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44 DICTIONARY OF ORGAN STOPS. pervading tone which is so characteristic of the Diapasons of Father Smith, yet in far greater volume. Leathered Diapason (Diapason Phonon) showing leathered lip. Yet another attribute of Diapasons so treated, which renders them especially valuable in small buildings, is their facile speech, entirely free from that " spit " which is so often objectionably prominent in Diapasons of the old style at close quarters. In such buildings they also impart quite a "cathedral" roll to the tone. It would be possible to employ a very thick metal lip with a burnished instead of bevelled edge, but in actual practice it is found more satisfactory and convenient to cover a burnished lip of fair thickness with a strip of leather. The leather is passed round the lip, a short distance up the pipe on each side, being rendered adhesive by liquid fish glue or " Seccotine." Provided the metal be roughened with a file, the leather may be attached with ordinary glue, but as the latter is apt to crack with age, this method is best avoided. It is, perhaps, well to note that the softness of the leather affects the tone in no appreciable manner ; it is the thickness of the lip which is the important factor. Hohlflutes, and other open wooden Flutes, are sometimes made with thick lips covered with very thin leather or cartridge paper to impart smoothness and finish. Mr. Ernest Skinner, an eminent American organ builder, likens the discovery of the leathered lip to the invention by Barker of the Pneumatic Lever, predicting that it will revolutionize organ tone as surely and completely as did the latter organ mechanism. An estimate which is by no means so exaggerated as might be supposed. The leathered Diapason, indeed, is now attaining a zenith of popularity both in England and America. A prominent German builder also, who on the author's recommendation made trial of it, was so struck with the refined quality of tone that he forthwith signified his intention of adopting the process. A few isolated and unsuccessful experimental attempts at improving the tone of the pipes by coating their lip with paper, parchment, felt, and kindred substances, have been recorded, but undoubtedly the credit of having been the first to perceive the value and inner significance of the process must be accorded to Mr. Robert Hope-Jones. It was only at the cost of considerable thought and labour that he was able to develop his crude and embryonic scientific theory into a process which bids fair to transform modern organ building. The names of Cavaille'-Coll and George Willis, and of Hope-Jones, will be handed down to posterity as the authors of the most valuable improvements in the
DICTIONARY OF ORGAN STOPS. 45 domains of reed-voicing and flue-voicing, respectively, which have been witnessed in the present era of organ building. (7) It is a cardinal principle of modern organ designing that as much variety should be introduced between stops of near relation to each other as is consistent with good tonal blend.* The primary application of this principle demands the complete differentiation of the several Diapasons which may occur on the Great organ ; its secondary application that some distinction be enforced between the Great, Swell, and Choir Diapasons. In designing an organ with four Diapasons on the Great organ it would be sheer waste of good material to make all these Diapasons of similar quality. Not only is "sympathy" at once encouraged, but, also, golden opportunities in the way of effective contrast, and in scientifically moulding the character of the general ensemble, are senselessly ignored. It is no exaggeration to state that, in the above instance, quite one-third of the volume of tone would be lost by the wearisome iteration of tone colour. As in painting, so in organ tone, the most effective results are those of contrast The first Diapason, then, might be of large scale and powerful tone, leathered; the second, of the large Schulze type; the third, of medium scale and power, leathered;! the fourth, of the quiet cantabile Hill or Green type (see also Gamba). Such a combination with a Flute of the Tibia family would produce an immense volume of dignified church tone, which would pervade every nook and cranny of the largest building. It is, of course, essential to the avoidance of "sympathy," to scale the various Diapasons differently, and to separate them from each other on the soundboard. (8) On the Swell, the ordinary Diapason is, perhaps, a source of as much trouble as any stop in the organ. It is apt to develop into a kind of horny Dulciana, of objectionable quality, and its tone is considerably impeded by the proximity of the swell box sides. For these reasons, to the detriment of the Swell in general, the flue foundation has suffered greatly by the substitution of a Geigen, or some such stop. The full- toned leathered Diapason is the most effective foundation stop possible in the Swell. It is particularly susceptible to the crescendo ; on opening the shutters an immense flood of pure mellow tone is liberated, tone which, in combination, does much to relieve the effect of monotony resulting from undue prominence of reed tone in the Swell—Swell " sausage- frying " as the cynics name it. There is a magnificent example on 10 in. wind in the Swell at Burton-on-Trent Parish Church (Norman & Beard and Hope-Jones). With the louvres closed, the writer was forcibly * See "Tonal Design in Modern Organ Building," pp. II and 12, for the elaboration of this point. t There are, of course, various types of leathered Diapason, just as of unleathered.
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DICTIONARY OF ORGAN STOPS JJ.WEDGWO
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Cornell University Library The orig
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THIRD EDITION. TO T. TERTIUS NOBLE,
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A WORK FOREWORD. of this kind will
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PREFACE. V frame a few constructive
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PREFACE. Vll from the facts that a
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PREFACE TO THE SECOND EDITION. THE
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Page 20 and 21: XIV BIBLIOGRAPHY. 1833 he went to P
Page 22 and 23: XVI TABLE OF HARMONIC SERIES. TABLE
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Page 47 and 48: DICTIONARY OF ORGAN STOPS. 23 Clari
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Page 51 and 52: DICTIONARY OF ORGAN STOPS. 27 CLEAR
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Page 55 and 56: DICTIONARY OF ORGAN STOPS. 3 (2) In
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Page 61 and 62: DICTIONARY OF ORGAN STOPS. 37 judgm
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Page 65 and 66: DICTIONARY OF ORGAN STOPS. 41 seeme
Page 67: DICTIONARY OF ORGAN STOPS. 43 mouth
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Page 75 and 76: above stops are all of the bivalvul
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Page 81 and 82: DICTIONARY OF ORGAN STOPS. 57 made
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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
Page 93 and 94: DICTIONARY OF ORGAN STOPS. 69 Flaut
Page 95 and 96: DICTIONARY OF ORGAN STOPS. T Flauto
Page 97 and 98: DICTIONARY OF ORGAN STOPS. 73 Flote
Page 99 and 100: DICTIONARY OF ORGAN STOPS. 75 lips
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Page 105 and 106: DICTIONARY OF ORGAN STOPS. 8r high.
Page 107 and 108: DICTIONARY OF ORGAN STOPS. 83 Germa
Page 109 and 110: DICTIONARY OF ORGAN STOPS. 85 H, Ha
Page 111 and 112: DICTIONARY OF ORGAN STOPS. 87 Harmo
Page 113 and 114: DICTIONARY OF OKQAN STOPS. -89 stan
Page 115 and 116: DICTIONARY OF ORGAN STOPS. 91 Hohlf
Page 117 and 118: 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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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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