A comprehensive dictionary of organ stops - Allen Organ Studio of ...
A comprehensive dictionary of organ stops - Allen Organ Studio of ... A comprehensive dictionary of organ stops - Allen Organ Studio of ...
62 DICTIONARY OF ORGAN STOPS. would seem that the maximum degree of power desirable can be obtained from heavily-blown pipes of triple speaking length {e.g., St. Paul's Cathe- dral ; Norwich Cathedral). Should the two vibrators of a double-tongued reed happen to get slightly out of tune with each other, the pipe will not, of course, simultaneously speak two notes ; but it will suffer in quality. DOUBLE TOUCH—A stop controlled by a key or knob to which this term is affixed would speak only when the second touch of a manual was brought into operation by the key being depressed, against the resistance of a stronger spring, beyond the ordinary first touch. In the Hope-Jones organs at Worcester Cathedral and the Collegiate Church, Warwick, the stop key controlling the Celeste is so constructed as to respond to two movements. The initial travel of the key brings on the sharp Celeste rank, the completed travel (against a stronger resistance) adds the flat rank. Double Trumpet—See Trumpet. DOUBLETTE— (i) 2 ft. (Fr.) = Fifteenth. (2) Mixture, (a) "Grave Mixture," 12th and 15th, or {b) a Mixture composed of 15th and 22nd. Drum Pedal—(Ger.) Trommel (q.v.). A pedal which, when depressed, admitted wind to the two lowest pipes on the organ, whereby an effect simulating the roll of a drum was obtained. The Drum pedal was much used abroad. It was also inserted by Father Smith at St. Nicholas, Deptford, and by Renatus Harris at Sarum Cathedral (1710). In some ancient organs the pedal moved the arms of figures in the casework, beating drums. See also Effets d' Orage. DUIFLOT— Doiflot (Dutch). See Doppelflote. Dulceon—Prinzipal. Presumably of soft tone. Dulcet—4 ft. The name has no fixed meaning. It may represent a delicate Flute or a Dolce, or as Dulcet Principal it may bear the same relation to Dulciana as does Salicet to Salicional. The last connotation is the most usual. The Octave Dulciana was used by Green at Rochester Cathedral and Greenwich Hospital. Dulcian—Dulzian, Dulzino, Dulziano. Originally 8 ft., and very seldom 16 ft. ; later also 4 ft. A German reed stop practically identical with the Bassoon. The pipes were immaterially either open or capped. Generally a large scaled free reed, with bodies widening slightly ; sometimes, however, a beating reed. Occasionally the pipes were made of wood. Mulhausen ; St. John and Market Church, Hanover; St. Dominico, Prague. At Neu Ruppin (32 ft.); Frauenkirche, Gorlitz; and Cemetery Church, Breslau, it was found as a flue stop. Such instances, though, are exceptional. The instrument, Dulcian, was a primitive type of Bassoon.
DICTIONARY OF ORGAN STOPS. 63 Dulciana-(Lat) Dulcis = sweet. 8 ft.; also 16 ft.; and rarely 4 ft. The Dulciana is said to be the invention of Snetzler, and to have been introduced in his organ at King's Lynn (1754). Regarded from the point of view of the extreme purist, the tone of the stop should be that of an Echo Diapason ; but, to the end that the stop may be rendered more interesting in character and less of a tonal duplication, some latitude of treatment is custom- arily assumed, and a certain stringy and sometimes horny character introduced, causing it to approximate in quality to the Salicional or Keraulophon, respectively. In these days of "positive" or decisive tone colours, the real Dulciana is rapidly becoming obsolete, yielding its place to the Salicional. Dissociating one- self candidly from merely antiquarian and traditional ideas, it cannot indeed be maintained that the superannuation of the colourless Dulciana is any loss at all. The real old-fashioned Dulciana may be said to 'be a miniature replica of a Green Diapason. As such it would barely be distinguishable, at a slight distance from the keys, from the Swell Diapason with the box nearly or entirely closed. Such tonal duplication violates one of the most important principles of modern tonal design,* and there is no valid reason why, conjointly with the traditional mellow and ca.nta.bile characteristics of the stop—admirable in every respect a certain amount of colour should not be infused into the tone. The pipes of the Dulciana are of metal, cylindrical in form, of small scale, and of gentle intonation. The nicking is fine and close, and the wind consumption small. It is highly desirable that the lips of the Dulciana be sufficiently cut up in the treble to eradicate the objectionable horny or spitting quality so frequently encountered. The Echo Dulciana is, of course, still quieter in tone. It is usually enclosed. There is an excellent example in the Solo box at York Minster (Walker) actually on about 8 in. wind (see Tuba). Beyond that pressure it is difficult to avoid windiness. Many voicers of repute consider it easier to get good Dulciana tone on or 4 in. wind than on the old fashioned 2\ in. The Dulciana, 3^ unless voiced "reedy," does not sound well when enclosed. It is also very apt to be thrown off its speech by dust. A Gamba is therefore to be preferred in the Swell organ. The Dulciana is a stop which lends itself readily to effective use with octave and sub-octave couplers. In view of this fact the 4 ft. variety is of little use. In rjuiciana. 16 ft. pitch it forms an excellent double for the Choir organ, whence *See "Tonal Design in Modern Organ Building," pp. II and 12. —
