in. ; and block 
 sunk below lower lip ^ in. Pipe c ', J^ f t. tone — width i Y^ ins. ; depth along sides 
 if in.; length from lower lip 10^ ins.; distance of perforation from lower lip 5^ 
 ins. ; diameter of perforation )/% in. ; width of mouth 5^ in. ; height of mouth 5^ in. ; 
 and block sunk below lower lip ^ in. The wind pressure is 23^ inches; and the 
 tone is pure and of medium strength. The Flijte TRAVERSiiiRE and FlOte 
 d'Orchestre, of the French organ-builders appear to be formed invariably of 
 metal harmonic pipes of usual shape and treatment. 
 
 Tone and Registration. — While the strictly imitative voice of 
 the Orchestral Flute renders the stop essentially a solo one, and 
 most effective in that capacity, it is extremely valuable in combina- 
 tion and artistic registration. Its pure and singularly liquid intona- 
 tion, when not undesirably prominent, creates beautiful qualities of 
 compound tone of an orchestral character, through its decided con- 
 trast with the voices of the imitative string-toned and reed-toned 
 stops, with which it combines perfectly. In both its solo and com- 
 binational offices, the Orchestral Flute is valuable in both its 
 8 ft. and 4 ft. pitches. 
 
 ORCHESTRAL HORN.— The name given to the important 
 lingual stop, the voice of which imitates that of the Horn of the 
 orchestra. For full particulars respecting formation, tone, etc., see 
 Horn. 
 
 "The Art of Organ-Building," Vol. II., pp. 463-4; and in "The Organ of the Twentieth Century," 
 pp. 438-9. 
 
 * A fine quadrangular example is described and illustrated in " The Art of Organ-Building, " 
 Vol. II., pp. 465-7: and in " The Organ of the Twentieth Century, "pp. 439-40. 
 
THEIR ARTIvSTIC REGISTRATION 
 
 205 
 
 ORCHESTRAL OBOE.— The lingual stop, of 8 ft. pitch, voiced 
 to imitate the tones of the Oboe of the orchestra. Both in formation 
 and tonality it differs from the ordinary tmimitative Oboe of the 
 Organ. The Orchestral Oboe, 8 ft., is of comparatively rare 
 introduction in even the large Organs of to-day; the difficulty of 
 producing the peculiar voice of 
 the orchestral instrument being 
 the principal cause. Speaking of 
 the Oboe, Berlioz correctly re- 
 marks: "It is especially a me- 
 lodial instrument, having a pas- 
 toral character, full of tenderness 
 — nay, I would even say, of tim- 
 idity." From such a description 
 one can readily realize the prob- 
 lem before the pipe-maker and 
 reed-voicer. The most success- 
 ful examples of the Orchestral 
 Oboe, 8 ft., which have come 
 under our direct observation are 
 those constructed by Willis, and 
 inserted in several of his import- 
 ant Organs, including those in 
 St. George's Hall, Liverpool ; the 
 Town Hall, Huddersfield; and 
 the Cathedrals of Durham and 
 Glasgow. The Orchestral 
 Oboe was invented and first 
 made by George Willis, brother 
 of Henry Willis, England's most 
 distinguished organ-builder. 
 George voiced all the superb 
 series of lingual stops in the St. 
 George's Hall Organ (1855) 
 founding thereby the unequalled 
 Willis school of reed-voicing. 
 The stop has been, so far as our observation extends, completely 
 ignored by French organ builders : we have been unable to find an 
 example even in their most important Organs. The stop labeled 
 Basson-Hautbois exists in many instruments, but it cannot be con- 
 sidered orchestral in character. Stops labeled Orchestral Oboe, 
 8 FT. , exist on the First Manual of the Organ in the Cathedral of 
 
 m 
 
 
 :T 
 
 
 ■frrr 
 
 \^. 
 
 Pig. 27 
 
206 ORGAN-STOPS 
 
 Ulm ; and on the Third Manual of the Organ in the Synagogue, Berlin. 
 
 Formation. — In briefly describing the formation of the pipes of the Orches- 
 tral Oboe, one cannot do better than follow that adopted by Willis. The re- 
 sonators are of an extremely slender inverted conical form, devoid of bells, and 
 having closed upper ends and long and narrow slots adjoining them. This form of 
 resonator is shown in Fig. 28, Plate III., which is drawn from the Willis Orches- 
 tral Oboe in the Organ in the Town Hall, Huddersfield. The reeds or echalotes 
 are of very small scale, and have their stopped ends formed at an acute angle up- 
 ward from the lower edge of their faces. The tongues or languettes are very narrow, 
 of good substance, and finely curved, as usual in all Willis reeds. Other makers 
 have adopted resonators of the ordinary Oboe form but -of very slender propor- 
 tions. Others have been content to use plain inverted conical resonators, of ex- 
 tremely small scales, and open at top : these have only cheapness to recommend 
 them — a very strong recommendation in the mind of the pipe-maker. 
 
 Up to this point lingual stops have been alluded to, but we have now to briefly 
 describe a labial stop, formed of quadrangular wood pipes, invented by Mr. 
 William E. Haskell, which yields a tone closely imitative of that of the Oboe of the 
 orchestra. It will be more convenient to describe a single pipe, taking the middle 
 C pipe as representative. The stop is of 8 ft. pitch. The pipe measures Ys inch 
 square, internally, at its mouth line; and, while its width remains the same, its 
 depth is gradually reduced to fs inch at its open top end, the reduction com- 
 mencing about 12 inches above the mouth and taking a curve inward from that 
 point in the front of the pipe. The block is slightly sunk below the mouth, which 
 is inverted, carefully formed, and furnished with a sloping cap and cylindrical 
 harmonic-bridge. The length of the pipe from the mouth is i foot 1 1 J^ inches. 
 The stop speaks on wind of 3}^ inches pressure. 
 
 Tone and Registration. — It is somewhat difficult to describe 
 the peculiar tone of the Oboe of the orchestra. In addition to his 
 description, quoted above, Berlioz speaks of its "small acid-sweet 
 voice" — a very happy expression. Judging from the number of 
 compositions written for it, and the place it has always held in or- 
 chestral music, it is obvious that the voice of the Oboe was highly 
 esteemed by all the great composers. As the Oboe of the orchestra 
 does not go below tenor B'?, it is obvious that the imitative tones of 
 the Orchestral Oboe, 8 ft., of the Organ must commence on that 
 note. Below that note the pipes should strictly be of the Fagotto 
 class, because the Fagotto provides the proper bass to the Oboe in 
 the orchestra: it is this fact that led the French organ-builders to use 
 the term Basson-Hautbois. But it is neither necessary nor desir- 
 able to break the organ-stop in either its tone or the form of its pipes. 
 In correct Oboe solos, the performer will never be compelled to go 
 below the compass of the instrument; while in general organ playing 
 the complete stop of uniform tone will be extremely valuable in 
 combination and registration. While the Orchestral Oboe will 
 not be so generally useful in registration as the unimitative Oboe 
 
THEIR ARTISTIC REGISTRATION 207 
 
 {q. v.), it will lend itself to the production of many beautiful com- 
 pound tones having very marked tonal colorings. In this direction, 
 the stop and its effects are well worthy of the organist's careful study. 
 
 ORCHESTRAL PICCOLO.— An open labial stop of metal or 
 wood, sometimes of both; formed, in the finest examples, of harmonic 
 pipes. It is of 2 ft. pitch ; and is voiced to yield bright and piercing 
 flute-tones, imitative of those of the orchestral Flauto Piccolo. See 
 Piccolo. 
 
 ORLO, CRO ORLO, Span.— A lingual stop, of 8 ft. pitch, of the 
 Musette or Chalumeau character. It exists in certain large Span- 
 ish Organs, including those in the Cathedrals of Burgos and Valla- 
 dolid. In the North Organ in the former Cathedral there are two , 
 Orlos on the First Clavier, probably of different pitches; and on the 
 Second Clavier there are two stops labeled Cro Orlo. The Spanish 
 organ-builders seem to have had a great love for lingual stops, judg- 
 ing from the number introduced in their Organs, and the manner 
 they disposed them, en chamade, in their sumptuous cases. 
 
 PANFLOTE, Ger.— Ital., Flauto di Pan.— The name that has 
 been given to a very rare Pedal Organ labial stop, of i ft. pitch, 
 formed of open metal pipes, yielding acute tones resembling those 
 of the Pan-pipes. An example exists in the Pedal of the Grand 
 Organ in the Cathedral of Lund, Sweden. See Flauto di Pan. 
 
 PASTORITA, Ital. — The name that has occasionally been used 
 to designate the labial stop now commonly known as the French 
 Cor de Nuit or the German Nachthorn (g. v.). 
 
 PAUKE, Ger. — The stop so called by German organ-builders 
 was one of the curiosities to be found in old Organs. It consisted of 
 two large-scaled and loudly-voiced covered wood pipes, sounding 
 the notes of the proper pitches of the Pauken or Kettle-drums of 
 the orchestra, placed in the Pedal Organ. The loud and thumping 
 sounds produced by these special pipes, when played staccato, were 
 supposed to imitate those of the Kettle-dnuns. 
 
 Another curiosity, called Paukerengel, was a mechanical 
 accessory, which took the form of an angel playing the Drum. Two 
 or more of these were mounted on the case, chiefly as ornaments 
 and were actuated by pedal mechanism. Examples are said to have 
 
208 ORGAN-STOPS 
 
 existed in the Organ built by Joachim Wagner in 1725, for the Garri- 
 son Church, Berlin. 
 
 PERDUNA. — The name which has sometimes been employed 
 by old German organ-builders to designate a covered wood stop, of 
 16 ft. pitch, and similar in all essentials to the Bourdon. 
 
 PFEIFE, Ger. — This term when used alone properly designates 
 an open metal labial stop, of 2 ft. pitch, yielding a bright flute-tone. 
 It is, in the generality of examples, practically identical with the 
 stop named Fife (g. v.). In certain compound names, used by 
 German organ-builders, the terms Pfeife and Flote seem to be 
 synonjonous. An instance of both terms being used in combina- 
 tion is given by Seidel-Kothe: " Pfeife rflote wird zuweilen Nasat 
 2%' genannt." 
 
 PHILOMELA. — Ital., Filomela. — The name, which means 
 Nightingale {Daulias philomela), has been used to designate stops of 
 widely different tonalities — so different, iivieed, that one is disposed 
 to ask, so far as organ-builders' terminology is concerned, "What's 
 in a name?" In the first place, it has been applied, appropriately, 
 to a small-scaled wood stop voiced to yield an extremely refined and 
 soft flute-like tone, suggestive of the voice of the Nightingale. 
 Clarke, in his "Structure of the Pipe Organ," describes the Philo- 
 mela, 8 FT., as a flute-toned stop formed of "Small scale stopped 
 wood pipes, voiced with the sweetest and most delicate quality." In 
 the second place, and with a widely different signification, the nanae 
 is given to wood stops of large scale and powerful intonation. The 
 Philomela, 8 ft., in the unexpressive Solo of the Organ in the Cin- 
 cinnati Music Hall, built by Hook & Hastings in 1878, is thus de- 
 scribed by the builders: "Open pipes of wood, having two mouths. 
 Tone full, rich, and mellow. ' ' This stop speaks on wind of ten inches 
 pressure. As a large-scaled, open, double-mouthed stop, the Philo- 
 mela has been styled a wood Stentorphone. If the name is to be 
 retained in modern stop nomenclature, let it be confined to the stop 
 which, however imperfectly, yields a tone having some resemblance 
 to that of the Nightingale's song. 
 
 PHOCINX. — ^An uncommon term that has been applied, in a 
 few instances, to the German lingual stop usually known as the 
 Krummhorn. Fr. Cromorne (g. v.). 
 
 PHYSHARMONIKA.— A soft-voiced lingual stop, of 16 ft. 
 and 8 ft. pitch, to be found in several German and Swiss Organs. 
 
THEIR ARTISTIC REGISTRATION 
 
 209 
 
 It is placed on the Fourth Manual of the Organ in the Cathedral of 
 Riga; and on the Third Manual of the Organ in the Cathedral of 
 Ulm. Both stops are of 8 ft. pitch. In the well-known Organ in the 
 Cathedral of Lucerne, the Physharmonika, 8 ft., is placed in the 
 Swell. In the Organ in the Cathedral of Fribourg, in Switzerland, 
 there are Physharmonikas, of 16 ft. and 8 ft. pitch. The stops in 
 both the Lucerne and Fribourg Organs we personally examined, 
 accompanied, in Lucerne, by F. Haas, the organ-builder who in- 
 serted them: accordingly, we are able to describe the stops. In the 
 Organ in the Cathedral of Magdeburg there is an 8 ft. stop of similar 
 description, labeled Harmonium. 
 
 Formation. — The best examples of the Physharmonika to be found in 
 modem European Organs have been made by J. & P. Schiedmayer of Stuttgart, 
 through whose courtesy we are able to give an illustration showing the formation 
 of the stop. Fig. 29 is a Transverse Section of the complete appliance in its most 
 improved form. A is the chamber into which the compressed pipe- wind is con- 
 
 -^ 
 
 Fig. 29 
 
 ducted by a suitable wind-trunk or conveyance. This chamber is connected 
 through the opening D, with the bellows B, which, together with the chamber A, 
 forms the compressed-air reservoir. The bellows B is acted on by the spiral spring 
 C, which properly regulates the wind-pressure at all times on the many tongues. 
 E is a small escape-valve, held against its port by a light spring. A Longitudinal 
 Section of a free tongue or vibrator with its brass frame is shown at F; and its 
 
210 ORGAN-STOPS 
 
 tuning-clip and wire are shown at G. The wire passes air-tight through the sidff 
 of the chamber A, to enable the tuning to be done from the outside. H is the reed- 
 groove special to the vibrator F, furnished with the pallet-hole I. J is the pallet, 
 covering the hole I, and commanded by the key-actiqn of the Organ through the 
 agency of the rocking-lever K and the pull-wire L. The pallet is held against its 
 seat by the spring M, which is strong enough to resist the downward pressure of 
 the wind on the surface of the pallet. N is the sound-chamber, general to all the 
 reed-grooves : this is properly made much deeper than is shown. It is furnished at 
 its end, or ends, with a pivoted or sliding appliance for crescendo and diminuendo 
 effects. The free-reeds of the Physharmonika are similar in all respects to those 
 used for the ordinary free-reed stops; the only difference lies in the manner in 
 which they are moimted. 
 
 The Physharmonika, 8 ft., in the Lucerne Organ is, in its sounding portion, 
 similar to that just described, but is inclosed in a special swell-box, in one side of 
 which several heart-shaped openings are cut for the egress of sound ; and these are 
 commanded by a sliding shutter in which corresponding perforations are made. 
 The to-and-f ro motions of the shutter, under the action of a small expression lever, 
 produce a perfect and gradual crescendo and diminuendo. In the Fribourg Organ 
 the Physharmonikas have their reeds furnished with short resonators. They are 
 inclosed in the same manner as in the Lucerne instrument. 
 
 Tone and Registration. — The tones of the Physharmonika 
 are somewhat indeterminate but generally pleasing, combining in a 
 satisfactory manner with the tones of the labial stops of all tonalities, 
 chiefly in the capacity of timbre-creator. In this direction one tonal 
 difficulty obtains; for, like all free-reed stops, the Physharmonika 
 is not affected by changes of temperature in the same manner as are 
 the labial stops; and, accordingly, is not always in perfect tune with 
 them. It, however, can be easily tuned and that difficulty is readily 
 overcome. 
 
 Free-reed stops devoid of resonators have recently been intro- 
 duced by certain English organ-builders, with favorable results in 
 tonal combination and registration. In the Organ in Colston Hall, 
 Bristol, built by Norman & Beard in 1905, there are three such free- 
 reed stops, labeled Harp ^^olone, Kerophone, and Saxophone. 
 
 PICCOLO, FLAUTO PICCOLO, Ital.— A labial stop, of 2 ft. 
 pitch, formed of metal, or of wood and metal, the pipes of which are of 
 small scale, and voiced to yield a clear fiute-tone. While 2 ft. pitch 
 is obviously the correct and most desirable one, the Piccolo some- 
 times appears as a stop of i ft. pitch, as in the Positif of the Organ 
 in the Church of St. Sulpice, Paris. Under the name Harmonic 
 Piccolo, 4 ft., it is inserted in the Solo of the Organ in the Town 
 Hall of Leeds; while in the Great there is a Piccolo, 2 ft. In the 
 case of a stop like this, which is, or should be, imitative of the orches- 
 tral Piccolo, it is most desirable that organ-builders should adopt a 
 
THEIR ARTISTIC REGISTRATION 211 
 
 uniform pitch, that of 2 ft. When voiced to closely imitate the voice 
 of the orchestral instrument, it is appropriately called Orchestral 
 Piccolo. The French organ-builders usually fashion this imitative 
 stop with harmonic pipes, and label it Piccolo Harmonique. 
 
 Tone and Registration. — The Piccolo, 2 ft., in its proper 
 and most desirable form, may be considered the Fifteenth or 
 Super-octave of the Flute-work of the Organ: but, being highly 
 imitative in its voice, it holds a decided position in the orchestral 
 forces; its proper place being in the Wood-wind division, or in the 
 Solo, of the properly-appointed Concert-room Organ. It is very 
 questionable if its voice is called for in the legitimate Church Organ. 
 The tone of this imitative stop should be carefully proportioned to 
 those of the Orchestral Flutes, 8 ft., and 4 ft., so that whilst it 
 will prove amply sufficient for any solo work, it will not dominate, 
 by its high pitched and necessarily piercing voice, the graver and 
 richer voices of those more important stops. In artistic registration 
 its chief office will be in the production of bright qualities of orches- 
 tral tone, in which it will prove invaluable, never, however, losing 
 its identity; in this respect resembling the Piccolo of the orchestra. 
 
 PICCOLO D'AMORE, Ital.— The true Octave of the Flauto 
 d'Amore, 4 FT. It is a softly-voiced flute-toned stop of 2 ft. pitch, 
 properly formed of half-covered wood pipes of small scale, from CC 
 to c^, and thence to top note in small-scale open metal pipes, prefer- 
 ably of Spitzflote form. The Piccolo d'Amore, 2 ft., is an ideal 
 Super-octave for the true Chamber Organ, or for an Ancillary 
 Aerial Organ. 
 
 PIFFERO, Ital.— Literally Fife. The name used by Itahan 
 organ-builders to designate a stop which is in all essentials similar to 
 the French Chalumeau (5. v.). 
 
 PILEATA, Lat. — Literally Hooded. A generic name for labial 
 covered stops, having no direct reference to their tone.* When used 
 alone it simply means a Gedeckt. Combined with other terms, 
 we find Pileata Maxima — a Grossuntersatz, 32 ft.; Pileata 
 Magna — a Grobgedeckt, 16 ft.; Pileata Major — a M'ittel- 
 GEDECKT, 8 ft. ; and Pileata Minor — a Kleingedeckt, 4 ft. 
 
 *" Vox-piLEATA, ou simplement Pileata. C'est encore un de ces noms g^n^riques de jeu 
 bouch6, dont la facture allemande abonde mfime par tradition, puisque les premiers trait^s de 
 facturefurent Merits en latin. Cela veut dire voix couverle, ou, mot k mot, coiffee; la coiffeest ce 
 que Ton nommeaujourd'huicaio^fe dans les bourdons de m6tal, et tampon oubouchon dans ceux 
 de bois. La qualification de Pileata se modifie selon la grandeur du r6gistre ; de tous petits r6- 
 gistresbouch^s, tels que la Bauer-Fl6led'\in pied s'appelleront Pileaia-Minima. Un bourdon de 
 
212 ORGAN-STOPS 
 
 PLEIN-JEU, Fr. — ^The name used by French organ-builders to 
 designate a compound harmonic-corroborating stop, of several 
 ranks of medium-scaled open metal pipes, yielding pure organ-tone. 
 A fine example of the stop exists in the Organ in the Town Hall of 
 Manchester, constructed by Cavaill6-Coll. The composition of this 
 stop is here given : 
 
 PlEIN-JeU — VII. RANKS. 
 
 CC to E . 
 
 P to e' 
 £■ to e" 
 i' to h' 
 c3 to i' 
 
 15—19—22—26—29—33—36. 
 8 — 12 — 15 — 19 — 22 — 26 — 29. 
 I — 8 — 12 — 15 — 19 — 22 — 26. 
 I — 5 — 8 — 12 — 15 — 19 — 22. 
 
 DOUBLE I — 5 8 — 12 15 19. 
 
 fp to C4 DOUBLE— °°""'-^-I— 5— 8— 12— 15. 
 
 " QUINT "^ •' 
 
 This Plein-Jeu has no special feature to distinguish it from an 
 ordinary Mixture in which octave- and fifth-sounding ranks only 
 are employed, except in its extreme richness of structure, and the 
 introduction of breaks lower in pitch than the unison of the manual 
 division (Grand-Orgue) in which it is placed. It may be remarked 
 that this division, of fourteen speaking stops, contains three stops 
 of 16 ft. pitch, which fact accounts for the introduction of the 
 Doubles and Double Quint in the upper breaks of the Plein- 
 Jeu, and also the fifth-sounding ranks in the three higher breaks 
 which strictly belong to the 16 ft. harmonic series. A Plein-Jeu 
 of ten ranks is the only compound stop in the Grand-Orgue of the 
 Organ in the Madeleine, Paris. In the Positif of the Organ in 
 Saint Sulpice there is a Plein-Jeu Harmonique of three and 
 four ranks. Further particulars are given in the appended note.* 
 
 seize, fa^onn^ de manlere k prendre un nom quelconque de flute, ajoutera k ce nom de fantaisie 
 la qualification de Pileata-Magna qui empeche I'organiste de I'employer comme jeu ouvert. 
 Enfin PUeata-Maxima d^signera les bourdons gigantesques de la pedale. " — Regnier. 
 
 *"Le Plein-Jeu. Les modernes ont souvent donn6 le mfime nom k toute espece de mix- 
 tures ; c'est une de ces petites erreurs de detail qui entrainent apres ellesl'oubli des principesen 
 facture. Ainsi ai-je rencontr^ souvent dans de petites orgues un r6gistre appel6 Plein-jeu, qui 
 n'avait rien de plain, et qui n'^tait un jeu que dans le sens ridicule du mot. II y avait de quoi 
 faire prendre en horreur toute espfece de mixture ; et j 'attribue ace vol, fait aux vraies conditions 
 du Plein-jeu par les facteurs charlatans, la r6action qu'on voit se prononcer contre la v6n6rable 
 antiquity de cette harmonic. ' Dans un seize-pieds,' dit Dom Bedos, ' le moindre Plein-jeu est de 
 neuftuyaux 5ur wiflrcAe (ou par note). . . Si c'est un huit-pieds, le P/e«n-jeM est (au moins) 
 desept tuyaux sur marche; si I'orgue est un trente-deux-pieds ouvert avec bourdon de trente- 
 deux, on doit mettre Fourniture entiere et Cymbale entiere (c'est-^-dire que chacun de ces rfigis- 
 tres doit avoir sa plus grande force connue). Pourun positif, sic'estunhuit-piedsenmontre.on 
 metle Plein-jeu de sept tuyaux sur marche. S'il n'y a point de huit-pieds ouverts, le Plein-jeu 
 nesera que de cinq tuyaux sur marche, c'est-k-dire compost des trois derniferes rang^es dela 
 Fourniture et des deux dernieres de la Cymbale.' (Parce qu'alors un Plein-jeu plus fort serait 
 trop dur, n'6tant pas soutenu par la force des huit-pieds ouverts.) Dom Bedos donne encore les 
 
THEIR ARTISTIC REGISTRATION 213 
 
 PORTUNAL, PORTUNALFLOTE, Ger.— An open wood stop, 
 of medium scale, and of 8 ft. and 4 ft. pitch. Its pipes are, in the 
 finer examples, of inverted pyramidal form, — after the fashion of the 
 DoLCAN, — jHielding a very pleasing fluty tone inclining, in good rep- 
 resentative examples, to a Clarinet quality. 
 
 POSAUNE, Ger. — A lingual stop, of 8 ft. pitch on the manuals 
 and 16 ft. pitch in the Pedal Organ; the pipes of which have resona- 
 tors of large scale and inverted conical form. In the manual stop, 
 metal resonators are invariably employed; while in the Pedal stop 
 they are made of either metal or wood; and sometimes of both, 
 wood being used for the lower octave. The tone of the Posaune is 
 intended to imitate as closely as possible that of the orchestral Trom- 
 bone when played /orte and firmly; it, accordingly, should have more 
 brassiness than the Trombone or Trumpet. 
 
 Examples of the Posaune, 8 ft., exist in the Greats of the Organs 
 in Westminster Abbey and the Royal Albert Hall, London; and in 
 the Pedal of the Organ in the Cathedral of Riga. Examples of the 
 Posaune, 16 ft., are to be found in the Pedals of the Organs in the 
 above-named churches ; and in those of the Organs in the Cathedral 
 of Ulm, and the Centennial Hall, Sydney, N. S. W. Under the name 
 Posaunenbass, 16 ft., it exists in the Pedals of the Organs in the 
 Cathedral of Liibeck, and the Gewandhaus, Leipzig. See Contra- 
 
 POSAUNE. 
 
 PRESTANT, Fr. — The name commonly employed by French 
 organ-builders to designate the principal Octave, 4 ft., in a manual 
 division; yielding pure organ-tone. Its scale is properly derived 
 from, and proportioned to, that of the Montre, 8 ft., or chief uni- 
 son of the division. The Prestant occupies the same tonal position 
 and fulfils the same office in a French Organ, as the so-called Prin- 
 
 r^gles pour un Plein-jeu de quatre tuyaux sur marche, mais dans ce cas la maigreur du r^gistre 
 doitle faire rejeter, car il est dej^ trop gringant, mSme avec cinq tuyaux seulement. ' Si le Pleiti' 
 jett est de huit ou de six tuyaux sur marche. on prend la moitifi dans la Fournilure, et I'autre 
 moiti^ dans la Cymbale : voilk les regies ordinaires. . . . ' Dom Bedos ajoute : ' Je ne f erai point 
 remarquer ici toutes les variations de quelques facteurs dans la composition et I'arrangement du 
 Plein-jeu (il paralt que des ce temps-R on cherchait a 6conomiser sur la peine et la depense qu'oc- 
 casiomie la facture du vrai Plein-jeu) ; mais tous s'accordant k ne mettre que des quintes et desoc- 
 taves, et jamais de tierces.' Je ne puis omettre ici la citation de I'^loge du Plein-jeu par le grand 
 artiste b^n^dictin ; il donne trop d'autoritS h. ce que nous a vons d^jk dit : ' Tout ce qu'il y a de 
 plus harmonieux dans I'orgue, au jugement des connaisseurs et de ceux qui ont du gofit pour la 
 vraie harmonie, c' est le Plein-jeu, lorsqu'il est m^lang^ avec tous les f onds qui le nourrissent dans 
 une juste proportion; et la raison pour laquelle on met toujours ensemble les fonds del'orgue 
 avec la Fournilure et la Cymbale, est que si Ton employait celles-ci seules dans les diff6rentes 
 combinaisons d'accords que fait un organiste, elles formeraient des sons d6sagr6ables, qui dis- 
 paraissent k I'Dreille, lorsque le melange des sons fondamentaux les mettent au rang des sons 
 harmoniques.' " — Regnier. 
 
214 ORGAN-STOPS 
 
 ciPAL does in an English instrument, and the Octave, 4 ft., in an 
 American and German Organ.* The name Prestant, derived from 
 the Latin Prcestare — to stand in front, was given to the stop because, 
 like the Montre, it was commonly displayed in the case- work. 
 See Octave. 
 
 PRINZIPAL, Ger. — Ital., Principale. — The name appropri- 
 ately and logically employed by German and Italian organ-builders 
 to designate the principal unison stop in both the manual and pedaJ 
 departments of the Organ — that which is commonly named Dia- 
 pason in English and American Organs, and Montre in French 
 Organs. French organ-builders have in some instances used the 
 borrowed terms Principal and Diapason, as in the Recit and Solo 
 of the Organ in the Church of Saint-Sulpice, Paris. In a manual 
 division the Principal is correctly of 8 ft. pitch, and in the Pedal 
 Organ of 16 ft. pitch : but in many German Organs, as in those of the 
 Cathedral of Bremen and the Marienkirche, Lubeck, we find Prinzi- 
 PALS of both 8 ft. and 16 ft. pitch in the chief manual division 
 (Hauptwerk), while the foundation unison in the Pedal Organ is 
 labeled Prinzipalbass, 16 ft. German organ-builders have applied 
 the term Prinzipal alike to the organ-toned foundation stops of 
 32 ft., 16 ft., 8 ft., and 4 ft. pitch. 
 
 English organ-builders have from old times continued to apply 
 the term Principal to the open metal stop, of large scale, and 4 ft. 
 pitch, which is the true Octave of the Diapason, 8 ft. The term, 
 so applied, is both illogical and undesirable. See Octave. 
 
 PRINZIPALDISKANT, DISKANTPRINZIPAL, Ger.— 
 A Principal or Diapason, 8 ft., of large scale and short compass, 
 which extends throughout the treble octaves of the manual compass, 
 
 * " Le Prestant, c'est la suite de la Montre, dont il a toutes les proportions. Nous avons vu 
 qu'en AUemagne.le prestant allait du seize-pieds au quatre-pieds: en France, le prestant a tou- 
 joursquatre-pieds k son plus grand tuyau, tellement que souvent les facteurs ne I'appellent que 
 le quatre-pieds. Et lorsq'ils disent tout court aussi le huit-pieds, ils ne d^signent pourtant pas 
 I'octave du prestant, c'est-2l-dire la montre de huit, mais bien une flfite qu'on adjoint k la montre 
 et qui, au besoin, la suppl6e k I'interieur de I'orgue, quand on n'a pas le moyend'avoird'autre 
 montre qu'un prestant. Faisant srite cl la montre, le prestant est done, comme elle, ouvert, de 
 moyenne taille, et construit en 6tatn fin. Son harmonie, en rapport avec cette taille £lanc£e 
 et ce m^tal de choix, est fine et brillante; elle donne un tel 6clat, un tel tranchant aux fonds de 
 taille ordinaire et de grosse taille, que son adjonction ou son silence se font vivement sentir. Le 
 prestant parle rarement seul ; mari^ aux flutes de quatre, il prend un corps dont il n'a que 
 I'ombre dans risolement , et devient une finite 6clatante si les timbres sont bien d'accord. Li^aux 
 huit-pieds, il leur donne du brillant; il ne supporte la grave adjonction des seize-pieds que 
 moyennantcelledeshuit, qui serventde transition. . . . Quelques facteurs intitulent prestant 
 le quatre-pieds dela p£dale;ce n'est qu'une fl&te de grosse taille en 6toffe, qui domine ses deux 
 compagnes ordinaires, flutes de huit et de seize, surtout quand ces fl<ites sont en bois, et 
 m€me bouchies. " — Regnier. 
 
