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1 6 DICTIONARY OF ORGAN STOPS. As a manual stop the Bourdon demands much more intelligent treatment than it is usually accorded. Contrary to the generally accepted ide&, the author does not advocate its inclusion on the Swell organ. Its proper place is on the Great, and even there, of course, an open stop is preferable. Unless rigid economy is essential, a Contra Viola will be found far more valuable on the Swell. An open pipe, on account of the greater development of its upper partials, is affected more than a closed pipe by the swell crescendo. Failing an open pipe, a Quintaton (q.v.) will be found more useful than a Bourdon. It is a mistake to cut the harmonics out of manual Bourdons, as their blending and timbre-creating capacity is thereby seriously impaired. The ordinary Swell Bourdon is muddy, thick and unblending, with a tendency to destroy all definition and clearness of tone on that manual. The bass of a manual Bourdon should be kept very quiet, but by bringing out the treble with some degree of boldness (as e.g., by Hope-Jones, Binns, Compton) the utility and general effect of the stop is considerably enhanced. It is in the middle and bass portions of the compass that a double most readily becomes objectionable ; a powerful treble is by no means out of place, but rather open to effective use solo or in ensemble. It is sometimes said that the Bourdon increases the strength of stops speaking an octave higher, whilst only adding a slight fullness to those of the same pitch as itself. This statement is only one of the many "bogies" connected with organ building. It is certainly very apt to overbalance the unison, and to give the impression of a very thick, muddy, sub-octave tone; but, inasmuch as the octave is a partial absent from stopped pipes,* the Bourdon can scarcely strengthen the unison, though it may be that it causes the unison to assume greater prominence, acting as a kind of background. Contra-Bourdon, Sub-Bourdon, or Untersatz, is a Bourdon stop of 32 ft. pitch. It is sometimes found on the manual down to tenor C (Doncaster Parish Church), but a Dolce or Quintaton is more suitable for such a position. On the Pedal, Schulze recorded that " the lower notes were not worth the wood they were made of" (Robertson). Some firms (e.g., Hook & Hastings, of U.S.A. ; Hunter, of Clapham) claim to be able to continue the stop down to the lowest pipe in pure notes. The difficulty in the case of the lower notes is that harmonics become prominent, and when the mouth is cut up higher to reduce them, the wind does not reach the lip. If more wind be now given, the harmonics will again appear. It * The octave and the nineteenth are occasionally faintly perceptible in tne upper portions of the compass of large scaled Bourdons—a point which would seem to be absolutely at variance with the teachings of acoustics. This, of course, is a quantiti nigligabk so far as nur present argument is concerned.
DICTIONARY OF ORGAN STOPS. 1 would seem almost as satisfactory, and certainly more inexpensive, to produce the notes below FFF acoustically (see Acoustic Bass). In France the name Bourdon is used to designate all stopped or half-stopped pipes of any pitch which form part of the organ tone proper. BOURDON IN TWO POWERS—A device which has been employed for surmounting the difficulty referred to under the preceding heading, namely, the inability of the single pedal stop to do duty alike for loud and soft manual combinations. It consists merely of a mechanism for altering the wind pressure supplying a single set of Bourdon pipes. In the case of the lower notes the effect is satisfactory enough, but the upper notes are thrown per- ceptibly out of tune. Denton Chapel, near Manchester; Berkhampstead School; Aberdeen University; Presbyterian Church, Shields; St. James, Congleton; Parkgate School, Cheshire— (Hope-Jones). Longwood House, Nayland— (Casson). Mr. Compton of Nottingham has, however, introduced with conspicuous success a very simple compensating device, whereby it is possible to use the Bourdon in two degrees of power without the pitch being disturbed to the least degree. The tone of the stop is satisfactory under both conditions of winding when due care is expended on the voicing. All Souls' Church, Radford, Nottingham. Bourdonecho—See Echo. BRIDGE—See Beard. Brummhorn—See Krummhorn. Probably onomatopoeic in origin, signifying buzzing Or booming (see Bombarde). Buccina—(Lat.) = shepherd's horn. (Lat.) Bucca = a cheek, more particularly the soft portion of the cheek covering the hollow of the mouth. Buccina is by some derived from Bucca, inflated cheeks being required to blow it. Burdo—A corruption of Bourdon, occurring in ancient specifications. Buzain --A Dutch corruption of Posaune. c. Calcan—4 ft. A Flute at Freiburg Cathedral in Switzerland. The organist, on being applied to, courteously replied that it was a stop of subsequent addition, the stop handle attached to the communication with the blower (Calcant) having been requisitioned ! 7
