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

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1 62 DICTIONARY OF ORGAN STOPS. Trompeterengel—(Ger.) Trompeter = trumpeter; Engel = angel. An angel, situated in the case, blowing an imitation Trumpet. In some cases facilities were provided for the movement of this Trumpet to and from the mouth. Garrison Church, Berlin; Garrison Church, Potsdam (Joachim Wagner). TROMPETTE—(Fr.) = Trumpet. TROMPETTE-A-CHAMADE—See Fan Trumpet. Trompette Havmonique-See Tuba. Trumpet—(Fr.) Trompette; (Ger.) Trompete. For derivation, see Tuba. 8 ft. Double Trumpet, 16 ft. A powerful chorus-reed usually found on the Great organ, though occasionally on the Swell, and very rarely on the Choir. The pipes are of metal, and of inverted conical shape. The tongues generally exhibit a considerable degree of curvature. Mr. Hermann Smith, in " Modern Organ Tuning," asserts that "the Trumpet in the organ has harmonics, which from their clang we may judge to extend beyond the twentieth." It is due to the fact that reed stops are singularly wealthy in these higher dissonant overtones that they so frequently fail in their blending attributes. The ordinary " free "-toned Trumpet, when of due power, furnishes a conspicuous ex- emplification of the validity of this contention. A soft, smooth-toned Tuba is vastly more efficient and serviceable than the customary Great organ Trumpet. Unlike the latter, it is available as an effective solo stop ; in combination also, being less raucous in tone, it is distinguished by superior blending properties. Whereas for ordinary reed effects modern Swell reeds should amply suffice, the Great organ Tuba Minor or Tromba may be used in a manner analogous to the orchestral "brass." It is inadvisable, on the other hand, to voice Swell reeds too " thick " in tone, as the fact of their enclosure has to be taken into account. Nevertheless smoothness of tone is not necessarily concurrent with this " thick " or " close quality. It is important fully to grasp the fact that modern tonal design has in no small measure been modified by the development of the Swell organ as a potential factor of the tonal scheme, demanding recognition. We have already witnessed (see Diapason, Section 8) how that the sudden metamorphosis of this department from a mere Echo organ into a highly Trumpet, important constituent feature of the organ, accomplished by "
DICTIONARY OF ORGAN STOPS. 1 63 the improved reed work of Willis, rendered necessary a corresponding expansion a( the tonal functions of the fluework of the said department. At the time when it became the custom to introduce the Trumpet as the Great organ primary reed, the reed-work of the Swell had not yet attained to its present dignity or pitch of perfection. And, further, as has been pointed out (see sub Mixture), the whole principal of tonal design was then conducted on a radically dissimilar basis. Power was secured by the so-called extension of the foundation of the organ by Fifteenths, Mixtures, and so forth. Now that mere mechanical limitations no longer offer impediment to the development of tonal design along natural channels, we aim at cohesion and homogenity of tone, striving that the many may become one instead of the one diverging into the many. It is with a view to the realization of this ideal that the modern school has introduced the Tibia (ff.v.) class of tone, u».ges so insistently the necessity of smoothness of tone in chorus reedwork, and even goes to the length of building up the greater portion of the necessary brilliancy of the organ direct from the foundation work itself, instead of by the external application of a disproportionate amount of heterogeneous Mixture-work. On a well-equipped Choir organ, such as is found in French instruments, in the capacity of a soft chorus reed, a quiet Trumpet would be a decided acquisition. Between the bass and treble of the old-fashioned Trumpet a distressing hiatus is generally apparent. To secure purity of tone, and, at the same time, to remedy this lack of balance, the treble should invariably be of harmonic structure, the stop being planted on a fair wind pressure. Needless to say, the orchestral Trumpet is more closely represented by a soft, smooth Tuba, than by the organ Trumpet. The Double Trumpet is usually either identical with, or slightly more powerful than, the Contra Fagotto. For Harmonic Trumpet, see Tuba. Tlllba.—Tuba Mirabilis 8 ft.; also 16 ft.; 4 ft. (Lat.) Tuba = Trumpet. (Russ.) Truba ; (Bohem.) Truba, Trauba are related to (Lat.) Tuba, as (It.) tronare to (Lat.) tonare. (Lithuanian) Truba = a herdsman's horn ; (Portuguese) Trupetar = to make a noise. The introduction of the r accounts for such radically identical names as Trumpet, Trombone, Tromba. The Tuba is a reed stop of extremely powerful tone ; it is, in fact, the most powerful stop on the organ. It is voiced on heavy wind pressure, the exact intensity of which is dependent on the size of the edifice and style of voicing affected. The lowest pressure on which a Tuba Mirabilis (i.e. as distinct from the Tromba or Tuba Minor, is planted, is about 7 ins. or 8 ins. The first Tuba, yclept Ophicleide, was introduced by Messrs. Hill at Birmingham Town Hall (1835) on a wind pressure of about n ins. or 12 ins. Considerably higher pressure— 15 ins. or 20 ins.—is now frequently
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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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DICTIONARY OF ORGAN STOPS. 105 word
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DICTIONARY OF ORGAN STOPS. 10J ad a
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DICTIONARY OF ORGAN STOPS. 109 Anot
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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 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
Page 230 and 231: — — " Artis est Celare Artem" A
Page 232 and 233: ESTABLISHED 1869. TELEPHONE 673. Ab
Page 234 and 235: 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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