THEIR ARTISTIC REGISTRATION 215 
 
 or from middle c' to the top note. The stop has very rarely been 
 carried to tenor C. This short stop was considered of considerable 
 value by the old German organ-builders, on account of its power of 
 reinforcing the weaker octaves of the unison foundation-work. This 
 weakness was so forcibly realized by Christian MuUer, that he in- 
 serted two pipes to each note in the treble of several of the more 
 important stops in his noble Organ in the Cathedral of Haarlem. 
 This matter might, with advantage, receive serious consideration 
 at the present time; for the natural weakness of the treble in the 
 Organ still remains one of its tonal short-comings.* 
 
 PRINZIPALFLOTE, Ger.— a powerfully-toned, open metal, 
 labial stop, of large scale, and 8 ft. and 4 ft. pitch; the voice of which 
 is a compromise between pure organ-tone and flute-tone. It has 
 been introduced as a Solo stop; as, by Walcker, in the Organ in St. 
 Peterskirche, Frankfurt. Such a stop, of unison pitch, would be 
 valuable as a timbre-creator; and might, with advantage, take the 
 place of a Diapason, 8 ft., when several are introduced. It would 
 form an admirable foundation stop in the wood-wind division of the 
 true Concert-room Organ. 
 
 PROGRESSIO harmonica.— a compound harmonic-cor- 
 roborating and treble-enriching stop, the ranks of which have no 
 breaks, but increase in number as the stop progresses upward 
 through the manual compass. According to Seidel the stop was 
 invented by Musikdirektor Wilke, of Neu-Ruppin, and recom- 
 mended by him especially for small Organs. The stop, as originally 
 devised, begins at CC with two ranks of 1% ft. and i ft. pitch, and 
 at tenor C a third rank of 2 ft. pitch is added. Seidel adds: "The 
 scale of the stop is between those of the Prinzipal and the Cornett. 
 The intonation is strong and the effect very fine. The tone of the 
 Organ becomes by this stop distinct, full, and bright." The Pro- 
 GRESSio Harmonica in the Brustwerk of the Organ in the Cathedral 
 of Merseburg, in Saxony, built by Ladegast in 1855, commences with 
 two ranks in the bass and finishes with four ranks in the treble. A 
 similar stop exists on the Third Manual of his Organ in the Cathedral 
 of Schwerin. The stop in the Unterwerk of the Organ in St. Peters- 
 kirche, Berlin, commences with three ranks and finishes with five 
 ranks in the treble. 
 
 To any one who has given serious consideration to the subject 
 of compound-tone production in the Organ, the advantages attend- 
 
 * See " Weakness and Augmentation of the Treble," Chap. XV., Vol. II., pp. l-l2,of "The 
 Art of Organ-Building." 
 
2i6 ORGAN-STOPS 
 
 ing the introduction of stops of the Progressio Harmonica class 
 must be obvious and deserving of careful study. The inventor of 
 the stop was also the inventor of the Compensationsmixtur {q. v.), 
 applied to the Pedal Organ, in which the opposite treatment is 
 adopted; the purpose being to impart distinctness and richness to 
 the lower and somewhat indeterminate notes of that grave depart- 
 ment. 
 
 PYRAMIDFLOTE, Ger.— Eng., Pyramidal Flute.— A wood 
 stop, of 8 ft. pitch, the pipes of which are square and, as the name 
 implies, are smaller at the top than at the mouth line. The tone 
 differs in stops made by different organ-builders, but in the best 
 examples it is light and clear, resembling a combination of the tones 
 of the Melodia and the Gemshorn. A good example exists in the 
 Unterwerk of the Organ in the Church of SB. Peter and Paul, Lieg- 
 nitz, in Silesia, built by Buckow in 1 839. A stop of this class is more 
 suitable for a Chamber Organ than for either a Church or a Concert- 
 room Organ : its tone is refined but without marked individuality. 
 
 PYRAMIDON. — The name given to an open wood stop, of 16 
 ft. pitch, the pipes of which were of inverted pyramidal form and 
 remarkable proportions. It was invented by the Rev. Sir Frederick 
 A. Gore Ouseley, and made by Flight. The peculiarity of the stop, 
 which was applied to the Pedal Organ, lay chiefly in the form and 
 proportions of its pipes, which were covered, the CCC pipe measur- 
 ing 2 feet 3 inches square at top, 8 inches square at the mouth line, 
 and only 2 feet 6 inches speaking length. The 16 ft. tone produced 
 by this pipe resembled that of a Bourdon, but had nothing special 
 to recommend it. The chief interest of the stop lay in the acoustical 
 problem it presented: its disadvantages were several". It now takes 
 its place among the discarded curiosities of organ-building. 
 
 Q 
 
 QUARTE DE NASARD, Fr.— The term sometimes employed 
 by French organ-builders to designate the open metal stop, of 2 ft. 
 pitch, belonging to the 8 ft. harmonic series. It is practically iden- 
 tical with the English Fifteenth or Super-octave, 2 ft. It derives 
 its name from the fact that its pitch is at the interval of a fourth 
 above that of the Nasard, 2 ^ ft.* An example exists in the Positif 
 of the Organ in the Church of Saint-Remi, Amiens. 
 
 *"QuARTE, Jeudel'orgue. Quoiquece jeu soit ^I'unisson dela doublette onluiadonnfi 
 le nom de quarte, parce qu'en suivant la progression ascendante des jeux du cornet dont il est 
 
THEIR ARTISTIC REGISTRATION 217 
 
 QUERPLOTE, Ger.— The name, which is formed of the words 
 quer — cross or athwart — and Flote — Flute, has been frequently used 
 by German organ-builders to designate the stop which, in its voice, 
 imitates, as closely as practicable in organ-pipes, the tone of the 
 Flute of the orchestra. Under the heading Querflote, Quer- 
 PFEiFE, Seidel gives the following particulars: 
 
 "Querflote is a labial stop of a particularly fine tone, imitative 
 of that of the real Flute. Organ-builders, in their endeavor to make 
 this imitation as striking as possible, have essayed with this stop all 
 sorts of shapes and proportions. The pipes are usually made of oak, 
 pear-tree, or maple; and they are either cylindrical or quadrangular, 
 open or stopped. Some organ-builders make the pipes twice as long 
 as they usually appear, and overblow them so as to make them 
 sound the octave higher. Other organ-builders bore out the bodies 
 of the pipes, and provide them with mouths of an oval form, like the 
 embouchure of the real Flute. The Querflote made by Muller, of 
 Breslau, for his Organ in the Cathedral of his city, has oval mouths 
 in its pipes, against which the wind is directed sidewise, imitating the 
 method of blowing the real Flute. " 
 
 A Querflote, 8 ft., of the compass of the orchestral Flute, was 
 inserted in the Organ reconstructed by Engelbert Maas, in 1821, 
 for the Cathedral of Cologne. For further particulars see Flauto 
 Tra'verso and Orchestral Flute. 
 
 QUINT.— Fr. and Ger., Quinte. Ital. and Lat., Quinta.— 
 The stop, correctly termed, which speaks a fifth above the unison 
 pitch of the division of the Organ in which it is placed : it is, accord- 
 ingly, of 5 J/^ ft. pitch on the manuals, and 10% ft. pitch in the Pedal 
 Organ. The pipes forming the manual Quint are properly of open 
 metal, and of medium scale; while those of the Pedal Organ Quint, 
 though preferably of open metal, may be made of wood. Covered 
 pipes have been used, but they are not to be recommended ; they do 
 not satisfactorily fulfil the office for which they are intended. 
 
 Tone and Registration. — The Quint, 53^ ft., is a mutation or 
 harmonic-corroborating stop, belonging to the 16 ft. harmonic series, 
 and, as it is strictly a member of the foundation-work of the Organ, 
 its voice should be of pure organ-tone of medium strength, produced 
 by cylindrical metal pipes of the Diapason formation. Its presence 
 is not called for in any save the First or Great Organ, and only there 
 
 une des parties constituantes, il se trouve k la quarte au-dessus du nasard. Aussil'appelle-t-on 
 rdellement quarte de nasard, et ce n'est que par abr^viation qu'on dit simplement quarte." — 
 Hamel. 
 
2i8 ORGAN-STOPS 
 
 when a Double Diapason, i6 ft., is present. Under certain condi- 
 tions, however, it may be introduced in the division when no foun- 
 dation stop of labial character below 8 ft. pitch is present, for the 
 purpose of generating the differential i6 ft. tone, in combination 
 with the Diapason, 8 ft. In registration, the Quint, sJ^ ft., may 
 be effectively combined with any lingual stop of i6 ft. pitch, pro- 
 ducing beautiful compound tones, not possible of production with- 
 out it. Much, however, depends on the quality of the voice of the 
 stop and the pipes from which it is produced. To save, expense, 
 English organ-builders have commonly used covered pipes, inartis- 
 tically voiced, producing undesirable thick and dull effects in com- 
 bination. Better results are obtained by Continental btiilders, who 
 use open metal and wood pipes, cylindrical, quadrangular, conical, 
 and inverted conical in form; producing various tones, all of which 
 introduce colorings, and affect artistic registration. 
 
 The Quint, io^^ ft., should be introduced, in one form or 
 another, in every important Pedal Organ in which there is no stop 
 of 32 ft. pitch. The stop may be either of metal or wood, and either 
 open or covered — preferably open — according to the stop appor- 
 tionment of the department. In the Organ built by Schulze, in 
 1850, for the Cathedral of Bremen, there is a stop labeled Quinten- 
 BAss, 10% FT., and another labeled Grossquintenbass, 21 3^ ft. 
 The former is legitimate, corroborating the second upper partial 
 tone of the 32 ft. prime, and in combination with the Diapason, 
 16 ft., corroborating the 32 ft. tone; while the latter could have been 
 introduced solely with the view of generating the differential tone 
 of the 64 ft. pitch, just as it has been employed in other important 
 Organs. See Gravissima. 
 
 QUINTADENA. — Stops bearing this name have been intro- 
 duced in numerous Organs. The earliest instances of its introduc- 
 tion we have been able to find are those in the Organ in the New 
 Church, Amsterdam. It is an old instrument, enlarged in 1673 by 
 Duyshor van Goor, of Dordrecht. In the Great there is a Quinta- 
 DENA, 16 FT., and in both the Choir and Echo a Quintadena, 8 ft. 
 The stop seems to have been a favorite with the old Dutch organ- 
 builders. 
 
 The Quintadena is in all essentials similar to the covered stop 
 correctly designated Quintaten (g. v.), yielding a compound tone 
 in which the twelfth, or second upper partial tone, is present in a 
 pronounced degree along with the prime or fundamental tone. The 
 stop is formed of covered pipes of metal or wood: as a rule the metal 
 
THEIR ARTISTIC REGISTRATION 219 
 
 stop is to be preferred, if not too large a scale, and artistically voiced. 
 We find some variations of the prevailing name; namely, QuiN- 
 TADEN, QuiNTADENE, and QuiNTADEMA. Under the last name, the 
 stop exists in the Swell of the Organ in the Music Hall, Cincinnati. 
 It is formed of covered pipes of tin, of 8 ft. pitch. 
 
 QUINTATEN. — The name derived from the Latin words quin- 
 tam ienentes (holding the fifth), and properly applied to covered 
 stops which yield compound tones, in which the second upper 
 partial tone is almost as pronounced as the prime or ground tone. 
 Helmholtz correctly remarks : ' ' Narrow stopped pipes let the twelfth 
 be very distinctly heard at the same time with the prime tone; 
 and have hence been called Quintalen {quintam tenentes) ."* The 
 term Quitaten has comparatively seldom appeared in organ speci- 
 fications or stop-knobs, several corruptions having been substituted 
 according to the caprice of different organ-builders in different 
 countries. We give these corruptions so that they may be known 
 and avoided in the stop nomenclature of to-day: Quintaton, 
 
 QUINTATON, QUINTADEN, QUINTADON, QUINTADINER, QuiNTADENE, 
 
 and Quintgeton. 
 
 The QuiNTATEN is formed of covered pipes of metal and wood, 
 and of 16 ft., 8 ft., and 4 ft. pitch : all are very valuable in their re- 
 spective places; and collectively they form a remarkable family, the 
 importance of which has been altogether overlooked by organ de- 
 signers; in this direction it is on an equality with the Lieblich- 
 GEDECKT family. 
 
 Tone and Registration. — The compound tone of the Quin- 
 TATEN, when produced from pipes correctly scaled, and artistically 
 voiced on wind of proper pressure, is extremely valuable in combina- 
 tion and artistic registration. As before stated, the tone yielded by 
 a QuiNTATEN pipe is a compound of the prime and its second upper 
 partial tone, — the first harmonic produced by a covered pipe, — 
 and it is from this acoustical phenomenon that the stop derives its 
 special value, enabling the Octave-quint or Twelfth to be introduced 
 in registration in a degree of softness and refinement impossible to 
 be imparted by an independent fifth- sounding stop. The relative 
 strength of the Twelfth varies in different stops. In some it is sub- 
 dued, while in others it is almost as prominent as the prime tone. 
 In a really fine Quintaten, 8 ft., the prime tone should be firmly 
 
 *" On the Sensations of Tone," by Hermann L. F. Helmholtz, M.D. Translated by A. J. 
 Ellis, B.A., 1875. 
 
220 ORGAN-STOPS 
 
 established as the pitch of the stop; but as regards the relative 
 strength of the upper partial, much will depend on the general stop 
 apportionment in which the Quintaten is inserted : it should, how- 
 ever, in all cases be distinctly pronounced, otherwise the stop will 
 lose much of its value. 
 
 An artistically voiced Quintaten forms an effective solo stop, 
 notwithstanding the argument advanced against its use on account 
 of the production of consecutive fifths. But this objection is of no 
 real value, for it must be recognized that the natural fifths, produced 
 as harmonic upper partial tones, have a widely different tonal effect 
 from the independent consecutive fifths condemned in musical 
 theory and composition. The fifth-sounding stops and ranks in 
 compound stops, introduced in the Organ as harmonic-corroborators 
 if properly apportioned and scientifically graduated in strength of 
 tone, produce no objectionable tonal effects: on the contrary, they 
 are demanded in the tonal structure of the Organ, and are abso- 
 lutely necessary for the creation of many desirable qualities of com- 
 pound tone; and, accordingly, have very important offices in artistic 
 registration. 
 
 The Quintaten, i6 ft., although by no means so valuable in 
 manual divisions as the unison stop, is greatly to be preferred to a 
 Bourdon, i6 ft., of the ordinary class. Its subordinate upper 
 partial, sufficiently representing the 5}/^ ft. tone, gives great fulness 
 and richness to all combinations in which the stop is introduced. 
 The stop imparts great solidity and dignity to the tones of lingual 
 stops of 16 ft. pitch. Voiced with the harmonic-bridge, the Quin- 
 taten, 16 FT., can be made an imitative Double Bass suitable for 
 a small Organ. 
 
 The Quintaten, 4 ft., is comparatively of little value unless in 
 association with the 16 ft. and 8 ft. stops — completing the family: 
 but certain organ-builders have introduced it as the only octave stop 
 in a manual division, rendering a Twelfth, 2% ft., unnecessary, 
 but the presence of a Super-octave, 2 ft., is imperative to cover the 
 prominent upper partial of the Quintaten. 
 
 QUINTENBASS, Ger.— The name used by German organ- 
 builders to designate the mutation or harmonic-corroborating stop, 
 of 10% ft., pitch belonging to the 32 ft. harmonic series, and prop- 
 erly introduced in the Pedal Organ along with the Double Diapa- 
 son, 32 ft. ; or, in the absence of that important stop, with the view 
 of producing in combination with the Diapason, 16 ft., the differen- 
 tial tone of 32 ft. pitch, sometimes designated "acoustic bass." The 
 
THEIR ARTISTIC REGISTRATION 221 
 
 stop has been made of wood and metal, and of both open and covered 
 pipes; but open pipes are to be desired in all cases. An example of 
 the stop exists in the Pedal of the Organ in the Cathedral of Bremen; 
 another, under the name Quintbass, exists in the Pedal of the Organ 
 in the Cathedral of Riga; and one labeled Major-Quinte, 10% ft., 
 is inserted in the Pedal of the Organ in the Marienkirche, Liibeck. 
 Under the name Grossquintenbass, 2iJ^ ft., a stop exists in the 
 Pedal of the Organ in the Cathedral of Bremen. See Quint. 
 
 QUINT FLUTE.— Ger., Quintflote.— An unimitative flute- 
 toned stop of 5^^ ft. and 2% ft. pitch. Examples of the Quint- 
 flote, sJ/^ ft., exist on the Second Manuals of the Walcker Organs 
 in the Cathedral of Ulm and St. Paulskirche, Frankfurt a. M. A 
 Quintflote, 2% ft., is inserted in the Choir of the Organ in the 
 Music Hall, Cincinnati. This stop is of open metal pipes, yielding a 
 flute-tone which combines well, as a harmonic-corroborator and 
 timbre-creator, with the unison and octave flute-work of the divison. 
 
 A compound Quint Flute, 8 ft., has recently been introduced 
 by Mr. George W. Till, of Philadelphia, Pa., and inserted in the so- 
 called Etherial Organ of the large Concert instrument in the Wana- 
 maker Store, in Philadelphia. So far as our knowledge extends, this 
 is the most noteworthy dual stop of 8 ft. pitch ever constructed; and 
 one that could only be inserted, under favorable conditions, in 
 Concert-room Organs of the first magnitude. Its compound voice 
 is of considerable grandeur, its tonality surpassing in depth and 
 richness of color that of any other flute-toned stop known to have 
 been produced up to the present time (1920). 
 
 The principal rank is a Clear Flute, 8 ft. , formed of open wood 
 pipes from CC to C, to which are added twelve open metal pipes for 
 octave coupling. The scale is large, the CC pipe measuring, inter- 
 nally, 8 inches in width by loH inches in depth. The subordinate 
 rank is a Quint, sJ^ ft., formed of covered wood pipes from CC to 
 f#2 — 43 notes, and open metal pipes from g" to c' — 30 notes, all 
 yielding a normal tone. The stop speaks on wind of 25 inches 
 pressure.* 
 
 QUINTVIOLE. — The name given by Zollner to a string-toned 
 stop, of 8 ft. pitch, introduced by him in the Organ of the Stadt- 
 kirche, Wittenberg.f 
 
 * Full particulars of formation and scales of this Quint Flute are given in our work, " The 
 Organ of the Twentieth Century," pp. 102-4. 
 
 t"QuiNTVIOLE 8' ist eine Stimme. welche im Hauptwerke der Jahre 18 14 vom Orgelbau- 
 meister Zollner aus Hubertusburg erbauten Orgel der Stadtkirche zu Wittenberg steht. Die 
 
222 ORGAN-STOPS 
 
 R 
 
 RANKET, RACKET.— An old and now obsolete lingual stop, 
 of i6 ft. and 8 ft. pitch, the resonators of which were short, and 
 closed with exception of a few small perforations near their lower 
 ends, necessarj^ for the egress of wind and sound, after the fashion of 
 certain Regals. Under such treatment, the tone was necessarily 
 mufBed and probably humming or buzzing in character. When the 
 stop was first introduced is not known ; but Praetorius, in his ' ' Theat- 
 rum Instrumentorum seu Sciagraphia" (1618), mentions it along 
 with other lingual stops of a similar character. See Regal. 
 
 RAUSCHFLOTE, RAUSCHPFEIFE, Ger.— Literally, Rustling 
 Flute. A dual stop commonly formed, according to Wolfram (1815), 
 of two ranks of open metal pipes, of 2 ft. and ij^ ft. pitch, respec- 
 tively. A Rauschpfeife of three ranks, — probably 2^ ft., 2 ft., 
 and I J^ ft. , — was inserted in the Brustwerk of the Organ built by 
 Hildebrand, in 1762, for St. Michaeliskirche, Hamburg. The name 
 seems to have disappeared from German stop nomenclature now in 
 use. 
 
 RAUSCHQUINTE, Ger.— Literally, Rustling Quint. The stop 
 found in German Organs, usually formed of two ranks of open metal 
 pipes, of 2% ft. and 2 ft. pitch respectively, standing at the interval 
 of a fourth apart. An example exists in the Hauptwerk of the Organ 
 in the Church of St. Mary Magdalen, Breslau. The Rauschquinte 
 of high pitch consists of two ranks, of 1 3^ ft. and i ft. pitch respec- 
 tively, as in the stop in the Hauptwerk of the Organ in the Christ 
 Church, Hirschberg. As the interval between the pitches of the 
 ranks of the Rauschquinte is a fourth, the name Quarte, or 
 Quarta, has been given it by old German organ-builders. 
 
 While the value of such a dual stop in harmonic-corroboration is 
 unquestionable; yet, in its usual tonality, its ranks would be still 
 more useful as separate stops. Dual stops are only really desirable 
 when they are so formed as to produce new compound tones of ex- 
 ceptional beauty and value; which could not be created, under 
 ordinary conditions, by the combination of stops of the usual or 
 standard tonalities. Dual stop formation opens up a field for in- 
 vention and skill, only just touched by the plow of the artistic pipe- 
 maker and voicer. 
 
 Eigenschaften dieses Registers sind dem Verf. nicht bekannt; — soil es vielleicht eine Quintaton 
 die eine, der Viola ahnliche Intonation hat, sein? " — Seidel-Kothe. 
 
THEIR ARTISTIC REGISTRATION 223 
 
 RECORDER. — A rare term in old organ-stop nomenclature, 
 but one not difficult to understand and account for. The employ- 
 ment of the term by the early English organ-builders is shown in the 
 following extracts: In an Agreement entered into by John Loose- 
 more, in 1665, for the building of a Chamber Organ, we find, among 
 the wood stops, "One Recorde" specified. And in the "Articles of 
 Agreement" between the Dean and Chapter of York Cathedral and 
 Robert Dallam, organ-builder, of London, in 1632, for an Organ to 
 be erected in the cathedral, we find specified for the Great Organ: 
 "Itmone Recorder unison to the said Principall. vi li. "; and for the 
 Chaire Organ: "Itm one Recorder of tynn, unison with the voice, 
 viij li. Accordingly, these stops were respectively of 4 ft. and 8 ft. 
 pitch. The instrument called Recorder was in all essentials similar 
 to the Flfite Douce, belonging to the Whistle Flute or FKate k Bee 
 family. It is therefore very probable that the old organ Recorder 
 was simply a flute-toned stop, imitating the voice of the old instru- 
 ment. 
 
 REGAL, Ger. — Fr., Regale. Ital., Regale. — The generic 
 name for a large family of ancient lingual stops, which in their 
 original forms have long ceased to be used in the stop appointments 
 of Organs. The name, however, still lingers in some old German 
 Organs, as in those in certain Lubeck churches. A Regal, 8 ft., 
 occupies a place in the Choir of the great Haarlem Organ; and there 
 are in the Choir of the Organ in the Church of St. Dominick, Prague, 
 a Regal, 8 ft., and a Jungfernregal, 16 ft. 
 
 The term "Regal" was originally used to designate a portable 
 reed organ, or "Portative," used in court ceremonies; from which 
 fact it is understood to have derived its name. Subsequently the 
 term was extended to certain lingual stops, introduced in large 
 Organs, or "Positives," which in their voices more or less closely 
 resembled those of stops in the earlier Regal. Widely different 
 names have been employed to designate the various Regal stops; 
 some of which refer directly to the character of the tones they pro- 
 duce, while others refer to the peculiar forms of the resonators used. 
 
 The old organ-builders certainly exercised their inventive powers 
 and fancy in devising curious shapes for the resonators of their 
 lingual pipes termed Regals. In the accompanying illustration, 
 Fig. 30, are given the forms of Regal pipes which have been pre- 
 served on the pages of old treatises. No. i is the Sordunregal, 
 having a capped resonator pierced with four holes for the emission 
 of sound. As the name implies, its tone was very subdued. No. 2 
 
224 
 
 ORGAN-STOPS 
 
 is the Knopfregal, deriving its name from its pear-shaped head, 
 cut after the fashion of a sleigh-bell. No. 3 is the Apfelregal, 
 deriving its name from the form of its head, which is spherical and 
 pierced with niunerous small holes for the emission of sound. No. 4 
 is the Krummhornregal, the tone of which is said to have re- 
 sembled that of the old Krummhorn (see Cromorne). No. 5 is 
 the ScHALMEi, a stop of the Regal family, the tone of which imi- 
 tated that of the old instrument called Schalmei or Shawm. Other 
 forms have been given to the pipes of the Schalmei (see Chalu- 
 MEAu). No. 6 is the Barpfeife, also a stop of the Regal family, 
 which yielded a low growling tone (See Barpfeife). No. 7 is the 
 Messingregal, the tone of which had a brazen clang, probably re- 
 sembling that of a Trumpet. No. 8 is the Ranket, the resonator 
 
 Sr 
 
 Ut ^ ^ 
 
 Fig. 30 
 
 of which is cylindrical, furnished with a tuning stopper, and pierced, 
 in the neighborhood of the reed, with sound-holes (see Ranket).. 
 Fig. 9 is a Regal which received the name Jeu Srard, after its 
 inventor (see Jeu Erard). Other Regals have been introduced in 
 old Organs, of which the following are the names and probable 
 tonalities: Cymbelregal, the tone of which was singularly bright 
 and ringing. Gedampftregal, the tone of which was subdued or 
 muffled. Geigenregal, the tone of which somewhat resembled 
 that of the Geige or Violin. Harfenregal, the tones of which bore 
 the character of the sounds of roughly-plucked harp strings. Jung- 
 fernregal, the tones of which were of so refined a character as to 
 resemble, to some degree, the youthful female voice — "La Voix ou 
 Regale virginale." Kalberregal, the voice of which was of a soft 
 and lowing character, like that of a calf (Kalb). Kleinregal, ai 
 octave or 4 ft. lingual stop of soft intonation. Scharfregal, yield- 
 ing a keen and cutting tone. Singendregal, the voice of which 
 was of a singing tonality. Subtilregal, the tone of which was sub- 
 dued in character. Trichterregal, which derived its name from 
 
THEIR ARTISTIC REGISTRATION 225 
 
 its funnelshaped resonators, probably yielded a bright horn-like 
 tone. The term Regal has now entirely disappeared from organ- 
 stop nomenclature. 
 
 REGULA MINIMA, Lat. — The usual open metal Superoctave 
 or Fifteenth, 2 ft., belonging to the foundation-work, and corrob- 
 orating the third upper partial tone of the foundation unison or 
 prime 8 ft. tone. Yielding pure organ-tone. See Fifteenth. 
 
 REGULA MINOR, Lat.— The ordinary open metal Octave, 
 4 FT., yielding pure organ-tone; belonging to the foundation- work, 
 and corroborating the first upper partial tone of the prime 8 ft. tone 
 yielded by the Principal or Diapason, 8 ft. See Octave. 
 
 REGULA MIXTA, Lat. — A compound harmonic-corroborating 
 stop formed of several ranks of high-pitched pipes. See Mixture. 
 
 REGULA PRIMARIA, Lat. — ^An open metal stop, of full scale, 
 and unison pitch, yielding pure organ-tone. It forms the founda- 
 tion of the tonal structure of the manual department of the Organ, 
 being identical with the Principal or Diapason, 8 ft. 
 
 REIM, Ger. — The name given to a lingual stop, of 16 ft. pitch, 
 the voice of which is of medium strength and good mixing quality. 
 An example is to be found in the Pedal of the Organ in the Cathedral 
 of Bremen, constructed by Schulze, the celebrated organ-builder, of 
 Paulinzelle. 
 
 Lingual stops of comparatively soft intonation have been greatly 
 neglected by organ-builders and organ-designers in the stop appor- 
 tionment of modern Pedal Organs; yet the value of a unison lingual 
 stop, that could be used alone or in combination with such stops 
 as the Lieblichgedeckt or Dulciana, 16 ft., could not well be 
 overrated. 
 
 REINFORZA A LIGNE, Ital.— A stop, of 16 ft. pitch, formed 
 of free-reeds without the addition of resonant tubes, resembling in 
 this respect the Physharmonika in the Organ in the Cathedral of 
 Lucerne. Italian organ-builders have introduced the Reinforza 
 A LiGNE only in cases where space was too limited for the accom- 
 inodation of a proper lingual stop of 16 ft. pitch. An example ex- 
 ists in the largest Organ in the Basilica of St. Peter, Rome. See 
 Physharmonika. 
 
 RIPIENFLOTE, FULLFLOTE, Ger.— a stop, of 8 ft. pitch, 
 yielding an unimitative flute-tone, of considerable volume without 
 
 33 
 
226 ORGAN-STOPS 
 
 being unduly assertive or penetrating, used for filling up or imparting 
 firmness and body to combinations of unison or foimdation tone in a 
 manual division, chiefly in the Hauptwerk or Great Organ. The 
 term might be applied, with propriety, to such stops as the Clara- 
 BELLA or Offeneflote ; also to the Doppelflote, which possesses 
 remarkable filling-up properties in all combinations in which it is 
 introduced. 
 
 Registration. — Stops of the Ripienflote tonality are of great 
 importance in artistic registration; forming backgrounds for the 
 production of numerous tonal colorings which otherwise might lack 
 firmness or richness; as is notably the case with lingual stops of thin 
 quality and medium tone. 
 
 RIPIENO, Ital. — The name used by Italian organ-builders to 
 designate a Mixture. As the term Ripieno signifies filling-up, it is 
 appropriately applied to a compound harmonic-corroborating stop 
 of the Organ. Mixtures of two, three, four, and five ranks are re- 
 spectively labeled Ripieno di due, Ripieno di Tre, Ripieno di 
 Quattro, and Ripieno di Cinque. 
 
 ROHRBORDUN, Ger.— The name that has been given to a full- 
 scale labial stop, of i6 ft. pitch, the lower octaves of which are 
 formed of covered pipes, and the higher octaves of half-covered 
 Rohrflote pipes of large scale. The stop is properly made of wood 
 throughout, but the two higher octaves are occasionally made of 
 metal, capped and tubed, or fitted with perforated wooden stoppers. 
 
 ROHRFLOTE, ROHRSCHELLE, Ger.— Dtch., Roerfluit. 
 Fr., Flute a Cheminee. — The names given to a half-covered stop 
 of metal or wood, or partly of both, usually of 8 ft. and 4 ft. pitch. 
 When as a Pedal Organ stop of 16 ft. pitch, it is appropriately named 
 Rohrflotenbass. Other names are employed by German organ- 
 builders to designate certain members of the Rohrflote family.* 
 The stops of both 8 ft. and 4 ft. pitch have been held in high estima- 
 tion — and justly so — by all the great German organ-builders. It is 
 
 * ' ' RohrflOte ist ein sehr angenehmes und wohl anwendbares Flotenwerk von Zmn, Metall 
 und Holz, welches zwar gedeckt ist, aber in dem Hut oder Decibel eine Rohre hat, wodUj][;ch der 
 Klangheller wird als bei gewohnlichen Gedaeckten. Die Pfeif en warden der besseren Intonation 
 wegen mit Seitenund Querbarten versehen und haben weitere Mensur als die Quintaton. Die 
 Rohrflote kommt zu i6, 8, 4, 2 und i Fusston (mit letzterer Grdsse unter dem Namen Rohr- 
 schelle) sowohlim Manual als Pedal vor. Im Pedal heisst sie Rohrflotenbass. Als Quintregister 
 trifft man diese Stimme zu 10 H. 5 ^ und I ^ Fusston an, wo sie Rohrflautquinte oder Rohr- 
 quinte genannt wird. Es giebt Rohrfloten, welche nach Art der Doppelflote mit doppelten 
 Labien versehen sind und daher noch einen helleren Klang als die gewohnlichen Rohrfloten 
 haben, diese heissen Doppelrohrfloten. Die Namen : Gross-, Klein-, und Superflote sind Benen- 
 nungen, welche die Grosse des Registers naher bezeichnen. " — Seidel-Kothe. 
 
