1146:
better projection; this is known as a 'Mounted Cornet' in
English and 'Cornet Séparée' in French. Though used throughout Europe, the Cornet is especially associated with French organ builders, who used Cornets with particular regularity especially through the Eighteenth and Nineteenth centuries, since French chorus reed stops (Trompette, Bombarde, Clairon) are very strong in the bass (having un-weighted tongues) but, when on low wind pressures, comparatively weak further up the compass; the Cornet was therefore used to strengthen the treble ranges of these chorus reed stops. A characteristic example of this use is the classic French registration known as the 'Grand Jeu': a combination of Trompettes, Clairons and Cornets, together with the Prestant (by contrast the 'Plein Jeu' does not include cornets).
1222:
be used in the chorus to help blend reed and flue stops together. By contrast, the Dutch, German and
Scandinavian Sesquialteras of the seventeenth and eighteenth century were solo stops (typically 12.17), often (though by no means exclusively) found in the Rückpositiv division, from whose gallery-edge case position they could project a solo line well into acoustic space against an accompaniment using stops in the main organ case; such Sesquialteras are therefore particularly associated with Lutheran chorale-based organ repertoire.
25:
122:
358:
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music, with authorities tending to regard borrowing in general and extension in particular as things to be avoided if possible, except in a few cases where space for pipes is limited, making extension and/or unification necessary. Borrowing 16′ manual ranks for the pedal division is more widely employed because of the expense and space requirements of 16′ stops and the versatility this allows.
336:
intended job. As an example, the octave (4′) diapason is generally of a smaller scale and softer than the corresponding 8′ diapason rank, whereas in unification they would be of the same strength due to using the same set of pipes. Straight reed choruses (16′, 8′ and 4′) have the luxury of ranks with different timbres, whereas a unified reed chorus has voices that are identical.
257:, in which there are two stop knobs for certain ranks. One stop knob will control the upper portion of the keyboard, and the other will control the lower portion of the keyboard. This arrangement allows the upper portion of the keyboard to sound a different registration than the lower portion, which lends a greater versatility to smaller organs, especially those with only one
1225:
Sesquialteras are often distinguished from Cornet stops because whereas
Cornets (especially French examples) use wide-scaled, flute-toned pipes, Sesquialteras were generally made from narrower, principal-toned pipes (though this distinction is somewhat less widely observed in 20th-century organs than
1221:
Sesquialtera stops can be solo or chorus stops. The
British Victorian Sesquialtera was often the only Mixture stop on a given department (usually the Great or Swell organ; rarely the Choir organ), typically starting at 17.19.22 and then breaking back to 12.15.17 further up the compass and intended to
284:
which fits underneath a given rank of pipes. The slider has small holes drilled in it, one for each pipe in the rank. When the stop is set such that pipes are inactive, the holes are misaligned with the pipes, preventing the air from flowing up into the pipes above. When the stop is set such that the
1488:
Principal stops are non-imitative; that is, their sound does not attempt to imitate that of a particular instrument. The
Principal sound is the most characteristic sound of the pipe organ; it is the sound which comes to mind in the context of traditional church music (such as hymns). While spellings
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on the stop knob; for example, a stop labeled "Mixture V" would contain five pipes for every note. So, for every key pressed, five different pipes sound (all controlled by the same stop). A mixture made of octaves and fifths is called a 'quint mixture', while a mixture made of octaves, fifths, and a
403:
sounded by a given pipe is inversely proportional to its length (half the length = double the pitch), meaning that a 4′ stop speaks exactly one octave higher than an 8′ stop. Likewise, a 2′ stop speaks one octave higher than a 4′ stop. Conversely, a 16′ stop speaks one octave below an 8' stop; and a
1234:
Pipe ranks have particular names, which depend on a number of factors ranging from the physical and tone attributes of the pipes in that rank, to the country and era in which the organ was manufactured, to the pipes' physical location within the organ. Each stop knob is labeled with the name of the
348:
to produce the maximum number of voices from a minimal number of pipes. It is still typical to see a significant amount of unification and duplexing in practice organs and small church organs. Traditionally, less use has been made of extension in large church organs and those designed for classical
1217:
A Sesquialtera (or
Sexquialtera) is similar to a Cornet in that it always contains a fifth and major third (justly tuned), though they normally extend to the whole range of the compass. They also rarely go beyond IV ranks, the most common being found at II or III ranks. They are not necessarily as
636:′. Such "helper ranks" that sound at the fifth just above or fourth below the fundamental (e.g., Bourdon 16′), can create the impression of a stop an octave lower than the fundamental (e.g., Bourdon 32′), saving the space and money otherwise needed for larger bass pipes; such an effect is termed a
229:
The mechanism for operating the stops varies widely, but the principle is the same: the stop control at the console allows the organist to select which ranks of pipes will sound when a key is pressed. When the organist desires a rank to sound, they operate the corresponding control at the console,
225:
which may be sounded by different ranks of pipes, alone or in combination. The use of stops enables the organist to selectively turn off ("stop") certain ranks in order to produce different combinations of sounds, as opposed to hearing all sounds simultaneously. A stop may be linked to a single or
1145:
Cornet stops do not usually play the full compass; they generally play from either Middle C, or Tenor C, to the top. In
British and French organs before the Victorian period, this allowed the Cornet stop to be raised up within the case relative to the other pipes of the Great organ around it for
369:
The pitch produced by an organ pipe is a function of its length. All else equal, longer pipes produce lower-pitched notes, and shorter pipes are higher in pitch. An organ stop uses a set (rank) of pipes of graduated lengths to produce the range of notes needed. Stops with pipes tuned to sound the
