-
Articles/Ads
Article THE LEEDS OKGANV ← Page 4 of 7 →
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The Leeds Okganv
The Couplers are as follows : — - , ¦ . 1 . Solo organ to great clavier . 2 . Great to solp . 3 . Solo Organ , super-octave ; 4 . Solo Organ , sub-octave . 5 . Swell to great , super-octave . . 6 . Ditto ^ unison . 7 . Ditto ,, srifcoetaye .
8 . Swell to choir 9 . Choir to great . 10 . Pedals to swelL 1 L Pedals to choir . A 2 . Pedals to great . IS . Full Pedal organ . 14 . Pedals to solo . ustmenl
There are also , eleven PisriALS ' . ' tor various purposes of mecha-mcai acrj } ,
arranged ^ ¦ A ' 1 . Swell pedal . ; 2 . DittoA : . ;>> for solo organ . 3 . Tremulant . 4 . Pedal admitting wind to the back great organ . 5 * Pedal coupling the back great or- , gan to the savbiI ^ : ; I
. | Aw ' > . - 'Composition pedals . ¦¦ ' ¦ o . ' ¦ , 1 ¦ ¦ ; ¦ ' . ¦¦ ¦ . ' A A ¦ - ¦' - ' 10 . Crescendo . 11 , Diminuendo .
AAt ^ perceived from a mere inspection of its contents ^ as above recited ^ we shall point out a few of the more rernarkable . dFirsi , in order , coriies the Solo Organ . Ho stop belonging to this marmal has any refe to those massive ^ or ^ portions of 1 lie instrum ^^ Avith the reeds ^ is simply Avhat it pretends to be , a solo stop—Aiaving the nearest attainable relation withits orchestrAl prototype . Further to increase
the practical usefulness of this relation , all ^ aforesaid , are placed horizontally , a position which has been found to add between twenty and : thirty per cent , to their ordinary intensity of tone ; and to meet this position the sound-boards are placed vertically instead of horizontally . In addition , the first eight stops in the list are supplied .-with
a nigh pressure ol wind ( ^ six mches tor the bass and tenor , and seven lncnes for the treble portions of their compass ) , and are enclosed in tAVO SAvellboxes , with Venetian shutters , above , below , and in front . The ninth stop , u ophicleide , " stands , or rather lies , beloAV the rest ofthe solo organ , and is supplied Avith twelve inches of air pressure throughout . Tlie great peculiarity of this solo organ , hoAvever , is found in the stops numbered from 10 to 16 , both inclusive , which , by means of a number of mechanical contrivances , simple in themselves , but scarcely possible to describe without the aid of diagrams , enable the performer to play certain of the stops in
octaves to each other , while merely touching single notes . Thus , for example , on drawing the stop , numbered 15 , labelled u flute , clarionet , and bassoon ., in double octaves , " and pressing down the middle C the result Avillbe , the tenor C of the cor anglais , the note middle C of the clarionet , and the C above the § feet harmonic flute , sounding simultaneously . Similarly , any of the stops numbered from 10 to 16 will place at the performer's disposal the combinations with Avhich they are labelled . The operation of these stops for " mechanical combination , " it will be perceived , is totally
ditlerent to that ox any " movement" whereby ordinary stops ot different p ' itch are drawn together . Thus , the effect produced by combining the 4-feet flute , and the 4-feet Cremona of an ordinary choir-organ , will no more resemble that resulting from the stop No . 10 ( which places the middle C of tlie 8-feet clarionet and the C above of the 8-feet flute on the same key ofthe clavier ) , than will the effect ofthe soundingoctave resulting from the combination of an open diapason and principal , compare Avith that of an octave actually played on the open diapason alone . By these contrivances
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The Leeds Okganv
The Couplers are as follows : — - , ¦ . 1 . Solo organ to great clavier . 2 . Great to solp . 3 . Solo Organ , super-octave ; 4 . Solo Organ , sub-octave . 5 . Swell to great , super-octave . . 6 . Ditto ^ unison . 7 . Ditto ,, srifcoetaye .
8 . Swell to choir 9 . Choir to great . 10 . Pedals to swelL 1 L Pedals to choir . A 2 . Pedals to great . IS . Full Pedal organ . 14 . Pedals to solo . ustmenl
There are also , eleven PisriALS ' . ' tor various purposes of mecha-mcai acrj } ,
arranged ^ ¦ A ' 1 . Swell pedal . ; 2 . DittoA : . ;>> for solo organ . 3 . Tremulant . 4 . Pedal admitting wind to the back great organ . 5 * Pedal coupling the back great or- , gan to the savbiI ^ : ; I
. | Aw ' > . - 'Composition pedals . ¦¦ ' ¦ o . ' ¦ , 1 ¦ ¦ ; ¦ ' . ¦¦ ¦ . ' A A ¦ - ¦' - ' 10 . Crescendo . 11 , Diminuendo .
AAt ^ perceived from a mere inspection of its contents ^ as above recited ^ we shall point out a few of the more rernarkable . dFirsi , in order , coriies the Solo Organ . Ho stop belonging to this marmal has any refe to those massive ^ or ^ portions of 1 lie instrum ^^ Avith the reeds ^ is simply Avhat it pretends to be , a solo stop—Aiaving the nearest attainable relation withits orchestrAl prototype . Further to increase
the practical usefulness of this relation , all ^ aforesaid , are placed horizontally , a position which has been found to add between twenty and : thirty per cent , to their ordinary intensity of tone ; and to meet this position the sound-boards are placed vertically instead of horizontally . In addition , the first eight stops in the list are supplied .-with
a nigh pressure ol wind ( ^ six mches tor the bass and tenor , and seven lncnes for the treble portions of their compass ) , and are enclosed in tAVO SAvellboxes , with Venetian shutters , above , below , and in front . The ninth stop , u ophicleide , " stands , or rather lies , beloAV the rest ofthe solo organ , and is supplied Avith twelve inches of air pressure throughout . Tlie great peculiarity of this solo organ , hoAvever , is found in the stops numbered from 10 to 16 , both inclusive , which , by means of a number of mechanical contrivances , simple in themselves , but scarcely possible to describe without the aid of diagrams , enable the performer to play certain of the stops in
octaves to each other , while merely touching single notes . Thus , for example , on drawing the stop , numbered 15 , labelled u flute , clarionet , and bassoon ., in double octaves , " and pressing down the middle C the result Avillbe , the tenor C of the cor anglais , the note middle C of the clarionet , and the C above the § feet harmonic flute , sounding simultaneously . Similarly , any of the stops numbered from 10 to 16 will place at the performer's disposal the combinations with Avhich they are labelled . The operation of these stops for " mechanical combination , " it will be perceived , is totally
ditlerent to that ox any " movement" whereby ordinary stops ot different p ' itch are drawn together . Thus , the effect produced by combining the 4-feet flute , and the 4-feet Cremona of an ordinary choir-organ , will no more resemble that resulting from the stop No . 10 ( which places the middle C of tlie 8-feet clarionet and the C above of the 8-feet flute on the same key ofthe clavier ) , than will the effect ofthe soundingoctave resulting from the combination of an open diapason and principal , compare Avith that of an octave actually played on the open diapason alone . By these contrivances