THEIR ARTISTIC REGISTRATION 
 
 227 
 
 usual to find the Rohrflote, in one form or another, inserted in 
 their Organs of any pretensions. Of 8 ft. pitch, it is inserted on the 
 Second Manual and, of 4 ft. pitch, on the First Manual of the Organ 
 in the Cathedral of Riga; and it appears, of 8 ft. pitch, on the First 
 Manual of the Organ in the Cathedral of Vienna. Of 8 ft. pitch, and 
 made of tin, it is inserted in the second division of the Second Man- 
 ual of the Organ in Schwerin Ca- 
 thedral. It exists, of 8 ft. pitch, in 
 the Great and, of 4 ft. pitch, in the 
 Swell of the Organ in the Centen- 
 nial Hall, Sydney, N. S. W. It is 
 remarkable that this beautiful and 
 valuable stop should have been, 
 and still is, so systematically neg- 
 lected by French, English, and 
 American organ-builders. It calls 
 for too much labor and skill in its 
 formation we suppose. 
 
 Formation. — Rohrflote pipes are 
 made of both wood and metal, the latter 
 being preferred. The wood pipes are 
 quadrangular in form, the only radical 
 difference between them and the pipes 
 of the wood Gedeckt or Bourdon lying 
 in the longitudinal perforation of their 
 stoppers. The distinctive feature of the 
 metal Rohrflote pipe is its peculiar cap, 
 to which is attached an open tube com- 
 mimicating directly with the interior of 
 the pipe and prolonging its air-column, 
 in the manner shown at A, Section 2, in 
 the accompanying illustration, Fig. 31. 
 As the relative diameter and length of 
 the tube, or so-called chimney, in propor- 
 tion to the scale and length of the body 
 of the pipe, affect the tone in a marked 
 manner, its dimensions vary considerably 
 in examples made by different builders.* 
 
 The internal diameter of the tube varies in ordinary examples from one-sixth to 
 one-third of the internal diameter of the body, while its length varies from one- 
 
 FiG. 31 
 
 * " De tous les bourdons m^talliques, il est facile de faire une Rohrfiate en percant la calotte 
 et y dressant une chemin^e du calibre trac6 par le trou qu'on vient d'y faire. ' Ella doit Stre, 'dit 
 Dom Bedos, ' d'autant plus haute qu'on la fait grosse ; et plus elle est menue, plus elle doit 6trc 
 courte.' II est juste, en effet, de proportionner la taille ^ la hauteur. ' Les plus grosses, ajoute-t- 
 il, ont la moiti6 du diametre du corps de tuyau. En ce cas, elles doivent etre presque aussi hautes 
 
228 ORGAN-STOPS 
 
 fourth to one-half the speaking length of the body of the pipe. In the fine illus- 
 tration given by Dom Bedos, the tube is exactly one-third the diameter and one- 
 half the length of the body of the pipe. In all cases, the changes in the proportions 
 of the tube not only afEect the pitch but also the quality of the tone produced, due 
 to the creation of certain inharmonic upper partial tones. The acoustical problem 
 involved is somewhat obscure, and is complicated by the strange fact that the 
 tone of the pipe is in no way affected by the tube being turned downward into the 
 body of the pipe, in the manner indicated at B, in Section 3, Fig. 31. The central 
 drawing, i , shows the complete pipe and the most approved form of mouth. The 
 rough tuning is done by moving the cap, and the fine tuning is done by bending 
 the large flexible ears to or from the mouth. In a Rohrflote, 8 ft., it is neither 
 usual nor necessary to carry the pipes with tubed caps below tenor C. The bass 
 octave may be formed of covered pipes of wood or metal, preferably the latter. 
 Large scales have been adopted by both German and French builders, but it is 
 questionable if they are desirable in modem Organs. A scale, in the ratio i : 2.66, 
 giving the tenor C pipe an internal diameter of 2.62 inches, would be generally 
 suitable. 
 
 Tone and Registration. — The exact tone of a fine Rohrflote 
 is difficult to describe. It is an unimitative flute-tone of a liquid, 
 bright, and singing quality, created by the presence of a special 
 combination of harmonic upper partials. Professor Helmholtz 
 treats of the question very slightly. He only remarks: "Narrow 
 stopped pipes let the Twelfth be very distinctly heard at the same 
 time with the prime tone, and have hence been called Quintaten 
 {quintam tenentes). When these pipes are strongly blown, they also 
 give the fifth partial [fourth upper partial], or higher major Third, 
 very distinctly. Another variety of quality is produced by the 
 Rohrflote, here a tube, open at both ends, is inserted in the cover 
 of a stopped pipe, and in the examples I examined its length was 
 that of an open pipe giving the fifth partial tone of the stopped pipe. 
 The fifth partial tone is thus proportionately stronger than the 
 rather weak third partial on these pipes, and the quality of tone 
 becomes peculiarly bright." This is doubtless correct so far as it 
 goes, but it does not go far enough to account for the refined and 
 beautiful tones of certain Rohrflotes, voiced on winds of low 
 pressures. 
 
 The peculiar liquid and singing quality of the properly propor- 
 tioned and artistically voiced Rohrflote, 8 ft., renders it highly 
 suitable for insertion in the chief accompanimental division of the 
 
 quele corps deleurstuyaux.* Les plus petites ontle quart et mfime le demi-quart du diaxnetre. 
 Letimbiedonc tient ^ la f ois du tuyau ouvert et dubourdon;inaisil tient d'autantplusdu tuyau 
 ouvert, que la chemin6e est plus grande et grosse; et d'autant plus du bourdon, que la chemin^e 
 est plus mince et basse. La douceur des Rohrfiaten est toujours m^lang^e de finesse, et c'est avec 
 raison que souvent les facteurs les pr^ferent aux bourdons dans une grande masse de foods de 
 grosse taille, parce qu'elles en relevent la rondeur. " — Regnier. 
 
THEIR ARTISTIC REGISTRATION 229 
 
 Church Organ. There it would be associated with stops of a simi- 
 larly refined character, and would lend itself to highly effective 
 combinations. As, tonally, it stands midway between covered and 
 open unimitative flute-tones, its medium voice, combining body and 
 brightness, is invaluable in artistic registration, especially with such 
 lingual stops as the Oboe, Clarinet, Fagotto, and Vox Humana. 
 
 ROHRFLOTENQUINTE, Ger.— The name given to the Rohr- 
 FLOTE of 53^ ft. pitch, an example of which exists on the First Man- 
 ual of the Organ in St. Nicolaikirche, Leipzig, built by Ladegast 
 in 1862. 
 
 ROHRQUINTE, Ger.— The name commonly employed by 
 German organ-builders to designate the half-covered stop, of 2% 
 ft. pitch, belonging to the Rohrflote family. The stop does not 
 appear a common one in German Organs, but it exists on both the 
 Second and Third Manuals of the Organ in St. Nicolaikirche, Leip- 
 zig. A Rohrquinte, sH ft. , is inserted in the second division of the 
 First Manual of the Organ in the Cathedral of Schwerin. The name 
 Rohrnasat has been given to the stop of 2% ft. pitch. 
 
 SACKBUT, SAKBUT.— The original wind instrument of this 
 name was a species of Trombone in use during the Middle Ages : and 
 the name was applied by Hill, of London, to a lingual stop, of 32 ft. 
 pitch, inserted by him in the Pedal of the Organ he erected in York 
 Cathedral in 1833. This was the first lingual stop of that grave 
 pitch introduced in an English Organ; and it remained in use until 
 removed by Walker, when he reconstructed the Organ in 1903, and 
 inserted, in its stead, the combined Contra-Trombone and Trom- 
 bone in the north aisle Pedal Organ. 
 
 SADT. — In the "Schedule," prepared by Bernard Smith for the 
 stop-appointment of the Organ he built for Temple Church, London, 
 dated 1688, we find in the Choir list the following: "A Sadt of 
 mettle — 61 pipes — 06 foote tone." This is the only instance of the 
 use of the term we have been able to find. While the exact nature 
 and tonality of the stop are not known, it is believed to have re- 
 sembled the stop now named Gemshorn. The meaning of the term 
 has not been determined. 
 
 SALAMINE. — This is one of the fancy names that organ- 
 builders have introduced for reasons only known to themselves. It 
 
230 ORGAN-STOPS 
 
 is always desirable that a stop name should have some meaning, and 
 should convey either some idea of the tone or the characteristic' 
 form of the pipes forming the stop. The present name is meaning- 
 less from a constructional or a musical point of view. Meyer, organ- 
 builder, of Hanover, gave the name to certain stops he inserted in 
 Organs he constructed for churches in that city. The name was 
 also used by Foster & Andrews, of Hull, in an Organ they built for 
 the Church of All Souls, Halifax. The Salamine in this Organ (now 
 removed) is stated to have been of 8 ft. pitch, formed of small-scale, 
 open metal pipes, yielding a delicate tone slightly inclining to stringi- 
 ness. This would point to a stop that would have been more ex- 
 pressively labeled Echo Salicional. Meaningless stop-names 
 should be condemned by every organ-lover. 
 
 SALICETBASS, Ger. — The name given by Ladegast to an open 
 wood stop, of i6 ft. pitch, inserted in the Piano-Pedal of his Organ 
 in the Cathedral of Schwerin. The stop is of small scale, constructed 
 of pine, and voiced to carry down the tone of the Salicional, 8 ft., 
 on the Third Manual. The value of a soft Pedal stop of this tonality 
 is unquestionable. 
 
 SALICIONAL, SALICET.— The names given to open labial 
 stops formed of cylindrical metal pipes of medium or small scales, 
 belonging to the Viol family. The stops are frequently introduced 
 in German, French, English, and American Organs ; usually of 8 ft. 
 pitch, but other pitches are occasionally adopted/chiefly by Ger- 
 man builders. Seidel says the Salicional is "on the Manuals of 
 four, eight, or sixteen feet pitch ; and in the Pedal Organ, of eight or 
 sixteen feet pitch, called Salicetbass." A Salicional, 8 ft., is 
 inserted on the First Manual, and one, of i6 ft., on the Second Man- 
 ual, of the Walcker Organ in the Cathedral of Vienna. In the Organ 
 in the Cathedral of Riga, Salicionals, of i6 ft. and 8 ft. are placed 
 on the Third Manual; a Salicet, 4 ft., is inserted on the Second 
 Manual; and a Salicet, 2 ft., is placed on the Fourth Manual. 
 The last stop is very rarely introduced. In French Organs, only the 
 Salicional, 8 ft., seems to have been introduced; and it is usually 
 inserted in the Positif, as in the Organ in the Cathedral of Notre- 
 Dame. It appears, however, in the Bombarde of the Organ in the 
 Church of St. Eustache; and in the Grand-Orgue of the instrument 
 in the Madeleine, Paris. In English and American Orgaihs, the 
 Salicional, 8 ft., occupies its usual place in the Swell; but it cannot 
 be said to be held in the estimation it deserves, for it is, by no means 
 of general introduction. The omission of so valuable a stop from 
 
THEIR ARTISTIC REGISTRATION 231 
 
 the tonal appointment of several very important Organs shows little 
 thought on the part of their designers. There is no Salicional, 
 8 FT., in the Organ in St. George's Hall, Liverpool, nor in one of the 
 most important Concert-room Organs recently constructed in this 
 country: but there is a Salicional, i6 ft., in the Pedal of the St. 
 George's Hall Organ, the only one of that grave pitch known to us 
 in England. 
 
 The name of the stop has been rendered in different spellings, 
 but that followed in this article is clearly the most correct and desir- 
 able.* It is also desirable to adopt Walker's mode, as shown in the 
 Riga Organ, applying the term Salicional to the stops of 8 ft. and 
 16 ft., and the term Salicet to the stops of 4 ft. and 2 ft. 
 
 Scale and Formation. — The pipes forming the Salicional, when of metal, 
 are invariably cylindrical, varying in scale according to the ideas of the organ- 
 builder regarding the most desirable tone. A satisfactory medium scale for the 
 stop, speaking on a wind of from 3 to 4 inches, is that adopted by F. Haas, the dis- 
 tinguished organ-builder, of Lucerne. This scale, in the ratio i : 2.66, gives the CC 
 pipe a diameter of 3.21 inches; the tenor C pipe a diameter of 1.97 inches; and the 
 middle C pipe a diameter of 1.20 inches. A slightly larger scale was favored by 
 T. C. Lewis, of London : this scale, in the same ratio, gives the CC pipe a diameter 
 of 3.34 inches; the C pipe a diameter of 2.05 inches; and the C pipe a diameter of 
 1.25 inches. Roosevelt, of New York, used a similar scale for his beautiful Sali- 
 cionals. Various widths of mouths have been adopted and their heights have 
 rarely exceeded one-third their widths. The finer stops have been voiced with 
 harmonic-bridges, or some form ofbeard attached to the lower lip. Some ex- 
 amples of the stop are slotted and others have plain pipes, their tones being affected 
 accordingly. The German and French stops have usually been made of tin, or 
 what is described by German organ-builders as " 14 lothig Zinn " — that is, an alloy 
 composed of 14 parts pure tin and 2 parts pure lead. We are of opinion that for 
 this and similar stops not requiring thick walls, the hard-rolled Hoyt two-ply 
 pipe metal will be found in every way satisfactory and economical. 
 
 Tone and Registration. — The tone of the Salicional varies 
 considerably in different examples of the stop : the difference being 
 greater between the tones of those made by the Continental organ- 
 builders of the latter half of the last century and those usually made 
 by the English and American builders of to-day, than the difference 
 between the tonalities of purely modern examples, which are usually 
 characterized by too pungent and cutting voices. A broad survey 
 of the subject inclines one to ask: What is the proper tone for the 
 
 * " Le Salcional, Solcional (on dit aussi Salicional et Solicional), ou Salicet, est un jeu de flute 
 ouverte dont les tuyaux sont fort 6troits et dont las sons ont quelque analogic avec ceux de 
 violoncelle. Ce jeu, qui se trouvait dans beaucoup d'orgues allemandes s'est introduit depuii 
 peu de temps dans celles de France." — Orgue de I'^glise royale de Saint-Denis: Rapport par J. 
 Adrien de La Page, 1844. 
 
232 ORGAN-STOPS 
 
 true Salicional ? A question, perhaps, not easily answered, because 
 the tone of such a stop, if artistically conceived, should be dictated 
 by the position the stop occupies in the Organ, and the nature and 
 tonalities of the stops with which it is directly associated, and with 
 which it will have, chiefly, to be combined in artistic registration. 
 The late T. C. Lewis, of London, who was recognized as the greatest 
 authority on matters of organ-tone among English organ-builders, 
 places the Salicional third in importance in his list of manual stops. 
 After describing the tones of the Diapasons as "full, mellow, 
 brilliant, and powerful ; and the string-tone of the Geigenprincipal 
 as "next in power to the Great Diapasons, and of a bright and tell- 
 ing quality," he says the Salicional is "another description of 
 small reedy and quiet Diapason, but still retaining the clear, life- 
 like quality of the. preceding stops. It can be made with various 
 widths of mouths, and therefore of various strengths of tone, accord- 
 ing to the place it occupies with regard to other stops." This de- 
 scription points to a rounder and richer voice than that commonly 
 given to the Salicional made to-day. The most desirable tone for 
 the stop would seem to be a combination of that of the true English 
 DuLCiANA and the delicate singing string-tone of the Viola d'Amore 
 (q. v.). Anything approaching a keen, thin, and cutting string-tone 
 is to be avoided; for not only is this quality furnished by the pro- 
 nounced and imitative string-toned stops; but because the Sali- 
 cional has a valuable office to fulfil in artistic registration in which 
 such a pronounced tone would prove undesirable. The Salicional 
 when artistically voiced, with just the proper proportion of pure 
 organ-tone and string-tone, is a beautiful solo stop ; while, as a body- 
 giver and timbre-creator, it is extremely valuable in effective regis- 
 tration with both open and covered flute-toned stops, and also with 
 the more delicately-voiced lingual stops, producing many very 
 charming and refined compound tones, very seldom heard in these 
 days of hurriedly-voiced and over-blown work. 
 
 SANFTGEDECKT, SANFTFLOTE, Ger.— The names that 
 have been given to covered stops of wood or metal, and commonly of 
 8 ft. pitch, yielding a quiet unimitative flute-tone. They properly 
 belong to the Lieblichgedeckt family, but are softer in tone. Stops 
 of this quality would be admirably suited for insertion in the true 
 Chamber Organ or the Echo Organ of larger instruments. 
 
 SAXOPHONE. — The name which has been given, in some few 
 instances, to stops made in both lingual and labial forms. Several 
 essays have been made by ingenious pipe-makers and voicers to 
 
THEIR ARTISTIC REGISTRATION 233 
 
 construct an organ-stop which shall imitate in a satisfactory manner 
 the peculiar compound tones of the single-reed instruments of the 
 Saxophone family. All attempts hitherto made in the direction of 
 lingual stops have fallen short of being satisfactory, for it has been 
 found difficult, by the employment of either striking- or free-reeds 
 to produce the rich compound tones of the brass Saxophones. While 
 the Saxophone strictly belongs to the Clarinet family, and is fitted 
 with the single reed of the Clarinet, its tone is decidedly sui generis. 
 On carefully studying the tone, one finds it to be a remarkable com- 
 pound of orchestral reed- and string-tone, with a slight admixture of 
 flute-tone, — a remarkable combination and one difficult, if not im- 
 possible, to imitate in a single lingual stop. Dr. W. H. Stone, speak- 
 ing of the instrument, says: "The Saxophone, though inferior in 
 compass, quality, and power of articulation to the Clarinet, and 
 Bassethorn, and especially to the Bassoon, has great value in mili- 
 tary combinations. It reproduces on a magnified scale something 
 of the Violoncello quality, and gives great sustaining power to the 
 full chorus of brass instruments, by introducing a mass of harmonic 
 overtones." It would seem highly probable that the Saxophone 
 of the Organ will in its most satisfactory form be dual, constructed of 
 lingual and labial pipes of Corno di Bassetto and Viol tonalities. 
 The very few stops which have appeared in English Organs, under 
 the name Saxophone, have been merely full-tone Clarinets, and, 
 accordingly, by no means satisfactory. 
 
 Up to this point we have alluded to lingual stops only. We have 
 now to speak of the wonderfully imitative labial Saxophone, in- 
 vented by W. E. Haskell, America's most distinguished artist in 
 labial pipe formation and voicing; and first introduced, in 1897, 
 in the Organ in the Church of the Holy Trinity, Philadelphia, 
 Pa. This remarkable stop is of 8 ft. pitch and extends throughout 
 the compass of the clavier. It is formed entirely of straight, quad- 
 rangular wood pipes, of small scale, the CC pipe measuring inter- 
 nally 3j^ inches in width by ^y6 inches in depth; the ratio of the 
 scale apparently being i : 2.66. The pipes have sunk blocks, in- 
 verted mouths, beveled caps, and are fitted with cylindrical har- 
 monic-bridges.* 
 
 Voiced on wind of 3^^ inches, this fine stop yields a compound 
 tone so closely imitative of that of the true Saxophones as to be posi- 
 tively deceptive to the ear. The tones of the Saxophones are thus 
 
 * Further details of formation, accompanied by illustrations of the sound-producing portion 
 of a pipe, are given in "The Art of Organ-Building," Vol. II., p. 485; and in "The Organ of the 
 Twentieth Century," pp. 4SO-1. 
 
234 ORGAN-STOPS 
 
 described by Beriioz as possessing "most rare and precious qualities. 
 Soft and penetrating in the higher part, full and rich in the lower 
 part, their medium has something profoundly expressive. It is, in 
 short, a quality of tone sui generis, presenting vague analogies with 
 the sounds of the Violoncello, of the Clarinet, and Corno Inglese, 
 and invested with a brazen tinge which imparts a quite peculiar 
 accent." We were naturally very doubtful regarding the possibility 
 of producing so complex a tonality from wood labial pipes : but all 
 doubts were put to rest, on our being afforded the means of judging 
 by direct comparison of the tones of the stop with those of the true 
 Saxophone, performed upon within the Organ immediately along- 
 side the stop. The imitation was practically perfect; while in cer- 
 tain parts of the compass the Saxophone of the Organ was more 
 even and pleasing than the reed instrument. This is only one of the 
 inventor's notable achievements in wood pipe formation and voicing 
 as these pages show. 
 
 SCHALMEI, Ger.— Ital., Scialumo,— A lingual stop, of 8 ft. 
 pitch, the tone of which is supposed to imitate the voice of the old 
 Schalmei or Shawm, the precursor of the Clarinet, and an instru- 
 ment commonly used during the Middle Ages. See Chalumeau. 
 
 SCHARF, Ger. — Dtch., Scherp. — ^A compound harmonic- 
 corroborating stop, composed of three or more ranks of metal pipes, 
 of high pitch and moderate scale, voiced to yield a bright and sharp 
 tone, hence its name. Alluding to the old stop, Wolfram says it was 
 usually of three ranks, starting with a 15th, 19th, and 22nd. Seidel, 
 on the other hand, says the Scharf differs front the ordinary Mix- 
 ture by having one of its ranks third-sounding; and gives the start- 
 ing composition for the three-rank stop, 15th, 17th, and 19th; for 
 the four-ranked stop, 15th, 17th, 19th, and 22nd; and for the five- 
 ranked stop, I2th, 15th, 17th, and 22nd. The introduction of the 
 third-sounding rank adds greatly to the sharp intonation of the stop, 
 especially under the somewhat crude system of voicing of compound 
 stops followed by the German organ-builders, who made the Scharf 
 of pipes of too large scales, and voiced it too loud and piercing in 
 tone. It seems strange that the old German builders either mis- 
 understood or systematically ignored the true and scientific office of 
 the compound stops. And it seems equally strange that the organ- 
 builders of to-day are omitting, or discouraging the introduction of, 
 the compound harmonic-corroborating stops in modern Organs. 
 Is it through ignorance of their invaluable office in the tonal struc- 
 ture of the Organ? Or is it the narrow trade desire to avoid having 
 
THEIR ARTISTIC REGISTRATION 235 
 
 to make such stops, requiring both scientific knowledge and high 
 artistic skill in their proper formation ? It unquestionably must be 
 one or the other, and neither is creditable to the organ-builders of 
 the twentieth century. See Acuta. 
 
 SCHARFFLOTE, Ger.— a metal labial stop, of 4 ft. pitch, 
 voiced to yield a bright and piercing flute-tone. It is valuable, in 
 the absence of a Compensating Mixture, for imparting brightness 
 to the Pedal Organ. A Scharfflote, 4 ft. , exists in the Pedal of the 
 Organ in the Cathedral of Merseburg. 
 
 SCHARFREGAL, Ger.— An old and obsolete lingual stop, of 
 4 ft. pitch, and very keen intonation, as its name implies. See 
 Regal. 
 
 SCHLANGENROHR, Ger.— An old and now disused name for 
 the lingual stop, of 16 ft. pitch, commonly inserted in the Pedal 
 Orgdn, which is better known as the Serpent {q. v.). 
 
 SCHONGEDECKT, Ger.— The name that has sometimes been 
 used to designate a small-scaled covered stop, yielding a beautiful 
 tone. The name is practically synonymous with Lieblichgedeckt. 
 The prefix Schon — signifying beautiful — has been applied to other 
 names of labial stops. 
 
 SCHREIER, SCHREIERPFEIFE, Ger.— The names given 
 by 'old German organ-builders to compound labial stops yielding, as 
 the name implies, screaming tones; and also to a labial stop of a 
 shrill and penetrating flute-tone, an example of which is said to exist 
 in the Organ of the Barfusskirche, at Erfurt. The stop was usually 
 of three ranks, and was simply a large-scaled and loudly-voiced 
 Acuta (g. v.).* Stops of this noisy class are very objectionable, and 
 have too often been introduced by inartistic organ-builders. 
 
 SCHUFFLET, Ger. — An old name given to the mutation har- 
 monic-corroborating stop, of ij^ ft. pitch, representing the fifth 
 upper partial tone of the fundamental manual unison, 8 ft. pitch. 
 A stop of this name existed in the old Organ in the Church of St. 
 Lambert, Miinster. 
 
 SCHWEIZERFLOTE, SCHWEIZERPFEIFE, Ger.— Liter- 
 
 * "ScHREiER, SCHREIERPFEIFE, Schryari, isteineveraltete,gew6hnlich3facheMixtur, welche 
 aus Oktavchoren zu i', 3^' und J^' besteht. Sie wurde, also disponiert, mit der Cymbel ein und 
 dasselbe Register sein, wenn nicht vielleicht eine Verschiedenheit in der M ensur und namentlich 
 in der Intonation obwaltet. A!uch 2 fach soil diese Stimme gefunden werden, wo sie aus 2' und 1' 
 besteht. Der Ton dieses Registers muss, dem Namen nach, sehr grell sein. " — Seidel-Kothe. 
 
236 ORGAN-STOPS 
 
 ally Swiss Flute. An open labial stop of 8 ft., 4 ft., 2 ft., and rarelj 
 1 ft. pitch; the pipes of which are cylindrical, of small scale, and 
 have low mouths, yielding a voice between a flute- and string-tone, 
 of a refined and pleasing character. In good work, the pipes are 
 made of tin. Seidel says: "Dieses Register findet man sowohl im 
 Manual als im Pedal, wo es alsdann Schweizerpfeifbass oder 
 ScHWEiZERBASs heisst. Im Manual trifft man diese Stimme zu- 
 weilen nur in den oberen Octaven an, wo sie unter dem Namen 
 ScHWEiZERPFEiFDisKANT vorkommt." Locher says there is no 
 foundatio.1 for the name Schweizerflote, any more than for the 
 name Wienerflote ; and "in spite of its name it belongs to the 
 string family, as for example in the Great Organ of the instrument 
 in Magdeburg Cathedral, where it assumes the form of a full-toned 
 Gamba." 
 
 SCHWIEGEL, SCHWAGEL, Ger.— The term that has been 
 employed by old German organ-builders to designate metal labial 
 stops of different formation and intonation. According to Schlim- 
 bach, the stop belongs to the Flute-work, and is of the scale of the 
 QuERPFEiFE, with the intonation of the Bauerflote. Seidel, on 
 the other hand, describes the stop as formed of pipes having cylin- 
 drical bodies surmounted by truncated cones; resembling those of 
 the Flachflote or Spillflote. Respecting the tone, he remarks: 
 " Der Klang dieser Stimme ist angenehm und dem Klang der Quer- 
 flote ahnlich, aber er soil noch etwas sanfter als der Ton der Spill- 
 flote sein." The stop was made of 8 ft., 4 ft., 2 ft., and i ft. pitch; 
 that of 4 ft. pitch being termed Schwiegeldiskant or Diskant- 
 schwiegel. An example, of 8 ft. pitch, was introduced in the Echo 
 of the Organ built by Jagermann, of Dresden, for the Kreuzkirche 
 in that city. 
 
 SEPTADECIMA, Lat.— Eng. Seventeenth.— The mutation 
 stop, of i^ ft. pitch, corroborating the fifth upper partial tone of 
 the manual unison prime, 8 ft. See Seventeenth. 
 
 SEPTIEME, Fr. — The mutation harmonic-corroborating stop, 
 of 4V7 ft. pitch in the Pedal Organ, and 2^7 ft- and i Vy ft. pitch in 
 the manual divisions. The pipes forming the stops are of open 
 metal, cylindrical in form, of medium scale, and voiced to yield soft 
 ptu-e organ-tone. The Septieme represents the sixth upper partial 
 tone of the prime tone, produced by seven times the number of 
 vibrations that belong to the prime tone. Thus, if the CO prime 
 tone is of 64 vibrations per second, the sixth upper partial tone. 
 
THEIR ARTISTIC REGISTRATION 237 
 
 lying between aft' and bb' (of the physical scale), is yielded by a 
 pipe of say 1V7 feet speaking length, having 448 vibrations per 
 second. Although very much higher partial tones are corroborated 
 by stops in the Organ, the sixth upper partial tone has been very 
 seldom corroborated by the introduction of the Septieme. The 
 only example, in complete form, in an English Organ, known to us, 
 is to be found, under the name "Sharp Twentieth," in the instru- 
 ment in the Collegiate Institution of Liverpool, built by Jackson, of 
 that city, in 1850. We know of no example in an American or Ger- 
 man Organ. The only Organ in which the Septieme has been 
 systematically and scientifically introduced is that built by Cavaill^- 
 Coll, in 1868, for the Cathedral of Notre-Dame, Paris. In the Pedal 
 Organ the stop is inserted, of 4^/7 ft- pitch, belonging to the 32 ft. 
 harmonic series. In the Clavier des Bombardes it appears, of 2V7 
 ft. pitch, belonging to the 16 ft. harmonic series: and in the Grand 
 Choeur it is introduced, of 1V7 ft. pitch, belonging to the 8 ft. har- 
 monic series. 
 
 This systematic introduction of the Septieme in all the har- 
 monic series was due to Aristide Cavaille-Coll's scientific knowledge 
 and researches in tone production; and it is to be regretted that we 
 do not see evidences of a similar knowledge and investigation in 
 even the more important Organs built to-day. It is, however, 
 hardly to be expected that such a stop as the Septieme should ap- 
 pear in Organs in which very little attention is paid to the provision 
 of even a reasonably adequate harmonic structure. In the foun- 
 dation-work of an important Organ the Septieme should certainly 
 be introduced, preferably as a rank in a through compound stop in 
 which it can be correctly adjusted tonally. The following four- 
 rank Cornet would be a favorable stop for its introduction: 
 
 Cornet — IV, ranks. 
 
 I. Seventeenth . . Metal. 1 3/5 Feet 
 
 II. Nineteenth Metal. 1 1/3 " 
 
 III. Septieme . . Metal. 1 1/7 " 
 
 IV. Twenty-second Metal, i " 
 
 The pipes forming the stop to be of medium scale, and voiced 
 to yield pure organ-tone. Ranks II. and IV. to be the most pro- 
 nounced in strength of voice; rank I. to be softer; and rank III. to 
 be regulated so as not to be unduly assertive. It is in the voicing 
 and regulating of such an important stop that the artist can show 
 himself. 
 