1138:
organ stop is similar to a mixture, but they are primarily used as solo voices, though their sound is not imitative of the orchestral cornet. A cornet will always contain the fifth and major third, and, depending on the number of ranks, may contain octaves, and more rarely the minor seventh, and
335:
While unification and extension increase the tonal resources and flexibility of the organ, greater care needs to be taken by the organist in registering the organ, particularly when the composition requires many notes to sound at the same time. In a non-unified organ, voices are scaled for their
304:
refers to the practice of expanding the tonal resources of an organ without adding more pipes by allowing several different stops to control the same rank of pipes. For example, an 8′ Gedeckt may also be made available as a 4′ Gedeckt, either on the same or a different manual. When both of these
339:
Playing with all stops out on a heavily unified/duplexed organ may result in chords that sound thinner or emphasize higher harmonics on some notes more than others, due to notes in different octaves using the same pipes instead of having their own. Part of an organist's training is to detect
331:
refers to the addition of extra pipes to the high and/or low ends of a rank in order to allow that rank to be borrowed by higher and/or lower stops. Unification and borrowing (duplexing) is mostly related to pipe organs with physical pipes; however, some (older) electronic organs also used
2082:′ extension creating a 64′ resultant impression), upper pipes in the octave, or else a sound sample of a higher-pitched stop electronically altered to sound one or more octaves lower. The Boardwalk Hall Auditorium Organ is capable of creating a resultant 128′ stop by combining its 64′ and
1209:′ supplied by the Isnard brothers at St Maximin, Provence). Cornet stops in 32′ are also known, as they are able to approximate the sound of a 32′ reed stop without the using pipes of the same bulk or expense (as used for example by John Compton at Wakefield Cathedral, England).
1149:
In French organs, when an 8 ft
Bourdon was used with 4′ and 2′ stops plus a Nasard and Tierce the resulting ensemble was known as a 'Cornet Décomposée' (often confused with the 'Cornet Séparée' described above) since it had the same composition as a standalone Cornet stop.
1218:
uniform in configuration as the Cornet and so the quint and tierce ranks can be placed anywhere in the configuration. For example, the configurations: 15.17.19, 17.19.22, and 19.22.24 are all equally valid as the configurations for a
Sesquialtera.
343:
Borrowing between manuals occurs in
English organs from about 1700, but extension of pipe ranks for the purpose of borrowing at different pitches is a relatively recent development. Extension and unification are heavily used in
1125:
Mixtures usually have 'breaks' to prevent the inconvenience to the builder of making very small pipes at the top of the compass. A common configuration for the breaks is that for every octave the mixture lowers by a fifth.
2065:. Because of the limitations of most loudspeakers and the limitations of human hearing, the listener will not be able to hear the lowest frequencies in the sample, but may "feel" them and hear the harmonics above them.
340:
unification and duplexing and to create registrations that take them into account. Nonetheless, heavy unification can create issues for visiting artists with limited practice times, or those improvising compositions.
1948:
Hybrid stops contain one rank of pipes which attempts to combine the tone qualities of two other classifications of stops, such as Principal + String, String + Flute, or Principal + Flute. Common examples:
431:
374:) are called "unison stops". Other stops use pipework that is longer or shorter than that of unison ranks to speak at a fixed interval above or below unison pitch ("octave pitch" or "mutation pitch").
268:) generally contain as many pipes as there are keys on the keyboard to which they are assigned: in most cases 61 pipes for a rank assigned to a manual and 32 pipes for a rank assigned to the pedal.
446:
stops, or sometimes "aliquots". They are rarely used on their own; rather, they are combined with unison stops to create different tone colors. A typical and distinctive sound of the organ is the
2006:, respectively). They are commonly designed to imitate orchestral or band instruments, or to imitate non-musical sounds (for instance, thunder), or to produce unique sounds (for instance,
1998:, but actual embedded percussion instruments (although they may still be actuated by the wind supplies of an organ). Both tuned and untuned percussion stops exist (for instance,
517:
of a twelfth above unison pitch. This third harmonic (G) (twelfth, quint, qvinta, rorkvint, or nazard ) is the most-common pitch, followed by the fifth harmonic (E) (tierce ) (
226:
multiple ranks. While nowadays one speaks of "drawing" a stop to select a particular rank or set of ranks, the earliest organs were constructed with all ranks "on" by default.
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ninth. Cornet pipes are made of metal and voiced as flutes; the 8′ rank is usually made of stopped metal pipes. The ranks will be justly tuned to reinforce the fundamental.
230:
allowing wind to flow to the pipes. Likewise, the organist can deny wind to the pipes by operating the same control in the opposite direction. Common stop controls include
2337:
276:
Over the course of the history of the pipe organ, there have been several different designs by which stops are actuated. In the longest-standing design, known as the
285:
pipes are active, the slider moves over, aligning the holes with the pipes, allowing air to reach them. Because the slider chest was developed before the advent of
1094:
Mixtures have numbers that correspond to the pitch they make. For example, a mixture configured as: 12.15.19.22 contains, at its lowest note, the following ranks:
2038:
The mixture stop with the largest numbers of pipes, called Ple, can be found in Santanyí (Majorca), Spain. It has 22 ranks in the left hand and 25 in the right.
153:. Its name comes from the fact that stops can be used selectively by the organist; each can be "on" (admitting the passage of air to certain pipes), or "off" (
1560:
1943:
1483:
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1550:; followed by a Roman numeral indicating the number of pipes that play simultaneously for a single note; example: Mixture III, or Fourniture IV–VI)
1741:
201:,” which once only meant to engage all of the voices on the organ, has entered general usage, for deploying all available means to pursue a goal.
