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156 DICTIONARY OF ORGAN STOPS. U P f t0 ¥• A treble C pipe in the author's possession, made by Messrs. Norman & Beard, measures 2^ in. x i^f in., the upper lip being cut up I in. Tibia Profunda- 16 ft. TIBIA PROFUNDISSIMA— 32 ft. (Lat ) Profundis = deep. Profundissimus = very deep. See Tibia Plena. There is a very powerful example of the former at St. Mary's Collegiate Church, Warwick (Hope-Jones). Tibia Rurestris—(Lat.) Rus = country. See Bauerflote. Tibia Silvestris— (Lat.)—Silvester = appertaining to a wood. See Waldflote. Tibia Vulgaris—(Lat.) Vulgaris = Common. Common pipe. A name for Blockflote. Tierce—(Ger.) Terz. (Lat.) Tertius = third. Manual if ft.; pedal 3y ft. It also occurs in old organs as 6§ ft., and rarely as 12 •§• ft A mutation stop drawing separately or in conjunction with other Mixture ranks. The Tierce is normally pitched at a seventeenth above the unison. Its use is discussed under Mixture. TIERCINA—8 ft. tone. Hope-Jones stop. A novel stop, bearing this title, was inserted in the Choir organ of the fine instrument erected in Worcester Cathedral (Hope-Jones, 1897). The Tiercina is constructed of stopped tin pipes of very small scale and bearded. The stoppers are solid, the windway, and bore, small. The main structural peculiarity of the Tiercina is a sort of shade projecting over the top of the mouth. The Tiercina yields a reedy ground tone, a trace of the first upper partial (twelfth), and the second upper partial (tierce), sounded in equal proportion to the ground tone. The general effect of this stop is most peculiar, and in combination the Tiercina is instrumental in the pro- duction of many curious timbres. The pipes are, unfortunately, of very delicate constitution, and readily thrown off their speech. The specimen referred to was voiced by Mr. J. W. Whiteley. The Tiercina also occurs in the monster organ exhibited at St. Louis Exposition, 1904 (Art Organ Co.). Tolosana—The name occurred in the specification of the former organ at Seville Cathedral, as given in Hamilton's "Catechism of the Organ" and in Hopkins' and Rimbault's treatise. It appears to have been an ordinary stop named after the town of Toulouse.
DICTIONARY OF ORGAN STOPS. 157 Tonitru— (Lat.) = a rumbling sound, thunder. A name applied by Mr. Hope-Jones to a 64 ft. Resultant Bass. Tonus Fabri—(Lat.) Tonus = tone, Faber = a metal-worker or blacksmith. See Glocklein, and Campana. TRANSPOSITION STOP—Transposition Switch. A stop or switch controlling a mechanical device for transposing the pitch. This is accomplished by the medium of a false keyboard or a back- fall arrangement, or in the case of electrical instruments it can be effected by means of the contacts. A transposing device is a valuable adjunct to small instruments intended for village or mission churches, unlikely to be able to command skilled performers. It is a useful feature of Mr. Casson's Positive Organ, and some other similar instruments. The transposing keyboard is no novelty. It is mentioned by Arnold Schlick in his book, published as early as 1511. One was also introduced in 1730, by Michael Engler, into his organ at St. Nicholas, Brieg. TRAVERSO—TRAVERSBASS—See Flauto Traverso. Tremulant-(Lat.) Tremulus = shaking, cf. (Eng.) tremulous. Invented on the Continent about the middle of the XVIth century. An appliance introduced into the organ for the purpose of disturbing the wind supply to certain stops, and of thereby inducing an undulation in their tone. According to its disposition relative to the wind-distributing portions of the organ, the Tremulant may so be arranged as to act on the entire instrument, on some individual departmental division or group of stops, or even on a single register. The earliest known reference to the use of the Tremulant in this country occurs in connection with Dallam's organ at King's College, Cambridge (1606), in which it figured as "ye shaking stoppe." Father Smith (St. Mary-at-Hill, Billingsgate, 1693), and Snetzler likewise used " Trimoloes." The primitive Tremulant, which consisted merely of a valve situated in the trunk and caused to flutter by the wind encountering the resistance of a spring, must have been a very noisy and imperfect contrivance. Indeed Schlimbach* delivers himself oi the following remarks : " Such an undulatory stop [the Bifara] must be most welcome to the organ player, since a right-minded organist can scarcely use the Tremulant, so gimcrack is it usually (indem sie gewohnlich so beschaffen sind), as to be insufferable or even ludicrous." The first improvements of any consequence appear to have originated with the Parisian builders. Subsequently Messrs. Hill and other London builders carried on the task 'p. 163. M
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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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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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DICTIONARY OF ORGAN STOPS. 99 Litic
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DICTIONARY OF ORGAN STOPS. 1 01 Hou
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DICTIONARY OF ORGAN STOPS. 103 test
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Page 135 and 136: Oboe. DICTIONARY OF ORGAN STOPS. Il
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Page 163 and 164: Salicional .(rollered), with double
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Page 171 and 172: Subbass—See Bourdon. DICTIONARY O
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Page 178 and 179: 154 Metal Tibia Minor
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Page 212 and 213: i88 PHONETIC PRONOUNCING VOCABULARY
Page 214 and 215: 190 LIST OF SUBSCRIBERS. LIST OF SU
Page 216 and 217: 192 LIST OF SUBSCRIBERS. Gordon & G
Page 218 and 219: 194 LIST OF SUBSCRIBERS. Rollo, D.,
Page 220 and 221: THE SHEFFIELD DAILY TELEGRAPH. " Mr
Page 222 and 223: Works by the same Author. A HISTORY
Page 224 and 225: MUSICAL WORKS COMPOSED OR EDITED BY
Page 226 and 227: — MUSICAL WORKS BY FRANCIS BURGES
Page 228 and 229: 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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