 SERAPHONFLOTE, Ger.— The name given to a flute-toned 
 
238 ORGAN-STOPS 
 
 stop, of 8 ft. pitch, and very powerful voice; invented by W. F. 
 Weigle, of Stuttgart. An example exists in the Organ of St. Sebal- 
 duskirche, Niimberg. Under the name Seraphonpfeife, a similar 
 stop was, for the first time, introduced in the Organ constructed by 
 Steinmeyer for the City Church of Wertheim, Baden. 
 
 The pipes forming these stops are of metal, cylindrical in form 
 and of large scale. They have two mouths, formed in the usual 
 manner, and placed as close to each other as practicable.* The 
 large lineal measurement of the combined mouths — about four- 
 tenths of the circumference of the pipe — affords the opportunity for 
 the production of a remarkable volume of tone. The stop so formed 
 is practically a metal Doppelflote. 
 
 Tone and Registration. — A powerful stop of this class, pro- 
 ducing a pronounced unimitative flute-tone, would be of consider- 
 able value in two manual expressive divisions of the Concert-room 
 Organ; namely, the Solo Organ and the expressive portion of the 
 First or Great Organ, where its voice would be under control. In 
 the former it would impart great body, solidity, and color to the 
 more powerful lingual stops, while it would give great dignity to the 
 Flute-work. A powerful normal flute-tone is absolutely necessary 
 for the production of broad effects and tone-coloring in a properly 
 stop-apportioned Solo Organ. In the expressive subdivision of the 
 First Organ, a fine Seraphonflote would be extremely valuable, 
 as it would, under control as to its strength of voice, combine per- 
 fectly with the pure organ-tones of the Principals or Diapasons; 
 increasing their volume, and infusing into their somewhat monot- 
 onous voices an agreeable coloring by the introduction of certain 
 of the lower harmonic upper partial tones. The stop would 
 also prove highly effective in registration with the lingual stops 
 which are enclosed along with it; and, generally, in all full-toned 
 combinations. 
 
 SERPENT. — Ital., Serpentino. — A lingual stop, of i6ft. pitch, 
 the tone of which is between those of the Bassoon and the Trom- 
 bone stops of the Organ. It is supposed to imitate in its voice the 
 old instrument invented by Edme Guillaume, a Priest of Auxerre, 
 France, in the year 1590. The instrument was an improvement on 
 the older Bass Zinken. It was a conical tube of wood, covered with 
 leather, and bent into the form of a serpent, hence its name. It was 
 played with a mouthpiece, not with a reed. Examples of the stop, 
 
 * Further particulars respecting this stop, accompanied by illustrations, as patented by G. 
 F. Weigle, are given in "The Art of Organ-Building," Vol. II., pp. 534-6- 
 
THEIR ARTISTIC REGISTRATION 239 
 
 of 16 ft. pitch, exist in the Pedal of the Organ in the Cathedral of 
 Ulm; and in the Schwell-Pedal of the Organ in the Cathedral of 
 Riga. In the latter it would seem to be a species of Double Corno 
 Di Bassetto. Under the name Serpentino, a similar stop exists 
 in the Organ in the Church of Sanctissimo Crucifisso, at Como. 
 
 An artistically-voiced Corno di Bassetto, 16 ft., would be a 
 valuable addition to the tonal forces of the Pedal Organ of the 
 Twentieth Century. The name Serpent might be retained for such 
 a stop. 
 
 SESQUIALTERA, SEXQUIALTERA.— The compound har- 
 monic-corroborating stop, formed of two or more ranks of open 
 metal pipes of medium scales, yielding, in the foundation-work, pure 
 organ-tone. The true Sesquialtera consists of two ranks of pipes 
 only, carried throughout the compass of the clavier without a 
 break; the ranks standing at the interval of a major sixth apart. 
 This interval is secured by placing a fifth-sounding rank below a 
 third-sounding one; as, in the eight feet harmonic series, a Twelfth 
 2^ FT., and a Seventeenth, i% ft., sounding G — e' on the CC 
 key. On the First Manual of the Organ in the Cathedral of Riga 
 there is a Sexquialtera, belonging to the sixteen feet harmonic 
 series, formed of a Quint, 53^ ft., and a Tierce, 2iH ft. ; while on 
 the same manual there are, in addition, independent stops of the 
 same pitches, but of different tonality — a unique apportionment, so 
 far as our knowledge extends. As independent stops, the Quint, 5 J^ 
 FT., and Tierce, 3}^ ft., are inserted on the First Manual of the 
 Organ in the Cathedral of Ulm; and they appear in other Walcker 
 Organs. A Quint, 2% ft., and Tierce, i% ft., as independent 
 stops, are inserted on the Second Manual of the Riga Organ. When 
 a Sesquialtera, belonging to either the eight feet or sixteen feet 
 harmonic series, is placed in any manual division, its ranks should 
 be made to draw separately. 
 
 The Sesquialtera belonging to the thirty-two feet harmonic 
 series is necessarily rare; but one, formed of a Quint, 10^ ft., and a 
 Tierce, 6% ft., exists in the Pedal of the Riga Organ; and in addi- 
 tion there is a Quintbass, 10% ft., and a Terzbass, 6V5 ft. This 
 grand Pedal Organ has a remarkable harmonic structure; and in this 
 direction affords a valuable lesson to organ-designers of to-day. 
 
 The so-called Sesquial^eras, of the old English organ-builders, 
 were invariably harmonic-corroborating stops, formed of several 
 ranks of open metal pipes, requiring two or more breaks in their 
 compass. In these stops, the sexts did not invariably obtain in 
 
240 ORGAN-STOPS 
 
 every break ; those omitted being formed by the addition of an in- 
 dependent Twelfth, 2% ft. An example of this incomplete form 
 of Sesquialtera is furnished by the stop inserted by John Snetzler 
 in the Organ he constructed, in the latter part of the eighteenth 
 century, for St. Mary's Church, Nottingham. The composition of 
 the stop is here given : 
 
 Sesquialtera — IV. ranks. 
 
 CC to G . -15 17 19 22. 
 
 GS to g- . . 12* 15 17* 19. 
 
 g#- to top . . 8 12* 15 17*. 
 
 The following example of a five-rank Sesquialtera, in which 
 sexts of different pitches obtain in the two breaks, gives the com- 
 position of the stop inserted in the Great of the Organ constructed by 
 Harris and Bj^eld, of London, in 1740, for the old Parish Church of 
 Doncaster. 
 
 Sesquialtera — V. ranks. 
 
 CC to c' 19* 22 24* 26 29. 
 
 cjti to top 8 12* 15 17* 19. 
 
 The sexts are indicated by the asterisks. This Sesquialtera is 
 here given in modem compass: the original stop in the Harris-By- 
 field Organ had the old compass of GGG to d^. It is interesting to 
 note that in this Organ the Sesquialtera was accompanied by a 
 Twelfth, 2% ft., and a Tierce, i^ ft., both complete and in- 
 dependent stops. A good four-rank Sesquialtera can be formed 
 by omitting the acute fifth-sounding rank in both breaks. 
 
 Tone and Registration. — The tone of the Sesquialtera may 
 properly vary with the stop-apportionment of the division of the 
 Organ in which it is inserted. When associated with the foundation- 
 work, in the First or Great Organ, it should, as essentially a har- 
 monic-corroborating stop, yield pure organ-tone: but when inserted 
 in any other manual division, its tone may properly be dictated by 
 the stop-apportionment with which it is associated. When con- 
 sidered desirable, the Sesquialtera may be formed of through 
 ranks of pipes of special and different tonalities, becoming a timbre- 
 creating stop. In all cases it is desirable that, in its voicing and 
 regulating, the third-sounding rank should be made subordinate in 
 tone to the fifth-sounding rank, so as to avoid undue assertiveness. 
 
 The value of harmonic-corroborating stops of the Sesquialtera 
 class in the production of distinct tonal coloring deserves to be better 
 
THEIR ARTISTIC REGISTRATION 241 
 
 known. The neglect of such stops in the tonal appointment of 
 modern Organs is a mistake; and seriously cripples the means of 
 producing compound tones of great variety and beauty. The regis- 
 tration of unison, octave, and super-octave stops alone, whatever 
 their tonal character may be, must fail to satisfy the cultivated ear 
 of the musician seeking to paint his tone-pictures in rich musical 
 chiaroscuro. It is the tradesman, not the artist, who is to-day 
 omitting such stops from the Organ. 
 
 SEVENTEENTH.— Fr., Tierce. Ger., Terz, Tertie Ital., 
 Decima Settima. — A third-sounding mutation stop, formed of open 
 metal pipes of medium scale, of i % ft. pitch in the manual divisions, 
 standing at the interval of a seventeenth above the unison, 8 ft., and 
 a major third above the Super-octave, 2 ft.* The Seventeenth 
 represents and corroborates the fourth upper partial tone of the 
 prime or unison tone In the Pedal Organ, the Seventeenth is of 
 2,yi ft. pitch, belonging to the 16 ft. harmonic series. When a stop of 
 3)^ ft. pitch is introduced in a manual division, it is termed by 
 French organ-builders Grosse TiERCE.f as in the Clavier des Bom- 
 bardes of the Cavaill^-Coll Organ in the Church of Saint-Sulpice, 
 Paris. A Grosse Tierce, 6% ft., exists in the Pedal of the Organ 
 in the Cathedral of Notre-Dame. A Terz, 2,}i ft., is placed on the 
 First Manual, and a Terzbass, 6% ft., in the Haupt Pedal of the 
 Walcker Organ in the Cathedral of Riga. A Seventeenth, 6% ft., 
 under the name Tertia, exists in the Pedal of the Church at Perle- 
 berg : this stop is formed of wood pipes. 
 
 The Seventeenth, 6% ft., made either of open metal or wood 
 pipes, is of considerable value in the Pedal Organ, brightening and 
 enlivening its normal foundation tone: here it may be more pro- 
 nounced in tone than is desirable for third-sounding stops in the 
 manual divisions. This Seventeenth belongs to the 32 ft. har- 
 monic series. 
 
 * "La Tierce, jadis nominee par certains auteurs 5«g«»-0c/fl»a et mieux Sesqui-Quarta, est 
 unjeuouvertdedix-neuf pouces.ou cinquante-un centimetres, de grosse taille,d'^tainoud'6toffe 
 selon qu'on veut lui donner ou lui 6ter du tranchant. II parle a la Tierce de la Doublette, par con- 
 sequent ^ la dixieme du Pyestani; c'est pourquoi les Italiens I'appellent quelquefois Decima. Au 
 positif . on la d^signe par le nom de Petite-Tierce, en opposition avec celle du grand orgue qui est 
 de taille plus forte, mais de mSme degr6. Les AUemands I'appellent Terz et Tertia, et encore Dez, 
 abr^g^ de Decima. " — Regnier. 
 
 t " La Grosse-Tierce parle k I'octave inf 6rieure de la Tierce ordinaire, c'est-^-dire k la Tierce 
 du Prestant, et k la dixieme du huit-pieds. Elle est grosse taille, tout ouverte et d'6toffe, retain 
 serait trop mordant. Pour que ce r6gistre fasse bon effet, il lui faut associer une grande masse 
 de fonds, surtout en huit pieds; un bourdon de seize ne nuira point. Le plus grand tuyau de la 
 Crosse-Tierce a trois-pieds deux pouces, lorsqu'elle se trouve aux claviers de la main. En AUe- 
 magne, on la trouve en p6dale de six-pieds, sous le nom de Decem-Bass." — Regnier. 
 
242 ORGAN-STOPS 
 
 SHARP MIXTURE.— The term that has been used to designate 
 a compound harmonic-corroborating stop formed of four or more 
 ranks of open metal pipes, of high pitch, and penetrating tone. The 
 Sharp Mixtures of the old English organ-builders appear to have 
 been invariably formed of octave- and fifth-sounding ranks; third- 
 sounding ranks being confined to their Sesquialteras. 
 
 Properly scaled, voiced, and regulated, a Sharp Mixture would 
 be a useful stop, in either the wood-wind or brass- wind division of 
 the artistically appointed Concert-room Organ, for the production 
 of ringing qualities of compound tone. Sut as Mixtures are made 
 to-day by the generality of organ-builders, without regard to the 
 dictates of science or art, the Sharp Mixture had much better be 
 jmitted altogether from the Organ. 
 
 SIFFLOTE, SIEFFLOT, Ger.— Fr., Sifflet.— A small open 
 metal stop, of medium scale, and 2 ft. and i ft. pitch, yielding a clear 
 unimitative flute-tone. In some rare instances it has been intro- 
 duced of 1 3^ ft. pitch. The stop, of 2 ft. pitch, exists on the Second 
 Manual of the Organ in the Protestant Church, Miilhausen; and, 
 of 1 ft. pitch, in the Oberwerk of the Organ in the Cathedral of 
 Merseburg. 
 
 SINGENDREGAL, Ger.— An old lingual stop, of 8 ft. pitch, 
 which received its appellation on account of the singing character of 
 its voice. Both the stop and name are obsolete. See Regal. 
 
 SOAVE, Ital. — The name given to an open labial stop, of 8 ft. 
 pitch, yielding an unimitative flute-tone of great softness and 
 beauty.* It is to be regretted that unison stops of this refined 
 tonality are so greatly neglected in the appointment of modem 
 Organs. 
 
 SORDUN, Ger. — Fr., Sourdine. Ital., Sordini. — The name 
 given by old Continental organ-builders to a covered labial stop, of 
 16 ft. and 8 ft. pitch, the pipes of which were commonly made of 
 wood, and so treated as to produce a subdued or muffled tone; 
 considered desirable before the swell was invented.! 
 
 * * ' SoAVE (ou suabile) , huit-pieds, de grosse taille, lent k parler, mais tres-doux et gracieux, 
 commerindique son nom italien. On le d^signe aussi sous le nom d'englische Flceie, fltite-ang^li- 
 que, qu'il ne faut pas confondre avec le jeu d' anche, qui porte k pen pres le nom de anselica vox." 
 — Regnier. 
 
 t" Sordini (ital.), Sordun (all.), Sourdine. C'est un ancien bourdon de huit, ou de seize, 
 selon qu'il se trouvait ^ la main ou ^ la p6dale. Les tuyaux ^taient cach6s chacun dans une boite, 
 pour rendre un son plus 6tient. " — Regnier. 
 
THEIR ARTISTIC REGISTRATION 243 
 
 SORDUNREGAL, Ger.— An old lingual stop of the Regal 
 family, of 8 ft. pitch, softly voiced, and probably muted by being 
 inclosed in some form of box. Both the stop and its name are now 
 obsolete. See Regal. 
 
 SPILLFLOTE, SPINDELFLOTE, Ger.— Eng., Spindle Flute. 
 — ^A half-covered labial stop, of 8 ft., 4 ft., and 2 ft. pitch. The 
 name is expressive of the peculiar form of its pipes, the bodies of 
 which are cylindrical surmounted by long conical portions, trun- 
 cated, leaving small openings at top. The form of the 
 pipe, including its tapering foot, somewhat resembles 
 that of a covered spindle, and has suggested the name. 
 The form is shown in the accompanying illustration. Fig. 
 32. As it is not possible to tune the pipe by any manip- 
 ulation of its small top orifice, without altering its tone, 
 the fine tuning is done by means of large projecting ears, 
 bent toward or from the mouth. As its name implies, the 
 Spillflote belongs to the Flute-work; but its tone is 
 bright and without any distinctive flute quality, lying 
 between the tones of the Rohrflote and the Spitzflote. 
 Seidel compares it with the Schwiegel (q-v.). Under the 
 hands of a skillful and artistic voicer, and probably with 
 the addition of the harmonic-bridge, there is little doubt 
 but the Spillflote pipe could be made to yield both a 
 characteristic and a beautiful compound tone. The stop 
 seems to have been introduced during the second quar- 
 ter of the sixteenth century; but has become practically 
 a curiosity in organ-building, doubtless due to the time 
 and trouble involved in its construction. 
 
 SPITZFLOTE, Ger.— Pr., Flute A Point, Flute A 
 FusEAU. Eng. , Spire Flute. — A metal labial stop, of 8 ft. , 
 4 ft., and 2 ft. pitch; which derives its names from 
 the form of its pipes, which is that of a slender truncat- 
 ed cone, open at top; closely resembling the form of the 
 Gemshorn pipe (See Fig. 19, Plate III). The stop is 
 justly held in high estimation by German organ-builders, 
 being introduced, usually of 8 ft. and 4 ft. pitch, in all Fig. 32 
 their more important Organs. In Walcker's Organ in 
 the Cathedral of Vienna, it is inserted, of 8 ft. and 4 ft. pitch, on 
 the Second Manual. In the Organ in the Cathedral of Riga, it is 
 inserted, of 4 ft. pitch, on the Third Manual. 
 
244 ORGAN-STOPS 
 
 Scale and Formation. — The scale of the Spitzflote varies in different ex- 
 amples and according to the character and strength of the tone desired; and the 
 proportion of the diameters at the mouth line and at the top of the pipe also varies 
 slightly. The dimensions given by Topfer, and apparently adopted by Friedrich 
 Haas, the rebuilder of the Lucerne Organ, are practically as follows: For the CC 
 8 ft. pipe, 4.60 inches diameter at the mouth line, and 1.50 inches diameter at the 
 open top. The diameter at top is, accordingly, a trifle under one-third of the 
 diameter at the mouth line, approaching closely the proportion recommended 
 for the Gemshorn pipe. But Seidel says the Spitzflote pipes are more pointed 
 than those of the Gemshorn; and this would seem desirable for the production of 
 the characteristic tone of the stop. The diameter at top should, however, never be 
 less than one-fourth of that at the mouth. The width of the mouth may be one- 
 fourth or two-ninths of the larger circumference; and its height may range from 
 one-fourth to one-third of its width, according to the wind-pressure and the tone 
 desired. As in certain half-covered stops, the upper lip of the mouth may be 
 slightly arched, and the lower lip and languid nicked moderately fine. As the pipes 
 must not be slotted at top, or coned in tuning, fine tuning must be done at the 
 mouth by means of flexible ears. While the 4 ft. and 2 ft. stops have invariably 
 been made of metal throughout, the bass octave of the 8 ft. stop has been made of 
 pyramidal pipes of wood. This practice is not to be recommended. 
 
 Tone and Registration. — The voice of the true Spitzflote 
 is compound, which, owing to its delicate harmonics, partakes of 
 both flute- and string-tone; inclining to either one or the other 
 according to the manner in which the pipes are voiced, and, to some 
 extent, according to their scales. This variable compound tone is a 
 valuable property of the stop, as the artist voicer can adapt it to 
 suit the tonal apportionment of which it is to form a part. We know 
 that such refinement in tonal adjustment is paid very little atten- 
 tion to in this age of commercial organ-building; but it is, never- 
 theless, just such refinement, carried consistently throughout the 
 stop-work of an Organ, that marks the artist-craftsman and makes 
 the Organ a work of art. 
 
 It must be obvious to everyone conversant with compound tone 
 production, that such a stop as the Spitzflote, standing midway in 
 voice between the flute-toned and string-toned stops, must lend it- 
 self to the production of refined colorings in registration with the 
 softer-voiced stops, both labial and lingual. With the latter es- 
 pecially, to which it will impart a desirable body and richness with- 
 out destroying their characteristic tonalities. The true Spitzflote, 
 8 ft., combines perfectly with the Clarinet, Corno di Bassetto, 
 Fagotto, and Cor Anglais, producing beautiftil compound tones. 
 It also adds richness and body to the imitative string-toned stops; 
 and, in both 8 ft. and 4 ft. pitch, a certain crisp fullness to the imita- 
 tive flute-toned stops. The Spitzflote should find a place in the 
 Choir of the Church Organ; and in the Second or accompanimental 
 
THEIR ARTISTIC REGISTRATION 245 
 
 Organ of the properly stop-apportioned Concert-room Organ. 
 
 SPITZQUINTE, QUINTSPITZ, Ger.— A Spitzflote, of 2^ 
 ft. and ij^ ft. pitch, the pipes of which are formed in all respects 
 similar to those of the unison Spitzflote {q. v.). As a harmonic- 
 corroborating and timbre-creating stop, the Spitzquinte may be 
 found valuable in special stop-apportionments: and, of 2% it. pitch, 
 it may, with advantage, take the place of the ordinary Twelfth, 
 2% FT., in Organs of small size; lending itself more effectively to 
 artistic registration, and proving more generally useful in combina- 
 tion. 
 
 STENTORFLOTE, Ger.— The name given by Herr Weigle to a 
 loudly-voiced, high-pressure, labial stop, of 8 ft. pitch, the pipes of 
 which are constructed in accordance with his patented system. * An 
 example exists on the First Manual of the Walcker Organ in the 
 Synagogue, Strasbourg. 
 
 STENTORGAMBA.— The name used by Walcker to designate 
 a loudly-voiced, string-toned, labial stop, of 8 ft. pitch, the pipes of 
 which are constructed in accordance with the high-pressure, Weigle 
 system. An example exists on the Second Manual of the Organ in 
 the Synagogue, Strasbourg. Under the name Solo-Gambe, a simi- 
 lar stop exists on the Second Manual of the Weigle Organ in the 
 Grand Hall of the Liederhalle, Stuttgart. 
 
 STENTORPHONE.— The name, derived from the Greek 
 Stsvtup — Stentor, and cp(oviQ — voice or sound, and employed to 
 designate a large-scaled metal labial stop, of 8 ft. pitch, the pipes of 
 which are cylindrical in form and made of thick metal, so as to with- 
 stand the powerful pulsations of the columns of air within them, 
 generated by the high pressures employed in the voicing. Properly 
 this wind-pressure should range between seven and ten inches; but 
 during the present prevailing craze for high wind-pressures and loud 
 voicing, such reasonable pressures will be considered insufficient. 
 Properly voiced, the Stentorphone yields a tone of great breadth, 
 richness, and dignity. True to its name, it should be the most 
 stentorian labial stop introduced in the Organ. Its large scale and 
 its tonality places it, strictly considered, in the Flute-work of the 
 Organ. This position is shown by the fact that the best substitute 
 for the true Stentorphone, at present known, is a large-scaled 
 
 * Royal Letters Patent, Great Britain, No. 17718. United States Patents, Nos. 457686 and 
 520344. 
 
246 ORGAN-STOPS 
 
 open wood flute-toned stop, to which the name Tibia Plena has 
 been given. 
 
 The powerful voice of the Stentorphone naturally points to the 
 only two manual divisions in which it could be properly introduced ; 
 namely, the First or Great Organ and the Solo Organ. In its full 
 tonality it is of most value in the latter, imparting a remarkable 
 breadth and grandeur to the tones of the powerful lingual stops 
 properly inserted there; and that without unduly increasing their 
 assertiveness. In the First Organ, it should be inserted in the ex- 
 pressive subdivision, where its dominating voice will be under con- 
 trol. There it will lend itself to the production of impressive 
 crescendoes, and impart great dignity to the Trumpets. 
 
 Examples of the metal Stentorphone, 8 ft., appear in several 
 American Organs, notably in those by Roosevelt. He inserted it in 
 the Solos of the Organs in the Auditorium, Chicago; and the Cathe- 
 dral of the Incarnation, Garden City, L. I. A fine Stentorphone 
 is inserted in the Solo of the Organ in the Cincinnati Music Hall. 
 We inserted one in the Fourth Organ of our scheme for the Grand 
 Concert Organ installed in the Festival Hall of the Louisiana Pur- 
 chase Exposition (1904) ; now in the Wanamaker Store, Philadelphia, 
 Pa. The Stentorphone has been introduced in certain German 
 Organs. An example exists in the Organ in the great Concert Hall 
 in Mannheim; and Walcker has inserted one, under the name Sten- 
 TORFLOTE, 8 FT., On the First Manual of the Organ in the Synagogue, 
 Strasbourg. The Stentorphone is one of the large-mouthed, high- 
 pressure, objectionable stops introduced and patented by Weigle, 
 an example of which exists in the Organ he constructed, in 1895, for 
 the Liederhalle, Stuttgart. The Stentorphone has not commended 
 itself to either French or English organ-builders. We known of no 
 example in a French Organ; and of only one in an English Organ, 
 and that, strange to relate, in a Chamber Organ. 
 
 STARKGEDECKT, Ger.— A large-scaled covered stop, of 16 
 ft. pitch, the pipes of which are of wood, copiously blown with wind 
 of moderate pressure, and voiced to yield a full and round tone of 
 good mixing quality. Of this stop, Regnier says: "Grand bourdon 
 de seize fortement embouch^ et donnant aux fltltes ouvertes de huit 
 un velout6 et une profondeur remarquables. " 
 
 STILLGEDECKT, Ger.— This name, which signifies a quiet- 
 toned covered stop, is employed by German organ-builders to desig- 
 nate stops which are softer in their intonation than the Lieblich- 
 gedeckts. The Stillgedeckt is usually made of wood, and of 8 ft. 
 
THEIR ARTISTIC REGISTRATION 247 
 
 and 4 ft. pitch. The pipes are of a small scale, and speak on low- 
 pressure wind. The stop is highly suitable for insertion in the softer 
 toned manual divisions of the Concert-room Organ, and in the chief 
 accompanimental division of the Church Organ; it is also an ideal 
 stop for the true Chamber Organ. An example, of 8 ft. pitch, exists 
 in the Choir of the Organ in the Town Church of Fulda; and one, of 
 4 ft. pitch, is inserted in the Echo of the Organ in the Church of 
 Walter shausen . 
 
 STOPPED DIAPASON, Eng.— Ger., Gedeckt. Fr., Bourdon. 
 Span., Tapado, Tapadillo. — A covered labial stop, of 8 ft. pitch in 
 the manual divisions, and of 16 ft. pitch in the Pedal Organ. The 
 English name, though time-honored, is neither correct nor desirable, 
 for the stop has no resemblance to a true Diapason in form or ton- 
 ality. The stop yields an unimitative flute-tone, and belongs to the 
 Flute-work of the Organ. The proper English equivalent is Stopped 
 Flute. The English practice is to make the pipes of the stop en- 
 tirely of wood, but in some late examples metal pipes have been 
 used in the higher treble octaves. The so-called Stopped Diapason, 
 1 6 FT. , is invariably constructed of wood throughout : the stop is only 
 a medium-scaled Bourdon, voiced to be as free from the second 
 upper partial as possible. The old builders in England, and notably 
 Bernard Smith, made their Stopped Diapasons of oak, and no 
 better material could be used for the purpose. In the "Schedule" 
 of the Organ constructed by Smith for the Temple Church, London, 
 are mentioned two "Gedackts of wainescott" — a superior quality 
 of straight-grained oak grown abroad. The German organ-builders 
 have made their Gedeckts of both wood and metal; while the 
 French builders have preferred metal for their manual unison Bour- 
 dons. See Bourdon and Gedeckt. 
 
 SUABE FLUTE. — The name given to a quadrangular wood 
 stop, of 4 ft. pitch, invented by William Hill, organ-builder, of Lon- 
 don. The stop is of medium scale; the pipes of which are open, have 
 sunk blocks and inverted mouths, and yield a soft and clear unimita- 
 tive flute-tone which lies between the tones of the Clarabella and 
 the Waldflote, but is softer than either. It is difficult to under- 
 stand the signification of the name Suabe, for it seems to have no 
 appropriate derivation ; it certainly cannot be derived from the law 
 term suable. The term Suabile certainly obtains in Seidel-Kothe's 
 list of stops, applied to a flute-toned stop of 8 ft. pitch.* 
 
 * " Suabile ist ein Flotenwerk zu 8', von angenehmer Intonation, welches sich zum sanften und 
 langsamen Vortrage besonders eignet. Diese Stimme wird auch englische Flote genannt." 
 
248 
 
 ORGAN-STOPS 
 
 SUAVE FLUTE. — ^A name, suggested by the Latin suavis — 
 sweet, pleasant; and which we have considered appropriate for a 
 flute-toned stop of peculiar formation, and of singularly smooth and 
 agreeable intonation. The pipes of the stop are of wood, open, and 
 of medium scale; their peculiarity obtaining in the formation of the 
 mouth, the upper lip of which has a cylindrical piece of polished hard 
 wood attached to it, in the manner shown in Fig. 33. This form of 
 
 
 Pig- 33 
 
 mouth clearly demonstrates the value of the thick and rounded 
 upper lip in the production of smooth and full flute-tone. Organ- 
 builders of to-day have resorted to the easy, objectionable, and per- 
 ishable expedient of covering the upper lip with leather in both 
 metal and wood pipes. It is a cheap expedient to save labor and 
 care in voicing; otherwise, it would never have been so readily 
 adopted by organ-builders. 
 
 SUAVIAL. — ^According to Locher, a name given to a soft-toned 
 stop of the Geigenprincipal class, found in old Organs; usually of 
 8 ft. pitch, and of short compass, beginning at C. An example of 
 which exists in the Organ in the French Church, at Berne. 
 
 SUB-BASS. — Ger., Subbass. Fr., Soubasse, Sous-Basse. — 
 According to Wolfram (181 5), the old German organ-builders used 
 the name to designate Pedal Organ Gedeckts, of 32 ft. and 16 ft. 
 pitch, constructed of wood : and the practice has been followed by 
 
THEIR ARTISTIC REGISTRATION 249 
 
 the French builders, as is shown by the Pedals of the Organs built by 
 Cavaill^-Coll for the Cathedral of Orleans and the Church of Saint- 
 Ouen, Rouen, in which we find a Sous-Basse, 32 ft., and a Sous- 
 Basse, 16 FT., inserted. It also appears as a manual stop, of 16 ft. 
 pitch, in the Bombarde of the Organ in the Cathedral of Notre- 
 Dame, Paris; and in the Positif of the Organ in the Cathedral of 
 Albi. The Subbass, 32 ft., exists in the Pedal of the Organ in the 
 Church of St. Michael, Hamburg; and, of 16 ft. pitch, in the Pedals 
 of the Organs in the Cathedrals of Riga and Ulm. In English instru- 
 ments, we find the term Sub-Bass applied to both open and covered 
 stops of 32 ft. pitch. In the Pedal of the Organ in the Temple 
 Church, London, the Sub-Bass, 32 ft., is a covered stop of wood; 
 while the Sub-Bass, 32 ft., in the same department of the Organ in 
 the Town Hall of Leeds is an open stop of metal. It would seem very 
 desirable, in the stop nomenclature of to-day, to confine the term 
 Sub-Bass to the Pedal Organ covered wood stop of 32 ft. pitch. See 
 Contra-Bourdon and Sub-Bourdon. 
 
 SUB-BOURDON. — A covered wood stop, of large scale, and of 
 32 ft. pitch, commonly introduced in the Pedal Organ when there is 
 no accommodation for an open stop of 32 ft. A Sub-Bourdon, 32 
 FT., was introduced in the Pedal of the Organ constructed by Willis 
 for the Alexandra Palace, Muswell Hill, near London. A Sub- 
 Bourdon, 32 FT., is inserted in the Great of the Organ in the Parish 
 Church of Doncaster; and another, of wood and metal, of tenor C 
 compass, is inserted in the Great of the Organ in the Parish Church 
 of Leeds, Yorkshire. For other names used to designate stops of 
 this class, see Contra-Bourdon. 
 