2237:
289:, it is inherently mechanical in nature. Many organs originally built with mechanical actuators have been retrofitted with electric actuators.
1801:
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The pitch of a rank of pipes is denoted by a number on the stop knob. A stop which speaks at unison pitch, or "native pitch", is known as an
1142:
The most common configuration of ranks for an 8′ fundamental is as follows: II = 12.17; III = 12.15.17; IV = 8.12.15.17; V = 1.8.12.15.17.
2068:
Many large organs have a 64′ stop in their stoplist, but nearly all of these are either digital, acoustic imitations (32′ combined with a
2217:
1235:
rank it controls. In general, that label gives the organist two vital pieces of information about the rank of pipes in question:
1054:
contain multiple ranks of pipes above unison pitch, usually octave and fifths. The number of ranks in a mixture is denoted by a
404:
32′ stop speaks one octave below a 16′ stop. Octave pitch lengths used in actual organs include 64′, 32′, 16′, 8′, 4′, 2′, 1′,
2181:
2344:
126:
89:
2035:." A former organ curator warned the stagehands when the Grand Ophicleide was going to be used, because of the volume.
172:. On electric or electronic organs that imitate a pipe organ, the same terms are often used, with the exception of the
61:
499:
The sounding length of a mutation stop gives the answer as to what pitch the rank sounds. For example, a stop labeled
1565:
Flute stops attempt to imitate (to one degree or another) the sound of flute-class woodwind instruments, such as the
108:
383:(pronounced "eight-foot") stop. This nomenclature refers to the approximate length of the longest pipe in a rank of
68:
2024:
133:. Shown here are several ranks of pipes, each of which would be controlled from one of the stops on the console.
2658:
391:, the lowest pipe is about 4 feet long, but because it sounds at unison pitch, it is also known as an 8′ stop.
46:
2125:
1181:′), though the individual ranks are more usually configured as separate stops (for example the Grande Tierce
75:
2046:
1746:
String stops attempt to imitate (to one degree or another) the sound of stringed instruments, such as the
332:
unification and duplexing to expand the tonal resources of a limited number of synthesized virtual ranks.
2374:
1994:
Percussion stops (often referred to as "toy counters" or "toy stops"), unlike other organ stops, are not
309:) is pressed, two pipes of the same rank will sound: the pipe normally corresponding to the key played (C
42:
2290:
198:
2023:
The loudest organ stop in the world is the Grand Ophicleide located in the Right Pedal division of the
2010:). Percussion stops are particularly common in theatre organs, which were generally made to accompany
327:
refers to one rank being made available from multiple stop knobs, often on different manuals or pedal.
57:
2031:
as having "a pure trumpet note of ear-splitting volume, more than six times the volume of the loudest
2607:
2500:
2434:
2429:
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1632:
Stopped Diapason (or Stopped Flute) — despite its name, the Stopped Diapason is a flute-class stop
2539:
2469:
2242:
607:
35:
2028:
2250:
2129:, ed. Nicholas Thistlethwaite and Geoffrey Webber (Cambridge University Press, 1998), p. 165.
2668:
2602:
2549:
2534:
2509:
2474:
2330:
2058:
1088:
362:
292:
Other common designs include the spring chest, the cone valve chest, and the Pitman chest.
193:
8:
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2554:
2524:
2357:
1135:
447:
82:
2514:
2439:
160:
The term can also refer to the control that operates this mechanism, commonly called a
2309:
2054:
430:
181:
2486:
1258:, then low to high pitch, then louder to softer stops within a pitch level. Separate
1080:
1250:, showing both common stop names and conventional formatting. Within each division,
442:
Ranks that do not speak at the unison or some octave of the unison pitch are called
2622:
2592:
2404:
2384:
2246:
1807:
1566:
1226:
earlier organs). Sesquialteras therefore often have a sharper sound than Cornets.
1084:
619:
514:
379:
177:
2192:
2612:
2399:
1076:
1068:
1050:
615:
2559:
1772:
1259:
2617:
2421:
2394:
2389:
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258:
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pitch normally associated with the keys (i.e. the pitch of the same keys on a
2652:
2632:
2379:
1060:
1055:
345:
209:
Organ pipes are physically organized within the organ into sets according to
173:
130:
2041:
There are only two true and complete (acoustic, non-digital, going down to C
2582:
2519:
1072:
618:. Some organs contain mutations that are overtones of 16′ or 32′ to create
210:
121:
2637:
2627:
2587:
2569:
2011:
2007:
1827:
1736:
1064:
388:
286:
2564:
2459:
2451:
2353:
2050:
2032:
2003:
1555:
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which tone quality the rank possesses (principal, trumpet, flute, etc.)
1153:
Occasionally Cornets are supplied based on a 16′ fundamental (16′, 8′,
1087:
in chords, and tierce mixtures became uncommon with the abandonment of
150:
142:
2106:
Vogelgesang (also known as rosignolo), is a bird-imitating organ stop.
1806:
Reed stops attempt to imitate (to one degree or another) the sound of
197:
is the art of combining stops to produce a certain sound. The phrase "
2544:
2481:
2464:
2416:
2411:
2322:
1995:
1796:
1468:
1464:
1263:
1255:
1251:
451:
384:
217:. A set of pipes producing the same timbre for each note is called a
24:
1819:
250:
1489:
and names vary by language and era, here are some common examples:
2529:
1999:
1811:
1570:
545:′), with rarer examples from higher in the series, such as the "
242:
513:′ (or one-third of 8′) has three times the frequency; i.e., the
1747:
400:
357:
214:
191:, referring to rank(s) of pipes controlled by a single stop.
