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28 DICTIONARY OF ORGAN STOPS. CONE GAMBA—Generally known in this country as Spitzfiote. The Cone Gamba is shaped like a Gemshorn, tapering as the pipe ascends. Though of larger scale it retains the characteristic sweet and bright quality of that stop. It is, in fact, midway in tone between a Diapason and a Gemshorn. Radcliffe, Manchester (formerly the Nave Organ, York Minster, by Hill). The stop known as Cone Diapason is practically a distinction without a difference. Its tone, if anything, inclines rather more to that of a reedy Diapason. Cone Gamba must not be confounded with Bell Gamba, or with the Hill Viola da Gamba (see Bell Gamba). Cone Gedackt—8 ft. tone. Invented by Mr. Hope-Jones. The only example of the Cone Gedackt occurs in the Choir organ at Worcester Cathedral. Tenor C, 3 in. ; Mid. C, i-rl in. ; Treble C, iyj- in. in diameter. The bass is of ordinary Gedeckt pipes with solid stoppers, but from fiddle G upwards a tube of inverted conical shape is fitted into the stopper. In this case the tube is tuned to resound to a note one octave higher than that of the pipe. The octave, a partial absent from stopped pipes (see note under Bourdon) is thus introduced, consequently the tone resembles to some extent that of an open Flute. Following in the wake of Professor Helmholtz. Mr. Lewis and Mr. Hope-Jones have obtained some very peculiar and not altogether displeasing effects from Gedeckts by the employment of chimneys of unusual lengths. It is obvious that various upper partials, harmonic and inharmonic, can thus be accentuated or introduced. The chimney may also be extended inside of the pipe—with mixed results. In some of Willis' Lieblich Gedeckts the stoppers at tenor C measure as much as 8 in. or 10 in. long. Coni—See Conus. Conoclyte— (Gr.) kHvoq = a cone; Aiu = I hear; k\vt6c = audible (?). At Beauvais Cathedral (1827-1829) were introduced the first examples of the modern type of organ free reed, viz., Conoclyte, Terpomele and Euphone. The two last are rendered expressive by a device for varying the wind pressure. The Conoclyte, which speaks on a fixed pressure, is composed of tin pipes of Gemshorn (tapering) shape. In tone it is a sort of combination of Bassoon and Clarinet. Contra— (Lat.) Contra = against. A prefix synonymous with double, indicating sub-octave pitch an octave below the unison. For Contra Bourdon, Fagotto, Gamba, Trombone, etc., see respective headings. Contra Bass—Kontra Bass. 16 ft. A stop imitative of the double bass of the orchestra. See Violon, Major Bass. — 8 ft. i.e.,
DICTIONARY OF ORGAN STOPS. 2 9 Contras Profundas—The name applied to the 32 ft. pedal stop at Seville Cathedral (Aquilino Ame"zua, 1903). Con us—Coni. (Lat.) Conus = cone. So named from the shape of the pipe. A Spitzflote. Coppel—Copula, Coupling Flute, Koppel. 16 ft. ; 8 ft. ; 4 ft. A term applied to the Gedackt on account of its supposed use to bind together or mollify stops of extreme tone. The idea still survives in the traditional use of the Gedackt with the Clarinet. The probability is that the early Clarinets were so thin and rough that they scarcely admitted of independent solo usage. The Coppel was also employed in the case of slow-speaking stops—such as Gambas (see German Gamba, Helper), Sometimes the Coppel was composed of open pipes. The name was also occasionally applied to the Gemshorn (why, is a mystery), and to mutation ranks either separately or collectively as a III rank Mixture (e.g., St, Dominico, Prague). Minorite Church and St. Stephen, Vienna (latter by Walcker, 1886); Monastic Church, Weingarten (Gabler, 1750). Coppeldone—4 ft. Perhaps a variation of Coppeltone = coupling tone. Octave. St. Johannis, Liineburg. Coppendoff— 2 ft. ; 2f ft. Konigsberg. Perhaps Coppell Doff. Copula—See Coppel. COR— (Fr.) = Horn. Cor Anglais — Corno Inglese, English Horn. (Fr.) = English Horn. 16 ft. ; 8 ft. ; rarely 4 ft. Formerly a large-scaled free reed, now a small-scaled reed, imitative of the orchestral instrument. The stop was specia- lized in France as a free reed, and at one time it was cus- tomary to import Cor Anglais stops of French manufacture and voicing into England (e.g., St. Peter, Manchester). As recent examples of such imported stops may be cited those in the organs at Castle House, Calne; Derby Road Chapel, Nottingham (both by Conacher). There is also a very fine 16 ft. specimen at Oulton Rocks, Stone (Binns), and another (tongues from Cavaille"-Coll) at Trinity College, Cambridge (Hill). Cavaille'-Coll, however, abandoned the use of free reeds circa i860. Equally satisfactory tone can be obtained from skilfully voiced beating reeds; and these, moreover, have the advantage of being free from that very unfortunate An
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Page 20 and 21: XIV BIBLIOGRAPHY. 1833 he went to P
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Page 75 and 76: above stops are all of the bivalvul
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Page 85 and 86: DOUBLE - TONGUEO REED —Double-ton
Page 87 and 88: DICTIONARY OF ORGAN STOPS. 63 Dulci
Page 89 and 90: DICTIONARY OF ORGAN STOPS. 65 Echo
Page 91 and 92: DICTIONARY OF ORGAN STOPa. 67 Examp
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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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