Organ-stops and their artistic registration : names, forms, construction, tonalities, and offices in scientific combination . ing the strictlyimitative stop either Orchestral Violin or Violon dOrchestre,8 ft. The single terms are not in common use; but we find a Vio-line, 8 ft., on the First Manual of the Organ in the Cathedral ofUlm, and a Violin, 8 ft., in the Pedal of the Organ in Paulskirche,Frankfurt a. M. Neither of these stops is likely to be stronglyimitative. Scale and Formation. The variation of the scales which have been adoptedin the formation of stops of imitative string-tone is g
Organ-stops and their artistic registration : names, forms, construction, tonalities, and offices in scientific combination . ing the strictlyimitative stop either Orchestral Violin or Violon dOrchestre,8 ft. The single terms are not in common use; but we find a Vio-line, 8 ft., on the First Manual of the Organ in the Cathedral ofUlm, and a Violin, 8 ft., in the Pedal of the Organ in Paulskirche,Frankfurt a. M. Neither of these stops is likely to be stronglyimitative. Scale and Formation. The variation of the scales which have been adoptedin the formation of stops of imitative string-tone is greater than that shown in anyother class of labial stops. This statement is supported by the fact that the scalesused by William Thynne and other eminent labial pipe voicers for the CC (8 ft.)pipes of their Violins, range from a diameter of inches to the small diameterof inches; the former scale being developed on the ratio of 1: , halving onthe nineteenth pipe; and the latter mainly on the ratio 1: 2, halving on the twenty-fifth pipe. Thynne did not highly favor the adoption of very small scales, and our. Fig. 35 experience leads us to agree with his practice; for we have never heard Violinsequal in fullness, richness, and imitativeness to those voiced by his thin, scratchy, and penetrating tones of the over-blown, small-scaled Violinsof certain makers are offensive to the cultivated ear, and of little value in artisticregistration. The pipes of the Violin are invariably cylindrical; and, chiefly on account oftheir extremely small scale, should be made of tin or very high-grade alloy of tinand lead. They are usually slotted, and tuned by a metal slide in good work. Itis very questionable if slotting is favorable to the tone, for it has a tendency toimpart a horn-like timbre. The mouths of the pipes vary slightly in their the largest scale adopted by Thynne, the mouth of the CC pipe is two-ninths itscircumference; this width being gradua
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectorganmu, bookyear1921
