A comprehensive dictionary of organ stops - Allen Organ Studio of ...

68 DICTIONARY OF ORGAN STOPS.
Flageolet—Flautina. Formerly Fistula Minima {q.v.). 2 ft.
This stop, being quieter than the Fifteenth, is well adapted to the
Choir organ. The tone is sprightly and slightly flutey, though not so
full as that of the Piccolo (g.v.), with which, however, it is frequently
confounded. Occasionally found on the Continent in 1 ft. pitch (see
Campana).
Flat T-wenty-first— (b 21st). Flat Seventh or Septime,
sometimes less correctly name Sharp Twentieth. Manual, i-f ft.j
pedal, 2f- ft.; 4! ft.
A mutation stop sounding a minor seventh (tuned perfect) above the
Fifteenth, though, of course, like other Mixture work subject to "breaks."
The Flat Septime was introduced by Mr. Jackson, of Liverpool, by whose
son it was fortuitously discovered one day in 1847, when tuning "close,"'
at the voicing machine, the chord of C, E, G and minor 7th. He was
surprised to hear, as soon as the last note became perfect, a deep note
like that of a reed, an effect due, of course, to the production of a powerful
resultant tone. In 1848, the Flat Septime was inserted at St. Mary, Bootle,
near Liverpool, and at Whitworth Parish Church, and in 1849 on Dot:n manual
and pedal at Liverpool College. This latter organ was opened by Henry
Smart, who inserts a vague reference to the Flat Septime in his organ
book. In the following year Dr. Hopkins gave a recital on the instrument.
Dr. J. W. Hinton ("Organ Construction") attributes the probable
invention of the Seventh as a Mixture rank to Dr. Gauntlett, who is
reputed to have introduced it at St. Olave, Southwark; there is every
reason, however, to believe that Dr. Gauntlett learnt of its use from either
Dr. Hopkins or Mr. Smart. The Flat Septime has been used by Cavaille'-
Coll (first time at Notre Dame, Paris, in 1868, manual, 2f ft. and i-f ft.,
pedal, 4y
ft.; and subsequently at Blackburn Parish Church, etc.);
Walcker ; Sauer, of Frankfurt-on-the-Oder ; Ladegast, of Weissenfels
(St. Nicholas, Leipzig, 1862); Casson (London Organ School; Cathcart
House, South Kensington) ; Harrison & Harrison (Whitehaven) ; Compton.
The effect is well described by Dr. Hopkins as "brassy." The stop
should therefore be neither full-toned nor powerful. It forms a valuable
ingredient in the composition of Mixtures.
FLAUT-A.-BECQ—Flute-a-bec. (Fr.) Bee = nose, beak. 8 ft.; 4 ft.
A Flute named after the old Flaut-a-becq, blown, not transversely as
the ordinary Flute, but like a Flageolet. The stop was of no particularly
distinctive tone. The pipes were sometimes conical in shape, sometimes
wholly or partially stopped.
FLAUT ALLEMANDE—See Flauto Traverso.