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88 DICTIONARY OF ORGAN STOPS. Harmonic Pipes. Pipes so treated as to speak their first upper partial instead of the fundamental or ground tone. Wood Flutes caused to overblow by means of a low mouth and copious winding date from a comparatively early period in Germany (see Flauto Traverso). The idea of employing harmonic tones for the sake of increased power in the treble of stops, together with the invention of the method now in vogue for the production of such tones, is due to the late M. Aristide Cavailld-Coll, having first been embodied in his fine organ at the Abbey Church of St. Denis, near Paris. By Gavailld's method, open flue pipes are pierced half way up with one or more small holes. These perforations have the effect of causing the vibrating air column in the pipe to split in half and thus to yield its half-length tone, the octave. The actual length of the harmonic portion (treble) of an open harmonic stop is thus twice the real speaking length indicated on the stop label. The first harmonic above that speaking is, of course, the twelfth. Harmonic stopped pipes overblow into the twelfth (see Harmonic Stopped Twelfth, Zauberflote). It has erroneously been advanced that Cavailld-Coll's invention was anticipated by Gabler at the Benedictine Monastery, Weingarten, (1750). The statement, which is repeated by a writer in Grove's Dictionary, would seem to be based on the fact that in the specification of this organ, as given in Hamilton's " Catechism of the Organ," and also in Hopkins' and Rimbault's treatise, appears the term Harmonic Violoncello, 8 ft. As a matter of fact this stop was only rendered harmonic during the restoration of the organ by Weigle. See Doppelflote, Harmonic Flute, Harmonic Reeds, in addition to references already indicated. Harmonic JReecls—See Harmonic Pipes. Reeds with double-length tubes in the treble. Such pipes, however, unlike those of harmonic flue stops are not usually perforated in the middle, as this treatment is unnecessary in the case of reed pipes. Harmonic Reeds were introduced by Cavaille'-Coll in conjunction with increased pressure with the object of securing, in the treble, power proportionate to that of the bass. This conception was further expanded in the system of reed voicing of George Willis, who employed harmonic reed work not only for this purpose, but in order to secure also smoothness and breadth of tone. It is a delusion to suppose that harmonic reeds are necessarily noisy or unduly powerful—they can, if desired, be voiced softer than ordinary true-length pipes. As a matter of fact the mere process of making a reed harmonic, apart from details of winding, tends to subdue its tone. Granted, however, a moderate reserve of wind pressure, it is easier to secure due prominence of tone in the treble than is the case with a pipe of true length. The harmonic structure of chorus reeds enables them to
DICTIONARY OF OKQAN STOPS. -89 stand better in tune, and renders the tone purer, removing the wearisome clang or nasal sound, inseparable, even by such a past-master as Willis, from non-harmonic reeds. Such a combination of virtues should be sufficient to establish their irrefragable usage. After the super-excellent results, loud and soft, achieved by the Willis system, the ultra-conservatism of those few builders who reject the harmonic system, must be described as nothing short of farcical. Harmonic Stopped Twelfth— zf ft. A stopped pipe of 4 ft. actual length, overblown to speak its first harmonic (the twelfth, 2§ ft.). The Harmonic Stopped Twelfth was introduced by Mr. Casson at Omagh, Co. Tyrone, Ireland. The tone of this stop is full and clear. In combination it is less assertive than the ordinary Diapason Twelfth, its influence, therefore, is such as to induce greater cohesion of tone. The stopped pipe is employed on account of its fewer harmonics. It is the harmonics and general lack of purity in the tone of Mixture pipes which renders them so frequently unduly assertive in combination. The Stopped Harmonic Twelfth also sometimes admits ot effective use with other soft registers as a timbre-creator. See Zauber- flote. Omagh; London Organ School; Chamber Organ, Cathcart House, Kensington, S.W. (Positive Organ Co.). HARMONIC TIERCE, TWELFTH, Etc. Mutation ranks are sometimes made of double length and harmonic intonation. The effect of this treatment is to increase their power without giving rise to concomitant development of their own upper partials. As a result they also stand better in tune and are less affected 'by fluctuation, of wind pressure than the true-length varieties. The practice is not unknown abroad. See Harmonic Stopped Twelfth. Maynooth College, Ireland (Stahlhuth) ; Emmanuel Church, Nottingham, Hucknall Torkard,. Nottingham (Musson & Compton). Harmonic Trumpet—(Fr.) Trompette Harmonique. 8 ft. A clear-toned Trumpet, harmonic in the treble. The name is also^ sometimes employed to designate a Tuba of somewhat lighter tone than the customary full and "thick" variety. See Tuba. HARMON IE—A prefix indicating (1) that the stop is voiced for combinational use. (Fr.) Cor d' Harmonie. Or (2) that the stop is of harmonic structure. (Ger.) Harmoniefiote. HARMONIKA— Harmonica. Also Harmonikabass. 8 ft. ; 16 ft. An open Flute of soft and delicate intonation, often slightly stringy in tone. It is generally made of wood and bearded. As a manual stop it is- quite unknown in this country. On the Pedal organ the Harmonikabass
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DICTIONARY OF ORGAN STOPS JJ.WEDGWO
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Cornell University Library The orig
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THIRD EDITION. TO T. TERTIUS NOBLE,
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A WORK FOREWORD. of this kind will
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PREFACE. V frame a few constructive
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PREFACE. Vll from the facts that a
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PREFACE TO THE SECOND EDITION. THE
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PREFACE TO THE SECOND EDITION. XI c
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XIV BIBLIOGRAPHY. 1833 he went to P
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XVI TABLE OF HARMONIC SERIES. TABLE