2294:
2062:
1751:
371:
246:
2061:). The lowest note of these stops has a frequency of 8
1262:
stops are next to their corresponding normally-tuned stops.
2218:"Notes about Historical Registration on the Santanyí Organ"
1823:
1815:
468:′ (labeled 3′ on some German and Swedish organs), 2′, and
2045:) 64′ stops in the world: the Contra-Trombone 64′ in the
1059:
major third is called a 'tierce mixture'. As a rule, the
1036:
5th harmonic of the note one octave below the fundamental
1027:
3rd harmonic of the note one octave below the fundamental
450:, composed of a flute and ranks making up its first four
280:, there is a strip of material (typically wood) called a
265:
241:
Some organs, particularly smaller historical organs from
264:
Ranks which are neither divided nor extended (see below
295:
2027:. It stands on 100” wind pressure and is described by
2057:-Dulzian 64′ in the Boardwalk Hall Auditorium Organ (
1239:
which octave of pitches the rank is natively tuned to
2310:"Dictionary of the most frequently used organ stops"
2123:
James Dalton, "Iberian organ music before 1700," in
1523:
Quint (or Twelfth; sometimes in the Flute category)
1071:in relation to the fundamental. For thirds, the 14
49:. Unsourced material may be challenged and removed.
1083:interval is large enough to introduce noticeable
610:of the fundamental, and except when derived from
187:The term is also sometimes used as a synonym for
2650:
2169:. New York: Dodd, Mead, and Company. p. 13.
1266:are often labeled in red on stop knobs or tabs.
2338:
1650:
1473:Organ pipes fall into five broad categories:
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305:stops are selected and a key (for example, C
234:, which move in and out of the console, and
221:, while each key on a pipe organ controls a
2276:Organ Stops and Their Artistic Registration
1454:
437:
238:, which toggle back and forth in position.
2345:
2331:
1944:Audio example of Gemshorn (flute + string)
606:Mutations usually sound at pitches in the
109:Learn how and when to remove this message
2664:Musical instrument parts and accessories
2179:
356:
313:), and the pipe one octave above that (C
120:
2251:10.1093/gmo/9781561592630.article.29594
2164:
2100:
1496:Principal (or Diapason, Open Diapason,
643:This is a list of some mutation stops.
271:
2651:
2352:
157:the passage of air to certain pipes).
145:that admits pressurized air (known as
2326:
1958:Geigen Principal (or Violin Diapason)
2126:The Cambridge Companion to the Organ
1270:
296:Unification, borrowing and extension
266:Unification, borrowing and extension
47:adding citations to reliable sources
18:
2215:
2017:
1955:Combination of String + Principal:
1246:This is an example of a pipe organ
531:′) and sixth (G) (larigot, nasat) (
352:
125:The choir division of the organ at
13:
2288:
2261:
429:
14:
2680:
2282:
2182:"Jordi Bosch—The Unknown Master"
2165:Audsley, George Ashdown (1905).
611:
23:
2025:Boardwalk Hall Auditorium Organ
1818:, reed instruments such as the
1229:
1212:
34:needs additional citations for
2269:Dictionary of Pipe Organ Stops
2228:
2209:
2191:: 114–116, 143. Archived from
2173:
2158:
2145:
2132:
2117:
1969:Combination of String + Flute
1030:
1021:
1:
2291:"Encyclopedia of Organ Stops"
2110:
2059:click here for a sound sample
2051:click here for a sound sample
2153:Understanding the Pipe Organ
2140:Understanding the Pipe Organ
2047:Sydney Town Hall Grand Organ
1514:Super Octave (or Fifteenth,
204:
7:
1043:
10:
2685:
2180:Grenzing, Gerhard (1993).
1761:Gamba (or Viola da Gamba,
1458:
496:′ on some German organs).
394:
2578:
2495:
2450:
2365:
2167:The Art of Organ-Building
1129:
2274:George Ashdown Audsley,
1461:List of pipe organ stops
1455:Classifications of stops
1075:discrepancy between the
591:′ Major 7th which when C
438:Mutations and resultants
2243:Oxford University Press
2241:. Oxford Music Online.
127:St. Raphael's Cathedral
2235:"Vogelgesang (Ger.)".
2029:Guinness World Records
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1067:of mixtures are tuned
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366:
199:pull out all the stops
180:, which use the term "
134:
2659:Pipe organ components
1268:
1089:meantone temperaments
1048:Certain stops called
433:
360:
124:
2101:Other types of stops
1852:Trompette en Chamade
1640:(or Harmonic Flute,
1511:Octave (or Prestant)
1420:Lieblich Gedeckt 16′
595:is played sounds a B
581:′). There's also an
363:Naval Academy Chapel
272:Methods of actuation
141:is a component of a
43:improve this article
16:Part of a pipe organ
2555:Trompette militaire
2426:Combination action
1666:(or Chimney Flute,
1340:Stopped Diapason 8′
1195:′ and Grand Nasard
647:
622:, e.g., quint-bass
614:, are always tuned
454:, sounding 8′, 4′,
2608:Historical Society
2289:Stauff, Edward L.
2238:Grove Music Online
2155:, 2009, Chapter 6.
2033:locomotive whistle
1830:. Common examples:
1779:Violin (or Viola,
1754:. Common examples:
1649:Concert Flute (or
1573:. Common examples:
1387:Contra Fagotto 16′
1254:are listed before
646:
435:
367:
135:
2646:
2645:
2435:Tubular-pneumatic
2430:Electro-pneumatic
2216:Frankel, Stuart.