 SUBPRINZIPAL, GROSSPRINZIPALBASS, Ger.— Fr., Prin- 
 cipal Basse. — The names employed to designate the open labial 
 stop, of wood or metal, and 32 ft. pitch, belonging to the Pedal 
 Organ. Its usual name in English Organs is Double Open Diapa- 
 son, 32 FT. Under that name, metal and wood stops exist in the 
 Pedal of the Willis Organ in St. George's Hall, Liverpool. A Princi- 
 pal Basse, 32 ft. exists in the Pedale of the Concert Organ in the 
 Salle des F^tes, Palais du Trocadero, Paris. A Sub-Principal, 32 
 FT., is inserted in the Pedal of the Organ in the Cathedral of Haarlem. 
 The pipes of this fine stop are of pure Cornish tin, burnished, and 
 displayed in the case. The CCCC pipe, which stands in the left 
 tower, is nearly forty feet long and is fifteen inches in diameter. 
 Under the name Principalbass, 32 ft., the stop exists in the Pedals 
 of the Organs in the Cathedrals of Riga, Vienna, and Ulm. Under 
 
250 ORGAN-STOPS 
 
 • 
 
 the simple term Flute, 32 ft., this important stop exists in the 
 Organ in the Basilique du Sacre-Coeur, Montmartre, Paris. For 
 further particulars see Double Diapason. 
 
 SUBTILREGAL, Ger.— The name given to an old lingual stop, 
 of 8 ft. pitch, the tone of which was of a soft and agreeable quality, 
 probably differing slightly from that of the Gedampftregal (g. v.). 
 Both stop and name are obsolete. See Regal. 
 
 SUPER-OCTAVE.— The open, metal, labial stop, sounding two 
 octaves above the foundation unison tones of the manual and pedal 
 departments of the Organ, being of 2 ft. pitch in the former and of 
 4 ft. pitch in the latter. The term, unqualified, signifies that the stop 
 is harmonic-corroborating and belongs to the Foundation-work, and 
 yields pure organ-tone. The term Superoctav is commonly used 
 by German organ-builders. In both the Riga and Ulm Organs, 
 built by Walcker, the term is incorrectly applied to stops of i ft. 
 pitch. The French builders commonly use the name Doublette, 
 2 ft. See Fifteenth. 
 
 TAPADILLO, TAPADO, Span.— The names given by Spanish 
 organ-builders to covered labial stops, in all essentials similar to the 
 English so-called Stopped Diapason and the German Gedeckt. 
 Under the name Tapadillo, the stop exists in the Organs in the 
 Cathedrals of Burgos and Valladolid; and under the name Tapado, 
 in the Organ in the Cathedral of Orense. A stop named Flautado 
 Tapado exists in the Organ on the south side of the Coro in Burgos 
 Cathedral, built in 1706. 
 
 TENOROON. — The name given by certain English organ- 
 builders during the middle years of the last century, when incom- 
 plete stops were more in favor than they happily are now, to a 
 covered stop, of 16 ft. pitch, which was carried downward only to 
 tenor C on the manual clavier. The term is now obsolete, and it is 
 to be hoped the incomplete stop it designated is equally so. 
 
 The term Tenoroon was originally employed to designate the 
 Tenor Bassoon or Alto Fagotto in F; and it is, accordingly, evident 
 that the name given to the organ-stop had no reference to the or- 
 chestral Tenoroon. Should it, however, be considered desirable to 
 introduce in the Organ a Fagotto, of 4 ft. pitch, the name Tenor- 
 oon could be given, appropriately, to it. Such a stop would 
 
THEIR ARTISTIC REGISTRATION 251 
 
 complete the Fagotto family, and be of great value in artistic 
 registration. At present the Organ is sadly deficient in soft octave 
 reed-tone. 
 
 TENTH.— Ital.,DECiMA. Fr., Grosse Tierce. Ger.,TERZ.— 
 A third-sounding mutation stop, introducing and corroborating the 
 fourth upper partial tone in the 16 ft. harmonic series, introduced on 
 the manuals, of 33^ ft. pitch; and corroborating the fourth upper 
 partial tone in the 32 ft. harmonic series, introduced in the Pedal 
 Organ, of 6% ft. pitch. The unscientific English organ-builders 
 have seriously failed to realize the value of this stop, for it appears 
 in only one of their Organs known to us. On the other hand, both 
 the French and German builders have thoroughly realized its value 
 in both the manual and pedal departments. The Grosse Tierce, 
 33^ FT., exists in the Solo of the Organ in the Church of Saint-Sul- 
 pice, and in the Bombarde of the Organ in the Cathedral of Notre- 
 Dame, Paris. The Grosse Tierce, 6% ft., is introduced in the 
 Pedal of the Notre-Dame Organ. The Terz, 33^ ft., exists on the 
 First Manuals of the Organs in the Cathedrals of Riga, Vienna, and 
 Ulm. The Terz, 6% ft. , exists in the Pedal of the Riga Organ ; and, 
 under the term Terzbass, b% ft., it exists in the Pedals of the Riga 
 and Vienna Organs. We agree with Topfer that Bassterz would 
 be the better name. The extended term Terzenbass, 6% ft., has 
 also been used by German organ-builders. Under the names Great 
 Tierce, 6% ft., and Tierce, 2>}i ft., both stops exist in the Pedal 
 of the Organ in the Parish Church of Doncaster, Yorkshire, built 
 by Edmund Schulze, of Paulinzelle, in 1862. The term Tierce, 33^ 
 ^T., is, in our opinion, more expressive and desirable than the term 
 Tenth. 
 
 The manual stop is formed of open metal pipes ; and, as it belongs 
 to the 16 ft. series, its scale should be derived from that of the 
 Double Diapason, 16 ft., which is, properly, smaller than that of 
 the principal Diapason, 8 ft. All third-sounding stops, wherever 
 they are introduced, should be softer in tone than the unison, octave, 
 and fifth-sounding stops with which they are associated. For ar- 
 tistic registration, this regulation of tone will be found of great im- 
 portance. The Pedal Organ Tenth, 6% ft., should be formed of 
 open pipes of wood or metal, preferably yielding a bright tone, im- 
 parting a desirable life to this grave department of the Organ. See 
 Seventeenth. 
 
 TERPODION.— The term derived from the Greek words 
 T^pxeiv — to delight, and wSy] — a song. The musical instrument 
 
252 ORGAN-STOPS 
 
 which gave this name to an organ-stop was invented by David 
 Buschmann, of Berlin, in 1816. It was a clavier instrument, vari- 
 ously described as frictional and percussive, in form resembling a 
 Pianoforte: its sounds were produced from sonorous wood in a 
 manner not clearly described by writers on old instruments. 
 
 The stop to which the name was originally given was invented by 
 J. Friedrich Schulze, of Paulinzelle, and inserted, for the first time, 
 in the Organ he constructed, in 1838, for the Cathedral of Halber- 
 stadt. Other examples of the Terpodion, 8 ft., exist in the Ober- 
 werk of the Schulze Organ in the Cathedral of Bremen; on the Third 
 Manual of the Organ in the Marienkirche, Lubeck; and in the Swell 
 of the Organ in the Parish Church of Doncaster, Yorkshire, built 
 by Edmund Schulze, of Paulinzelle. As made by this master, 
 the stop is formed of open cylindrical metal pipes, which have wide 
 and low mouths, yielding a tone of a pronounced r«edy quality. 
 The stop, even at its best, seems to be of little tonal value. Accord- 
 ing to Schlimbach-Becker (1843), the Terpodion in the Halberstadt 
 Organ, when combined with the Lieblichgedeckts, of 16 ft. and 
 8 ft. pitch, and the Harmonika, 8 ft., produced atone resembling 
 that of the instrument invented by Buschmann. What must the 
 tone of this wooden instrument have been? 
 
 TERPOMELE.— The term, derived from the Greek words 
 tspicsiv — to delight, and (jlIXo? — melody or song; and first used to 
 designate a free-reed stop, of 8 ft. pitch, which was inserted, about 
 the year 1828, in the Organ in the Cathedral of Beauvais. The 
 reeds were furnished with slender resonators, introducing the proper 
 construction of free-reed stops. Availing himself of the fact that 
 free-reeds can produce varied strengths of tone under different pres- 
 svires of wind without alteration of pitch, the organ-builder arranged 
 to impart powers of expression to the Terpomele by means of a con- 
 trivance placed under the control of the organist. 
 
 TERTIAN, TERZIAN, Ger.— A compound harmonic-corrob- 
 orating stop, formed of two ranks of open metal pipes, properly of 
 medium scales, which stand at the interval of a major third apart. 
 The position is, accordingly, an inversion of that of the Sesquial- 
 TERA, the third-sounding being larger, and lower in pitch, than the 
 fifth-sounding one. The Tertian is composed of ranks of 1% ft. 
 and i}/i ft. pitch when it belongs to the 8 ft. harmonic series; of 
 ranks of 33^ ft. and 2% ft. when it belongs to the 16 ft. harmonic 
 series; and of ranks of 6% ft. and 5}/^ ft. when it belongs to the 32 
 feet harmonic series. Seidel tells us' that in certain old Organs it 
 
THEIR ARTISTIC REGISTRATION 253 
 
 comprised three ranks; namely, of 4ft., sH ft', and 2% ft. pitch. 
 When the two relative ranks are introduced as separate stops in 
 any division of the Organ, it is not necessary to contemplate the 
 addition of a Tertian, unless on special grounds directly relating to 
 the very important matter of artistic and varied registration. In 
 this case, the stop should be of small scale and carefully voiced, 
 giving slight prominence in tone to the third-sounding rank. The 
 stop may also, and very properly, be made timbre-creating, its 
 ranks having contrasting tonalities. Only those who have made a 
 special study of compound-tone production can realize the value of 
 such a Tertian in imparting color in refined and artistic registra- 
 tion. 
 
 THIRTY-FIRST.— Ital., Trigesima Prima.— A third-sounding 
 Mixture rank, of open metal pipes, corroborating the fourth upper 
 partial tone of the super-octave (2 ft. pitch) stops; its extremely 
 acute pitch preventing its being considered, in anything save a 
 purely philosophical sense, as belonging to a lower harmonic series. 
 Owing to the smallness of the pipes forming this rank, it can only be 
 introduced in the two lower octaves of a manual Mixture. While 
 it appears to have been used, in some way, by the Italian organ- 
 builders, as in one of the Organs in the Cathedral of Milan, we have 
 been unable to find an instance of the insertion of this extremely 
 acute third-sounding rank in a Mixture made by any known organ- 
 builder. It may, however, exist in the ninety-five ranks of Mixture 
 which are inserted in the Organ in the Monastic Church, Weingarten. 
 
 THIRTY-SIXTH.— Ital., Trigesima Sesta.— An octave-sound- 
 ing Mixture rank, of open metal pipes, corroborating the 
 seventh upper partial tone of the super-octave (2 ft. pitch) stops; 
 its extremely acute pitch preventing its being considered, in any- 
 thing save a purely philosophical sense, as belonging to a lower 
 harmonic series. Owing to the very small size of the pipes forming 
 this rank, it can only be introduced in the bass octave of a manual 
 Mixture. It appears, as in the case of the Thirty-First (g. v.), 
 in one of the Organs in the Cathedral of Milan; but we have not been 
 able to find the Thirty-Sixth introduced in any Mixture of Eng- 
 lish, French, or German origin. The only instance of its introduc- 
 tion known to us, is afforded by the seven-rank Cymbale in the 
 Great of the Organ in the Music Hall, Cincinnati ; in this compovind 
 stop, the Thirty-Sixth is confined to the bass octave. 
 
 THIRTY-THIRD.— Ital., Trigesima Terza.— A fifth-sound- 
 
254 ORGAN-STOPS 
 
 ing Mixture rank, of open metal pipes, corroborating the fifth 
 upper partial tone of the super-octave (2 ft. pitch) stops; its ex- 
 tremely acute pitch preventing its being considered, in anjrthing 
 save a philosophical sense, as belonging to a lower harmonic series. 
 The Thirty-Third was introduced by the old English builders in 
 their compound harmonic-corroborating stops. Harris inserted it, 
 in conjunction with the Twenty-Ninth, in the bass octave of the 
 two-rank Mixture in the Organ erected by him, during the closing 
 years of the seventeenth century, in the Church of St. Peter Man- 
 croft, Norwich. It appears, in conjunction with the Thirty-Sixth, 
 in the North Organ in the Cathedral of Milan. The Thirty-Third 
 is inserted in the bass and tenor octaves of the Cymbale in the Organ 
 in the Music Hall, Cincinnati. 
 
 TIBIA ANGUSTA.— (Lat. Tibia— a. pipe; Augustus— narrow). 
 — The term that has been employed by German organ-builders to 
 designate a flute-toned stop, of small scale, and 8 ft. pitch. It 
 resembles in formation and tone the Dolzflote {q. v.). 
 
 TIBIA BIFARA.— (Lat. Tibia— s. pipe; Bifarius, double).— 
 The stop, commonly named Bifara (without the prefix), is formed 
 in two ways ; both with the view of imparting a tremulous or wavy 
 effect to its voice. For full particulars of this stop, see Bifara. 
 
 TIBIA CLAUSA.— (Lat. Tibia— a. pipe; Clausus— closed).— 
 The name given to a large-scaled covered stop, of 8 ft. pitch, the 
 pipes of which are of wood. The mouths of the pipes are cut up 
 about half their widths; their upper lips being thick, and very 
 smoothly rounded and polished with black-lead. To save trouble 
 and labor, the rounding and polishing are omitted, and the lips are 
 covered with leather — a perishable expedient. When properly 
 voiced, on a copious supply of wind of moderate pressure, the stop 
 yields a beautiful and singularly pure quality of tone. A full scale 
 for this stop, in the ratio i : y/S, gives the CC pipe a width of 5.56 
 and a depth of 7.52 inches; the C pipe a width of 3.3O, and a depth 
 of 4.46 inches; and the middle c' pipe a width of 1.96, and a depth 
 of 2.66 inches. The name and modem treatment of this large-scaled 
 Gedeckt were introduced by Hope- Jones. 
 
 Tone and Registration. — The tone of the Tibia Clausa, 
 when artistically produced, is freer from harmonic over-tones than 
 the voices of the generality of covered stops, and especially those of 
 the Bourdons; hence its peculiar value. In this respect it ap- 
 proaches the voice of the true Liebuchgedeckt; but, on account 
 
THEIR ARTISTIC REGISTRATION 255 
 
 of its large scale, the Tibia Clausa yields a much greater volume of 
 sound, and, accordingly, lends itself more effectively to the building- 
 up of a valuable series of highly-colored compound tones. Its proper 
 place is in the expressive divisions of the Organ, in which a firm 
 ground-work of unison tone is required to balance and carry the 
 assertive string-, reed-, and brass-tones of the orchestral stops : such 
 as the so-called Swell in the Church Organ; and the wood-wind, 
 brass-wind, and string-toned divisions of the properly stop-appor- 
 tioned Concert-room Organ. In registration with the octave, muta- 
 tion, and softly-voiced compound harmonic-corroborating stops, the 
 Tibia Clausa, 8 ft. , produces a family of very beautiful tones. 
 
 TIBIA DURA.— (Lat. Tibia— & pipe; DwrM*— hard).— The 
 name given to an open wood stop, of 4 ft. pitch, introduced by Hope- 
 Jones; the tone of which is cold and penetrating; hence the name. 
 The approved form of the pipes is quadrangular and inverted pyra- 
 midal, and wider than deep, so as to allow of a large mouth, which 
 is of the inverted form. The tone of the stop has no special charac- 
 ter to render it valuable in artistic registration. Examples exist in 
 several Organs constructed under the superintendence of Hope- 
 Jones. 
 
 TIBIA MAJOR.— (Lat., Tibia— a, pipe; ilfajoy— greater).— 
 The term employed by German organ-builders to designate a man- 
 ual, covered labial stop, of the Bourdon class, and of 16 ft. pitch. 
 It is commonly of large scale and of a full tone. Examples exist on 
 the First Manuals of the Walcker Organs in the Cathedrals of Ulm 
 and Vienna. Another exists in the Echo of the Schulze Organ in the 
 Parish Church of Doncaster; in this instance the stop is of a com- 
 paratively soft tone. All the Echo Organs made by this builder 
 being characterized by extreme delicacy and beauty of tone, as all 
 Echo Organs should be. 
 
 TIBIA MINOR.— (Lat., Tibia— a, pipe; ilfjwor- smaller).— 
 German organ-builders have, in some instances, given the name to a 
 large-scaled covered stop, of 8 ft. pitch, which is practically the 
 Octave of the Tibia Major, 16 ft. {q. v.). An example of the stop, 
 under the simple name Tibia, 8 ft., exists on the First Manual of 
 the Organ in St. Paulskirche, Frankfurt. We are not certain, how- 
 ever, if this stop is covered. The name Tibia Minor has been given 
 by John H. Compton, of Nottingham, England, to covered stops, 
 introduced by him in certain of his Organs, the pipes of which are of 
 large scale, and of wood and metal. The wood stop differs only 
 
256 ORGAN-STOPS 
 
 slightly in treatment and tone from the Tibia Clausa (q. v.). The 
 metal Tibia Minor, 8 ft. , as made by Compton, is a fine and valu- 
 able contribution to the flute-tone of the Organ of the Twentieth 
 Century; and deserves the attention of every progressive organ- 
 builder. The chief characteristics of its pipes are their very large 
 scale and their very narrow mouths. The CC pipe has a diameter 
 equal to that of a medium-scaled CC Diapason pipe. The mouths 
 are cut high, arched, and leathered. 
 
 Tone and Registration. — The tone of the Compton metal 
 Tibia Minor, 8 ft., is sui generis; differing widely from that of the 
 ordinary large-scaled Gedeckt; and therein lies much of its value. 
 The Organ of to-day calls loudly for new voices of a refined, building- 
 up, and timbre-creating character; not old voices coarsened by the 
 use of inordinate pressures of pipe-wind, which seems to be the chief 
 aim of the generality of voicers at the present time. The tone of the 
 stop under consideration is thus clearly described by J. I. Wedgwood, 
 who has had ample opportunity of forming an accurate estimate of 
 its character: "The tone of the Tibia Minor is extraordinarily 
 effective. In the bass it is round and velvety with a suspicion of 
 smooth French Horn quality. In the treble the tone becomes very 
 clear and full. The top notes of the stop, indeed, bear in them some 
 resemblance to the full liquid notes of the Ocarina, though free, of 
 course, from the undesirable features of that instrument. Whilst 
 entirely devoid of the objectionable hooting quality sometimes dis- 
 played by powerful Flutes, it forms a solo stop of remarkably fine 
 effect, and in combination serves to add much clearness and fullness 
 of tone to the treble, and, in general, exercises to the fullest extent 
 the beneficial characteristics of the Tibia class of stop." In regis- 
 tration, this stop lends itself to the creation of many beautiful com- 
 pound tones and artistic colorings. See Tibia Clausa. 
 
 TIBIA MOLLIS.— (Lat., Tibia— a. pipe; Mollis— soit).— The 
 name given by Hope- Jones to an open wood stop, of a soft flute- 
 tone; the pipes of which have their mouths cut parallel to their sides, 
 and the caps so placed as to direct the wind-stream transversely, in 
 a manner similar to that from the mouth while playing the orches- 
 tral Flute. An example exists in the Organ in St. George's Church, 
 Blackheath, London. The name is equally appropriate for any very 
 soft flute-toned stop. 
 
 TIBIA PLENA.— (Lat., Tibia— a. pipe; PZeMM5— full).— The 
 name given to an open wood stop of 8 ft. pitch ; the pipes of which 
 are of greater depth than width, of very large scale, and have mouths 
 
THEIR ARTISTIC REGISTRATION 257 
 
 cut moderately high, their upper lips being thick and carefully 
 rounded and polished when properly finished. Leathering the lips 
 has been adopted to produce sufficient smoothness. Lips carefully 
 rounded and burnished with black-lead are to be preferred, as 
 leather is certain to change and decay in a few years. The Tibia 
 Plena is the most powerful of the wood stops of unimitative flute- 
 tone; and should find a prominent place in every important Organ, 
 preferably on the First or Great Manual and in its expressive sub- 
 division. The stop has been made of several different scales, all of 
 which are necessarily large. For instance, that stated for the stop 
 in the Organ in the Cathedral of Worcester, gives the CC (8 ft.) pipe 
 a measurement of y^f inches by 9 inches, and middle c' (2 ft.) pipe 
 2x1 inches by 3^^ inches. This is an extreme and unnecessarily 
 large scale. Examples of the stop exist in several Organs in England 
 and the United States. 
 
 Tone and Registration. — The tone of the Tibia Plena when 
 artistically voiced, is singularly full and dignified; the presence of 
 certain low harmonics imparting to it considerable richness, and 
 rendering it of the greatest value in registration with the Diapasons, 
 to the voices of which it imparts a remarkable color and grandeur. 
 It is also of the greatest value in combination with such lingual stops 
 as the Double Trumpet and unison Trumpet of the First or Great 
 Organ, to which division it properly belongs. To be of maximum 
 value it should be rendered expressive and flexible, so as to be largely 
 available throughout the other more important divisions of the 
 Organ. In a very large Concert-room instrument, a Tibia Plena 
 may with the greatest advantage be inserted, as a tone-builder, in 
 either the Solo Organ or that devoted to the brass-wind division; or, 
 indeed, in both. 
 
 TIBIA PROFUNDA.— (Lat., Tibia— b. pipe; Frofundis— deep). 
 — The name given to the Pedal Organ stop, of 16 ft. pitch, the pipes 
 of which are similar in formation and quality of tone to those of the 
 Tibia Plena (g. v.). An example exists in the Pedal of the Organ 
 in the Church of St. Mary, Warwick, England. 
 
 TIBIA RURESTRIS, FISTULA RURESTRIS.— (Lat., Fis- 
 tula, Tibia — a pipe; Ruralis — rural). — Names that have beeh used 
 by the early organ-builders to designate a flute-toned stop in all 
 essentials similar to the Bauerflote (g. v.). 
 
 TIBIA SILVESTRIS.— (Lat., Tibia— a. pipa; Silvestris—oi a 
 wood). — The term that has been used to designate an open wood, 
 
258 ORGAN-STOPS 
 
 flute-toned stop, identical with that commonly named Waldflote 
 (q. v.). Seidel and Wolfram render the name Tibia Sylvestris. 
 
 TIBIA TRANSVERSA, TIBIA TRAVERSA.— (Lat., Tibia— 
 a pipe; Transversus, Traversus — across). — The names given by old 
 builders to the open labial stop, yielding imitative flute-tone, which 
 is now commonly designated Flauto Tra verso {q. v.) or Orches- 
 tral Flute. 
 
 TIBIA VULGARIS. — (Lat., Tibia — a pipe; Vularis — common). 
 — The name given in early times to the unimitative flute-toned stop, 
 now commonly termed Blockflote (q. v.). 
 
 TIERCE, Fr. — Ger., Terz. Eng., Seventeenth. — A muta- 
 tion harmonic-corroborating stop, oi i% ft. pitch in the manual 
 divisions, where it belongs to the 8 ft. harmonic series; and 3^ ft. 
 pitch in the Pedal Organ, where it belongs to the 16 ft. harmonic 
 series. See Seventeenth. 
 
 TIERCINA. — The name given to a metal labial stop, of 8 ft. 
 pitch, the pipes of which are of small scale, covered, and voiced to 
 yield a tone in which the fourth upper partial tone (the Seventeenth) 
 is strongly in evidence ; hence the name. This compound tonality is 
 enriched by the presence, in a subordinate degree, of the second 
 upper partial, the Twelfth. To enrich the harmonic structure, we 
 inserted a Tiercina, 8 ft., in the Second Subdivision (String) of the 
 Third Organ of the instrument installed in the Festival Hall of the 
 Louisiana Purchase Exposition (1904). 
 
 TIERCE FLUTE.— The name given by its introducer, George 
 W. Till, of Philadelphia, Pa. to a labial dual stop, formed of a metal 
 Harmonic Flute, 8 ft., having the compass of CC to c^, and a 
 metal Tierce, 3^^ ft., of the same compass, yielding pure organ- 
 tone, and belonging to the 1 6 ft. harmonic series. In this instance, 
 however, the Tierce is a timbre-creating rather than a harmonic- 
 corroborating stop or rank. In combination with the Harmonic 
 Flute it produces a compound solo voice of an absolutely new and 
 remarkable tone-color, impossible to be produced from a single- 
 ranked Flute, however made and voiced. 
 
 This dual stop is inserted in the Choir of the Organ in the Wana- 
 maker Store, in Philadelphia, where it speaks on wind of 15 inches. 
 The stop is unique; and it is safe to say that such a dual stop has 
 never been even contemplated in the preparation of the tonal scheme 
 for any other Organ hitherto constructed. We know of no Organ 
 
THEIR ARTISTIC REGISTRATION 259 
 
 in which the component parts of the stop exist in any single manual 
 division. The tone of the Tierce Flute must be heard ; it cannot be 
 described. It is especially a solo stop.* 
 
 TRAVERSFLOTE, Ger.— Ital., Flauto Traverso.— The lab- 
 ial stop, properly formed of cylindrical or quadrangular wood pipes 
 voiced to yield a tone as closely imitating that of the orchestral Flute 
 as possible. Fine examples, of 8 ft. and 4 ft. pitch, voiced by Ed- 
 mund Schulze, exist in the Choir and Echo of the Organ in the Parish 
 Church of Doncaster, England. See Flauto Traverso and Or- 
 chestral Flute. 
 
 TRAVERSENBASS, Ger.— The name given to a labial metal 
 stop, of 16 ft. pitch, the higher notes of which produce tones similar 
 to those of the Traversflote, 8 ft. According to Wolfram (1815), 
 an example exists in the Pedal of the Organ in the Church of St. 
 Bonifacii, Langensalza. A clear flute-toned stop, of this class, and 
 of medium strength of tone, would be extremely valuable in the 
 Pedal of a Concert-room Organ. 
 
 TRICHTERREGAL, Ger.— Literally, Funnel Regal.— An old 
 lingual stop of the Regal class furnished with funnel-shaped re- 
 sonators; hence its name. A Trichterregal, 8 ft., was inserted 
 by Schnittker in the Organ he built for the Church of St. Jacobi, 
 Hamburg. See Regal. 
 
 TRINONA. — The name given by the builder of the Organ in the 
 Church of St. Vincent, Breslau, to stops, of 8 ft. and 4 ft. pitch, in- 
 serted on the Second or Upper Manual. These stops are said to be 
 of wood and of a soft viol quality of tone. The name would seem to 
 imply the presence, in some prominence, of the fourth upper partial 
 tone — the Seventeenth — in the voices of the stops, quite compatible 
 with good viol-tone. 
 
 TRIPLETTE. — The term employed to designate a compound 
 harmonic-corroborating stop formed of three unbroken ranks of 
 open metal pipes, similar in treatment to the Doublette of the 
 German organ-builders. The Triplette furnishes a favorable op- 
 portunity for the formation of a valuable timbre-creating stop. Its 
 ranks may be of metal, or of wood and metal, open or covered, pipes, 
 voiced to yield any desirable tones. Its ranks may be of 2 J^ ft. , 2 ft. , 
 and i^ ft.; 2 ft., 1% ft., and iM ft.; or 1% ft., i}4 ft, and i ft. 
 
 * Full particulars of the formation and scales of this stop are given in "The Organ of the 
 Twentieth Century." Page 104. 
 
26o ORGAN-STOPS 
 
 pitch; all the ranks representing and corroborating upper partial 
 tones of the 8 ft. harmonic series. Unless designed as a strictly 
 timbre-creating stop, the Triplette has nothing to specially re- 
 commend its adoption: its ranks would be more useful as separate 
 stops. 
 
 A finely-voiced timbre-creating Triplette would unquestion- 
 ably be of great value in artistic registration; producing compound 
 tones of great variety and beauty, unknown in the Organs hitherto 
 constructed. It should be so placed as to be available on any manual 
 clavier. 
 
 TROMBA, Ital. — Italian organ-builders have employed this 
 term to designate lingual stops of the Trumpet class, of both 8 ft. 
 and 1 6 ft. pitch, as in the Organ in the Church of St. Allessandro, 
 Milan. We find the term applied to a stop, of 32 ft. pitch, in the 
 Great of the Organ in the Church of Sta. Maria di Carignano, 
 Genoa; reconstructed by C. G. Bianchi, in 1863. Spanish and Por- 
 tuguese organ-builders have applied the name, commonly with the 
 addition of certain qualifying terms, to their Trumpets of powerful 
 and special intonation. In the Organ on the north side of the Coro 
 in Burgos Cathedral there are two lingual stops, labeled, respec- 
 tively, Tromba Real (Royal Trumpet) and Tromba Batalha 
 (Battle Trumpet). We find stops in the Organ in the Church of the 
 Martyros, Lisbon, labeled Tromba Real, Tromba Batalha, and 
 Tromba Magna (Great Trumpet). 
 
 The Trombas, of 8 ft. and 16 ft. pitch, as made by German and 
 English organ-builders, differ widely in tonality from those of the 
 old Spanish builders : they are Trumpets yielding a full and smooth, 
 unimitative brass-tone, more powerful than that of the Orchestral 
 Trumpet, but less assertive than the tones of the Tubas. A 
 Tromba, 8 ft., made by Walcker, exists on the First Manual of the 
 Organ in the Accademia di Sta. CecUia, Rome. An example, by 
 Norman & Beard, exists in the Organ in the Church of All Saints, 
 Notting Hill, London. The late Edmund Schulze of Paulinzelle 
 invented a labial Tromba, 16 ft., the pipes of which were of wood, 
 square and inverted pyramidal in form, and of medium scale, and 
 voiced with the harmonic-bridge. 
 
 Tone and Registration.— Given that the tone of the Tromba, 
 8 ft., is distinct in strength and quality from the tones of the Har- 
 monic and Orchestral Trumpets, on the one hand; and from the 
 tones of the Trombone, Ophicleide, and Tuba, on the other hand, 
 there can be no question as to the great value of the stop in tne ap- 
 
THEIR ARTISTIC REGISTRATION 261 
 
 pointment of a large Church Organ or a Concert-room instrument. 
 Like all lingual stops, its place is in an expressive manual division. 
 In a properly stop-apportioned Concert-room Organ, its proper 
 place is in the division devoted to the representatives of the "brass- 
 wind" forces of the orchestra.* Its presence there will be of the 
 greatest service in artistic registration, furnishing a rich and full 
 lingual tone, of a neutral and good mixing quality, combining per- 
 fectly with any pure organ-tones, flute-tones, and viol-tones. 
 
 TROMBA CLARION.— The appropriate name for a Tromba, 
 of 4 ft. pitch, voiced considerably softer than the unison Tromba 
 (g. v.). Softly voiced octave lingual stops have been too much neg- 
 lected in the stop-appointments of modern Organs; yet their value 
 in artistic registration cannot well be overrated. They effectively 
 enrich, brighten, and impart life to volumes of unison and double 
 tones; which, without them, would be dull, heavy, and unmusical. 
 
