A comprehensive dictionary of organ stops - Allen Organ Studio of ...
A comprehensive dictionary of organ stops - Allen Organ Studio of ... A comprehensive dictionary of organ stops - Allen Organ Studio of ...
1 68 DICTIONARY OF ORGAN STOPS. Tussin— 16 ft. A reed at Konigsberg Cathedral (1721). 4 A mutation stop, pitched at the interval of a twelfth above the unison. Its function, by corroborating this important natural harmonic, is to bind the Fifteenth to the Principal. It is usually made of Diapason pipes. For the ordinary accompanimental usage of a church organ, a Flute 4 ft. is certainly of greater utility than the Twelfth ; in the rebuilding of old organs on economical lines the latter stop is, therefore, frequently removed to make place for the insertion of the former. Both, of course, would normally be included in a new instrument. The Diapason Twelfth is customarily scaled one pipe less than the corresponding pipe of the Octave or Principal. Abroad the Twelfth is often constructed of Gemshorn pipes. See Harmonic Stopped Twelfth, Rauschquint, Quint. Tympani—(Lat.) = drums. Drums were frequently introduced into mediseval organs, and are not unknown in modern concert instruments. u. XJncla IVTaU'is— (Lat.) Unda = wave ; Mare = sea. 8 ft. A stop tuned slightly flat or sharp, and thereby caused to undulate like the Voix Celeste. The name was originally restricted to undulating stops of Flute tone, and the stop was either a Gedeckt or an open Flute of wood or metal. Now in England, and sometimes in Germany, Unda Maris is synonymous with Celeste, e.g., in organs by Messrs. Brindley & Foster. As made by some French builders (e.g., M. Puget, of Toulouse), the Unda Maris is produced by two pipes of slightly pronounced Quintaton character, pulsating together with pleasing effect. See Celestina. Messrs. Norman & Beard have obtained most charming effects from small-scaled Zauber- flutes, arranged under the name of Unda Maris II ranks, to beat together, one being tuned flat, the other sharp. There are instances at Norwich Cathedral, Christ Church, Lancaster Gate, W. (Norman & Beard). See also Bifara. UNTER—(Ger.) = under. A prefix equivalent to Sub. UNTERSATZ—Unterbass. (Ger.) Setzen = to set, put or place. See SUB-BOURDON.
DICTIONARY OF ORGAN STOPS. 169 V. Varitono— (Sp.) = Baryton. VENTIL A valve controlling the passage of wind to any particular department or group of stops. Having cut off the wind supply to certain stops by means of such a contrivance, it is evidently at the option of the performer to prepare any particular combination of such stops as he may desire, bringing them into operatioti by means of the ventil at the desired moment. This ventil control is normally employed in France. One of the main objections to the system rests in the fact that it imposes a constant tax on the player's memory—already sufficiently overburdened. It likewise involves a con- siderable amount of hand registration. The English system, dispensing. with ventils, secures rapid and indicatory stop manipulation by means of pistons. On the Continent, and sometimes in America, the combination pistons serve to throw the ordinary stop action out of gear, indicating this by remaining in when once pressed. The movement of a special negative or release piston (see Ausloser) once again restores the action of the stop knobs or keys. This system, however, is rapidly being discarded in America in favour of the English method of so arranging the pistons as to- throw out the stop-knobs. Mr. Hope-Jones' "Stop-switch," and Messrs. Hill & Sons' " Ventil-switch " are really ventils in the sense that they cut off the electric current from the stop action, thus enabling a combination of stops to be prepared beforehand and switched on at desire. Mr. Casson's Manual Help is also a variety of ventil switch, admitting of two or more departments of the organ being controlled by one manual. VIBRATO—See Tremulant. Viejos—A Spanish stop. Viejos = the eyebrows. The stop is said to derive its name from the shape of the cover or plug" at the top of the pipe. (Hamilton's " Catechism of the Organ "). Former organ at Seville Cathedral. VIENNA FLUTE—Wienerflote. Wien = Vienna. 8 ft. ; 4 ft. Locher remarks that the name Wienerflote lacks all historical andi etymological foundation. See Flauto Traverso. Vigessima-quarta—(Lat.) = Twenty-fourth. Vigessima-nona— (Lat.) = Twenty-ninth. Vigessima-secunda—(Lat.) = Twenty-second. Vigessima-sexta—(Lat.) = Twenty-sixth. Found in ancient Italian- organs.