2151:John R. Shannon,
2138:John R. Shannon,
1808:brass instruments
1782:Viole d'Orchestre
1450:
1449:
1416:Open Diapason 16′
1290:Harmonic Flute 4′
1017:
1016:
361:The organ at the
255:divided registers
178:clonewheel organs
119:
118:
111:
93:
2676:
2405:Expression pedal
2385:Eight-foot pitch
2347:
2340:
2333:
2324:
2323:
2319:
2317:
2316:
2305:
2303:
2302:
2293:. Archived from
2255:
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2213:
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2018:Notable examples
1986:
1979:
1929:
1921:
1913:
1905:
1899:
1885:
1879:
1871:
1862:
1854:
1848:
1842:
1784:
1776:
1766:
1731:
1723:
1717:
1709:
1703:
1694:
1685:
1679:
1671:
1669:Flûte à Cheminée
1665:
1654:
1645:
1643:Flûte Octaviante
1639:
1637:Flûte Harmonique
1628:
1619:
1613:
1605:
1599:
1591:
1585:
1567:transverse flute
1549:
1543:
1537:
1531:
1519:
1507:
1501:
1436:
1432:
1428:Rausch Quinte II
1400:
1396:
1392:
1388:
1381:
1380:
1376:
1373:
1363:
1362:
1358:
1355:
1338:Open Diapason 8′
1318:
1314:
1305:
1304:
1300:
1297:
1286:Chimney Flute 8′
1271:
1208:
1207:
1203:
1200:
1194:
1193:
1189:
1186:
1180:
1179:
1175:
1172:
1166:
1165:
1161:
1158:
1121:
1120:
1116:
1113:
1107:
1106:
1102:
1099:
1037:
1034:
1028:
1025:
1003:
1002:
998:
974:
973:
969:
945:
944:
940:
916:
915:
911:
887:
886:
882:
879:
854:
853:
849:
846:
821:
820:
816:
813:
798:Nazard, Twelfth
788:
787:
783:
780:
755:
754:
750:
747:
736:
735:
731:
728:
708:
707:
703:
700:
689:
688:
684:
681:
648:
645:
635:
634:
630:
627:
620:difference tones
590:
589:
585:
580:
579:
575:
566:
565:
561:
558:
544:
543:
539:
536:
530:
529:
525:
522:
512:
511:
507:
504:
495:
494:
490:
487:
481:
480:
476:
473:
467:
466:
462:
459:
423:
422:
418:
413:
412:
408:
353:Pitch and length
114:
107:
103:
100:
94:
92:
51:
27:
19:
2684:
2683:
2679:
2678:
2677:
2675:
2674:
2673:
2649:
2648:
2647:
2642:
2574:
2491:
2446:
2400:Crescendo pedal
2361:
2351:
2314:
2312:
2308:
2300:
2298:
2285:
2267:Stevens Irwin,
2264:
2262:Further reading
2259:
2258:
2234:
2233:
2229:
2214:
2210:
2201:
2199:
2195:
2184:
2178:
2174:
2163:
2159:
2150:
2146:
2137:
2133:
2122:
2118:
2113:
2103:
2092:
2088:
2085:
2083:
2078:
2074:
2071:
2069:
2044:
2020:
1916:Vox Humana (or
1826:, and even the
1652:Flauto Traverso
1471:
1459:Main articles:
1457:
1451:
1442:Swell to Pedal
1441:
1437:
1434:
1433:
1430:
1429:
1427:
1425:
1423:
1421:
1419:
1417:
1415:
1401:
1398:
1397:
1394:
1393:
1390:
1389:
1386:
1385:
1383:
1378:
1374:
1371:
1369:
1367:
1365:
1360:
1356:
1353:
1351:
1349:
1347:
1345:
1344:Voix Céleste 8′
1343:
1341:
1339:
1337:
1326:Swell to Great
1323:
1319:
1316:
1315:
1312:
1311:
1309:
1308:Super Octave 2′
1307:
1302:
1298:
1295:
1293:
1291:
1289:
1287:
1285:
1283:
1281:
1232:
1215:
1205:
1201:
1198:
1196:
1191:
1187:
1184:
1182:
1177:
1173:
1170:
1168:
1163:
1159:
1156:
1154:
1132:
1118:
1114:
1111:
1109:
1104:
1100:
1097:
1095:
1046:
1041:
1040:
1035:
1031:
1026:
1022:
1010:
1000:
996:
995:
981:
971:
967:
966:
952:
942:
938:
937:
923:
913:
909:
908:
894:
884:
880:
877:
875:
861:
851:
847:
844:
842:
828:
818:
814:
811:
809:
795:
785:
781:
778:
776:
762:
752:
748:
745:
743:
733:
729:
726:
724:
715:
705:
701:
698:
696:
686:
682:
679:
677:
671:Name on manual
667:
663:
658:
632:
628:
625:
623:
608:harmonic series
602:
599:below the top C
598:
594:
587:
583:
582:
577:
573:
572:
563:
559:
556:
554:
541:
537:
534:
532:
527:
523:
520:
518:
509:
505:
502:
500:
492:
488:
485:
483:
478:
474:
471:
469:
464:
460:
457:
455:
440:
420:
416:
415:
410:
406:
405:
397:
387:. In a rank of
355:
316:
312:
308:
298:
274:
207:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
2682:
2672:
2671:
2666:
2661:
2644:
2643:
2641:
2640:
2635:
2630:
2625:
2620:
2615:
2610:
2605:
2600:
2595:
2590:
2585:
2579:
2576:
2575:
2573:
2572:
2567:
2562:
2557:
2552:
2547:
2542:
2537:
2532:
2527:
2522:
2517:
2512:
2506:
2504:
2493:
2492:
2490:
2489:
2484:
2479:
2478:
2477:
2472:
2462:
2456:
2454:
2448:
2447:
2445:
2444:
2443:
2442:
2437:
2432:
2424:
2419:
2414:
2409:
2408:
2407:
2402:
2392:
2387:
2382:
2377:
2371:
2369:
2363:
2362:
2350:
2349:
2342:
2335:
2327:
2321:
2320:
2306:
2284:
2283:External links
2281:
2280:
2279:
2272:
2263:
2260:
2257:
2256:
2227:
2222:Sonus Paradisi
2208:
2172:
2157:
2144:
2142:, 2009, p. 83.