 TROMBONE, Ital., Eng., Fr.— A lingual stop of 8 ft. pitch in 
 the manual divisions and of 16 ft. pitch in the Pedal Organ. The 
 stop belongs to the Trumpet family; and its pipes are similar in 
 form to, but of larger scale than, those of the ordinary Trumpet, 
 8 FT., only having tongues and reeds yielding a distinctive and more 
 powerful intonation. The stop is properly voiced to closely imitate 
 the tones of the orchestral Trombones when played forte, but not 
 fortissimo. The more powerful intonation being desirable in the 
 POSAUNE (g. v.). 
 
 Formation. — The manual Trombone, 8 ft., is constructed of metal through- 
 out; its resonators being of the inverted conical form, of large scale, and either 
 of good pipe-metal or zinc; the latter being commonly used at the present time. 
 The Hoyt Two-ply Pipe-metal is strongly to be recommend for high-class work. 
 The Pedal Organ Trombone, 16 ft., is made either entirely of metal or of wood 
 and metal. When of metal, it differs in no essential, save in dimensions, from the 
 Trombone, 8 ft. When chiefly of wood, the pipes are necessarily different in 
 form and construction. The resonators are quadrangular and of inverted pyra- 
 midal shape. The boots, when of wood, are square and of ample dimensions to 
 receive the feet of the resonators, the reed-blocks, and all fittings. The reeds or 
 Schalotes are of the open class; and the tongues or languettes are of hard-rolled 
 brass, of medium thickness, and finely curved so as to produce a bright quality 
 of tone. 
 
 Tone and Registration. — The proper tone of the manual 
 Trombone, 8 ft., should resemble as closely as possible the tones of 
 the orchestral Trombones when played without the production of 
 
 * See stop-apportionment of the Fourth Organ, in our scheme for the Concert-room Organ, 
 i,!ven on page 311 of "The Organ of the Twentieth Century." 
 
262 ORGAN-STOPS 
 
 their extreme brazen clang. Fine examples of this stop, voiced by 
 the masterly hand of the late George Willis, exist in the Great and 
 Solo of the Organ in St. George's Hall, Liverpool. The value of this 
 unison stop seems to be overlooked by the organ-builders and organ- 
 designers of to-day, but its introduction in important instruments is 
 strongly to be recommended. So firmly convinced are we of the 
 value of its distinctive tone, that in our suggestive tonal scheme for 
 the Concert-room Organ of the Twentieth Century, we have in- 
 serted in the First Organ (Great) a Trombone, 8 ft., and in the 
 Fourth Organ (Brass-wind) the complete Trombone family; namely, 
 a Contra-Trombone, i6 ft.. Trombone, 8 ft.. Trombone Quint, 
 5}4 FT. , and Trombone Octave, 4 ft.* It would be difficult to over- 
 rate the importance of such a combination of Ungual stops at the 
 disposal of the organist; yet it has never appeared in any executed 
 Organ. The neglect of the manual Trombone, 8 ft. , is as remark- 
 able as it is unwise, yet it is the only one which can properly repre- 
 sent the orchestral Trombone. In a large collection of stop-lists of 
 Organs, designed in this country, which lie before us, we fail to find a 
 single Trombone, 8 ft., mentioned. Indeed, in the list of an im- 
 mense divided Organ, embracing 283 speaking stops, there is only 
 one Trombone given, and that, of 16 ft. pitch, in one of the Pedal 
 Organs. In the Fourth or Solo Organ of the large instrument we 
 designed, and which was installed in the Festival Hall of the Louis- 
 iana Purchase Exposition, St. Louis, 1904, there was a Trombone, 
 8 FT., and a Bass Trombone, 16 ft. ; both of metal. 
 
 TROMPETTE EN CHAMADE, Fr.— The term employed by 
 French organ-builders to designate a Trumpet, the pipes of which 
 are projected horizontally and fanwise from the front of the case, as 
 in the Organ in the Church of Saint-Ouen, Rouen (See Frontispiece). 
 This treatment is common in important and noisy Spanish Organs. 
 On both artistic and common-sense grounds the treatment is to be 
 condemned. No Ungual stop should be without expression. 
 
 TROMPETTE HARMONIQUE, Fr.— This important lingual 
 stop was invented by Cavaill^-Coll, and introduced, for the first 
 time, in the Organ of the Royal Church of Saint-Denis, constructed 
 in 1 84 1 . In this remarkable instrument there were inserted no fewer 
 than five examples of the stop of 8 ft. pitch ; one in the Positif , two 
 in the Grand-Orgue; and two in the R^cit-ficho Expressif. In his 
 "Rapport" on the Organ, J. Adrien de la Fage remarks: 
 
 * See " The Organ of the Twentieth Century," page 311. 
 
THEIR ARTISTIC REGISTRATION 263 
 
 " La trompette harmonique du clavier de r^cit est, par sa puissance et par I'ex- 
 cellence des sons qu'elle produit, incomparablement sup^rieure k tout ce que Ton 
 connatt en ce genre. Le caractfere tout-i-fait particulier de ses basses, lorsqu'on 
 I'emploie comma partie chantante accompagn^e des jeux de fond, est d'un effet 
 admirable. On ne peut dire autant des series de jeux de JMtes harmordgues qui 
 donnent a I'ensemble de I'orgue tant de rondeur et de puissance." 
 
 For further particulars respecting the Trompette Harmonique, 
 see Harmonic Trumpet. 
 
 TRUMPET.— Fr., Trompette. Ger., Trompete. Ital., Trom- 
 BA. Dtch., Trompet. Span., Trompeta.— The manual lingual 
 stop, of 8 ft. pitch, to which these naroes are given by the organ- 
 builders of different countries, may reasonably, and under usual 
 conditions, be considered the most generally useful, if not the most 
 important lingual stop in the Organ. So much so is this the case, 
 that no Organ of any pretension is constructed without one, com- 
 monly occupying a place in the Great or foundation division of the 
 instrument. Unless when it is strictly of the solo or orchestral tonal- 
 ity, the Trumpet is a chorus-reed of the first importance. Realizing 
 this fact, the German organ-builders place the stop on different 
 manuals. In the Organ in the Cathedral of Ulm the Trompete, 
 8 FT., is inserted on the Second and Third Manuals only, and also in 
 the Pedal Organ. It commonly occupies a place in the Pedal Organ 
 of Walcker's important instruments. In the Cavaill^-Coll Organ 
 in the Church of Saint-Sulpice, Paris, there are two Trompettes 
 in the Grand-Chceur, one in the Positif , one in the Recit, one in the 
 Solo, and one in the Pedale — six Trompettes, of 8 ft. pitch (none 
 harmonic), in an Organ of 100 speaking stops. The builder of this 
 Organ fully realized the value of the chorus Trumpet.* In English 
 
 * "La Trompette est le rfigistre d'anches le plus pur, le plus rond, le plus fin d'harmonie et 
 de sonority, quand il est bien fait; le plus d^sagr^able. quand il est manqufi. Chose singuliereil 
 rSussit moins souvent en Allemagne qu'en France ; j 'ai d^jk cherch6 la raison de cette difference 
 dans la difference d'allures des deux nations : le bruit guerrier, I'^clat, tout ce qui tend ^ accen- 
 tuerlamusique, et a mieux marquer son rhythme, semble 6tre de notre domaine. Deleurc6t6, 
 les facteurs allemands se vengent de la maigreur de leurs Trompettes par la vari6t6, la finesse 
 m^lancolique de leurs jeux de fonds. 
 
 " Une bonne Trompette doit a voir le tuyau un peu plus long que de rigueur, de grosse taille et 
 desolide ^paisseur, en 6tain fin et bien battu, pos^ sur un-pied in^branlable et bien proportionn6 
 en hauteur et en embouchure. La languette, de laiton fortement 6croui, m^diocrenientrecour- 
 b6e k I'entr^e de I'anche, s'y posera bien ^galement sans d6vier, et sera comme cette anche de 
 largeur et d'^paisseur proportionn^es ^ la vigueur du courant d*air contre lequel elle combat. 
 Le tuyau trop long ferait octavier; trop court, il pourrait donner un son plus tranchant, mais 
 criard. Trop d'^paisseur serait inutile, et la minceur ferait grincer le tuyau. La languettetrop 
 14che fait r^ler le son, trop ferme ou d6vi6e de son aplomb, courb^e trop haut ou trop bas, elle 
 devient capricieuse, raide jusqu'au mutisme. Les justes proportions du tuyau de Trompette 
 combin^es a vec celles du vent doivent donner un son 6gal, brillant sans trop d'^clat , mais m&le et 
 doux ^ la f ois. C'est cette derniere quality, si rare que les bons accordeurs distinguent au bour- 
 don qui ressort toujours d'une Trompette arriv^e K sa juste harmonie. Toutes ces perfections 
 
264 ORGAN-STOPS 
 
 Organs of the usual Church type a single Trumpet, 8 ft., is com- 
 monly introduced, inserted almost invariably in the Great. Even 
 in the important Organ, of 70 speaking stops, in the Cathedral of 
 York, there are only two Trumpets, one in the Great and the other 
 in the Swell. In the Concert Organ in St. George's Hall, Liver- 
 pool, there is a Trumpet, 8 ft., in the following manual divisions, 
 Great, Choir, Swell, and Solo; and also one in the Pedal Organ. 
 Judging from a survey of the tonal-appointments of American 
 Organs, it would seem that organ-builders here have failed, as a 
 rule, to realize the great value of the Trumpet. An example of 
 this neglect may be given: in an important College Organ, of 46 
 speaking stops (exclusive of 13 borrowed stops), built by a dis- 
 tinguished firm, there is not a single Trumpet, or any lingual stop 
 that can take its place in registration. Surely this is a step in the 
 wrong direction. In another Organ, of 52 speaking stops, there is 
 not a single Trumpet or any stop of its tonal character. Further 
 comment is unnecessary. 
 
 Formation. — The pipes of the Trumpet are invariably made of metal; their 
 resonators being of the inverted conical shape and of medium scale, formed of a 
 good alloy of tin and lead (spotted-metal) or zinc. The Hoyt Two-ply Pipe-metal 
 is to be recommended. The resonators are of about the same lengths as open 
 labial metal pipes of the corresponding pitch, and are entirely open at top: they 
 should be accurately cut to length and not slotted. The form of the complete 
 Trumpet pipe is shown in the accompanying illustration, Fig. 34. The scale of 
 the resonators varies according to character and strength of the tone desired. The 
 reeds or echalotes are properly of the open class ; but in the case of the Echo Trum- 
 pet, or a stop suitable for a true Chamber Organ, the reeds may properly be of 
 the closed variety. The tongues or languettes must in all cases be such as to im- 
 part a true Trumpet tonality: this should be pronounced in the case of the Orches- 
 tral Trumpet. 
 
 Tone and Registration. — The tone of the ordinary chorus 
 Trumpet, while of a true Trumpet character, should not too closely 
 resemble that of the orchestral instrument played forte. A certain 
 amount of brazen clang is desirable to give individuality to the stop ; 
 but it should not be such as to prevent its free use in general regis- 
 tration with stops of organ-tone. When of this tonality, the stop is 
 
 doivent se trouver dans chaque tuyau s^par^ment, et dans tous compares I'un ^I'autre. Ilfaut 
 y joindre enfin celle d'une grande promptitude et nettet^ de langage. 
 
 "La taille des Trompettes doit fitre en rapport avec leur place; ainsi, la p^dale de Trompette 
 sera de plus forte taille que celle qui chante' k la main ; celle du r6cit, plus delicate que celle du 
 grand orgue. Quoiqu'on joue avantageusement la Trompette seule, I'alliance de ces octaves 
 extremes avec cellesdu Ctairon lui donne une grande vigueur, surtout ^ la p^dale; I'habitudede 
 certains facteurs de loger sur un seul clavier deux Trompettes de moyenne taille ne vaut rien, 
 parce qu'elles sont rarement d'accord, et qu'il vaut mieux un seul instrument de forte taille, 
 dont les vibrations aient I'avantage de la clart6 et de Tumtfi." — Regnier. 
 
THEIR ARTISTIC REGISTRATION 265 
 
 most valuable in the First or Great Organ, where it can enter into 
 combination with the Diapasons and the entire foundation-work, 
 producing compound tones of great richness and dignity ; this is due 
 to the great number of upper partial tones its voice comprises. When 
 enclosed and rendered flexible and expressive, as it 
 should be in every artistically appointed Great Organ, 
 the value of the Trumpet is increased ten-fold. The 
 solo stop, properly designated Orchestral Trumpet, 
 8 FT., should be voiced to imitate as closely as pos- 
 sible the characteristic tones of the orchestral instru- 
 ment. Its voice will, accordingly be singularly bright, 
 silvery, and jubilant; differing, in these desirable qual- 
 ities, from every other lingual stop of the Organ. It will 
 be used in registration for the production of rich orch- 
 estral effects, in which its brilliant voice will prove invalu- 
 able. It properly belongs to the brass-wind division of 
 the Concert-room Organ ; where it will be found to be of 
 the utmost service both in solo and combinational effects.* 
 
 TUBA, TUBA MIRABILIS.— Known by both names, 
 this stop, of the Trumpet class, is the most assertive 
 lingual stop in the modern Organ, having a voice of 
 great sonority and grandeur. The stop is of 8 ft. pitch, 
 and has been placed in different divisions of important 
 Organs; but its most desirable place is in the manual 
 division containing the principal solo stops. In this posi- 
 tion it exists in the Concert Organs in the Centennial 
 Hall, Sydney, N. S. W., the Auditorium, Chicago, and 
 the Music Hall, Cincinnati. It also exists in the Solos 
 of the Organs in Westminster Abbey, the Cathedral of 
 York, and the Cathedral of the Incarnation, Garden 
 City, L. I. It exists on the First Manual of the Organ 
 in the Cathedral of Riga, and in the Dome Organ in St. 
 Paul's Cathedral, London. 
 
 Pig. 34 
 
 Formation. — The pipes of the Tuba are, like those of the 
 Trumpet (Fig. 34) of inverted conical form, of large scale, and of 
 thick and firm metal. Its reeds or echalotes are properly of the open 
 class, and its tongues or languettes are wide, thick, and boldly 
 curved. The Tubas of different organ-builders have been 
 voiced on, winds ranging from eight to twenty-five inches: the higher octaves of 
 the stop in the Dome Organ in St. Paul's Cathedral speak on the latter pressure. 
 The scale of the resonators varies in different examples ; but the maximum may be 
 
 ♦See "The Organ of the Twentieth Century," page 311. 
 
266 ORGAN-STOPS 
 
 accepted as seven inches diameter at top for the resonator of the CC (8 ft.) pipe. 
 A remarkable labial stop, designated Tuba Mirabilis, has recently been in- 
 vented by the distinguished artist in stop formation, W. E. Haskell, of Brattle- 
 boro, Vt. This is an open wood stop of very peculiar form and general treatment, 
 in which the harmonic-bridge holds a prominent position. The form and construc- 
 tion of the pipes of this unique stop are fully shown on Plate IV. All the details 
 given deserve the careful study of those interested in pipe formation. The stop 
 speaks on a very copious supply of wind of fifteen inches pressure; yielding a tone 
 of great volume and dignity, and of a most valuable quality. It may be said to 
 open an entirely new chapter in the history of wood pipe development, and points 
 the way to further achievements. 
 
 Tone and Registration. — The Tuba of the modem orchestra, 
 favored by Wagner on account of its majestic and impressive bass 
 tones, belongs to the Saxhorn family; and its voice should, properly, 
 be imitated by that of the Tuba of the Organ; but such a desirable 
 imitation seems to have been completely neglected in the desire to 
 produce the greatest volume and dominance of tone possible from 
 lingual pipes and high-pressure voicing. This aim has certainly 
 been reached in the Harmonic Tuba (q. v.). A truly imitative 
 Tuba, 8 ft., similar in power to the pure and unstrained voice of the 
 orchestral instrument in Bb, would be an invaluable addition to the 
 brass-tone forces of the Concert-room Organ. The extremely power- 
 ful tone of the Tuba, as it usually obtains in English and American 
 Organs, is of very limited use in registration; but in full organ effects 
 and fortissimo climaxes it is most impressive, dominating all other 
 tonalities. Its presence is of most value in the Fifth or Solo Organ 
 of the properly stop-apportioned Concert-room Organ. 
 
 TUBA CLARION.— A Tuba of octave or 4 ft. pitch, the pipes 
 of which are formed in all respects similar to those of the unison 
 Tuba, 8 ft. As this stop will accompany the unison stop, in what- 
 ever division of the Organ it is inserted, it should be subordinate in 
 scale and strength of voice. 
 
 TUBA MAGNA. — The name given either to the Tuba Mira- 
 bilis or the Harmonic Tuba when voiced to yield a tone of great 
 volume and assertiveness. 
 
 TUBA MAJOR. — The name employed in some instances to 
 designate the Contra-Tuba, 16 ft., but more commonly applied to 
 such a stop as the Tuba Magna (g. v. ). 
 
 TUBA MINOR. — The name appropriately given to a Tuba, 
 8 ft., of small scale, yielding a softer voice than that of the other 
 Tubas. This stop may be introduced in the Swell or in the expres- 
 
PLATE IV 
 
 V-/ 
 
 \-y 
 
 THE HASKELL LABIAL TUBA MIRABILIS 
 
THEIR ARTISTIC REGISTRATION 267 
 
 sive subdivision of the Great Organ; its subdued voice rendering it 
 of considerable value in full combinations, especially with the Dia- 
 pasons, of 8 ft. and 16 ft. pitch. Good examples of this useful stop 
 exist in several English Organs. 
 
 TUBA PROFUNDA.— The term employed to designate a stop 
 of the Tuba class and of 16 ft. pitch, properly belonging to the Pedal 
 Organ. When introduced in a manual Organ, the stop is commonly 
 and appropriately named Contra-Tuba (q. v.). An example exists 
 in the Solo of the Organ in the Centennial Hall, Sydney, N. S. W. 
 
 TUBA QUINT.— A mutation stop of the Tuba class, of 5}^ ft. 
 pitch, voiced to yield a tone considerably softer than that of the 
 unison Tuba (8 ft.) in the same division. As it strictly belongs to 
 the 16 ft. harmonic series, it can only be properly introduced in asso- 
 ciation with the CoNTRA-TuBA, 16 FT. The complete family will 
 accordingly comprise the Contra Tuba, 16 ft.; Tuba, 8 ft.; Tuba 
 Quint, 5}^ ft.; and Tuba Clarion, 4 ft.; — a series of powerful 
 lingual stops capable of producing compound tones of surpassing 
 grandeur. The four stops alone admit, in registration, of eight 
 perfectly satisfactory combinations, each of which would have a 
 distinctive coloring. We know of no Organ in which the complete 
 family is introduced.* 
 
 TUBA SONORA.— The name given by Robert Hope- Jones to a 
 Tuba, 8 ft., voiced to yield a peculiarly full and pure tone, largely 
 free from the clang due, in other stops of the Trumpet class, to the 
 prominence of high upper partial tones. A stop of this tonality is 
 much more generally useful in artistic registration than the ordinary 
 dominating Tuba. A fine example of the Tuba Sonora, 8 ft., 
 voiced on wind of twenty inches pressure, exists in the Solo of the 
 Organ in the Cathedral of Worcester, England. 
 
 TUBASSON, Fr.— The name that has been used by French and 
 Belgian organ-builders to designate a Pedal Organ lingual stop of 
 the Trombone class, of 16 ft. pitch, and softer in tone than the or- 
 dinary Trombone, 16 ft., as made by English and American organ- 
 builders. 
 
 TWELFTH. — A fifth-sounding mutation stop, belonging to the 
 8 ft. harmonic series in the manual divisions, where it is of 2% ft. 
 pitch; and to the 16 ft. harmonic series in the Pedal Organ, where it 
 
 * We have inserted the four stops in the tonal-apportionment of the Fifth Organ in our 
 scheme for the Concert-room Organ. See "The Organ of the Twentieth Century," page 315. 
 
268 ORGAN-STOPS 
 
 is of 5^/^ ft. pitch. In both cases it corroborates the second upper 
 partial tone of the prime tone, as yielded by the Diapason, 8 ft., 
 of the manual divisions, and the Diapason, i6 ft., of the Pedal Or- 
 gan. The Twelfth is properly formed of open cylindrical metal 
 pipes, of a smaller scale than those of the Octave, 4 ft., and voiced 
 to yield pure organ-tone, softer than that of the Octave. In old 
 Organs, the Twelfth, 2% ft., was almost invariably made of too 
 large a scale and voiced too loudly. The practice of making the 
 Twelfth of the same scale as the Diapason is strongly to be con- 
 demned, for with so large a scale it is not possible to obtain a scien- 
 tific adjustment of power or the refined singing tone so desirable in 
 this harmonic-corroborating stop. 
 
 The Twelfth, 2^ ft., frequently enters into the composition 
 of compound harmonic-corroborating stops; and as it requires to be 
 covered by the Super-Octave, 2 ft., it is sometimes associated with 
 that stop as a two-rank Mixture, as in the Rauschquinte (g. v.). 
 For further particulars, see Nazard. 
 
 TWENTY-FOURTH.— Ital., Vigesima Quarta.— A third- 
 sounding Mixture rank, corroborating the ninth upper partial tone 
 in the 8 ft. harmonic series, and the fourth upper partial tone in the 
 4 ft. harmonic series. The Twenty-fourth does not often appear 
 in modern Mixtures, but it should always be introduced in those in 
 which a third-sounding rank is used. The old English builders in- 
 troduced it along with the Seventeenth, in many of their Mix- 
 tures. When properly scaled and proportioned in tone, the 
 Twenty-fourth has a very good effect in the bass and tenor oc- 
 taves. It appears, associated with the Seventeenth (Decima 
 Settima), in the North Organ in Milan Cathedral. 
 
 TWENTY-NINTH.— Ital, Vigesima Nona.— An octave- 
 sounding Mixture rank, corroborating the seventh upper partial 
 tone in the 4 ft. harmonic series, and, philosophically considered, 
 the fifteenth upper partial tone in the 8 ft. harmonic series. The 
 Twenty-ninth was commonly introduced in the acute Mixtures 
 of the old builders. It appears, associated with the Twenty-sixth 
 (Vigesima Sesta), in both the Organs in the Cathedral of Milan. 
 
 TWENTY-SECOND.— Ital., Vigesima Seconda.— An octave- 
 sounding harmonic-corroborating rank, of i ft. pitch, commonly 
 found in Mixture work, but sometimes as an independent stop, as 
 in the Grand Choeur of the Organ in the Cathedral of Notre-Dame, 
 and the Positif of the Organ in the Church of Saint-Sulpice, Paris. 
 
THEIR ARTISTIC REGISTRATION 269 
 
 In both these noted instruments it appears as a Piccolo, i ft. The 
 extremely small size of the pipes forming the Twenty-second 
 renders it almost impossible to carry the stop throughout the man^ 
 ual compass without a break. In Mixture work it is very seldom 
 carried above the tenor octave. Associated with the Nineteenth 
 (Decima Nona) it appears in the North Organ, and separately in 
 the South Organ, in the Cathedral of Milan. 
 
 TWENTY-SIXTH.— Ital., Vigesima Sesta.— A fifth-sounding 
 Mixture rank, corroborating the eleventh upper partial tone in the 
 8 ft. harmonic series, and the fifth upper partial tone in the 4 ft. 
 harmonic series. The Twenty-sixth appears in the majority of 
 high-pitched Mixtures, but never above middle c#^ and rarely 
 going so high as that note. Associated with the Twenty-ninth 
 (Vigesima Nona) it appears in the North Organ in Milan Cathedral. 
 
 u 
 
 UNDA MARIS, Lat.— Literally Wave of the Sea. A name used 
 to designate a single or a dual stop, of 8 ft. pitch, the pipes of which 
 are usually open and made of metal, though occasionally of wood. 
 In old Organs, the stop was formed of either open or covered flute- 
 toned pipes, having soft intonation, and tuned slightly flat, so as to 
 produce, when drawn with a unison stop of correct pitch, an undu- 
 lating or wave-like effect. When in its best dual form, the stop 
 produces slow undulations that may be counted; and not the objec- 
 tionable fluttering tones which characterize it in Organs constructed 
 by inartistic builders. This slow undulation, coupled with a soft 
 flute-tone, properly distinguishes the Unda Maris from the Voix 
 Celeste.* There seems, however, to be no recognized standard 
 of tonality for the Unda Maris at the present time. In France it 
 has been formed successfully of two ranks of pipes of a Quintaten 
 tonality, tuned flat and sharp. In England and Germany the stop 
 varies but slightly, if any, from the recognized character of the Voix 
 Celeste (g. v.). The Unda Maris is to be fornd in numerous 
 
 * " Unda-Maris. Fiate de huit, en bois ou en ktoSe. Elle s'accorde une idee plus haut que 
 la montre, avec laquelle ce d6saccord doit faire constamment une 16gfere oscillation, un batlement 
 comme disent les accordeurs. Les ondulations que produit ce battment sent traduites parson 
 nom latin d'unda-maris. Son effet.assez bizarre, est plus sensible avec des jeux moins accentu^s 
 que ia montre; et quand ce dernier r6gistre est fortement emboucll6, il parle trop haut pourlaisser 
 entendre son auxiliaire. Quelquefois, Vunda-maris est compos6e de mani^re k se passer de ses 
 voisins ; alors, comme la Hiite double, appel^e bifara, elle a deux bouches ^ chaque tuyau, mais sa 
 puissance estd'autant moindre queles deux bouches sent aliment6es par un seul pied. ' ' — Regnier. 
 
270 ORGAN-STOPS 
 
 Organs constructed by French and German builders, as on the 
 Fourth Manual of the Walcker Organ in Riga Cathedral, and in the 
 Positifs of the Cavaill^-CoU Organs in the Cathedral of Notre-Dame, 
 the Church of Saint-Sulpice, and the Palais du Trocad6ro, Paris. 
 Good examples by English builders, formed of two ranks of pipes, 
 exist in the Organs in Norwich Cathedral and the Centennial Hall, 
 Sydney, N. S. W. An example exists in the Echo of the Roosevelt 
 Organ in the Auditorium, Chicago. A dual stop of unusual forma- 
 tion, named Unda Maris by its inventor, George W. Till, of Phila- 
 delphia, Pa., has recently been inserted in the Choir of the Organ 
 in the Wanamaker Store in that city. It consists of a Gemshorn, 
 8 FT., of wood and metal, and a Gamba, 8 ft., of tin. The former is 
 tuned flat so as to produce about three undulations at tenor C, in- 
 creasing to about double the number in the top octave.* How far it 
 is desirable to introduce stops of the Unda Maris class in an Organ 
 is open to question; but it is quite certain it is not required in dig- 
 nified organ music. 
 
 UNTERSATZ, Ger.— Eng., Contra-Bourdon, Sub-Bourdon. 
 Fr., SousBASSE. — A large-scaled covered wood stop, of 32 ft. pitch. 
 It is inserted in both the manual and pedal departments of large 
 Organs. When in a manual division it is usually labeled Manual- 
 untersatz, 32 FT., as on the First Manuals of the Walcker Organs 
 in the Cathedrals of Ulm and Vienna, and the Church of St. Paul, 
 Frankfurt a. M. It appears, labeled Untersatz, 32 ft., in the Pedal 
 Organs of the Ladegast instruments in the Nicolaikirche, Leipzig, 
 and the Cathedrals of Mersebiu-g and Schwerin. See Contra- 
 Bourdon. 
 
 V 
 
 VIOL. — Fr. and Ger., Viole. — ^A name that may be accepted 
 as generic of all labial stops of unimitative string-tone, commonly 
 known by the inappropriate name Gamba; which, signifying leg, 
 has no possible relation to tone. The term Viol is, accordingly, to 
 be strongly recommended for adoption in all appropriate cases; 
 confining the term Gamba to the only one stop to which it can be 
 properly applied. The term Viol or Viole was originally applied to a 
 family of string instnunents commonly used in the sixteenth and 
 seventeenth centuries. The Chest of Viols, mentioned by old 
 
 * Full particulars of the formation of this uniqu'j stop are given in ' ' The Organ of the Twen 
 tieth Century, " pages 106-107. 
 
THEIR ARTISTIC REGISTRATION 271 
 
 writers, consisted, in its complete form, of two Bass Viols, two Tenor 
 Viols, and two Treble Viols: but a smaller Chest, which was much 
 more common, comprised one Bass, one Tenor, and two Treble 
 Viols. These instruments were severally strung with seven, six, and 
 five strings; and had not the powerful tones of the perfected instru- 
 ments of the Violin family. The term Viol may be variously 
 qualified, indicating tonal character ; . such terms as Grand Viol, 
 Major Viol, Minor Viol suggesting themselves. 
 
 VIOLA, Ital. — The name properly given to an open labial stop, 
 of 8 ft. and 4 ft. pitch, formed of metal or wood pipes, of small scale, 
 voiced to yield an imitative string-tone of a fuller and richer quality 
 than that of the stop known as the Viole d'Orchestre or Orches- 
 tral Violin, 8 ft. The following names are to be found in impor- 
 tant Organs. On the Second Manual of the Organ in the Cathedral 
 of Riga, there is a Viola di Alta, 8 ft. ; on the Fourth Manual, a 
 Viola Tremolo, 8 ft. ; and in the Schwell-Pedal, a Viola, 4 ft. 
 On the First Manual of the Organ in the Cathedral of Vienna, there 
 is a Viola Major, 16 ft. In the Organ in the Monastic Church, 
 Weingarten, there is a Viola Douce, 8 ft. 
 
 Formation. — The pipes of the Viola are usually made of metal, preferably- 
 tin, although fine examples have been formed of spotted-metal. The scale should 
 be somewhat larger than that proper for the Violin, 8 ft. The mouths are of 
 medium width, low, and furnished with the harmonic-bridge. The pipes are 
 slotted, and tuned by slides, in preference to coiled or bent tongues. Violas of 
 beautiful quality of tone have been made of wood. A fine example, made by 
 Edmund Schulze, exists in the Choir of the Organ in the Church of St. Peter, 
 Hindley, England. Its scale gives the CC (8 ft.) pipe an internal width of 2^ 
 inches and a depth of S/4 inches: the mouth is l3/i6 inch in height, and furnished 
 with a harmonic-bridge of unusual form, attached immediately above a sunk cap, 
 without the usual supporting ears. The stop speaks on wind of about 2 inches 
 pressure, and its tone is imitative and remarkably effective. 
 
 Tone and Registration. — It must be obvious to everyone in- 
 terested in correct and expressive stop nomenclature,' that the name 
 Viola should be given only to the stop which yields tones imitative 
 of those of the orchestral Viola. But the fact is, that in the large 
 majority of cases the stops to which the name Viola has hitherto 
 been given yield no imitative tones, many being less effective in this 
 direction than ordinary Salicionals. It is, accordingly, most 
 desirable that in the stop nomenclature of the Organ of the Twen- 
 tieth Century the name Viola should be confined to the stop repre- 
 senting, in the tonal appointment of the Concert-room Organ, the 
 Viola of the orchestra; and that its tone should be as closely imita- 
 tive as the pipe-maker's and voicer's skill can reach. 
 