- Page 35 and 36: DICTIONARY OF ORGAN STOPS. B©11—
- Page 37 and 38: DICTIONARY OF ORGAN STOPS. 13 the e
- 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 and 70: DICTIONARY OF ORGAN STOPS. 45 domai
- Page 71 and 72: DICTIONARY OF ORGAN STOPS. 47 legit
- Page 73 and 74: DICTIONARY OF ORGAN STOPS. 49 Dia.p
- 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: DOUBLE - TONGUEO REED —Double-ton
- 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
- Page 103 and 104: DICTIONARY OF ORGAN STOPS. 7
- 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
- Page 121 and 122: RRUMMHORN—See Clarinet. DICTIONAR
- Page 123 and 124: DICTIONARY OF ORGAN STOPS. 99 Litic
- Page 125 and 126: DICTIONARY OF ORGAN STOPS. 1 01 Hou
- Page 127 and 128: DICTIONARY OF ORGAN STOPS. 103 test
- Page 129 and 130: DICTIONARY OF ORGAN STOPS. 105 word
- Page 131 and 132: DICTIONARY OF ORGAN STOPS. 10J ad a
- Page 133 and 134: DICTIONARY OF ORGAN STOPS. 109 Anot
- Page 135 and 136: Oboe. DICTIONARY OF ORGAN STOPS. Il
62 DICTIONARY OF ORGAN STOPS.<br />
would seem that the maximum degree <strong>of</strong> power desirable can be obtained<br />
from heavily-blown pipes <strong>of</strong> triple speaking length {e.g., St. Paul's Cathe-<br />
dral ; Norwich Cathedral). Should the two vibrators <strong>of</strong> a double-tongued<br />
reed happen to get slightly out <strong>of</strong> tune with each other, the pipe will not,<br />
<strong>of</strong> course, simultaneously speak two notes ; but it will suffer in quality.<br />
DOUBLE TOUCH—A stop controlled by a key or knob to which this<br />
term is affixed would speak only when the second touch <strong>of</strong> a manual<br />
was brought into operation by the key being depressed, against<br />
the resistance <strong>of</strong> a stronger spring, beyond the ordinary first touch.<br />
In the Hope-Jones <strong>organ</strong>s at Worcester Cathedral and the Collegiate<br />
Church, Warwick, the stop key controlling the Celeste is so constructed as<br />
to respond to two movements. The initial travel <strong>of</strong> the key brings on the<br />
sharp Celeste rank, the completed travel (against a stronger resistance)<br />
adds the flat rank.<br />
Double Trumpet—See Trumpet.<br />
DOUBLETTE— (i) 2 ft. (Fr.) = Fifteenth. (2) Mixture, (a) "Grave<br />
Mixture," 12th and 15th, or {b) a Mixture composed <strong>of</strong> 15th and 22nd.<br />
Drum Pedal—(Ger.) Trommel (q.v.). A pedal which, when depressed,<br />
admitted wind to the two lowest pipes on the <strong>organ</strong>, whereby an<br />
effect simulating the roll <strong>of</strong> a drum was obtained.<br />
The Drum pedal was much used abroad. It was also inserted by<br />
Father Smith at St. Nicholas, Deptford, and by Renatus Harris at Sarum<br />
Cathedral (1710). In some ancient <strong>organ</strong>s the pedal moved the arms <strong>of</strong><br />
figures in the casework, beating drums. See also Effets d' Orage.<br />
DUIFLOT— Doiflot (Dutch). See Doppelflote.<br />
Dulceon—Prinzipal. Presumably <strong>of</strong> s<strong>of</strong>t tone.<br />
Dulcet—4 ft.<br />
The name has no fixed meaning. It may represent a delicate Flute<br />
or a Dolce, or as Dulcet Principal it may bear the same relation to<br />
Dulciana as does Salicet to Salicional. The last connotation is the most<br />
usual. The Octave Dulciana was used by Green at Rochester Cathedral<br />
and Greenwich Hospital.<br />
Dulcian—Dulzian, Dulzino, Dulziano. Originally 8 ft., and very seldom<br />
16 ft. ; later also 4 ft.<br />
A German reed stop practically identical with the Bassoon. The pipes<br />
were immaterially either open or capped. Generally a large scaled free<br />
reed, with bodies widening slightly ; sometimes, however, a beating reed.<br />
Occasionally the pipes were made <strong>of</strong> wood. Mulhausen ; St. John and<br />
Market Church, Hanover; St. Dominico, Prague. At Neu Ruppin<br />
(32 ft.); Frauenkirche, Gorlitz; and Cemetery Church, Breslau, it was<br />
found as a flue stop. Such instances, though, are exceptional. The<br />
instrument, Dulcian, was a primitive type <strong>of</strong> Bassoon.
Change language