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46 DICTIONARY OF ORGAN STOPS. reminded of the singing tone of the old English Diapasons. It may, indeed, truthfully be claimed that the leathered Diapason has rehabilitated the Swell organ flue-work. The Swell organ was never, so to speak, an independent or self-contained invention. It was merely the old Echo organ rendered expressive, and its tonal scheme evolved tardily until Cavailld-Coll and Willis suddenly transformed it with their improved reed-work. The significance of this will be apparent when it is realised that the flue-work remained practically echo-work, the reeds, with all the disadvantage above-noted, becoming the fundamental basis of the Swell organ. It was not until Mr. Hope-Jones came forward with his Diapason Phonon and Tibia Clausa that the reed-work of Willis received its complementary flue-work, and that the regeneration of the Swell organ, whereby it was once again established on an equitable basis for future development, was accomplished. (9) The leathered lip is a most valuable means for the improvement of old pipes. As a good instance of such treatment may be cited the case of the old Byfield and Harris Diapasons on the Choir organ of Norwich Cathedral (Norman & Beard). An objectionable sort of " buzzing," caused by the straight lower lips and languids of these stops, was com- pletely remedied by leathering their upper lips, thereby imparting the requisite "speed." The author has heard many old stops, Diapasons, Geigens and Flutes, metamorphosed merely by this simple treatment. No increased wind pressure is entailed, though such is readily adaptable without coarseness of tone ensuing. (10) Spotted metal is not favourable to the production of the best quality of Diapason tone, unless indeed of such thickness that its distinctive properties are lost. Diapason pipes require to be made most substantially. When once due thickness is assured, there would seem to be little objection on the score of durability, and certainly none from the tonal point of view, to the use of an alloy containing less tin than should be customarily employed, for pipes of merely average substance. When strict economy is not essential, it is to be desired that Diapason basses be made of thick heavy metal. Zinc, as a material for basses, bears a worse name than ever it deserves, simply from the fact that zinc pipes and the metal lips are seldom made thick enough. One famous builder, indeed, has characterized zinc as an excellent material for chimney pots, but useless for organ pipes. Although a zinc bass can never give such a full, rich and pervading tone as a very thick metal one, the use of zinc must unquestionably be permitted as a matter of economy. A really thick and well made zinc bass is quite as costly as, and probably more effective than, a metal one of the degree of thickness ordinarily adopted. The cost of metal basses of considerable substance is too prohibitive to warrant their habitual use. It will surely be admitted that the employment of a zinc Diapason bass is a more
DICTIONARY OF ORGAN STOPS. 47 legitimate source of economy than grooving or "ditching" an unenclosed Dulciana to a Stopped Diapason bass. On the other hand, it is quite inexcusable that organs of the lirst magnitude, built regardless of cost, should yet be furnished throughout with zinc basses. It is sometimes urged that metal basses are too viscous, and hence liable to get out of adjustment by sinking down at the foot and mouth, to be durable. Granted metal of thick substance, this contention would seem to be exaggerated ; further, zinc feet can always be employed for the larger pipes without detriment to the tone. Ineffective zinc basses, or open metal basses of any kind, may often be improved by clamping a metal band firmly round the centre of the pipe, where the node occurs. Care must be taken that no rattling is caused by the band fitting badly. Sometimes even tape is successfully so utilized. It was formerly the general custom to soften zinc by subjecting it to the influence of heat. When so treated it is known as "cooked" or " baked " zinc. The process takes all the virtue out of the metal, rendering it brittle and productive of a hard " hungry " tone. The " hard-rolled zinc " process, invented circa i860 by Kitsell of London, whose zinc basses are famous for their excellence, is now employed by the most reputable firms, though, unfortunately, it cannot truthfully be said that the practice of "cooking" zinc is yet obsolete. Some voicers prefer wood to zinc as a material for Diapason basses. There is a good deal of " knack " in the successful treatment of wood basses, and it is somewhat difficult to manipulate the "meet" of the wood and metal. There are, however, excellent examples at Hindley (Schulze); St. Mark, Leeds (Binns) ; St. Mark, Marylebone Road, W. (Whiteley); Hucknall Torkard, Notts (Musson & Compton). (n) The pedal Open Diapason, 16 ft, is made of either metal or wood. For large metal pipes of this pitch, all things considered, there is probably no better material than zinc. The stop is sometimes borrowed from the Great double and (erroneously perhaps) labelled Violon. When of wood, it is more properly termed Major Bass (q.v.). See also Inverted Languid, Stops with. is : CC, (12) Scales:—The ordinary "commercial" Diapason scale 6 in. ; T. C, 3! in. ; Mid. C, 2 in. ; Mouth, either £ up ^ of width. Schulze's large Diapason at St Mary, Tyne Dock, measures Mouth, £ the CC, 6£ T. C, 3f in.; Mid. C, 2\ in. ; Tr. C, if in. : / / Wood Diapason, showing Roller. : Ti cut
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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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PREFACE TO THE SECOND EDITION. XI c
Page 20 and 21: XIV BIBLIOGRAPHY. 1833 he went to P
Page 22 and 23: XVI TABLE OF HARMONIC SERIES. TABLE
Page 25 and 26: DICTIONARY OF ORGAN STOPS. A. Acous
Page 27 and 28: DICTIONARY OF ORGAN STOPS. 3 artist
Page 29 and 30: DICTIONARY OF ORGAN STOPS. 5 are st
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Page 39 and 40: DICTIONARY OF ORGAN STOPS. 1 Dr. Ha
Page 41 and 42: DICTIONARY OF ORGAN STOPS. 1 would
Page 43 and 44: DICTIONARY OF ORGAN STOPS. 1 IV ran
Page 45 and 46: DICTIONARY OF ORGAN STOPS. 21 is ra
Page 47 and 48: DICTIONARY OF ORGAN STOPS. 23 Clari
Page 49 and 50: DICTIONARY OF ORGAN STOPS. 25 are n
Page 51 and 52: DICTIONARY OF ORGAN STOPS. 27 CLEAR
Page 53 and 54: DICTIONARY OF ORGAN STOPS. 2 9 Cont
Page 55 and 56: DICTIONARY OF ORGAN STOPS. 3 (2) In
Page 57 and 58: DICTIONARY OF ORGAN STOPS. 33 beaut
Page 59 and 60: DICTIONARY OF ORGAN STOPS. Courtel
Page 61 and 62: DICTIONARY OF ORGAN STOPS. 37 judgm
Page 63 and 64: DICTIONARY OF ORGAN STOPS. 39 (3) I
Page 65 and 66: DICTIONARY OF ORGAN STOPS. 41 seeme
Page 67 and 68: DICTIONARY OF ORGAN STOPS. 43 mouth
Page 69: DICTIONARY OF ORGAN STOPS. 45 domai
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Page 75 and 76: above stops are all of the bivalvul
Page 77 and 78: DICTIONARY OF ORGAN STOPS. S3 is no
Page 79 and 80: DICTIONARY OF ORGAN STOPS. 55 ^SSSN
Page 81 and 82: DICTIONARY OF ORGAN STOPS. 57 made
Page 83 and 84: DICTIONARY OF ORGAN STOPS. 59 was n
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
Page 101 and 102: DICTIONARY OF ORGAN STOPS. 77 to am
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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
Page 119 and 120: 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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