272 ORGAN-STOPS 
 
 In artistic registration, the tones of the Viola will be found much 
 more valuable and of wider range in combination than the thinner 
 and more cutting tones of the Violin, especially as that stop has 
 lately been made and voiced. The full and rich tones of the Viola, 
 8 FT., will impart strength and peculiar color to every combination 
 into which they enter. With pure organ-tones and flute-tones, un- 
 imitative and imitative, they will produce very beautiful compound 
 tonalities; while they will combine perfectly with the voices of all the 
 softer lingual stops, creating singular and valuable tonal colorings. 
 The Viola properly belongs to the String Division of the Concert- 
 room Organ; but it may, with considerable advantage, find a place 
 in other manual divisions, and in any expressive division of the 
 Church Organ. 
 
 VIOLA DA GAME A, Ital.— Fr., Viole de Gambe.— The only 
 stop in the Organ in the name of which the word Gamba can be 
 properly introduced. The name of the stop is derived from the old 
 Viola da Gamba, a large string instrument, and the precursor of the 
 Violoncello; which, like the latter, was supported by the legs of the 
 player, hence the peculiar name. The stop is of 8 ft. pitch, and is 
 formed of open metal pipes of small scale, usually cylindrical in 
 form, but have frequently been made conical, surmounted by a long 
 and slender bell. Owing to the trouble and expense of making pipes 
 of this compound form, they now rarely, if ever, appear in the Organ. 
 See Bell Gamba. The Viola da Gamba is to be found in nearly all 
 important German Organs; but it is very seldom of an imitative or 
 refined quality of tone. It exists, of 8 ft. pitch, in most of Walcker's 
 larger instruments, and placed invariably on the First Manual 
 (Great). On that of the Organ in the Cathedral of Riga, the stop is 
 inserted of i6 ft. and 8 ft. pitch. The Viole de Gambe, 8 ft., ap- 
 pears, often duplicated, in almost all of Cavaille-Coll's important 
 instruments. In the Organ in the Cathedral of Notre-Dame, it is 
 inserted in both the Grande-Orgue and the Recit. The stop is to 
 be found in numerous English Organs, though rarely in those of 
 recent construction. It has usually been inserted of tenor C com- 
 pass, as in the Organ in the Foundling Hospital, London, in which it 
 is placed in both the Choir and Swell. The Viola da Gamba, 8 ft., 
 is inserted in the Choir, Swell, and Solo of the Organ in St. George's 
 Hall, Liverpool ; furnishing the only unison string-tone in those divi- 
 sions of the instrument. Name incorrectly rendered Viola di 
 Gamba. 
 
 Tone and Registration. — Properly formed and artistically 
 
THEIR ARTISTIC REGISTRATION 273 
 
 voiced, the stop should yield a tone imitating, as closely as practi- 
 cable, that of the old Viola da Gamba; the tone of which was of a 
 lighter and less expressive quality than that of the Violoncello, to 
 the construction of which it led the way, and before the superiority 
 of which it ultimately fell into disuse. The Viola da Gamba, or Bass 
 Viol, had seven strings tuned in fourths, with a major third between 
 the third and fourth strings. From these facts it will be realized that 
 the voice of the Viola da Gamba of the Organ should be distinctly 
 subordinate to that of the Violoncello, 8 ft. ; and on account of 
 this tonal subordination it will be of considerable value in artistic 
 registration. Imitative string stops of a powerful and penetrating 
 tonality are of very limited use in registration, save in that of a pro- 
 nounced orchestral character, or for the production of assertive solo 
 effects. With the Doppelflote, Rohrflote, Quintaten, 8 ft., 
 Clarabela, and other flute-toned stops, the Viola da Gamba pro- 
 duces compound tones of great beauty and fine color, suitable for 
 both accompanimental and melodic passages. 
 
 VIOLA D'AMORE, Ital.— Fr., Viole d' Amour.— The name 
 given to an open labial stop, of 8 ft. and 4 ft. pitch; formed of very 
 small-scaled pipes of metal (preferably tin), or partly of wood and 
 metal when of 8 ft. pitch. The stop derives its name from the beau- 
 tiful old instrument called the Viola d'Amore; which is a Tenor Viol, 
 having seven strings played with the bow, and underneath which, 
 passing through the bridge and under the finger-board, are stretched 
 and tuned slender metal strings (from ten to fourteen in number) 
 which sound sympathetically with the bowed strings. 
 
 The Viola d'Amore of the Organ is the softest and sweetest of 
 the imitative string-toned stops, and deserves a prominent place in 
 every true Chamber Organ, in which refinement and delicacy of 
 tone is preferred to musical noise. It also should find a place in the 
 Choir or Echo of the properly appointed Church Organ. When 
 formed of metal, the pipes are cylindrical, and are voiced with the 
 harmonic-bridge, or the appliance called the frein harmonique. 
 Wood pipes may be used, in the unison stop, from CC to tenor F#, 
 made either straight or pyramidal, having thin sides of choice spruce 
 and fronts of a close-grained hard wood. The scale of the CC pipe 
 should not exceed 2 inches square. All to be voiced with the har- 
 monic-bridge. The Viola d'Amore is by no means a common stop, 
 preference being given to string-toned stops of more assertive tonal- 
 ity. German examples exist, incorrectly labeled Viola d'Amour, 
 in the Organs in the Cathedrals of Riga and Liibeck, and St. Petri- 
 
274 ORGAN-STOPS 
 
 kirche, Hamburg. A Viole d' Amour, 4 ft., is inserted in the R^cit 
 of the Organ in the Church of Saint-Ouen, Rouen, where it is asso- 
 ciated with two unison soft-toned stops, the Voix Eolienne and 
 Voix Celeste. A Viole d' Amour, 8 ft., and another of 4 ft. pitch 
 exist in the Echo of the Organ in the Centennial Hall, Sydney, N. 
 S. W. 
 
 Tone and Registration. — When carefully made and voiced by 
 a master -hand, the tone of the stop should closely resemble that of 
 the old Viola d'Amore, thus described by Berlioz: "The quality of 
 the Viole d' Amour is faint and sweet; there is something seraphic 
 in it — partaking at once of the Viola and the harmonics of the Violin. 
 It is peculiarly suitable to the legato style, to dreamy melodies, and 
 to the expression of ecstatic or religious feelings. " Though it does 
 scant justice to the appealing voice of this unique and beautiful 
 instrument, it is, perhaps, sufficient to convey a fair idea of the 
 peculiar singing tone of the Viola d'Amore to those who have not 
 enjoyed the privilege of hearing the instrument played upon, and 
 studying its complex tonality — the privilege that has been enjoyed, 
 under varied and favorable conditions, by the writer. 
 
 It cannot be difficult for the organist, who has given some special 
 attention to the subject of tone creation, to realize the important 
 r61e the Viola d'Amore, with its soft, singing, and sympathetic 
 voice, can play in the production of numerous delicate and beauti- 
 ful tone-colors, based on foundations of pure organ-tone, produced 
 by such stops as the Echo Diapason and Dulciana; of flute-tone, 
 produced by the Melodia, Flauto Dolce and Flauto d'Amore ; 
 and of reed-tone, produced by the Chalumeau and Oboe d' 
 Amore. The Viola d'Amore, 8 ft., should be introduced in the 
 String-Organ — Ancillary or otherwise — of every properly appointed 
 Concert-room instrument; and in the Choir of every large Church 
 Organ, where its sympathetic voice will be of the greatest value in 
 accompanimental music. 
 
 VIOLA SORDA, Ital.— A stop, of 8 ft. pitch similar in form to, 
 but smaller in scale than, the Viola. Its voice is intended to imitate 
 the tone of the muted Viola of the orchestra. If a very subdued in- 
 tonation, combined with a slight modification of timbre, is desired, 
 the pipes forming the stop may be conical in form : the scale giving 
 the CC (8 ft.) pipe the diameter of 2 inches at the mouth line, and of 
 Vs inch at top. Artistically voiced, the tone of this Muted Viola 
 will be found extremely valuable in refined registration. Its proper 
 place is in the String Ancillary of the Concert-room Organ. 
 
THEIR ARTISTIC REGISTRATION 275 
 
 VIOLE A PAVILLON, Fr.— The name that has been employed 
 by French organ-builders to designate a string-toned labial stop, of 
 8 ft. pitch, the pipes of which have conical bodies surmounted by 
 bells (pavilions), similar to those of the Bell Gamba (g. v.) ; and, like 
 them, tuned by means of large flexible ears. The pipes were usually 
 made of tin; and voiced to yield a soft and agreeable string-tone. 
 The stop has fallen into disuse. 
 
 VIOLE CfiLESTE, Fr.— The name given to a stop of the Viol 
 class, of 8 ft. pitch, the pipes of which are tuned sharp so as to pro- 
 duce a bright undulatory effect in combination with another unison 
 stop (preferably of string tone) correctly tuned. As a dual stop, it is 
 properly formed of two softly-voiced Viols, of 8 ft. pitch, one of 
 which is tuned a few beats sharp, sufficient to create an agreeable 
 tremolo, but not sufficient to produce an objectionable out-of-tune 
 effect. See Voix Celeste. 
 
 VIOLE D'ORCHESTRE, Fr.— Eng., Orchestral Violin.— 
 The appropriate name given by William Thynne, organ-builder of 
 London, to a stop constructed by him; the tone of which is, in our 
 opinion, the most satisfactory imitation of that of the orchestral 
 Violin which has been produced by organ-pipes up to the present 
 time (1920).* In the construction and voicing, Thynne followed the 
 teaching of Edmund Schulze, but surpassed him in the production 
 of Violin tone from metal pipes. Fine examples of the Viole d'Or- 
 chestre exist in Organs built by William Thynne. For further 
 particulars, see Violin. 
 
 VIOLE SOURDINE, Fr.— The name given by William Thynne, 
 organ-builder, of London, to a delicately voiced string-toned, open 
 metal stop, the tone of which is imitative of that of the muted 
 Violin. It was first introduced, by its inventor, in the Organ now in 
 Tewkesbury Abbey. The stop is formed of slender cylindrical pipes, 
 smaller in scale than those of the Thynne Viole d'Orchestre, but 
 voiced in a similar manner with the harmonic-bridge. The tone of 
 the stop is extremely refined and beautiful; and, on account of its 
 subdued and perfect mixing quaUty, it may be recognized as the 
 most generally useful of the imitative string-toned stops in artistic 
 registration with stops of contrasting tonalities. 
 
 * We have had pipes of the Thynne Viole d'Orchestre tested, by being sounded with corre- 
 sponding notes of a fine Violin, under conditions which prevented the hearers from positively 
 knowing which was speaking. It was found impossible to decide which instrument was produc- 
 ing the notes; or, when both were sounded together in unison, which one became silent. No 
 severer test could well be instituted. How many of the stops bearing the name, made by other 
 organ-builders, would stand so exacting a comparison? 
 
276 ORGAN-STOPS 
 
 Modifications of the Thynne stop, subsequently introduced and 
 appropriately named Muted Viols, are formed of very small-scaled 
 pipes, conical in shape, seldom exceeding, in the CC pipe (8 ft.), iH 
 inches in diameter at the mouth line and tapering to about half that 
 diameter at top; having mouths rarely exceeding one-sixth of the 
 circumference, furnished with the harmonic-bridge. Like the orig- 
 inal ViOLE Sourdine, these Muted Viols yield tones of great 
 beauty and value. 
 
 VIOLETTA, Ital.— Literally Small Viol. The name appro- 
 priately given by Italian organ-builders to a string-toned stop, of 
 4 ft. pitch, the pipes of which are open, cylindrical, of small scale, 
 and made of tin. The stop is properly voiced to yield an imitative 
 tone of medium strength, which is very valuable in- combination 
 with the unison stops of imitative string-tone; brilliantly corrob- 
 orating their first and most important upper partial tones, while 
 enriching them with its own series of less pronounced harmonics. 
 As an Octave, the Violetta, 4 ft., is extremely valuable in artistic 
 registration, imparting a bright and special coloring to all unison 
 tones with which it may be combined. The Organs of to-day are 
 very deficient in stops of 4 ft. pitch; far too much reliance being 
 placed on the crude expedient ot octave coupling, which, in its best 
 form, interferes with the desirable independence of the claviers. This 
 is a matter deserving careful consideration. 
 
 VIOLIN. — Ital., ViOLiNO. Fr., Violon. Ger., Violine. — An 
 open, metal labial stop, of 8 ft. pitch, the tone of which imitates, as 
 closely as practicable in organ-pipes, that of the orchestral Violin. 
 This name appears at an early date in stop nomenclature; for in 
 Bernard Smith's "Schedule" of the Organ he erected in the Temple 
 Church, London, in 1688, we find mentioned "A Violl and Violin 
 of mettle, 61 pipes, 12 foote tone." The compass being GGG to g^. 
 Notwithstanding the early use of the name, it seems very improb- 
 able that the builders of the seventeenth century knew anything of 
 a highly imitative stop, such as we would now consider worthy of 
 representing the Violin in the stop-appointment of the Organ. The 
 modern use of the name appears to be extremely free and meaning- 
 less. On one hand, we find in the Pedal Organ of the Schulze instru- 
 ment in the Church of St. Bartholomew, Armley, a Violin, 16 ft., 
 and, on the other hand, turning to American organ-building, we find 
 in the Choir of the Organ in the Music Hall, Cincinnati a Violin, 
 4 ft. In fact, neither of these stops can be correctly called a Violin 
 for neither is of proper pitch or imitative in tonality. To prevent 
 
THEIR ARTISTIC REGISTRATION 
 
 277 
 
 confusion, the practice should be adopted of labeling the strictly 
 imitative stop either Orchestral Violin or Violon d'Orchestre, 
 8 FT. The single terms are not in common use ; but we find a Vio- 
 LiNE, 8 FT., on the First Manual of the Organ in the Cathedral of 
 Ulm, and a Violin, 8 ft., in the Pedal of the Organ in Paulskirche, 
 Frankfurt a. M. Neither of these stops is likely to be strongly 
 imitative. 
 
 Scale and Formation. The variation of the scales which have been adopted 
 in the formation of stops of imitative string-tone is greater than that shown in any 
 other class of labial stops. This statement is supported by the fact that the scales 
 used by William Thynne and other eminent labial pipe voicers for the CC (8 ft.) 
 pipes of their Violins, range from a diameter of 3.13 inches to the small diameter 
 of 1 .08 inches ; the former scale being developed on the ratio of i : 2.5 19, halving on 
 the nineteenth pipe ; and the latter mainly on the ratio 1:2, halving on the twenty- 
 fifth pipe. ThjTine did not highly favor the adoption of very small scales, and our 
 
 / 
 
 Fig. 35 
 
 experience leads us to agree with his practice; for we have never heard Violins 
 equal in fullness, richness, and imitativeness to those voiced by his master-hand. 
 The thin, scratchy, and penetrating tones of the over-blown, small-scaled Violins 
 of certain makers are offensive to the cultivated ear, and of little value in artistic 
 registration. 
 
 The pipes of the Violin are invariably cylindrical; and, chiefly on account of 
 their extremely small scale, should be made of tin or very high-grade alloy of tin 
 and lead. They are usually slotted, and tuned by a metal slide in good work. It 
 is very questionable if slotting is favorable to the tone, for it has a tendency to 
 impart a horn-like timbre. The mouths of the pipes vary slightly in their widths. 
 In the largest scale adopted by Thynne, the mouth of the CC pipe is two-ninths its 
 circumference; this width being graduated to one- third the circumference at treble 
 c ', that proportion being carried to the top note. The heights of the mouths vary 
 between one-fourth and one-third their widths, according to the wind-pressure 
 used, and the character of the tone desired. The Violin has been artistically 
 voiced on pressures varying from 234 inches to 15 inches. The Violin is invari- 
 
278 ORGAN-STOPS 
 
 ably, and of necessity, voiced with the harmonic-bridge. In the accompanying 
 illustration. Fig. 35, is shown the mouth of a Thynne C pipe, accurately drawn 
 from one presented to us by its distinguished voicer and long a valued friend. 
 The harmonic-bridge is semi-cylindrical in form, and of hard alloy, is shown in the 
 Section, as carried between the ears, and in its position with regard to the mouth. 
 This position is a matter of extreme nicety. Cylindrical bridges, formed of alu- 
 minium tubing or some hard wood, are commonly used by voicers. 
 
 Tone and Registration. — Accepting the tone of the Violin, 
 8 FT., to be as close as practicable to that of the Violin of the orches- 
 tra, as we have found it to be in certain examples (see Viole d'Or- 
 chestre), its value in registration will be found in some directions 
 to be considerable, while in others it will be questionable. The dis- 
 tinctive tonality of the stop— so assertive and penetrating — renders 
 it unsuitable for general combinational purposes. With certain 
 labial stops, notably the Flutes, it will not fully combine; always 
 dominating and asserting its individuality. With other and unimi- 
 tative string-toned stops it unites agreeably, imparting richness, 
 brightness, and force; creating volumes of string-tone very necessary 
 in orchestral effects : accordingly, its proper place is in the special or 
 Ancillary String Organ, where it joins in producing the volume of 
 orchestral string-tone required in the adequate and artistic rendition 
 of orchestral compositions. On this subject we have some right to 
 speak, having been the first, in the history of organ-building, to in- 
 troduce a complete and independent String Organ into the tonal 
 appointment of the Organ. The Violin combines well with most of 
 the full-toned lingual stops; largely losing its identity in their some- 
 what kindred voices, so far as their harmonic structure obtains, 
 which it improves in effectiveness and expressive force. A really 
 fine imitative Violin, 8 ft., is par excellence a solo stop, especially 
 valuable in its compass from fiddle G to c^ ; above that its imitative- 
 ness falls short of what is desirable. The bass and tenor notes from 
 CC to F# will never be used in a correctly rendered Violin solo, for 
 these belong to the Viola and Violoncello, but their necessity and 
 utility cannot be denied. Besides, stops of short compass, or formed 
 of pipes of different tonalities in different portions of their compass, 
 are to be condemned from every artistic point of view, whatever 
 argument may be advanced in their favor. 
 
 VIOLINA. — The name given by certain organ-builders to a 
 string-toned stop of 4 ft. pitch, similar to that called Violetta, 4 ft. 
 (g. v.). Examples exist in the Swell of the Organ in the Music Hall 
 Cincinnati, and in the Swell of the Organ in the Cathedral of the 
 Incarnation, Garden City, Long Island. 
 
THEIR ARTISTIC REGISTRATION 279 
 
 VIOLIN DIAPASON.— The term that has been used by Eng- 
 lish organ-builders to designate an open labial stop, of 8 ft. pitch, 
 similar in all essentials to that more commonly known as the Gei- 
 
 GENPRINCIPAL (g. V.). 
 
 VIOLINO SORDO, Ital.— Literally Muted Violin. A stop, of 
 8 ft. pitch, similar in form to, but voiced softer than, the Violin. 
 Its voice is intended to imitate the tone of the muted Violin of 
 the orchestra. Under the name Viole Sourdine (5. v.)., the stop 
 was first introduced by W. Thynne, of London. As the imitative 
 tone of the Violino Sordo is much less assertive and penetrating 
 than that of the Violin, 8 ft., it is accordingly much more gener- 
 ally useful in registration. It will be found a valuable stop in the 
 soft accompanimental division of the Church Organ, and should 
 find a place in the special or String Ancillary of the Concert-room 
 Organ, where it will be valuable in combinational and delicate solo 
 effects. 
 
 VIOLINO VIBRATO, Ital.— A stop of 8 ft. pitch similar in the 
 form and scale of its pipes to the Violin (g. v.), but slightly softer in 
 tone; occupying, in this respect, an intermediate place between the 
 Violin and the Violino Sordo (g. v.). The distinctive peculiarity 
 of this stop lies in its being tuned a few beats sharp, so as to produce 
 a wavering effect when sounded in combination with a correctly 
 tuned unison string-toned stop. As the Violino Vibrato occupies 
 a similar place in the tonal scheme of the Organ to the Violoncello 
 Vibrato, its offices in the stop-apportionment of the Ancillary String 
 Organ may be considered identical. Such being the case, reference 
 may properly be made to what is said under Violoncello Vibrato. 
 
 VIOLONCELLO, Ital.— Fr., Violoncelle.— An open labial 
 stop, of 8 ft. pitch, the pipes of which are cylindrical when of metal 
 and square when of wood, voiced to imitate, as closely as practicable 
 in organ-pipes, the tone of the orchestral Violoncello. When made 
 of metal, the pipes are cylindrical and of small scale, but somewhat 
 larger than the scales commonly adopted for the Violin ; and are 
 properly voiced to yield a fuller and richer tone than that produced 
 by either the Viola or Violin. It is obviously desirable, as it is 
 essential, that these three important unison imitative string-toned 
 stops should have their voices clearly distinct both in volume and 
 quality ; otherwise, it would be undesirable to introduce them all in 
 any one Organ. The Violoncello is the only one of the three which 
 is imitative down to the CC note; and this fact gives it special value 
 
28o ORGAN-STOPS 
 
 both in solo and combinational effects. A very fine Violoncello, 
 8 FT., voiced by William Thynne, exists in the Organ built under his 
 directions, now in Tewkesbury Abbey.* This is one of the two 
 finest ViOLONCELLOES we have ever heard in Organs. The most 
 beautiful Violoncello formed of wood pipes, known to us, is that 
 in the Solo of the Concert-room Organ in the Battersea Polytechnic, 
 London, the work of John W. Whiteley, one of England's most cele- 
 brated labial pipe voicers. The pipes of this interesting and unique 
 stop present several novel features deserving the attention of all 
 interested in the formation of imitative string-toned stops.f A 
 Violoncello, 8 ft., of the ordinary type exists in the Great of the 
 Organ in St. George's Hall, Liverpool. 
 
 Tone and Registration. — The tone of the Violoncello being 
 imitative of that of the orchestral Violoncello, it is obvious that its 
 utility in the tonal appointment of the Organ, and especially of the 
 Concert-room Organ, does not admit of question. It is valuable 
 both in solo effects and in registration. As a solo stop, it is to be 
 desired in the Pedal and Solo of the Concert-room Organ; while in 
 the Ancillary String Organ it is indispensable. It has, in some form 
 or other, been usually inserted in the Pedal Organ, and invariably, 
 hitherto, without being given powers of expression, seriously limit- 
 ing its usefulness. It is remarkable how seldom this beautiful and 
 valuable stop has been introduced on the manual claviers of even 
 large Organs. The tone of a properly formed and voiced Violon- 
 cello is much more valuable in artistic registration than the thinner 
 and more penetrating tone of the Violin; and this fact should not be 
 overlooked in scheming the tonal appointment of an Organ. 
 
 VIOLONCELLO SORDO, Ital.— Literally Muted Violoncello. 
 A stop, of 8 ft. pitch, similar in form to, but voiced softer than, the 
 Violoncello. Its tone is intended to imitate that of the muted 
 Violoncello of the orchestra. As the imitative tone of the Violon- 
 cello SoRDO is less assertive than that of the Violoncello, it will 
 be found more generally useful in registration with the softer-toned 
 stops, with which it will form numerous combinations of fine and 
 varied colorings. Drawn with the Violoncello Vibrato {q. v.). 
 
 * During the Recital at the Dedication of this Organ, at which we were present, the most 
 beautiful number was a Sacred Song, accompanied by that stop only. The effect produced by 
 the pure soprano voice and the sympathetic and expressive Solo Violoncello was one we have 
 never forgotten. 
 
 t Full particulars and dimensioned drawings of the formation of the pipes of this stop are 
 given in "The Art of Organ-Building," Vol. II., pp. 475-6; and in "The Organ of the 
 Twentieth Century," pages 447-8, Plate XXIX. 
 
THEIR ARTISTIC REGISTRATION 281 
 
 it will produce a beautiful Violoncelle Celeste, 8 ft. The most 
 important place for the Violoncello Sordo is in the Ancillary 
 String Organ ; but, when such a tonal division does not exist, it may 
 be properly inserted in the chief accompanimental division of the 
 Church Organ, or the softest-toned division of the Concert-room 
 Instrument, where it will be valuable in combinational and delicate 
 solo effects. 
 
 VIOLONCELLO VIBRATO, Ital.— A stop, of 8 ft. pitch, simi- 
 lar in the form and scale of its pipes to the Violoncello (g. v.), but 
 slightly softer in tone; properly occupying, in this respect, an in- 
 termediate place between the Violoncello and the Violoncello 
 Sordo (g. v.). The distinctive peculiarity of the stop under con- 
 sideration lies in its being so tuned slightly sharp as to produce a 
 wavering effect when sounded in combination with a correctly tuned 
 unison string-toned stop, preferably the Violoncello Sordo, imi- 
 tating as closely as possible, under the conditions, the effect of the 
 vibrato on the orchestral Violoncello. Drawn with such stops as the 
 Viola Sorda, Viole Sourdine, or Viola d'Amore, it forms an 
 effective Violoncelle Celeste. In full combinations of imitative 
 unison and harmonic-corroborating octave, mutation, and com- 
 pound stops, such as are provided in the proper stop-apportioned 
 Ancillary String Organ, the Violoncello Vibrato imparts to the 
 volume of string-tone the nervous force which characterizes the full 
 string effects of the grand orchestra — a forcefulness much to be 
 desired in the adequate and truly artistic rendition of important 
 orchestral compositions, or improvisations of an orchestral charac- 
 ter and coloring. 
 
 VIOLONE, Ital. — Fr., Violon-Basse. — An open labial stop, of 
 16 ft. pitch, the pipes of which are of small scale and formed of either 
 metal or wood. It has almost invariably been confined to the Pedal 
 Organ, and when artistically voiced is accepted as the organ equiva- 
 lent to the Contrabasso of the orchestra; and its excellence is judged 
 in proportion to the closeness of its imitation of the tone of that 
 instrument. Artistic voicers, accordingly, endeavor to impart to 
 their Violones as much of the harmonic richness of the Contrabass 
 as their expedients in formation and skill in voicing can accomplish ; 
 aiming also to secure that peculiar rasping effect which imitates the 
 attack of the bow on the string, and which is only heard in the finer 
 specimens of the stop. Although hitherto the Violone, in its proper 
 form and tonality, has been practically confined to the Pedal Organ, 
 it is most desirable that it should find its proper place in the manual 
 
282 ORGAN-STOPS 
 
 Organs, especially in those of the Concert-room Instrument. As its 
 pipes admit of mitering, it can be accommodated in swell-boxes of 
 the size proper in Organs of large dimensions. When necessary, its 
 lowest octave may be of covered pipes; or, indeed, the stop may be 
 formed of covered pipes throughout. 
 
 The ordinary metal Violones, such as exist in important Eng- 
 lish Organs, are not strongly imitative, and are slightly slow in 
 speech, their notes sounding with more or less of a preparatory rasp. 
 Representative examples exist in the Willis Organ in the Royal 
 Albert Hall, London, and the Hill Organ in Centennial Hall, Sydney, 
 N. S. W. As a rule the Violones of the German builders, com- 
 monly named Violonbass, i6 ft., are somewhat tardy in speaking 
 their full tones, and on that account have frequently to be drawn 
 with another and prompt-speaking stop or "helper," such as a 
 softly-toned Flute, 8 ft. In the Pedal of the Organ in the Stifts- 
 kirche, Stuttgart, the stop, labeled Violon, i6 ft., is of two ranks of 
 pipes — the stop proper of i6 ft. and its helper of 8 ft. Under the 
 name Violonbass, i6 ft., the stop exists in the Pedals of the Organs 
 in the Cathedrals of Riga, Ulm, Lubeck, and Frankfurt, and in 
 almost all the important Church Organs built by Walcker. The 
 Violon-Basse, i6 ft., is not a common stop in French Organs, but 
 examples exist in the Pedals of the Organs in the Palais du Troca- 
 d6ro and the Basilique du Sacre-Coeur, Paris. 
 
 The finest and most thoroughly imitative Violone, i6 ft., that 
 we have ever heard, is that in the Pedal of the Organ in the Church 
 of St. Peter, Hindley, Lancashire. The stop is labeled Violonbass; 
 and its pipes are of wood and of small scale, the CCC (i6 ft.) pipe 
 measuring, internally, only sJ^ inches square.* Another fine 
 example, labeled Violon, i6 ft., exists in the Pedal of the large 
 Organ (94 speaking stops) in the Parish Church of Doncaster, York- 
 shire, England. Both these Organs were constructed by Edmund 
 Schulze, of Paulinzelle, and the stops alluded to were voiced by 
 him.f In the Organ in the Marienkirche, Lubeck, is another repre- 
 sentative example by the same artist. 
 
 * A full description of the formation of this stop, accompanied by accurate drawings, is given 
 in "The Art of Organ-Building, " Vol. II., pp. 470-1 ; and in " The Organ of the Twentieth Cen- 
 tury, " pages 443-5. 
 
 t In a description of the Doncaster Organ, from the pen of an authority, the following per- 
 tinent remarks obtain : " The individuality of the stops is remarkable, and must be ascribed to 
 the artistic feeling possessed by all genuine organ-builders who perform that particular part of 
 the work — the voicing — themselves, and do not delegate so important a branch of the art to 
 workmen who, however skillful, will not on occasions devote the care necessary. 
 
 " The wood pipes of this instrument are very solid, clear, and firm in tone; and the muddiness 
 often heard in many Organs from wooden stops, is not perceptible in this. Professor Toepfer. 
 
THEIR ARTISTIC REGISTRATION 283 
 
 VIRGINREGAL.— Ger., Jungfernregal.— An old lingual 
 stop, of 8 ft. and 4 ft. pitch, the tone of which was, in the best ex- 
 amples, soft and pleasing. The origin of the name has not been de- 
 cided ; but it is supposed that the stop was originally in a Portative, 
 and was commonly played by young maidens. An example, of 4 ft. 
 pitch, was inserted in the Pedal of the Organ in the Church of SS. 
 Peter and Paul, Goerlitz, built by Eugenius Casparini & Son, and 
 finished in 1703. Under the name Jungfernregal, the stop ap- 
 pears in the Choir of the Organ, of 71 speaking stops, in the Church 
 of St. Dominico, Prague. According to Hopkins, this stop is of 16 
 ft. pitch. See Regal. 
 
 VOCE FLEBILE, Ital.— Literally Mournful Voice. The name 
 given to stops, of 16 ft. pitch, inserted in the Swell of the Organ, of 
 49 speaking stops, in the Church of St. Alessandro, Milan. The 
 name is expressive of the subdued and colorless character of their 
 tones. We have not found the name in any other Italian Organ. 
 
 VOGELFLOTE, Ger.— Literally Bird-Flute. The name given 
 to a flute-toned stop, of 4 ft. pitch, voiced to yield a clear sound, 
 somewhat resembling that of a bird's song. The stop was inserted 
 on the First Manual of the Organ in the Church of Quittelsdorf, 
 constructed by Andreas Schulze, of Paulinzelle, in the year 1791 
 
 VOGELGESANG, Ger.— Lat., Avicinium. Port., Passarin- 
 HOs. — A stop which has been introduced in some old Organs, and 
 which may be classed amongst the curiosities of organ-building. It 
 was devised to imitate the warbling of birds. It was formed of three 
 or more small metal pipes, of different tones, bent, and partly im- 
 mersed in water.* The stop labeled Passarinhos in the Organ in 
 the Church of the Martyros, Lisbon, built in 1785, is formed of six 
 pipes so disposed. Stops of the class were introduced in several old 
 German Organs. 
 