2131:
2115:
2114:
2112:
2109:
2108:
2107:
2102:
2099:
2098:
2097:
2066:
2042:
2039:
2036:
2019:
2016:
1992:
1991:
1990:
1989:
1988:
1987:
1980:
1973:
1967:
1966:
1965:
1962:
1959:
1952:
1951:
1950:
1949:
1938:
1937:
1936:
1933:
1930:
1923:
1914:
1907:
1893:
1890:
1887:
1873:
1864:
1856:
1834:
1833:
1832:
1831:
1794:
1793:
1792:
1789:
1786:
1777:
1768:
1764:Viole de Gambe
1758:
1757:
1756:
1755:
1734:
1733:
1732:
1725:
1711:
1696:
1689:Quintaton (or
1687:
1673:
1659:
1656:
1647:
1633:
1630:
1621:
1607:
1593:
1577:
1576:
1575:
1574:
1553:
1552:
1551:
1524:
1521:
1512:
1509:
1493:
1492:
1491:
1490:
1484:Audio example
1456:
1453:
1448:
1447:
1440:Great to Pedal
1426:Choral Bass 4′
1406:
1366:Block Flute 2′
1328:
1269:
1244:
1243:
1240:
1231:
1228:
1214:
1211:
1131:
1128:
1081:equal tempered
1045:
1042:
1039:
1038:
1029:
1019:
1018:
1015:
1014:
1011:
1008:
1005:
993:
990:
986:
985:
982:
979:
976:
964:
961:
957:
956:
953:
950:
947:
935:
932:
928:
927:
924:
921:
918:
906:
903:
899:
898:
895:
892:
889:
873:
870:
866:
865:
862:
859:
856:
840:
837:
833:
832:
829:
826:
823:
807:
804:
800:
799:
796:
793:
790:
774:
771:
767:
766:
763:
760:
757:
741:
738:
720:
719:
716:
713:
710:
694:
691:
673:
672:
669:
665:
660:
655:
652:
600:
596:
592:
439:
436:
396:
393:
365:has 522 stops.
354:
351:
346:theatre organs
314:
310:
306:
297:
294:
273:
270:
206:
203:
149:) to a set of
117:
116:
31:
29:
22:
15:
9:
6:
4:
3:
2:
2681:
2670:
2667:
2665:
2662:
2660:
2657:
2656:
2654:
2639:
2636:
2634:
2631:
2629:
2626:
2624:
2621:
2619:
2616:
2614:
2611:
2609:
2606:
2604:
2601:
2599:
2596:
2594:
2591:
2589:
2586:
2584:
2581:
2580:
2577:
2571:
2568:
2566:
2563:
2561:
2558:
2556:
2553:
2551:
2548:
2546:
2543:
2541:
2538:
2536:
2533:
2531:
2528:
2526:
2523:
2521:
2518:
2516:
2513:
2511:
2508:
2507:
2505:
2502:
2498:
2494:
2488:
2485:
2483:
2480:
2476:
2473:
2471:
2468:
2467:
2466:
2463:
2461:
2458:
2457:
2455:
2453:
2449:
2441:
2438:
2436:
2433:
2431:
2428:
2427:
2425:
2423:
2420:
2418:
2415:
2413:
2410:
2406:
2403:
2401:
2398:
2397:
2396:
2393:
2391:
2388:
2386:
2383:
2381:
2378:
2376:
2373:
2372:
2370:
2368:
2364:
2359:
2355:
2348:
2343:
2341:
2336:
2334:
2329:
2328:
2325:
2311:
2307:
2297:on 2016-12-06
2296:
2292:
2287:
2286:
2277:
2273:
2270:
2266:
2265:
2252:
2248:
2244:
2240:
2239:
2231:
2223:
2219:
2212:
2198:on 2020-07-08
2194:
2190:
2183:
2176:
2168:
2161:
2154:
2148:
2141:
2135:
2128:
2127:
2120:
2116:
2105:
2104:
2067:
2064:
2060:
2056:
2052:
2048:
2040:
2037:
2034:
2030:
2026:
2022:
2021:
2015:
2013:
2009:
2005:
2001:
1997:
1985:
1981:
1978:
1974:
1971:
1970:
1968:
1963:
1960:
1957:
1956:
1954:
1953:
1947:
1946:
1945:
1942:
1941:
1939:
1934:
1931:
1928:
1924:
1920:
1915:
1912:
1908:
1904:
1898:
1894:
1891:
1888:
1884:
1878:
1874:
1870:
1865:
1863:(or Trombone)
1861:
1857:
1853:
1847:
1841:
1836:
1835:
1829:
1825:
1821:
1817:
1813:
1809:
1805:
1804:
1803:
1802:Audio example
1800:
1799:
1798:
1795:
1790:
1787:
1783:
1778:
1775:
1774:
1769:
1765:
1760:
1759:
1753:
1749:
1745:
1744:
1743:
1742:Audio example
1740:
1739:
1738:
1735:
1730:
1726:
1722:
1716:
1712:
1708:
1702:
1697:
1693:
1688:
1684:
1678:
1674:
1670:
1664:
1660:
1657:
1653:
1648:
1644:
1638:
1634:
1631:
1627:
1622:
1618:
1612:
1608:
1604:
1598:
1594:
1590:
1584:
1579:
1578:
1572:
1568:
1564:
1563:
1562:
1561:Audio example
1559:
1558:
1557:
1554:
1548:
1542:
1536:
1530:
1525:
1522:
1518:
1513:
1510:
1506:
1500:
1495:
1494:
1487:
1486:
1485:
1482:
1481:
1479:
1476:
1475:
1474:
1470:
1466:
1462:
1446:
1443:
1438:
1412:
1411:
1407:
1405:
1402:
1399:Vox Humana 8′
1348:Röhr Flute 4′
1342:Salicional 8′
1334:
1333:
1329:
1327:
1324:
1320:
1278:
1277:
1273:
1272:
