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Article THE LEEDS OKGANV ← Page 6 of 7 →
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The Leeds Okganv
the six stops Avhich compose th ^ 8-feet pitch of the ^ f ^ diapason ( of the old Enghsh quality ) , a gamba ( of the conical description ) , a boiwdm , & jfa German tribe , known as " string-toned stops )^ and an Iiarmonie ftuie * The same care is exercised throughout the remainder of the flue-work , not omitting the four mixtures , the scales and compositions of which are
studiously varied with reference to the general effect . In the reed-work , also , a similar rule of variety is observed . The trumpet aid clarion oi the 44 front" great organ are intended to folfo of that brilliant , clangy description of reeds Avhich Byfield made so deservedly famous—a Quality , by tbe Avay , far too much neglected of late
years in ^^ great organ , the modern Enghsh style of reedrwork is adopted for the contm-trornbone , trombone , and tenor * -tro ? nbone ; and the most successful achievement of the French school has its representative in theJidxmoyvic-trurtpet . Under all these circumstances of quantity and vari ^ single manual ^ this greaf organ can hw
HaA / ing gone someAvhat into detail in describing the great organ , it is needless-Abesides stating that similar principles are observed throughout the instrument ^ than to refer to the list of their registers as amply representing the qualities of these manuals respectively . Iii one respect ^ however , the arrangements of the swell organ differ from those usually adopted . Its twenty stops are disposed on four ¥ ound-bbards , the two front ones , containing all the reed-work , being supplied with air at one inch heavier pressure than that allotted to the others .
The adherents of the old-fashioned English " large pedal pipe" school will , doubtless , be greatly scandalized by the absence of a 32-feet open Avood-stop from the pedal organ ! When , however , it is remembered that the 16-feet pitch should always represent the real AVeight of the pedal organ ; that in the present scheme there are three 82-feet stops , viz .: a , metal open , a bourdon , and a reed , and that an immensely large majority of the continental examples authorize this proportion—there can be no question of its sufficiency and completeness . There is a convenient mechanical
arrangement in this pedal organ Avhich obviates most of the difficulty sometirries complained of in manipulating a large number of pedal stops . Next to the coupler " great organ to pedals , " is placed a draAv-stop , which controls the admission of air to all the pedal organ , except only the violin and bourdon . As both these stops can be easily drawn , or retired , simultaneously , the full pedal organ may be reduced to the two 16-feet soft stops by the same action which detaches the pedals from the great organ keys .
In order as little as possible to perplex the operations of the performer , there are but four composition pedals for the Avhole instrument . But these , by an instantaneous adjustment act , as the player requires , on the swell organ alone , or on the savcII , great , and pedal organs , simulta * neously , or again on the two latter only . Added to Avhich , each of these four composition pedals Is capable of effecting three different combinations ( applicable as before mentioned to either of the three organs ) ; the modus
operandi , so far as the performer is concerned , being simply the setting of an index ( one ofAvjhich appertains to each composition pedal ) to the number indicating the required combination . The crescendo and diminuendo pedals , Avith AA hich the list of " mechanical adjustments terminates , act on the savcII and great organs combined , or on each separately ; and in all these cases the necessary movements are imparted to the slides of the sound-boards by the agency of the pneumatic
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
The Leeds Okganv
the six stops Avhich compose th ^ 8-feet pitch of the ^ f ^ diapason ( of the old Enghsh quality ) , a gamba ( of the conical description ) , a boiwdm , & jfa German tribe , known as " string-toned stops )^ and an Iiarmonie ftuie * The same care is exercised throughout the remainder of the flue-work , not omitting the four mixtures , the scales and compositions of which are
studiously varied with reference to the general effect . In the reed-work , also , a similar rule of variety is observed . The trumpet aid clarion oi the 44 front" great organ are intended to folfo of that brilliant , clangy description of reeds Avhich Byfield made so deservedly famous—a Quality , by tbe Avay , far too much neglected of late
years in ^^ great organ , the modern Enghsh style of reedrwork is adopted for the contm-trornbone , trombone , and tenor * -tro ? nbone ; and the most successful achievement of the French school has its representative in theJidxmoyvic-trurtpet . Under all these circumstances of quantity and vari ^ single manual ^ this greaf organ can hw
HaA / ing gone someAvhat into detail in describing the great organ , it is needless-Abesides stating that similar principles are observed throughout the instrument ^ than to refer to the list of their registers as amply representing the qualities of these manuals respectively . Iii one respect ^ however , the arrangements of the swell organ differ from those usually adopted . Its twenty stops are disposed on four ¥ ound-bbards , the two front ones , containing all the reed-work , being supplied with air at one inch heavier pressure than that allotted to the others .
The adherents of the old-fashioned English " large pedal pipe" school will , doubtless , be greatly scandalized by the absence of a 32-feet open Avood-stop from the pedal organ ! When , however , it is remembered that the 16-feet pitch should always represent the real AVeight of the pedal organ ; that in the present scheme there are three 82-feet stops , viz .: a , metal open , a bourdon , and a reed , and that an immensely large majority of the continental examples authorize this proportion—there can be no question of its sufficiency and completeness . There is a convenient mechanical
arrangement in this pedal organ Avhich obviates most of the difficulty sometirries complained of in manipulating a large number of pedal stops . Next to the coupler " great organ to pedals , " is placed a draAv-stop , which controls the admission of air to all the pedal organ , except only the violin and bourdon . As both these stops can be easily drawn , or retired , simultaneously , the full pedal organ may be reduced to the two 16-feet soft stops by the same action which detaches the pedals from the great organ keys .
In order as little as possible to perplex the operations of the performer , there are but four composition pedals for the Avhole instrument . But these , by an instantaneous adjustment act , as the player requires , on the swell organ alone , or on the savcII , great , and pedal organs , simulta * neously , or again on the two latter only . Added to Avhich , each of these four composition pedals Is capable of effecting three different combinations ( applicable as before mentioned to either of the three organs ) ; the modus
operandi , so far as the performer is concerned , being simply the setting of an index ( one ofAvjhich appertains to each composition pedal ) to the number indicating the required combination . The crescendo and diminuendo pedals , Avith AA hich the list of " mechanical adjustments terminates , act on the savcII and great organs combined , or on each separately ; and in all these cases the necessary movements are imparted to the slides of the sound-boards by the agency of the pneumatic