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

124 DICTIONARY OF ORGAN STOPS.
difficulty in voicing the stop is to prevent undue predominance of the
twelfth. The pipes are generally of spotted metal, cylindrical in shape.
The bass of the 16 ft. and sometimes of the 8 ft. Quintaton is of wood.
The mouths are left very low, and the stoppers are solid. Except in the
case of the Hope-Jones variety, the pipes are generally bearded. In 32 ft.
pitch, the Quintaton is occasionally found on the manual, extending to
tenor or middle C. It is probably the most satisfactory manual stop of
that pitch. London Organ School (Positive Organ Co). For pedal
Quintaton 32 ft., see Acoustic Bass.
As a manual double the Quintaton 16 ft. is infinitely superior to
the customary Bourdon. If possible, the Swell double should certainly
be composed of open pipes (see Bourdon). It frequently happens, how-
ever, that for reasons of economy—alike of funds and space—open pipes,
and the increased size of the swell box necessary to their accommodation,
are ruled out of court. In such instances, the Quintaton is undoubtedly
the most effective stop to employ, regarded solely as a manual double. It
costs no more than a Bourdon, and provides what is practically, in effect,
a soft toned Quint. Proportionately as the overtones of the Bourdon
become prominent, so is the stop endued with better blending and " Hmbre-
creating " property, so is it affected by the Swell crescendo— ever ready to
influence stops of ample harmonic development. Not only does the
Quintaton in combination, impart to the tone a peculiar clearness, piquancy
and cohesion, but it also constitutes a new tone-colour instrumental in the
production of special effects, and available likewise for solo use. The
only respect in which the Bourdon has the advantage, lies in the fact that
the Quintaton does not lend itself to use as a soft stop borrowed on to the
Pedal organ. There is no reason, however, why the Great organ Bourdon
should not be utilized in this capacity. It should by no means be too
powerful for normal use with soft combinations. A family of Quintatons
of 16 ft., 8 ft. and 4 ft. pitch, would more effectually brighten up the
general tone of an instrument than many ranks of Mixture-work. One
of the secrets of modern tonal design, is the building up of brilliancy
within the organ tone itself, instead of by the application of a number of
Mixture ranks, which are, so to speak, extraneous to the general tonal
scheme. The Quintaton 4 ft, is sometimes found as the only octave stop
on the Swell in Hope-Jones organs. The practice has been adopted in a
modified degree by Mr. Compton of Nottingham (Emmanuel Church,
Leicester; U.M.F. Church, Stapleford, Nottingham). When applied to
organs designed for free accompaniment, it may thus be employed
effectively, serving to brighten up the reed ''tone. In the ordinary
accompanimental instrument, however, it is perhaps well that the 4 ft.
Quintaton should not be used, unless very subdued in tone or covered
by some 2 ft. stop.