pound stops of this kind is "Mixture," which takes in almost any combination, and at the same time is not confined to any particular number of ranks. It is always well to specify on the draw-knob the kind of Mixture it commands, nay, this is absolutely necessary for proper combination; we therefore qualify the term by the prefix “Full” or Sharp" as the case may be, always also giving the number of ranks.

To thoroughly appreciate the action and uses of these stops, it is necessary once more clearly to define their object. They are here, then, to corroborate those harmonic sounds that Nature has herself suggested. In making artificial assistants for these sounds, therefore, we have to bear in mind what combinations may be necessary in various positions in the scale to bring about natural results. But a strange anomaly here is noticeable; it is found in practice that, to produce that roundness and completeness that the mixtures should bring about, it is advisable to greatly exceed in strength the sound of some harmonics to the almost total suppression of others, that is to say, if we only enhanced, say, fifth sounds, as apparently nature would have us, we should fail to have the brilliancy we desire, whereas, if we overstep her limits, and have pronounced fifths, &c., we produce a result at once satisfactory and beneficial.

A practical difficulty seems to arises at the outset, viz., if we start a Mixture on the C C key, having, say, a composition of 19th, 22nd, and 26th, how can the pipes be made sufficiently small to carry out that combination to the top? But, fortunately, it is not necessary to go through the whole scale with the same proportionate relation-such a proceeding would be absolutely against the dictates of Nature; for instance, if the CC key be sounded with an Open Diapason, there are heard the harmonics of the fifths, octaves and thirds, &c., and to corroborate these properly a three rank mixture should be used; a passage then is brightened and cleared. If the same three rank Mixture be used higher in the scale, say from C', then it is over bright in comparison with the bass-that is to say, the bass octave, giving naturally more harmonics, requires more Mixture in proportion than the higher octaves, so that while a fifteenth and twelfth would amply satisfy a treble passage, that in the bass portion requires a three or even four rank Mixture; in other words, it is necessary to produce by Mixtures only those sounds that Nature wants, and, as she gives us & more complete set of harmonics in the bass, so we require more mutation in that portion of the instrument.

This has brought us to the point of "breaks" in the compound stops. They are required both scientifically and practically, and the only ques

tion to be decided, is therefore what breaks should occur, and where they should be placed.

Seeing that at certain points in the scale, higher rank sounds die a natural death, it may be thought that the rank in a Mixture representing that sound, should be allowed to die out also, and that the rest of the stop might be continued upwards without the lost harmonic. But in that case the bass portion of an organ would have many more pipes sounding than the treble, and the latter would then be weak in proportion. Therefore, when it is unnecessary or difficult to continue a rank of pipes further, they are brought back an octave or a fifth, and so the power is balanced. The great rules to be observed in the construction and rearrangement of Mixture ranks are, that there be always a preponderance of the foundation tones to the harmonics-that the larger pipes exceed the smaller in number-that there be always more fifteenths and principals than twelfths, i.e., that there be always more fifteenths than nineteenths, more principals than twelfths, more principals than fifteenths.

There is no fixed place as to where these ranks should be broken, but as a rule on modern organs the breaks are made on the C sharp keys. The guide as to what point a rank should return to, whether a fifth or an octave, must be the rule just laid down. In reference to the necessity of the proper balancing of the foundation and mutation ranks, it will be clear that a Mixture of given number of ranks would produce an effect in accordance to its scale and voicing, that it would be filling and round, or keen and sharp according to these conditions.

The Mixture most useful, however, is one that will give a brightness to the bass, together with a firmness to the treble without making either disjointed with the other. This is accomplished by a Full Mixture of three ranks, 17—19-22 to middle C, after which 12-15-17 are the intervals employed. Mr. Hopkins suggests 15-19-22, and after 8-12-15 as better balance for the treble.

It is usual to make a break return to an octave or a fifth, and for many years the Continental system was to alternate these intervals. Thirds are also used as return points in the treble, but seldom if ever in the bass, for reasons that can be found preceding.

The most useful Mixture for a small organ is one of three ranks, and such a stop is to be found in all organs of any pretensions whatever. The fitness of a Mixture is easily tested by the experienced ear, but can on paper be at once determined. Suitable balance throughout, with a proper correspondence of tone, is to be aimed at. Such a Mixture as that advised by Mr. Hopkins might be added to an organ of six or seven stops; for an instrument of, say, ten or twelve stops it would be necessary

to add an extra rank, and it would perhaps be well to introduce a tierce into the treble.

