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

2 DICTIONARY OF ORGAN STOPS.
(by division by 16), in ^g second the number of vibrations of a will be 2,
-
of b 3, . . the ratio of coincident vibrations = 2:3.
In other words, every second vibration of a will occur simultaneously
with every third of b, and this synchronization will take place every j^ of a
second. Such coincident, and therefore accentuated vibrations, occur
then at the rate of 16 per second, which is approximately the rate at which
the column of air in a 32 ft. pipe vibrates. The association of a 16 ft.
pipe and a Quint pipe will accordingly give rise to a resultant tone of
32 ft. pitch.
Resultant tones produced by instruments of sustained tone, such as
the organ or harmonium, are more readily perceptible than those of per
cussive instruments like the piano. For in the latter class of instrument
the tone commences to diminish in intensity almost immediately after
percussion has taken place.
Attempts have been made to build up 32 ft. tone of greater power and
distinctness than is usually obtained with 16 ft. and Quint pipes only, by a
more extensive representation of the harmonic series. Walcker, of Ludwigs-
burg, appears to have been the first to make such an experiment, and the
earliest instance the author is able to trace is at Ulm Mtinster (1856).
Other examples by this firm occur at Boston Music Hall, U.S.A. (1857-63)
Votivkirche, Vienna (1878). In all these instances the "Grand Bourdon"
was composed of Principal, 16 ft.; Quint,' io| ft; Octave 8 ft.; Tierce,
6| ft.; Super-octave, 4 ft. At Einsiedeln Monastery, Switzerland (Weigle,
1896-97), it extends only to Tierce. In this country, Mr. Casson has
utilised Quint and Tierce, for an acoustic effect, in the organ till recently
at Longwood House, Nayland. Prof. Carl Locher, in his work on organ
stops, quotes Gottschalg as testifying to the excellent effect of the com-
bination at Vienna. The author is personally able to speak for a similarly
successful result at Ulm and Einsiedeln. Although the more complete
representation of the harmonic series is undoubtedly conducive to superior
results, the cost of the additional pipes renders it as much worth while to
procure an independent 32 ft. stop, taking into consideration the greater
utility and effectiveness of the latter register. A Sub-Bourdon, 32 ft. tone,
is more serviceable when viewed from all aspects ; though it will be found
that an Acoustic Bass is considerably more telling in forte combinations
than many instances of the former, particularly if the lower notes of the
Sub-Bourdon exhibit a due proportion ot ground tone.
In the normal Acoustic Bass, comprising two ranks of pipes, there are
various methods of dealing with the Quint. It may be an independent
set of pipes, or borrowed in quint pitch from a 16 ft. stop. In the latter
case it may even be taken from the same stop as the 16 ft. rank employed—
Sub-bass, for instance ; indeed, this is the course generally adopted in
organs of moderate size. When employed alone the effect is not altogether
;