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 ...

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180 DICTIONARY OF ORGAN STOPS. rate, consistent deviation of, temperature. At St. Mark, Hamilton Terrace, London (Walker), the Vox Humana is placed up in the roof inside two con- centrically located swell boxes, one swell box inside of a larger one. Stops with short-length pipes, such as the Vox Humana, Orchestral Oboe or Clarinet, are very liable to get out of tune (see Reed and Clarinet). The Vox Humana sounds at its best when under the influence of a Tremulant (or Vibrato) of delicate and rapid pulsation. It is quite a fallacy to suppose that the Vox Humana so constantly finds a place in the organ merely on account of its possible likeness to the human voice. On the contrary, it forms a (itn&re-creaXing stop of no inconsiderable value. It is available as an effective accompaniments background to stops of various kinds, and combines well with Flute stops. Needless to add that, in view of this, the practice of permanently connecting a Tremulant to the Vox Humana is not a desirable one to be adopted as a precedent. Should an organ be of sufficient dimensions to include a Solo department equipped with enclosed Flutes, the Vox Humana will probably be found more serviceable on this manual than in its more customary position in the Swell organ. See also remarks under Tremulant and Viole d'Orchestre. The author may claim the extremely rare experience of having heard (at the factory of Mr. Gem) a Double Vox Humana pipe. Its tone was extremely fine, resembling a Vox Humana mingled with a sort of soft Bourdon accompaniment. Suggestions have from time to time been put forward that in the construction of the Vox Humana stop some attempt might be made to imitate the structure of the vocal chords. The outcome of such an attempt would certainly be of such delicacy as to proscribe its use in the organ. M. Kratzenstein, whose name is associated with that of the Abt Vogler in the introduction of free reeds into the organ, won a prize offered by the St. Petersburg Imperial Academy of Sciences, in 1779, for an enquiry into the nature of the vowel sounds, and the construction of an instrument for artificially imitating them. He found that it was possible to distinctly reproduce the vowel sounds by means of reeds surmounted, severally, by pipes of the form here illustrated.* In the case of the vowel I, however, the reed was dispensed with, the wind being simply led into the pipe. * In case any. reader should desire to experiment in this direction himself, it may be added that the success of the effect depends largely on the treatment of the tongue. A Cor Anglais pipe sometimes gives in the upper notes a distinct E sound. With a little ingenuity, it would, no doubt, be possible to obtain quite a tolerable vocal representation of the various inmates of Noah's Ark. The organ already boasts a Barpfeife, a Kalber- Regal, a Bockschwebung, a Cuckoo, a Nightingale, and a Vox Humana. A skilful modification of the U sound would perhaps result in the accession of the Vox Felina {i.e., Cat's voice) to the ranks.

DICTIONARY OF ORGAN STOPS. 181 I u M. Kempelen, of Vienna, also succeeded in constructing an apparatus furnished with a mouth-piece, and a nose, made of two tin tubes which communicated with the mouth. When both tubes were open and the mouth-piece closed, the consonant M was sounded, and when one was closed the consonant N. Eventually M. Kempelen was able to produce entire words and sentences, such as Je vous aime de tout mon caur, Conslantinopolis, Romanorum imperator semper Augustus, Exploitation, etc. French pronunciation would, of course, lend itself more readily to artificial imitation. For a fuller description of this machine, the reader should consult Sir David Brewster's "Letters to Sir Walter Scott on Natural Magic." Mr. Willis, of Cambridge, pursuing a former experiment of M. Kempelen, obtained some very curious and interesting results. He em- ployed a reed and funnel shaped cavity like that shown in the figure. By sliding a flat cover over the top he found he could produce the whole series of vowel sounds. In another experiment Mr. Willis fitted to the reed cylindrical bodies with sliding telescope joints. Brewster sum- nu^u^uuuykuyr^ isa marizes the results as follows : " When the tube was greatly less than the length of a stopped pipe in unison with the reed, it sounded I, and by increasing the length of the tube it gave E, A, O, and U, in succession. But what was very unexpected, when the tube was so much lengthened as to be i-J times the length of a stopped pipe in unison with the reed, the vowels began to be again sounded in an inverted order, U, O, A, E, and then again in a direct order, I, E, A, O, U, when the length of the tube was equal to twice that of a stopped pipe in unison, with the reed." (Vox Inaudita— IVox Ineffabilis— (Lat.) Inauditus = unheard. (Lat.) Ineffabilis = unutterable, inexpressible. A facetious pleasantry indulged in by some mediaeval organ builders. The stops so named extended no further than dummy stop handles Sycophantic organ builders take note ! !

