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Article THE LEEDS OKGANV ← Page 5 of 7 →
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The Leeds Okganv
then , a very accilt | ite imitation of almost all the ordinary wind-combinati ^ of an orche stra is played within the grasp of one of the performer ' s hands , leaving the other feefor any of those pvn ^ which the modern race of players are so proficient Again , by the rise of
Nbs . 3 and 4 of the couplers , a different class of effects is presented . Thus , a melody played singly on the " ophecliede " can be accompahied in the octave above and below it , by any , or all of the other stops of the solo organ , and this merely by playing single notes ; so th ^ fulfils the objects implied in its title than any yet construe
In the Great Organ there are some note-worthy foatures of arrangement . The idea of dividing the great organ into two distinct masses is certainly not altogether original , as similar distributions have been hinted at in two or three continerrtal examples , and in some instances duplicate diapasons have been so treated in this country ; but in the present instance , the principle has been developed , and the various resources it affords have been made available to a far greater extent than has ever before been
contemplated . The twelve stops placed on &^ calculated to form a compart organ ; while the reniaining fourteen stopspfeced on the " back " soundboards , comprising some ( rf the strongest mem ^ flute a payillon , viola , and the harmonic series of 8 , •• ¦¦ ' 4 , and 2 ^ feet pitch , together with the quint , the large mixtures , and the heavy reeds , AvilLforni 6 ; a band " entirely different to the foregoing in amount and quality of force .
There is a pedal , numbered " 4 " m the list of pedals , for mechanical adjustment , " Avhich operates on stop-valves placed in Ihe wind-trunks of the A back" sound-boards ^ or , in other Avords , discharges the functions of what the Dutch and German builders call a , " Avind-coupler . " So long as this pedal remains " hitched down , " all the twenty-six stops are at the performer ' s disposal on the great organ clavier ; while the act of releasing this pedalinstantaneously cuts off the wind supply from the stops of the
"back" sound-boards , and thus severs them from the control of the keys . Hence , by the use of this pedal , all or any of the stops of the baek " sound-boards maybe instantaneously added to the whole , or any part of the front" great organ , and providing , besides numerous effects depending on the stops at that moment in use , the most rapid and perfect sforzando possible . There is also , another pedal numbered u 5 , " in the same list , the operation of Avhich , on being hitched down , " is to disconnect the stops
ofthe " back " sound-boards from the great , and couple them to the savcII , rendering the two portions of the great organ separately disposable on different manuals , and suggesting a host of novel combinations , of which the modern race of organists will not be slow to avail themselves . We may close this account of the mechanical arrangements of the great organ by stating that its tAventy-six stops are disposed on nine sound-boards of ample dimensions ; and that the air with Avhich they are supplied is increased in
pressure twice m the range of the compass , viz . ;—at fiddle G sharp , and again at D sharp , the tAvelfth above ; while the air supplied to the four reed-stops ofthe " back" sound-boards , increasing at the same points , has a higher initial pressure than that allotted to the nue-Avork . The tone-composition of this great organ is also Avorthy of remark .
Taking the proportions of the flue-stops alone , they stand thus : tAvo stops of 16 feet , six of 8 feet , one of 6 feet , four of 4 feet , one of S feet , Iavo of 2 feet , and eighteen ranks of mixtures . To this add the xeeds , viz .: one of 10 feet , three of 8 feet , and tAvo of 4 feet , and the statement Avill be a total of three stops of 16 feet , nine of 8 feet , one of 6 feet , six of 4 feet , one of ;¦ > feet , two of 2 feet , and eighteen ranks of mixtures . Throughout all this there are no vain repetitions" of similar scales and qualities . For example ,
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The Leeds Okganv
then , a very accilt | ite imitation of almost all the ordinary wind-combinati ^ of an orche stra is played within the grasp of one of the performer ' s hands , leaving the other feefor any of those pvn ^ which the modern race of players are so proficient Again , by the rise of
Nbs . 3 and 4 of the couplers , a different class of effects is presented . Thus , a melody played singly on the " ophecliede " can be accompahied in the octave above and below it , by any , or all of the other stops of the solo organ , and this merely by playing single notes ; so th ^ fulfils the objects implied in its title than any yet construe
In the Great Organ there are some note-worthy foatures of arrangement . The idea of dividing the great organ into two distinct masses is certainly not altogether original , as similar distributions have been hinted at in two or three continerrtal examples , and in some instances duplicate diapasons have been so treated in this country ; but in the present instance , the principle has been developed , and the various resources it affords have been made available to a far greater extent than has ever before been
contemplated . The twelve stops placed on &^ calculated to form a compart organ ; while the reniaining fourteen stopspfeced on the " back " soundboards , comprising some ( rf the strongest mem ^ flute a payillon , viola , and the harmonic series of 8 , •• ¦¦ ' 4 , and 2 ^ feet pitch , together with the quint , the large mixtures , and the heavy reeds , AvilLforni 6 ; a band " entirely different to the foregoing in amount and quality of force .
There is a pedal , numbered " 4 " m the list of pedals , for mechanical adjustment , " Avhich operates on stop-valves placed in Ihe wind-trunks of the A back" sound-boards ^ or , in other Avords , discharges the functions of what the Dutch and German builders call a , " Avind-coupler . " So long as this pedal remains " hitched down , " all the twenty-six stops are at the performer ' s disposal on the great organ clavier ; while the act of releasing this pedalinstantaneously cuts off the wind supply from the stops of the
"back" sound-boards , and thus severs them from the control of the keys . Hence , by the use of this pedal , all or any of the stops of the baek " sound-boards maybe instantaneously added to the whole , or any part of the front" great organ , and providing , besides numerous effects depending on the stops at that moment in use , the most rapid and perfect sforzando possible . There is also , another pedal numbered u 5 , " in the same list , the operation of Avhich , on being hitched down , " is to disconnect the stops
ofthe " back " sound-boards from the great , and couple them to the savcII , rendering the two portions of the great organ separately disposable on different manuals , and suggesting a host of novel combinations , of which the modern race of organists will not be slow to avail themselves . We may close this account of the mechanical arrangements of the great organ by stating that its tAventy-six stops are disposed on nine sound-boards of ample dimensions ; and that the air with Avhich they are supplied is increased in
pressure twice m the range of the compass , viz . ;—at fiddle G sharp , and again at D sharp , the tAvelfth above ; while the air supplied to the four reed-stops ofthe " back" sound-boards , increasing at the same points , has a higher initial pressure than that allotted to the nue-Avork . The tone-composition of this great organ is also Avorthy of remark .
Taking the proportions of the flue-stops alone , they stand thus : tAvo stops of 16 feet , six of 8 feet , one of 6 feet , four of 4 feet , one of S feet , Iavo of 2 feet , and eighteen ranks of mixtures . To this add the xeeds , viz .: one of 10 feet , three of 8 feet , and tAvo of 4 feet , and the statement Avill be a total of three stops of 16 feet , nine of 8 feet , one of 6 feet , six of 4 feet , one of ;¦ > feet , two of 2 feet , and eighteen ranks of mixtures . Throughout all this there are no vain repetitions" of similar scales and qualities . For example ,