1267:
1265:
1261:
1257:
1253:
1249:
1241:
1238:
1237:
1236:
1227:
1223:
1219:
1210:
1151:
1147:
1143:
1140:
1137:
1127:
1123:
1092:
1090:
1086:
1082:
1078:
1074:
1070:
1066:
1062:
1057:
1056:Roman numeral
1053:
1052:
1033:
1024:
1020:
1013:Quadragesima
1012:
1006:
994:
991:
988:
987:
983:
977:
965:
962:
959:
958:
954:
948:
936:
933:
930:
929:
925:
919:
907:
904:
901:
900:
896:
890:
874:
871:
868:
867:
863:
857:
841:
838:
835:
834:
831:Tierce, Terz
830:
824:
808:
805:
802:
801:
797:
791:
775:
772:
769:
768:
765:Gross Tierce
764:
758:
742:
739:
722:
721:
717:
711:
695:
692:
675:
674:
670:
662:Sounding note
661:
656:
653:
650:
649:
644:
641:
639:
621:
617:
613:
612:unified ranks
609:
604:
570:
552:
548:
516:
497:
453:
449:
445:
432:
428:
425:
402:
392:
390:
389:stopped pipes
386:
382:
381:
375:
373:
364:
359:
350:
347:
341:
337:
333:
330:
326:
322:
318:
303:
293:
290:
288:
283:
279:
269:
267:
262:
260:
256:
252:
248:
244:
239:
237:
233:
227:
224:
220:
216:
212:
202:
200:
196:
195:
190:
185:
183:
179:
175:
174:Hammond organ
171:
167:
163:
158:
156:
152:
148:
144:
140:
132:
131:Dubuque, Iowa
128:
123:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
2560:Voix céleste
2550:Registration
2520:Tibia Clausa
2496:
2367:Construction
2313:. Retrieved
2299:. Retrieved
2295:the original
2275:
2268:
2236:
2230:
2221:
2211:
2200:. Retrieved
2193:the original
2189:ISO Yearbook
2188:
2175:
2166:
2160:
2152:
2147:
2139:
2134:
2124:
2119:
2012:silent films
1993:
1919:Voix Humaine
1837:Trumpet (or
1810:such as the
1773:Voix Céleste
1623:Subbass (or
1526:Mixture (or
1480:or Diapason
1472:
1444:
1439:
1413:
1409:
1408:
1403:
1391:Trompette 8′
1335:
1331:
1330:
1325:
1321:
1288:Principal 4′
1280:Prestant 16′
1279:
1275:
1274:
1247:
1245:
1233:
1230:Nomenclature
1224:
1220:
1216:
1213:Sesquialtera
1152:
1148:
1144:
1141:
1133:
1124:
1093:
1049:
1047:
1032:
1023:
642:
637:
605:
603:of a piano.
568:
550:
546:
498:
443:
441:
426:
398:
378:
376:
368:
342:
338:
334:
328:
324:
320:
319:
301:
299:
291:
281:
278:slider chest
277:
275:
263:
254:
240:
235:
231:
228:
222:
218:
208:
194:Registration
192:
188:
186:
169:
165:
161:
159:
154:
146:
138:
136:
105:
96:
86:
79:
72:
65:
58:"Organ stop"
53:
41:Please help
36:verification
33:
2669:Organ stops
2570:Zimbelstern
2354:Pipe organs
2053:), and the
2008:zimbelstern
1977:Spitz Flöte
1849:, Clarion,
1828:human voice
1788:Violoncello
1698:Nazard (or
1683:Cor de Nuit
1431:Posaune 16′
1418:Subbass 16′
1414:Subbass 32′
1395:Hautbois 8′
1384:Cymbale III
1336:Bourdon 16′
1284:Gemshorn 8′
1282:Prestant 8′
302:unification
287:electricity
151:organ pipes
2653:Categories
2623:Repertoire
2593:Fairground
2565:Vox humana
2540:Ophicleide
2460:En chamade
2315:2016-04-02
2301:2017-01-03
2202:2015-01-24
2111:References
2004:snare drum
1996:aerophones
1961:Salicional
1935:Ophicleide
1692:Quintadena
1580:Flute (or
1529:Fourniture
1424:Bourdon 8′
1404:Tremulant
1317:Clarion 4′
1313:Trumpet 8′
1310:Mixture IV
1264:Reed stops
1167:′, 4′ and
955:Tredezime
668:is played
385:open pipes
253:, feature
232:stop knobs
143:pipe organ
139:organ stop
99:March 2018
69:newspapers
2613:Portative
2545:Plein-jeu
2417:Swell box
2412:Tremulant
1932:Cornopean
1903:Krummhorn
1866:Oboe (or
1846:Trompette
1677:Nachthorn
1663:Rohrflöte
1535:Plein Jeu
1517:Doublette
1499:Prinzipal
1478:Principal
1469:Reed pipe
1465:Flue pipe
1435:Tromba 8′
1422:Octave 8′
1346:Octave 4′
1322:Tremulant
984:Mollterz
897:Septième
654:Interval
651:Harmonic
638:resultant
452:overtones
427:Example:
329:Extension
325:duplexing
321:Borrowing
300:The term
236:stop tabs
205:Mechanics
166:stop knob
2618:Positive
2375:Builders
2245:. 2002.
