A comprehensive dictionary of organ stops - Allen Organ Studio of ...

DICTIONARY OF ORGAN STOPS. 121
The author, has, in his possession, however, a Cube of excellent effect,
made and voiced by Mr. Compton, the tone of which somewhat resembles
that of the same builder's Tibia Mollis. The lip is leathered. Cube basses
might be found of great utility, when dealing with situations of some
awkwardness.
Q.
Quadragesima— (Lat.) = fortieth.
Mixture ranks of high pitch are sometimes found in old Italian organs,
drawing separately.
Quadragesima Terza— (Lat.) = forty-third. See above.
Quarte—See Rauschquint.
So called from the interval of a fourth (Lat. quartus) separating the
Twelfth and Fifteenth.
Querfldte— (Ger.) Quer = across. See Flauto Traverso.
Quincena— (Sp.) = Fifteenth.
Qu.in.ti—(Ger. and Fr.) Quinte. (Lat.) Quintus = fifth. Manual
5^ ft. ; pedal, io| ft. But the name is sometimes used for Octave
Quint or Twelfth. Manual, 2% ft.
; pedal, 5^ ft. Schulze at
Bremen Cathedral, and the Kimball Co. at Washington Temple,.
U.S.A., inserted a pedal Quint of 2i\ ft. pitch.
The Quint is a Mutation stop, speaking (when a manual stop of 5^ ft.
length) at the interval of a fifth above the unison pitch. The pipes of
the manual Quint are of various forms. In this country they are nearly
always stopped. Abroad they are also variously of cylindrical open pipes,
tapering Gemshorn pipes, widening Dolce pipes, or open rectangular wood
pipes. Of late years the Manual Quint (as an independent stop) has been
very generally discarded in this country. Certainly in organs of moderate
size, where economy is essential, it can well be dispensed with ; but in
larger instruments a Quint of duly subordinate tone is by no means to be
despised. Like the Twelfth, it conduces to cohesion of tone, constituting
a portion of the harmonic structure of the organ. In too many instances,
nevertheless, the Quint has been badly voiced, with the result that instead
of exercising a beneficent mollifying influence on the general tone, it has
given rise to a thick and "muddy" effect. In schemes where doubt is-
entertained as to the advisability of the inclusion of a Quint, a Quintaton,
16 ft. {q.v.) will in many instances be found to form a desirable com-
promise. Fifth-sounding mutation ranks should, as a general rule, be of
quiet, unobstrusive and rather dull tone, as free as possible from<
harmonics. The Quint then, is best made of Dolce or stopped pipes.
In some instances, notwithstanding, a Gemshorn Quint of quiet tone is by