 VOIX CfiLESTE, Fr.— Lat., Vox Ccelestis. Span., Voz 
 Celeste. — The name employed to designate an open labial stop, of 
 8 ft. pitch, formed of one, two, or three ranks of small-scaled pipes, 
 one or two of the ranks being tuned slightly sharp or fiat to the 
 
 the author of elaborate works on organ-building, says, ' that wooden pipes in theirloweroctaves 
 as voiced by Herr Schulze, are as good as, or even superior to, metal pipes.' " 
 
 *" VoGBLGESANG. Unter alien lappischen Spielereien die grosste, indem das Gezwitscher 
 der Vogel nachgeahmt werden soUte! — Welch ein Einfall ! ! Diess wird auf f olgende Artbewerk- 
 stelligt: In einem blechernen Kastchen, das mit Wasser gefullt wird, ragen 3 — 6 kleinePfeifchen 
 mitihrem obern Ende in das Wasser, und geben dann einen gurgelnden, zwitscherndenTon." — 
 W. Schneider (Merseburg, liis). 
 
284 ORGAN-STOPS 
 
 correct unison pitch of the Organ in which the stop is inserted. In 
 the large majority of examples, the stop is of one rank only, of either 
 string-toned or pure organ-toned metal pipes, tuned a few beats 
 sharp; which, when combined with another unison stop of correct 
 pitch, produces a peculiar tremulous effect; and which, by a wonder- 
 ful stretch of the imagination, has been likened to a celestial voice, 
 whatever that may be. In some instances, the single-rank Voix 
 Celeste has been tuned flat, but its effect is not so satisfactory as 
 in the case of the sharp stop. In our opinion, the flat tuning should 
 be confined to the Unda Maris (g. v.). The most important single- 
 rank stops, tuned sharp, are those designed to impart to the volvune 
 of sound produced by the massing of imitative string-toned stops 
 the nervous force which characterizes the full string effects of the 
 grand orchestra. See Violino Vibrato and Violoncello Vibrato. 
 The most satisfactory Voix Celeste is that formed of two ranks 
 of pipes of special tonality, carefully voiced to produce a pleasing 
 and refined effect, one of which is voiced just sufficiently sharp to 
 create an artistic tremolo, not too pronounced. To avoid having to 
 tune one rank too discordant with the correct pitch of the Organ, the 
 discordancy has been divided by tuning one rank very slightly flat 
 and the other rank equally sharp. This variety of the stop is to be 
 preferred. In the Organ in St. Paul's Cathedral, London, recon- 
 structed by Willis, in 1901, there is a Voix Celeste of three ranks, 
 tuned flat, correct, and sharp. A stop of this formation could be 
 made a valuable timbre-creator. 
 
 VOIX fiOLIENNE, Fr.— The name given by Cavaille-CoU to a 
 labial stop, of 8 ft. pitch, inserted in the R^cit Expressif of the Organ 
 in the beautiful Church of St. Ouen, Rouen. The stop is tuned sharp 
 and according to Philbert was designed to produce undulations of 
 tone when drawn along with the Flute Harmonique, 8 ft.* This 
 seems worthy of notice from the fact that the Flute alluded to is 
 placed in the Grand-Orgue. Such a disposition of the two stops 
 
 * Alluding to this stop, M . Philbert remarks : " A Saint-Ouen, on rencontre encore un troi- 
 siemejeuondulant.la VoixEolienne, destine k produire I'ondulation avec la FlOte Harmo- 
 nique. II consiste en une rang^e de tuyaux bouch6s accord^s k battements. et I'effet m*en a paru 
 m6diocrementsatisfaisant, parce qu'il est un peu lourd. Ce que j'ai vu de mieux comme jeu 
 ondulant destin6 k agir sur une FlOte on un Bourdon, c'est le suavial de la Suisse allemande, 
 £orni6 de tuyaux ouverts, de taille k peu pres identique k celle du Salicional, mais dont le pied 
 n'admetabsolument qu'un filet d'air, defagon que le son propreen est extrSmementfaibleetse 
 perd pour ainsi dire dans celui du jeu auquel on I'associe. La difference d'accord est en m€me 
 temps tr&sl6gfere, au point que I'ondulation est k peine perceptible comme battement et nefait 
 qu'imprimerau timbre de la FlOte et surtout du Bourdon comme une teinte cristalline un peu 
 vaguer6ellement suave et empreinte de recueillement. Vogt aimait assez ce jeu et s'en servait 
 habilement. " — Causerie sur le Grand Orgue k Saint-Ouen de Rouen, p. 30, 
 
THEIR ARTISTIC REGISTRATION 285 
 
 deserves consideration, for it opens a nice question in artistic regis- 
 tration. Doubtless Cavaille-CoU, the most scientific organ-builder 
 of his time, realized the possibility of beautiful effects being produced 
 by the combination of the uniform flute-tone and the changing and 
 expressive tone of the Voix Eolienne. 
 
 VOX ANGELICA, Lat.— Fr., Voix Angelique. Ital., Flauto 
 Angelico. Ger. , Engelstimme. — These names appear to have been 
 employed to designate stops of any description which yielded some 
 specially beautiful and refined quality of tone. They have, accord- 
 ingly, been applied to both labial and lingual stops. When applied 
 to the former, the term Vox Angelica properly indicates an open 
 metal labial stop, of 8 ft. pitch, the pipes of which are cylindrical 
 and of very small scale, voiced to yield the softest unison tone in 
 the manual department of the Organ. Fine examples of this form, 
 voiced, on very light wind, by Edmund Schulze, exist in the Echos 
 of the Organs in the Parish Church of Doncaster and the Church of 
 St. Bartholomew, Armley, Yorkshire, England. We have been able 
 to find one example in Walcker's Organs; the Vox Angelica, 4 ft., 
 on the Fourth Manual of the Organ in Riga Cathedral. Soft-toned 
 stops have not been favored by German organ-builders to any note- 
 worthy extent. The labial Vox Angelica, 8 ft. may be either 
 organ-toned or string-toned, according as it is voiced to approach 
 the Dulciana or the Salicional or Viol. 
 
 Both Wolfram and Seidel describe the Vox Angelica as a lingual 
 stop, of 8 ft. pitch, but do not give any particulars respecting its 
 formation. The former writer, alluding to its tone, says its name is 
 the best part of it, which, when one thinks of what the lingual stops 
 were in his day and country, may be readily accepted as a just state- 
 ment. Clarke, in his "Outline of the Structure of the Pipe-Organ," 
 describes the stop as formed of "Free-reed pipes of the most delicate 
 voicing," giving no further information. In this form it was in- 
 serted in the Solo of the Roosevelt Organ erected in the Church of 
 St. Thomas, New York City. In the same form it exists in the Choir 
 of the Organ in the Church of St. Paul, Antwerp.* 
 
 VOX GRAVISSIMA, Lat. — The appropriate name to designate 
 the acoustical tone or effect which is produced by the simultaneous 
 sounding of stops of 32 ft. and 21 J^ ft. pitch, standing at the inter- 
 val of a perfect fifth apart. It is the differential tone generated by 
 
 * "L'Angelica (Vox) est la premiere manifere de Voix humaine; elle avait sur la nouvelle 
 I'avantage d'avoir Hi construite d'apres une pensfie sinon angUique, du moins religieuse et non 
 purement humaine. " — Regnier. 
 
286 ORGAN-STOPS 
 
 the combination that is the Vox Gravissima, 64 ft. For full par- 
 ticulars see Gravissima. 
 
 VOX HUMANA, Lat.— Fr., Voix Humaine. Ital., Voce 
 Umana. Ger., Menschenstimme. — A lingual stop, of 8 ft. pitch, the 
 pipes of which, in the most satisfactory examples, have resonators 
 of cylindrical form, covered at top, and slotted for the emission of 
 wind and sound, and much shorter than the standard lengths of 
 open pipes. Other forms of resonators have been employed with 
 varying and, generally, very unsatisfactory results. The most 
 common form is cylindrical, very short, and entirely open at top; 
 the tones of pipes of this form are generally objectionable. The stop 
 is voiced with the view of producing tones, rich in harmonics, in 
 imitation of the human singing voice ; hence the name Vox Humana : 
 but even the best results that have been obtained up to the present 
 time fall far short of what is to be desired. The Vox Humana re- 
 quires the aid of the Tremolant to impart the characteristic in- 
 tonation to its voice; and that is greatly improved by the addition 
 of a soft unison, unimitative flute-toned stop, such as the.MELODiA, 
 8 FT., which would impart desirable body to the usually thin and 
 nasal voice of the stop. In high-class work, the solo Vox Humana 
 should be a dual stop, permanently formed of the lingual rank, 
 associated with a properly voiced, body-giving, labial rank of unison 
 pitch. If the Vox Humana is properly made and artistically voiced 
 it forms, when drawn without the Tremolant, a valuable stop in 
 registration, imparting a distinctive coloring to soft combinations 
 of contrasting tonalities. The tonal and imitative effects of the 
 Vox Humana depend to a considerable extent on the position it 
 occupies, and the manner in which it is treated in the Organ ; and its 
 imitative quality is also greatly affected by the acoustical properties 
 of the building in which the Organ is placed. Of all the stops in 
 the Organ, the Vox Humana is the one to which distance lends the 
 greatest charm. Speaking of this stop, Max Allihn remarks: "The 
 Vox Humana is intended to imitate the human voice, which will 
 only be possible when the stop occupies a distant and covered place 
 within a large instrument in a large room." Alluding to the forma- 
 tion of the stop, he adds : ' ' The blocks and tongues correspond to 
 those proper for an 8 ft. stop of large scale and delicate intonation, 
 but the bodies of the Vox Humana pipes are of quite different pro- 
 portions and form. Definite measurements or forms do not exist. 
 Every organ-builder follows his own predilection and experience. 
 Some use short cylindrical bodies, closed at top with the exception 
 
THEIR ARTISTIC REGISTRATION 287 
 
 of a small opening; others make larger bodies with larger openings; 
 while others prefer conical bodies closed with the exception of a 
 small lateral opening. All treatments are alike in that the bodies 
 are more or less covered." 
 
 Tone and Registration. — There can be no question that the 
 only desirable tone for the Vox Humana is that which, when com- 
 bined with the tremolo, is as satisfactory as possible in its imitation 
 of a human voice ; and, when used without the tremolo, is perfectly 
 suited for combination and a;rtistic registration. That such a stop 
 can be produced we have had ample proof. We inserted in our own 
 Chamber Organ a Voce Umana, 8 ft., made by a most skillful and 
 artistic voicer — E. Franklin Lloyd, of Liverpool — which was emi- 
 nently satisfactory under both conditions. Mr. Clarence Eddy, the 
 distinguished organist, in a written criticism of our Organ, says: 
 "The reeds are exceptionally fine; and it would be difficult to find so 
 satisfactory a Vox Humana; while its accessory, the Tremolo, is 
 absolutely perfect." Mr. Eddy judged the stop while seated at the 
 claviers, not ten feet distant from its pipes and the Tremolant. 
 Apart from the Tremolant, the stop proved in combination as 
 useful as any of the other four lingual stops Mr. Eddy has alluded to; 
 while as a timbre-creator and color-giver it occupied the first place 
 in registration. Played, alone, in full chords its tones were rich and 
 beautiful. Such, in our opinion, the artistically voiced Vox Hu- 
 mana should be in every Organ. 
 
 The Vox Humana, of the tonality alluded to, enters into effec- 
 tive combination with all the softer-voiced labial and lingual stops 
 of unison pitch; giving a special coloring to the tones of stops more 
 assertive than itself, and intensity and fullness to the tones of stops 
 of its own value. It combines perfectly with such lingual stops as 
 the Oboe, Clarinet, Cor Anglais, and Fagotto, warming and 
 enriching their voices; with string-toned stops it produces refined 
 and effective compound tones rich in harmonics; and with open, 
 half -covered, and covered flute-toned stops it produces a family of 
 compound tones of beautiful colorings. Considering its value in 
 artistic registration, the Vox Humana should find a place in all 
 Organs of any pretensions. Its position on the claviers may vary; 
 but it is imperative that it be placed in an expressive division. In 
 the properly stop-apportioned Concert-room Organ, it should cer- 
 tainly find a place in the wood-wind division, and also in one of the 
 soft-toned accompanimental divisions.* 
 
 * See " The Organ of the Twentieth Century, " pages 307, 329. 334. 483, SOS, and S06. 
 
288 ORGAN-STOPS 
 
 VOX MYSTICA.— The name given to a lingual stop, of 8 ft. 
 pitch, the pipes of which have cylindrical resonators surmounted by 
 a bell which is slotted. The tone of the stop is a modification of 
 that of a Vox Humana. The stop exists in the Echo of the Concert- 
 room Organ in the Colston Hall, Bristol, constructed by Norman & 
 Beard in 1905. 
 
 VOX RETUSA, Lat.— Literally Dull Voice. The name given 
 to a labial covered stop of subdued tone which exists in the Organ in 
 the Cathedral of Lund, Sweden.* 
 
 VOX VINOLATA, Lat. — A very remarkable name given to a 
 labial stop, of 8 ft. pitch, the pipes of which are of metal and conical 
 in form, resembling the Spitzflote. The apparently unique ex- 
 ample of the stop exists in the Organ in the Cathedral of Lund, 
 Sweden, t 
 
 w 
 
 WALDPLOTE, FELDFLOTE, Ger.— Lat., Tibia Sylvestris. 
 Fr., Flute des Bois. Dtch., Woudfluit. — Literally Forest Flute. 
 An open labial stop, of 8 ft., 4 ft., and, rarely, of 2 ft., and i ft. pitch, 
 the pipes of which are of large scale, and of either wood or metal, 
 preferably of the former material. The Waldflote (under its 
 mixed name Wald Flute) appears in numerous English Organs, of 
 8 ft. or 4 ft. pitch, but very rarely of both pitches in the same Organ. 
 An instance, however, obtains of the insertion of both stops, in the 
 Great of the Organ in the Church of St. Matthew, Northampton. 
 As a rule, English organ-builders prefer the stop of 4 ft. pitch, com- 
 monly inserting it in the Choir Organ. In the instruments made by 
 Walker & Sons, of London, the Waldflote, 8 ft., is almost invari- 
 ably inserted in their Great divisions. In several important 
 German Organs, the stop of 2 ft. pitch is to be found, as on the 
 Second Manual of the Organ in the Cathedral of Riga, and on the 
 First Manual of the Organ in the Cathedral of Ulm. We have not 
 been able to find an instance of the insertion of the stop of i ft. pitch, 
 although Seidel and others say that it is made of that high pitch. 
 
 * ' ' Vox Retusa, 8' von Zinn ist ein Flotenregister, welches im obersten Manual der Domor- 
 gel zu Lund in Schweden vorhanden ist. Retusa ist eine veraltete Benennung welche eine ge- 
 d&mpfte Stimme anzeigt. Ein ahnlicher, aber richtiger Ausdruck ist das schon erwg^hnte Ob- 
 tusa. " — Seidel. 
 
 t ' ' Vox ViNOLATA, 8' von Metall, spitz auf warts, von enger Mensur und schwacher Intona- 
 tion, ist ein Flotenwerk im 3 (Ober-) Manual der Domorgel zu Lund. Wie der Ausdruck vi- 
 nolata zu einem Orgelregister passt, durfte schwer zu entr&tseln sein. " — Seidel. 
 
THEIR ARTISTIC REGISTRATION 289 
 
 Scale and Formation. — ^The Waldflote is not only made of different pitches 
 but also of different forms and materials, and, necessarily, of different scales. 
 Both German and French authorities describe it of large scale.* In German and 
 French Organs the stop is to be found either of metal or wood; and, when of the 
 former, of either a cylindrical or conical form. An example of the latter form exists 
 on the Third Manual of the Schulze Organ in the Marienkirche, Lubeck. It is of 
 tin and of 2 ft. pitch. In English Organs, the Waldflote, of 8 ft. or 4 ft. pitch, is 
 invariably of wood and of the usual quadrangular form, deeper than wide. It is 
 understood to have been first made in England by William Hill, of London, in 
 1841, and since then has been commonly made by all English organ-builders, its 
 tonal value having been fully recognized. In the 8 ft. stop, the bass and tenor 
 octaves were commonly of covered pipes; but in later and better examples the 
 covered pipes are confined to the bass octave. In the 4 ft. stop no covered pipes 
 should be introduced. The mouth of the English Waldflote pipe is inverted, 
 placed on the narrow side, and usually cut up about one-third its width in height. 
 In some examples the upper lip is cut thin, while in others it is somewhat thick, 
 and carefully rounded and burnished, preferably with plumbago. In the best 
 examples the block is depressed below the lower lip, the distance being equal to 
 one-third the width of the mouth ; this distance varies and influences the tonality 
 to some extent. The front of the pipe, in which the inverted mouth is cut, should 
 be of either close-grained mahogany or maple. The pipe is tuned by a metal shade 
 at top, but it should be so accurately cut to length as to require fine tuning only by 
 means of the shade. The entire stop must be very carefully regulated. 
 
 Tone and Registration. — As the Waldflote is made of differ- 
 ent forms and materials, it naturally follows that there are consider- 
 able differences in its tonality. These differences are marked be- 
 tween the stops of German and English formation and voicing. 
 Seidel describes the tone as nothing peculiar, being rather broad, 
 woody, and hollow. This is not descriptive of the voice of the proper 
 English Waldflote, which is of unimitative flute-tone, peculiarly 
 sweet, and inclining, in some fine examples, to a horn-like coloring. 
 It is this compound tonality which renders the stop so valuable in 
 combination and artistic registration. When artistically voiced, the 
 stop, in both its 8 ft. and 4 ft. pitches, is valuable in solo passages 
 if they are not too lengthy. In combination with the softer-toned 
 lingual and the string-toned stops it produces beautiful and varied 
 colorings of great artistic value and expression. Such being the case, 
 it would seem very desirable to insert the stop in some soft and ex- 
 pressive division of the Organ : yet it is strange to find it inserted, 
 
 *" WaldflQte, Waldpfeifb, Tibia sylvestris, ist ein ofEenes weit mensuriertes Flotenwerk 
 vonZinn, Metall, zuweilen auch von Holz, 8, 4, 2 und i'. Die Intonation dieser Stimme is nicht 
 sonderlich, denn sie ist breit-,h6lzern-, und hohl-klingend. " — Seidel. 
 
 •'LaFLOxEDEsBois {Waldfiate) , de grosse taille, enltofEe, quelquefoismfemeenbois.sefait 
 depuishuit-piedsjusqu'kun pied. Elle ne se distingue gufere de la ilfoW^Kie ni de \a.Holzflate, 
 dontellea tour k tour et pirfois tout ensemble la double caractere. C'est peut-6tre parce 
 qu'elle n'a rien d'assez tranche qu'elle devient chaque jour plus rare. " — Regnier. 
 
290 ORGAN-STOPS 
 
 apparently without exception, in the unexpressive Greats of Walker 
 & Sons' important Organs, including that in York Minster, recon- 
 structed in 1903. In the Concert-room Organ, Waldflotes, of 8 ft. 
 and 4 ft. pitch, would prove of great value in the expressive division 
 chiefly devoted to the stops representing the brass-wind forces of the 
 grand orchestra. In such a situation they would have to be of large 
 scale and full intonation, voiced on wind of not less than 6 inches' 
 pressure. To the voice of the Horn that of the Waldflote will 
 impart richness, smoothness, and an increase of orchestral character: 
 while, in registration with the other necessary labial stops of the 
 division, it will create numerous valuable compound tonalities 
 and colorings with or without the impressive lingual stops properly 
 apportioned to the division. 
 
 WALDHORN, Ger. — The name given to a lingual stop, the 
 voice of which is intended to imitate in its tonality that of the old 
 Hunting Horn. It seems to have been made of 8 ft., 4 ft., and 2 ft. 
 pitch;* but it appears that the imitative quality was confined to the 
 8 ft. stop or only the lower portion of its compass. On the Third 
 Manual of the Organ in the Cathedral of Lund, Sweden, we find the 
 stop labeled Waldhorn, bass — Clarinette, discant, 8 ft. This 
 would clearly indicate that in this stop the Waldhorn portion is of a 
 Bass Clarinet tonality: accordingly, the voice of the stop can have 
 no relation to that of the Hunting Horn or Cor de Chasse. What- 
 ever the tonal value of the Lund Organ stop may be ; it may be safely 
 said that a strictly imitative Waldhorn would not be desirable in 
 the Organ of to-day. 
 
 WALDQUINTE, Ger.— This stop is mentioned by Seidel, Reg- 
 nier, and Schlimbach. It has been made of sJ^ ft., 2% ft., and i}4 
 ft. pitch ; but Seidel says that in Organs constructed in his time it 
 was very seldom inserted. This would appear to have been the case, 
 for we have failed to find a single record of the insertion of a Wald- 
 quinte in any Organ. Wolfram (1815) and Schlimbach describe 
 the stop as similar in form and tonality to the Waldflote. 
 
 WEIDENFLOTE, WEIDENPFEIFE, Ger.— Literally Willow 
 
 *" Waldhorn, Cornetto di Caccia, Cornu par force, C. sylvestre, Cors de chasse, sind Be- 
 nennungen eines seltenen Rohrwerkes, welches zu 8, 4 und 2' im Pedal und Manual vorkommt 
 und den Ton des gleichnamigen Blasinstruments nachahmen soil. Bis jetzt durfte diese Stimme 
 wohl noch keinem Orgelbauer gelungen sein. Musikdirektor Wilke ist der Meinung, dass der 
 Charakter des Waldhorns eher durch Labialpfeifen als durch Zungenstimmen zu erzielen sei 
 und zwar durch die, in der Pfarrkirche zu Neu-Ruppin stehende Stimme Fluttuan, deren 
 Klang dem Waldhornton sehr nahe kommt. " — Seidel-Kothe. 
 
THEIR ARTISTIC REGISTRATION 291 
 
 Flute. The name that has been used to designate a metal labial 
 stop of extremely small scale and soft intonation. Its name would 
 imply a flute-tone, which was probably somewhat indeterminate in 
 its character. Such a stop would be suitable for a true Chamber 
 Organ, or for insertion in an Echo or Ancillary Aerial Organ. 
 
 WIENERFLOTE, Ger.— Literally Vienna Flute. Locher says 
 this stop "is one of the most charming wood flutes, intonated rather 
 brighter than the Flauto Dolce. As a rule, it occurs on one of the 
 upper manuals as an 8 ft. or 4 ft. solo stop, more particularly in Swiss 
 Organs. . . . The denomination ' Wienerflote ' lacks all ety- 
 mological or historical foundation. In the new [1888] Votiv Organ, 
 although this stands in Vienna itself, there is not a single Wiener- 
 flote amongst its sixty-one speaking stops." On the Third Manual 
 of the Walcker Organ in the Cathedral of Vienna there is a Wiener- 
 flote, 8 FT. Another example exists on the Third Manual of the 
 Organ in the Cathedral of Riga. 
 
 Carl Locher, Chief Organist of the Catholic Church, at Berne, 
 who had favorable opportunities of judging the tonal value of the 
 stop, remarks : "Wienerflote is one of the most useful stops on the 
 upper manuals, not only as a solo, but also for combination with 
 any other stop. I found it particularly beautiful in combination 
 with the Oboe and Flauto Traverso." It has been generally 
 understood that the tone of the Wienerflote closely resembled the 
 imitative tone of the Flauto Traverso; but Locher 's example of 
 effective combination would seem to indicate a different tonality; 
 unless the combination of the labial stops merely increased the imi- 
 tative flute-tone. 
 
 The pipes of the Wienerflote are open, quadrangular, and have 
 inverted circular or semicircular mouths, partly over or against 
 which are adjusted sloping caps. Such a formation would point to 
 the production of an imitative quality of flute-tone, but not so pro- 
 nounced as that of the harmonic Flauto Traverso, nor so valu- 
 able in solo effects or registration. 
 
 X 
 
 XYLOPHONE. — A percussion musical instrument recently in- 
 troduced as a stop in certain Organs. Fine examples are made in 
 this country by the Kohler-Liebich Co., and by J. C. Deagan, both 
 of Chicago. The Xylophone, made by the former firm, is con- 
 structed of four octaves, chromatic, of Rosewood bars, graduated 
 
292 ORGAN-STOPS 
 
 in size, and adjusted over properly tuned cylindrical metal resona- 
 tors. The percussion action is electrically operated from the clavier 
 of any Organ in which the stop is placed. Stops of thi-s class are 
 not suited for the dignified Church Organ. 
 
 ZARTFLOTE, Ger. — The stop bearing this name was, according 
 to Seidel, invented by the organ-builder Friedr. Tiirley, who first 
 called it a Gamba; but as its tone was of a soft and refined fluty 
 quality rather than of a string character, Musikdirektor Wilke ad- 
 vised its inventor to adtjpt the more expressive name Zartflote. 
 The stop is formed of small-scaled open pipes, usually of wood, 
 voiced to yield an extremely tender flute-tone; hence its name. It 
 has been made of both 8 ft. and 4 ft. pitch. As a stop of 8 ft. pitch 
 it is inserted in the Swell of the Organ in the Marienkirche, Wismar; 
 and as a wood stop, of 4 ft. pitch, it is to be found in the Echo of 
 the Schulze Organ in the Marienkirche, Lubeck. In the Echo of the 
 fine Organ in the Church of St. Bartholomew, Armley, Yorkshire, 
 built by Edmund Schulze, there is a Zartflote, 4 ft., formed of 
 conical metal pipes from tenor C to C". The bass octave is of small- 
 scaled wood pipes. This stop speaks on wind of i J^ inches, and has 
 a voice of an extremely soft and refined flute-tone. We do not find 
 the Zartflote in any of Walcker's important Organs. A Zart- 
 flote, 8 ft., the pipes of which are of pine and pear-tree, exists on 
 the Fourth Manual of the Ladegast Organ in the Cathedral of 
 Schwerin. The stop is to be found in some English Organs; usually 
 of 4 ft. pftch, and inserted in the Choir or Swell. 
 
 The name Zartflote has been used by John W. Whitely to 
 designate a beautiful stop invented by him in 1896. This stop, of 
 8 ft. and 4 ft. pitch, is formed of covered metal pipes with project- 
 ing ears carrying cylindrical aluminium harmonic-bridges. The 
 stop is a modification of the Quintaten, with every trace of coarse- 
 ness removed.* Its voice is a light, bright, flute-tone, with sufficient 
 reedy quality to impart to it a distinctive tonal coloring. A stop of 
 this beautiful tonality would be of the greatest value in the soft 
 divisions of the Organ; contributing largely to refined and artistic 
 registration. 
 
 ZARTGEDECKT, Ger.— The name that has been used to desig- 
 nate a covered stop of wood or metal, of 8 ft. pitch, yielding an unimi- 
 
 * Full particulars, with illustration, o£ this stop are given in "The Art of Organ-Building," 
 Vol. II., p. 549 ; and in "The Organ of the Twentieth Century, " pages 391-2. 
 
THEIR ARTISTIC REGISTRATION 293 
 
 tative flute-tone softer and sweeter than that of the Lieblich- 
 GEDECKT, 8 FT. The stop requires, for the production of its charac- 
 teristic voice — free of any pronounced harmonic — to be voiced on 
 wind of very low pressure, preferably i Yi inches. This stop is in all 
 essentials similar to the Stillgedeckt (g. v.). 
 
 ZAUBERFLOTE, Ger.— Literally Magic Flute. A covered 
 harmonic stop, invented by William Thynne, of London, and first 
 introduced by him in the Organ installed in the Inventions Exhibi- 
 tion, at South Kensington, London; and which was afterwards 
 erected in Tewkesbury Abbey. It is of 4 ft. pitch, and is inserted in 
 the Choir of the Organ. In the Zauberflote, 4 ft., in the Organ 
 in the Church of St. John, Richmond, Surrey, the harmonic pipes 
 commence at tenor C; and, as they are covered, they speak their 
 first harmonic, or the second upper partial tone — the Twelfth. To 
 prevent its speaking the prime tone, or that proper to its length, 
 each pipe is pierced with a small hole, as in the case of the open pipes 
 of the Flute Harmonique. The Zauberflote was made of both 
 8 ft. and 4 ft. pitch. When of the former pitch, the bass octave was 
 formed of covered wood pipes, voiced to carry down the characteris- 
 tic tone of the harmonic portion of the stop as closely as possible, 
 but by no means satisfactorily, as can be supposed.* 
 
 Tone and Registration. — The tone of the Zauberflote, as 
 voiced by its inventor, is sui generis and of a very refined and sym- 
 pathetic character, highly appreciated by those endowed with ears 
 sensitive to tonal values. In artistic registration it is of great value; 
 and as an Octave, it lends itself to the production of a series of 
 effective tonal colorings in combination with the softer string-toned 
 labial and reed-toned lingual stops; imparting a distinctive harmonic 
 structure to all dual combinations in which it is introduced, and to 
 which it gives a special brilliancy and vivid coloring. The stop is, 
 accordingly, of the greatest value in its 4 ft. pitch; and this fact its 
 inventor realized, as we know. He was for several years our valued 
 friend. 
 
 ZINK, ZINKEN, Ger. — A lingual stop made by the old German 
 organ-builders, and intended to imitate the tone of the obsolete 
 wind instrument known as the Zinken, or by the Italian name Cor- 
 netto Curvo and the French name Cornet-d-Bouquin. Describing 
 
 * Full particulars, with illustration, of the formation of this stop are given in "The Art of 
 Organ-Building," Vol. II., pp. S46-7; and in "The Organ of the Twentieth Century, " pages 
 389-90. 
 
294 ORGAN-STOPS 
 
 the instrument, Carl Engel says: "Although the Zinken is blown 
 through a mouth-tube somewhat similar to that of a trumpet, it has 
 finger-holes like a flute. Its sound is harsh, and would be unpleasant 
 in a room, but the Zinken was intended for the open air, and for 
 performing chorales on the towers of churches, so that all the people 
 in the town could hear the solemn music. They were, in fact, com- 
 pelled to hear, for it vibrated through the air over their heads like 
 the church bells themselves. Thus the Zinken may have served its 
 purpose well in olden time, notwithstanding its harshness of sound." 
 The organ Zinken was, apparently, a lingual stop, of 2 ft. pitch, 
 having a strident voice, and finding its place in the Pedal Organ. 
 Under the Dutch term. Cinq, 2 ft., stops of the class exist in the 
 Pedals of the Organs in the Cathedral of St. Bavon, Haarlem, the 
 Cathedral of St. Lawrence, Rotterdam, and other important 
 Churches in Holland. In the Pedal of the Organ in the principal 
 Protestant Church in Utrecht, built in 1826, there is, in addition to 
 the Cinq, 2 ft., a Clarion, i ft.