- Page 141 and 142: DICTIONARY OF ORGAN STOPS. 117 reso
- Page 143 and 144: DICTIONARY OF ORGAN STOPS. Prinzipa
- Page 145 and 146: DICTIONARY OF ORGAN STOPS. 121 The
- Page 147 and 148: DICTIONARY OF ORGAN STOPS. 123 its
- Page 149 and 150: DICTIONARY OF ORGAN STOPS. "5 R. Ra
- Page 151 and 152: DICTIONARY OF ORGAN STOPS. 127 much
- Page 153 and 154: DICTIONARY OF ORGAN STOPS. 129 or a
- Page 155 and 156: DICTIONARY OF ORGAN STOPS. 13I orga
- Page 157 and 158: DICTIONARY OF ORGAN STOPS. 133 Rega
- Page 159 and 160: DICTIONARY OF ORGAN STOPS. 1 35 Mes
- Page 161 and 162: DICTIONARY OF ORGAN STOPS. '37 chim
- Page 163 and 164: Salicional .(rollered), with double
- Page 165 and 166: DICTIONARY OF ORGAN STOPS. 141 empl
- Page 167 and 168: DICTIONARY OF ORGAN STOPS. 1 43 Sha
- Page 169 and 170: DICTIONARY OF ORGAN STOPS. 145 8 ft
- Page 171 and 172: Subbass—See Bourdon. DICTIONARY O
- Page 173 and 174: DICTIONARY OF ORGAN STOPS. 149 prop
- Page 175: DICTIONARY OF ORGAN STOPS. 151 and
- Page 178 and 179: 154 Metal Tibia Minor
- Page 180 and 181: 156 DICTIONARY OF ORGAN STOPS. U P
- Page 182 and 183: 158 DICTIONARY OF ORGAN STOPS. of a
- Page 184 and 185: i6o DICTIONARY OF ORGAN STOPS. Trom
- Page 186 and 187: 1 62 DICTIONARY OF ORGAN STOPS. Tro
- Page 188 and 189: 164 DICTIONARY OF ORGAN STOPS. util
- Page 190 and 191: 1 66 DICTIONARY OF ORGAN STOPS. 1 2
- Page 194 and 195: 170 DICTIONARY OF ORGAN STOPS. "Vio
- Page 196 and 197: 172 DICTIONARY OF ORGAN STOPS. due
- Page 198 and 199: 174 DICTIONARY OF ORGAN STOPS. Pari
- Page 200 and 201: 176 DICTIONARY OF ORGAN STOPS. them
- Page 202 and 203: i 7 8 DICTIONARY OF ORGAN STOPS. me
- Page 204 and 205: 180 DICTIONARY OF ORGAN STOPS. rate
- Page 206 and 207: 182 DICTIONARY OF ORGAN STOPS. Vox
- Page 208 and 209: 1 84 DICTIONARY OF ORGAN STOPS. it
- Page 210 and 211: 1 86 DICTIONARY OF ORGAN STOPS. z\
- 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
- Page 236 and 237: ROBERT SPURDEN #rgan BSutltrer, RUT
- Page 238 and 239: ESTABLISHED 1886. TUNINGS, &c, by Y
- Page 240 and 241: Ssta.1blish.ecl 1888. High Class Ch
1 68 DICTIONARY OF ORGAN STOPS.<br />
Tussin— 16 ft. A reed at Konigsberg Cathedral (1721).<br />
4<br />
A mutation stop, pitched at the interval <strong>of</strong> a twelfth above the unison.<br />
Its function, by corroborating this important natural harmonic, is to bind<br />
the Fifteenth to the Principal. It is usually made <strong>of</strong> Diapason pipes.<br />
For the ordinary accompanimental usage <strong>of</strong> a church <strong>organ</strong>, a Flute 4 ft.<br />
is certainly <strong>of</strong> greater utility than the Twelfth ; in the rebuilding <strong>of</strong> old<br />
<strong>organ</strong>s on economical lines the latter stop is, therefore, frequently removed<br />
to make place for the insertion <strong>of</strong> the former. Both, <strong>of</strong> course, would<br />
normally be included in a new instrument. The Diapason Twelfth is<br />
customarily scaled one pipe less than the corresponding pipe <strong>of</strong> the Octave<br />
or Principal. Abroad the Twelfth is <strong>of</strong>ten constructed <strong>of</strong> Gemshorn pipes.<br />
See Harmonic Stopped Twelfth, Rauschquint, Quint.<br />
Tympani—(Lat.) = drums.<br />
Drums were frequently introduced into mediseval <strong>organ</strong>s, and are not<br />
unknown in modern concert instruments.<br />
u.<br />
XJncla IVTaU'is— (Lat.) Unda = wave ; Mare = sea. 8 ft.<br />
A stop tuned slightly flat or sharp, and thereby caused to undulate like<br />
the Voix Celeste. The name was originally restricted to undulating <strong>stops</strong><br />
<strong>of</strong> Flute tone, and the stop was either a Gedeckt or an open Flute <strong>of</strong> wood<br />
or metal. Now in England, and sometimes in Germany, Unda Maris is<br />
synonymous with Celeste, e.g., in <strong>organ</strong>s by Messrs. Brindley & Foster.<br />
As made by some French builders (e.g., M. Puget, <strong>of</strong> Toulouse), the Unda<br />
Maris is produced by two pipes <strong>of</strong> slightly pronounced Quintaton character,<br />
pulsating together with pleasing effect. See Celestina. Messrs. Norman<br />
& Beard have obtained most charming effects from small-scaled Zauber-<br />
flutes, arranged under the name <strong>of</strong> Unda Maris II ranks, to beat together,<br />
one being tuned flat, the other sharp. There are instances at Norwich<br />
Cathedral, Christ Church, Lancaster Gate, W. (Norman & Beard). See<br />
also Bifara.<br />
UNTER—(Ger.) = under. A prefix equivalent to Sub.<br />
UNTERSATZ—Unterbass. (Ger.) Setzen = to set, put or place. See<br />
SUB-BOURDON.
Change language