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Page 9 and 10: A WORK FOREWORD. of this kind will
Page 11 and 12: PREFACE. V frame a few constructive
Page 13 and 14: PREFACE. Vll from the facts that a
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Page 20 and 21: XIV BIBLIOGRAPHY. 1833 he went to P
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Page 85 and 86: DOUBLE - TONGUEO REED —Double-ton
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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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Oboe. DICTIONARY OF ORGAN STOPS. Il
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DICTIONARY OF ORGAN STOPS. 113 Orch
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DICTIONARY OF ORGAN STOP? 115 OfTen
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DICTIONARY OF ORGAN STOPS. 117 reso
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DICTIONARY OF ORGAN STOPS. Prinzipa
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DICTIONARY OF ORGAN STOPS. 121 The
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DICTIONARY OF ORGAN STOPS. 123 its
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DICTIONARY OF ORGAN STOPS. "5 R. Ra
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DICTIONARY OF ORGAN STOPS. 127 much
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DICTIONARY OF ORGAN STOPS. 129 or a
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DICTIONARY OF ORGAN STOPS. 13I orga
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DICTIONARY OF ORGAN STOPS. 133 Rega
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DICTIONARY OF ORGAN STOPS. 1 35 Mes
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DICTIONARY OF ORGAN STOPS. '37 chim
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Salicional .(rollered), with double
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DICTIONARY OF ORGAN STOPS. 141 empl
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DICTIONARY OF ORGAN STOPS. 1 43 Sha
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DICTIONARY OF ORGAN STOPS. 145 8 ft
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Subbass—See Bourdon. DICTIONARY O
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DICTIONARY OF ORGAN STOPS. 149 prop
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DICTIONARY OF ORGAN STOPS. 151 and
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154 Metal Tibia Minor
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156 DICTIONARY OF ORGAN STOPS. U P
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158 DICTIONARY OF ORGAN STOPS. of a
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i6o DICTIONARY OF ORGAN STOPS. Trom
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1 62 DICTIONARY OF ORGAN STOPS. Tro
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164 DICTIONARY OF ORGAN STOPS. util
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1 66 DICTIONARY OF ORGAN STOPS. 1 2
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1 68 DICTIONARY OF ORGAN STOPS. Tus
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170 DICTIONARY OF ORGAN STOPS. "Vio
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172 DICTIONARY OF ORGAN STOPS. due
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174 DICTIONARY OF ORGAN STOPS. Pari
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176 DICTIONARY OF ORGAN STOPS. them
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i 7 8 DICTIONARY OF ORGAN STOPS. me
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180 DICTIONARY OF ORGAN STOPS. rate
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182 DICTIONARY OF ORGAN STOPS. Vox
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1 84 DICTIONARY OF ORGAN STOPS. it
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1 86 DICTIONARY OF ORGAN STOPS. z\
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i88 PHONETIC PRONOUNCING VOCABULARY
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190 LIST OF SUBSCRIBERS. LIST OF SU
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192 LIST OF SUBSCRIBERS. Gordon & G
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194 LIST OF SUBSCRIBERS. Rollo, D.,
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THE SHEFFIELD DAILY TELEGRAPH. " Mr
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Works by the same Author. A HISTORY
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MUSICAL WORKS COMPOSED OR EDITED BY
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— MUSICAL WORKS BY FRANCIS BURGES
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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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