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DICTIONARY OF ORGAN STOPS. A. Acous
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DICTIONARY OF ORGAN STOPS. 3 artist
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DICTIONARY OF ORGAN STOPS. 5 are st
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DICTIONARY OF ORGAN STOPS. J BARYTO
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DICTIONARY OF ORGAN STOPS. Beard—
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DICTIONARY OF ORGAN STOPS. B©11—
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DICTIONARY OF ORGAN STOPS. 13 the e
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DICTIONARY OF ORGAN STOPS. 1 Dr. Ha
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DICTIONARY OF ORGAN STOPS. 1 would
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DICTIONARY OF ORGAN STOPS. 1 IV ran
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DICTIONARY OF ORGAN STOPS. 21 is ra
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DICTIONARY OF ORGAN STOPS. 23 Clari
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DICTIONARY OF ORGAN STOPS. 25 are n
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DICTIONARY OF ORGAN STOPS. 27 CLEAR
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DICTIONARY OF ORGAN STOPS. 2 9 Cont
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DICTIONARY OF ORGAN STOPS. 3 (2) In
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DICTIONARY OF ORGAN STOPS. 33 beaut
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DICTIONARY OF ORGAN STOPS. Courtel
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Page 67 and 68: DICTIONARY OF ORGAN STOPS. 43 mouth
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Page 75 and 76: above stops are all of the bivalvul
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Page 81 and 82: DICTIONARY OF ORGAN STOPS. 57 made
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Page 85 and 86: DOUBLE - TONGUEO REED —Double-ton
Page 87 and 88: DICTIONARY OF ORGAN STOPS. 63 Dulci
Page 89 and 90: DICTIONARY OF ORGAN STOPS. 65 Echo
Page 91 and 92: DICTIONARY OF ORGAN STOPa. 67 Examp
Page 93 and 94: DICTIONARY OF ORGAN STOPS. 69 Flaut
Page 95 and 96: DICTIONARY OF ORGAN STOPS. T Flauto
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Page 99 and 100: DICTIONARY OF ORGAN STOPS. 75 lips
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Page 105 and 106: DICTIONARY OF ORGAN STOPS. 8r high.
Page 107 and 108: DICTIONARY OF ORGAN STOPS. 83 Germa
Page 109 and 110: DICTIONARY OF ORGAN STOPS. 85 H, Ha
Page 111: DICTIONARY OF ORGAN STOPS. 87 Harmo
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Page 117 and 118: HORN GAMBA—See Fugara. DICTIONARY
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Page 121 and 122: RRUMMHORN—See Clarinet. DICTIONAR
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Salicional .(rollered), with double
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DICTIONARY OF ORGAN STOPS. 141 empl
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DICTIONARY OF ORGAN STOPS. 1 43 Sha
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DICTIONARY OF ORGAN STOPS. 145 8 ft
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Subbass—See Bourdon. DICTIONARY O
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DICTIONARY OF ORGAN STOPS. 149 prop
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DICTIONARY OF ORGAN STOPS. 151 and
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154 Metal Tibia Minor
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156 DICTIONARY OF ORGAN STOPS. U P
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158 DICTIONARY OF ORGAN STOPS. of a
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i6o DICTIONARY OF ORGAN STOPS. Trom
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1 62 DICTIONARY OF ORGAN STOPS. Tro
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164 DICTIONARY OF ORGAN STOPS. util
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1 66 DICTIONARY OF ORGAN STOPS. 1 2
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1 68 DICTIONARY OF ORGAN STOPS. Tus
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170 DICTIONARY OF ORGAN STOPS. "Vio
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172 DICTIONARY OF ORGAN STOPS. due
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174 DICTIONARY OF ORGAN STOPS. Pari
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176 DICTIONARY OF ORGAN STOPS. them
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i 7 8 DICTIONARY OF ORGAN STOPS. me
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180 DICTIONARY OF ORGAN STOPS. rate
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182 DICTIONARY OF ORGAN STOPS. Vox
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1 84 DICTIONARY OF ORGAN STOPS. it
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1 86 DICTIONARY OF ORGAN STOPS. z\
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i88 PHONETIC PRONOUNCING VOCABULARY
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190 LIST OF SUBSCRIBERS. LIST OF SU
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192 LIST OF SUBSCRIBERS. Gordon & G
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194 LIST OF SUBSCRIBERS. Rollo, D.,
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THE SHEFFIELD DAILY TELEGRAPH. " Mr
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Works by the same Author. A HISTORY
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MUSICAL WORKS COMPOSED OR EDITED BY
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— MUSICAL WORKS BY FRANCIS BURGES
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The "JOHN HOLT" "PIONEER" PEDAL REE
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— — " Artis est Celare Artem" A
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ESTABLISHED 1869. TELEPHONE 673. Ab
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J. J. BINNS, BRAMLEY ORGAN WORKS, l
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ROBERT SPURDEN #rgan BSutltrer, RUT
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ESTABLISHED 1886. TUNINGS, &c, by Y
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Ssta.1blish.ecl 1888. High Class Ch
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