In closing this chapter, the writer desires to express indebtedness for much of the material therein to the comprehensive "Dictionary of Organ Stops," by James Ingall Wedgwood, Fellow of the Society of Antiquaries, Scotland, and Fellow of the Royal Historical Society (published by the Vincent Music Co., London, England). Although the title is somewhat forbidding, it is a most interesting book and reveals an amount of original research and personal acquaintance with organs in England and the Continent that is simply marvelous. It ought to be in the library of every organist.
[1] Broadhouse, J., "Musical Acoustics," p. 27.
[2] Mr. Skinner has built some of the finest organs in this country.
[3] Much of Roosevelt's finest work is now being improved by various builders by leathering the lips.
[4] The "Harmonic" principle is described in Dom Bedos' book, published in 1780, as applied to reeds, and Dr. Bédart states that this principle was applied to flutes as early as 1804.
[5] That is to say, the pipes are made double the length actually required, but are made to sound an octave higher by means of a hole pierced half-way up the pipe.
[6] Wedgwood; "Dictionary of Organ Stops," p. 150.
[10] "The Hope-Jones pattern of Muted Viol is one of the most beautiful tones conceivable."--Wedgwood: "Dictionary of Organ Stops," p. 173.
[11] The Erzähler, a modified Gemshorn, is found only in organs built by Ernest M. Skinner.
Having described the improvements in pipes, we now consider how they are tuned, and the first thing we must notice is the introduction of equal temperament.
About fifty years ago most organs were so tuned that the player had to limit himself to certain key signatures if his music was to sound at all pleasant. Using excessive modulation or wandering into forbidden keys resulted in his striking some discordant interval, known as the "wolf." The writer remembers being present at a rehearsal of Handel's "Messiah" in St. George's Hall, Liverpool, Eng., in 1866, when the organ was tuned on the unequal temperament system, and there was a spirited discussion between the conductor and Mr. W. T. Best, who wanted the orchestra to play "Every Valley" in the key of E flat so as to be in better tune with the organ.