180 DICTIONARY OF ORGAN STOPS.<br />

rate, consistent deviation <strong>of</strong>, temperature. At St. Mark, Hamilton Terrace,<br />

London (Walker), the Vox Humana is placed up in the ro<strong>of</strong> inside two con-<br />

centrically located swell boxes, one swell box inside <strong>of</strong> a larger one. Stops<br />

with short-length pipes, such as the Vox Humana, Orchestral Oboe or<br />

Clarinet, are very liable to get out <strong>of</strong> tune (see Reed and Clarinet). The<br />

Vox Humana sounds at its best when under the influence <strong>of</strong> a Tremulant<br />

(or Vibrato) <strong>of</strong> delicate and rapid pulsation. It is quite a fallacy to suppose<br />

that the Vox Humana so constantly finds a place in the <strong>organ</strong> merely on<br />

account <strong>of</strong> its possible likeness to the human voice. On the contrary,<br />

it forms a (itn&re-creaXing stop <strong>of</strong> no inconsiderable value. It is available<br />

as an effective accompaniments background to <strong>stops</strong> <strong>of</strong> various kinds, and<br />

combines well with Flute <strong>stops</strong>. Needless to add that, in view <strong>of</strong> this, the<br />

practice <strong>of</strong> permanently connecting a Tremulant to the Vox Humana is<br />

not a desirable one to be adopted as a precedent. Should an <strong>organ</strong> be <strong>of</strong><br />

sufficient dimensions to include a Solo department equipped with enclosed<br />

Flutes, the Vox Humana will probably be found more serviceable on this<br />

manual than in its more customary position in the Swell <strong>organ</strong>. See also<br />

remarks under Tremulant and Viole d'Orchestre. The author may<br />

claim the extremely rare experience <strong>of</strong> having heard (at the factory <strong>of</strong><br />

Mr. Gem) a Double Vox Humana pipe. Its tone was extremely fine,<br />

resembling a Vox Humana mingled with a sort <strong>of</strong> s<strong>of</strong>t Bourdon<br />

accompaniment.<br />

Suggestions have from time to time been put forward that in the<br />

construction <strong>of</strong> the Vox Humana stop some attempt might be made to<br />

imitate the structure <strong>of</strong> the vocal chords. The outcome <strong>of</strong> such an<br />

attempt would certainly be <strong>of</strong> such delicacy as to proscribe its use in the<br />

<strong>organ</strong>. M. Kratzenstein, whose name is associated with that <strong>of</strong> the Abt<br />

Vogler in the introduction <strong>of</strong> free reeds into the <strong>organ</strong>, won a prize <strong>of</strong>fered<br />

by the St. Petersburg Imperial Academy <strong>of</strong> Sciences, in 1779, for an<br />

enquiry into the nature <strong>of</strong> the vowel sounds, and the construction <strong>of</strong> an<br />

instrument for artificially imitating them. He found that it was possible<br />

to distinctly reproduce the vowel sounds by means <strong>of</strong> reeds surmounted,<br />

severally, by pipes <strong>of</strong> the form here illustrated.* In the case <strong>of</strong> the vowel I,<br />

however, the reed was dispensed with, the wind being simply led into the<br />

pipe.<br />

* In case any. reader should desire to experiment in this direction himself, it may be<br />

added that the success <strong>of</strong> the effect depends largely on the treatment <strong>of</strong> the tongue.<br />

A Cor Anglais pipe sometimes gives in the upper notes a distinct E sound. With a little<br />

ingenuity, it would, no doubt, be possible to obtain quite a tolerable vocal representation<br />

<strong>of</strong> the various inmates <strong>of</strong> Noah's Ark. The <strong>organ</strong> already boasts a Barpfeife, a Kalber-<br />

Regal, a Bockschwebung, a Cuckoo, a Nightingale, and a Vox Humana. A skilful<br />

modification <strong>of</strong> the U sound would perhaps result in the accession <strong>of</strong> the Vox Felina<br />

{i.e., Cat's voice) to the ranks.

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