Mixtures are seldom or never made of more than four ranks, as it is better-should more mutation ranks be required-to divide them into two or more stops, so that a sharp or full effect may be produced to meet any combination or effect desirable.

CHAPTER XXII.

Nomenclature of Stops.

THE jumble of terms that we have as names to organ stops is very confusing to all the uninitiated, and it is to be lamented that no recognised nomenclature has been devised, by which we should be able at once to define any new stop according to fixed rules. Usually a name is applied by the inventor, in the language of his country, referring to the character of the stop under consideration. It thus comes about that we have on every large organ a mixture of German, French, Italian, and English terms that is most polyglot in character. Some attempt has been made to confine the names of stops to one language, and at St. John's Church, Torquay, all the stops are labelled in Latin, but this involves a knowledge of that tongue that may not come within the scope of many builders, and it is to the builder, often originally to a workman, that we owe many of our best stops, and naturally he first denominates the children of his ingenuity.

In giving a list of all the organ stops now in general use we shall, as far as possible, confine ourselves to the English names, and where two names are found for the same stop, we shall give both, allowing the more suitable preference. Among those of the stops that imitate instruments the name of such instrument has of course remained in whatever language it first occurred.

It will be observed that we first take the flue stops in relation to their size, afterwards the reeds.

Double Open Diapason* occurs only on large instruments, and is 16ft. on the manuals and 32ft. on the pedals, open pipes, of wood, metal, tin or zinc. When it ceases at tenor C this stop is named the Tenoroon. Instance-Regent's Park organ, manual and pedal.

Sub-bourdon (French) is a rare manual stop of 32ft., tone seldom goes

* The word "diapason" is derived from the Greek adverb dia-Tavros, and has been used in connection with music for ages. The name is appropriate to this, the principal of all stops. Hawkins, in his "History of Music," seems to infer that diapason originally signified the full organ.

below middle C, never below tenor C, pipes of stopped wood. InstanceDoncaster Parish Church.

Double Stopped Diapason (on the pedal called Sub-bourdon).—Stopped pipes, of 16ft. tone on manual and 32ft. on the pedal. This stop is usually named the Bourdon, and is of frequent occurrence on large and moderate organs. It has lately been usual, especially in small instruments, to label a pedal stop Bourdon, which is of 16ft. tone, as would be the manual stop of the same name. Instance-St. Michael's, Tenbury, on manual and pedal.

Double Dulciana.-A 16ft. stop on the manual of small scale pipes, not often met with. Instance-Millbrook Parish Church.

Contra Gamba is a 16ft. open metal stop, and usually has a somewhat sharper tone than the Diapason. It is often placed in the swell of large organs. Instance-Albert Hall organ, on great manual.

Pyramidon has been mentioned in some works, but it was found impracticable to make this stop answer throughout the entire scale, and it therefore is abandoned. It was a stop of 16ft. or 32ft. tone.

Open Diapason, the chief stop of the organ, is found in every instrument save the smallest chamber toys. It is a whole stop of 8ft. on the manuals and 16ft. on the pedal organ, open pipes, of tin or metal. In inferior organs the lowest octave is sometimes made of wood, but this is not legitimate. Instances are almost universal. When an instrument has more than one of these stops on the same department, it is usual that they be of different scales, to destroy what is termed the sympathy,* the one being of smaller, and consequently weaker tone pipes, whereas the other would be full and round.

Stopped Diapason.-The German name for this stop is Gedact; it is 8ft. tone on the manual and 16ft. on the pedal; it occurs in almost every organ made. It was of metalt by the older builders, down to tenor C, after which note the pipes were usually of oak or deal. A little while since almost all Stopped Diapasons were of wood throughout, but latterly builders have been substituting metal for wood as far as possible, and this stop is now often of metal.

Dulciana (Latin, dulcis) was invented, or, according to some authorities, only introduced, by Snetzler, and, as we have said in a previous chapter, he owed a great part of his success as a builder to the happy reception that this stop received at all hands. It is a soft-toned open stop of

*If two pipes of precisely the same calibre and length, &c., be sounded, they produce only the sound of one. This is called sympathy, and is owing to the fact that they both produce similar wave movements, and therefore the same disturbance of air satisfies the requirements of each and both pipes.

†The word metal is not used as a technical term for a definite composition in the above paragraphs.