2096:′ stops.
2055:Diaphone
1984:Erzähler
1972:Gemshorn
1964:Dulciana
1911:Bombarde
1897:Cromorne
1889:Clarinet
1869:Hautbois
1840:Trompete
1820:clarinet
1626:Soubasse
1292:Twelfth
1248:stoplist
1051:mixtures
1044:Mixtures
864:Larigot
659:of pipe
567:′) and "
547:septième
515:interval
444:mutation
251:Portugal
189:register
170:drawknob
162:stop tab
155:stopping
2633:Theatre
2535:Mixture
2530:Gedackt
2510:Bourdon
2475:Voicing
2470:Scaling
2422:Tracker
2380:Console
2091:⁄
2077:⁄
2000:marimba
1940:Hybrid
1927:Dulzian
1877:Fagotto
1860:Posaune
1812:trumpet
1791:Violone
1729:Larigot
1658:Piccolo
1611:Bourdon
1603:Gedeckt
1597:Gedackt
1571:piccolo
1541:Cymbale
1377:⁄
1368:Tierce
1359:⁄
1350:Nazard
1301:⁄
1260:celeste
1204:⁄
1190:⁄
1176:⁄
1162:⁄
1122:′, 1′.
1117:⁄
1108:′, 2′,
1103:⁄
1085:beating
999:⁄
970:⁄
941:⁄
912:⁄
883:⁄
850:⁄
817:⁄
784:⁄
751:⁄
732:⁄
704:⁄
685:⁄
631:⁄
586:⁄
576:⁄
562:⁄
551:septima
540:⁄
526:⁄
508:⁄
491:⁄
477:⁄
463:⁄
419:⁄
414:′, and
409:⁄
395:Octaves
243:England
182:drawbar
83:scholar
2603:German
2598:French
2583:Barrel
2525:Cornet
2487:Tuning
2395:Pedals
2390:Manual
1883:Basson
1748:violin
1737:String
1715:Tierce
1701:Nasard
1617:Bordun
1547:Scharf
1505:Montre
1467:, and
1445:
1136:cornet
1130:Cornet
1065:thirds
1061:fifths
718:Quint
664:when C
657:Length
549:" or "
482:′ (or
448:cornet
401:octave
282:slider
259:manual
215:timbre
85:
78:
71:
64:
56:
2638:Water
2628:Shoes
2588:Crawl
2515:Tibia
2497:Stops
2452:Pipes
2196:(PDF)
2185:(PDF)
1752:cello
1707:Nasat
1589:Flöte
1583:Flûte
1556:Flute
1410:PEDAL
1332:SWELL
1276:GREAT
1256:reeds
1252:flues
926:None
372:piano
247:Spain
168:, or
90:JSTOR
76:books
2501:List
2482:Reed
2465:Flue
2440:Stop
2358:list
2002:and
1900:(or
1892:Tuba
1880:(or
1824:oboe
1822:and
1816:tuba
1814:and
1797:Reed
1750:and
1721:Terz
1718:(or
1680:(or
1614:(or
1600:(or
1569:and
1079:and
1077:just
1073:cent
1069:pure
1063:and
992:P40
963:m31
934:M27
905:M23
872:m21
839:P19
806:M17
773:P12
740:M10
616:pure
569:none
399:The
223:note
219:rank
213:and
211:note
176:and
147:wind
62:news
2247:doi
989:48
960:19
931:13
693:P5
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424:′.
323:or
317:).
249:or
184:".
137:An
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2070:21
2063:Hz
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978:E♭
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891:B♭
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770:3
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640:.
624:10
588:15
380:8′
261:.
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2499:(
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1303:3
1299:2
1296:+
1294:2
1206:3
1202:1
1199:+
1197:5
1192:5
1188:1
1185:+
1183:3
1178:5
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1171:+
1169:3
1164:3
1160:1
1157:+
1155:5
1119:3
1115:1
1112:+
1110:1
1105:3
1101:2
1098:+
1096:2
1009:9
1007:G
1001:6
997:1
980:8
968:8
951:7
949:A
939:8
922:7
920:D
914:9
910:8
893:6
885:7
881:1
878:+
876:1
860:6
858:G
852:3
848:1
845:+
843:1
827:6
825:E
819:5
815:3
812:+
810:1
794:5
792:G
786:3
782:2
779:+
777:2
761:5
759:E
753:5
749:1
746:+
744:3
734:2
730:1
727:+
725:2
723:(
714:4
712:G
706:3
702:1
699:+
697:5
687:2
683:1
680:+
678:1
676:(
666:4
633:3
629:2
626:+
601:8
597:7
593:4
584:8
578:9
574:8
564:7
560:1
557:+
555:1
542:3
538:1
535:+
533:1
528:5
524:3
521:+
519:1
510:3
506:2
503:+
501:2
493:2
489:1
486:+
484:1
479:5
475:3
472:+
470:1
465:3
461:2
458:+
456:2
421:4
417:1
411:2
407:1
315:4
311:3
307:3
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
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