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ISO DICTIONARY OF ORGAN STOPS. Terpomele—(Gr.) ripwuv = to delight. fisXoe = song. A free-reed stop inserted at Beauvais Cathedral (1827-29). The pipes were of Euphone shape. The wind pressure was variable at the option of the player, and the stop, therefore, open to expressive use. See Conoclyte. TERTIAN—Terzian. (Lat.) Tertius = third. A Mixture stop found abroad. It consists of Tierce and Larigot. The name is derived from the interval separating its constituent ranks. TERZ—(Ger.) = Tierce. Terza Mano—See Octave Coupler. Terzian—See Tertian. Theorba— 16 ft. A reed stop included in the specification ot the organ at Konigsberg Cathedral (1721), The Theorba was a variety of Lute. Thunbass—Tonbass. An ancient name for Gedackt. This name probably originated in the fact that stopped pipes are said to be of such and such a length tone—Gedeckt, 8 ft. tone. Thunder—(Fr.) Tonnere. See Storm Pedal. Tibia,—(Lat.) Tibia = a shin-bone, hence leg. It is supposed that originally the Flute was made from the legs of cranes, or other birds. (Pliny, Ep. 16, 36 seu 66.) Hence, per synecdoch. (Late Lat.) Tibia = a pipe. The Tibia was a Flute giving several notes from the one pipe by means of finger holes ; whereas the Fistula corresponded with the Pan's Pipes. The word Tibia has consistently been adapted to the nomenclature of organ stops on the Continent for some centuries. The Tibia Major was used by Schulze at Doncaster (1852). Some very imperfectly informed peisons have actually laboured under the strange misconception that its use in such terminology was initiated as a bombastic coup tTe'tat on the part of Mr. Hope-Jones ! The word Tibia is now used in this country to denote a quality of tone of an intensely massive, full and clear character, first realized by Mr. Hope-Jones, though faintly foreshadowed by Bishop in his Clarabella. It is produced from pipes of very large scale, yielding a volume of foundation tone, accompanied by the minimum of harmonic development. Even from a purely superficial point of view the tone of the Tibia family is most attractive ; but further, its value in welding together the constituent tones of the organ and coping with modern reed-work (see Diapason, Section 8) is inestimable. It possesses the peculiar faculty of "getting at the back" of all other combinational stops
DICTIONARY OF ORGAN STOPS. 151 and of adding to them a cohesion of tone and a dignity so entirely in keeping with the true and ideal character of the " King of Instruments." And, to avoid possible misconception, let it here be stated, once for all, that in thus strenuously urging the need in a non-expressive instrument like the organ, of this massive quality of tone, the modern school of tonal architecture does not for one instant advocate the reduction of the whole foundation of the organ to this standard. Tibia and Diapason are not synonymous terms, and the modern leathered Diapason, whilst preserving a due proportion of fundamental dignity, must act as the predominating influence which shall hold the mean between Tibia, Gamba, and reedwork, blending at the same time with the Principal which constitutes the connecting link between the foundation work and the " upper " work of the organ. One of the cardinal principles of modern tonal design is the abolition of excessive Mixture-work in favour of the process of building up brilliancy from within the foundation tone itself. It is, nevertheless, a fatal mistake unduly to sacrifice foundation and dignity at the altar of mere " pyrotechnic " display. The problem is dealt with from various aspects under Diapason (Section 4, et seq.). In fine, it is only necessary in explanation of the modern attitude, to observe that the rightful claims of neither dignity and purity of tone, nor brilliancy, are disregarded. Tibia Angusta— (Lat.) Angustus = narrow. 8 ft. A very narrow scaled Flute found in some German organs. ' It was sometimes bearded, Akin to Dulzflote. and then known as Tibia Angusta Barbata (sic/). Tibia Aperta—(Lat.) Apertus = open. See Fugara. Tibia Bifara—See Bifara. Titoia Clausa-(Lat.) Clausus = closed. 8 ft. tone. The Tibia Clausa is a wood Gedeckt of very large scale, furnished with leathered lips. It was invented by Mr. Hope-Jones. The tone is powerful, and beautifully pure and liquid. The prevailing fault of the modern Swell organ is, perhaps, the inadequacy of the Flutework. One small Gedeckt or Rohrflote is not sufficient to cope with the modern Gamba and Geigen or Diapason, to say nothing of reedwork. The fluework of too many modern Swells is thin in tone. It was the recognition of this shortcoming which led to the invention of the Tibia Clausa. The Tibia Clausa is to be found in the Swell organ in many of Mr. Hope-Jones' instruments. In U.S.A., St. John's School, Manlius, N.Y. ; Park Church, Elmira, N.Y. (Hope-Jones and Harrison). CC, 7f in. x 5^ in ; Mid. C, 2|£ in. x 1 If in. Mouth cut up about half its width. See Tibia, Tibia Minor, Tibia Plena.
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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. 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 IV ran
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DICTIONARY OF ORGAN STOPS. 23 Clari
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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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DICTIONARY OF ORGAN STOPS. 37 judgm
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DICTIONARY OF ORGAN STOPS. 39 (3) I
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DICTIONARY OF ORGAN STOPS. 41 seeme
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DICTIONARY OF ORGAN STOPS. 43 mouth
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DICTIONARY OF ORGAN STOPS. 45 domai
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DICTIONARY OF ORGAN STOPS. 47 legit
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DICTIONARY OF ORGAN STOPS. 49 Dia.p
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above stops are all of the bivalvul
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DICTIONARY OF ORGAN STOPS. S3 is no
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DICTIONARY OF ORGAN STOPS. 55 ^SSSN
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DICTIONARY OF ORGAN STOPS. 57 made
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DICTIONARY OF ORGAN STOPS. 59 was n
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DOUBLE - TONGUEO REED —Double-ton
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DICTIONARY OF ORGAN STOPS. 63 Dulci
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DICTIONARY OF ORGAN STOPS. 65 Echo
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DICTIONARY OF ORGAN STOPa. 67 Examp
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DICTIONARY OF ORGAN STOPS. 69 Flaut
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DICTIONARY OF ORGAN STOPS. T Flauto
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DICTIONARY OF ORGAN STOPS. 73 Flote
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DICTIONARY OF ORGAN STOPS. 75 lips
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DICTIONARY OF ORGAN STOPS. 77 to am
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DICTIONARY OF ORGAN STOPS. 7
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DICTIONARY OF ORGAN STOPS. 8r high.
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DICTIONARY OF ORGAN STOPS. 83 Germa
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DICTIONARY OF ORGAN STOPS. 85 H, Ha
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DICTIONARY OF ORGAN STOPS. 87 Harmo
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DICTIONARY OF OKQAN STOPS. -89 stan
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DICTIONARY OF ORGAN STOPS. 91 Hohlf
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HORN GAMBA—See Fugara. DICTIONARY
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DICTIONARY OF ORGAN STOPS. 95 pecul
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RRUMMHORN—See Clarinet. DICTIONAR
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Page 163 and 164: Salicional .(rollered), with double
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Page 220 and 221: THE SHEFFIELD DAILY TELEGRAPH. " Mr
Page 222 and 223: 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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