174:. The term refers to two types of reeds where the tongue does not beat directly against the shallot in order to produce the reed tone, which creates a unique sound (these are most commonly used on nineteenth-century German or French organs). In one case, the free reed stop will appear from the outside like a normal reed (complete with boot, tuning wire, and resonator, etc.). The only difference lies in the action of the tongue (see above), which beats "through" the shallot (hence the German term for the reed â
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The tonal characteristics of reed pipes are determined by several factors, the most important of which is the interaction between the shallot and the tongue. The thickness and curve of the tongue itself play an important role in determining the tonal quality of the pipe. When voicing a reed pipe, the
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is a specific type of reed which is mounted horizontally on the organ case rather than stood vertically inside the organ case. This is done to project the tone more directly at the listener. In cases where this cannot be done, hooded reeds (generally trumpets) are used. This method of construction
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As wind enters the boot, it travels over the reed, causing it to vibrate against the shallot. This produces the pipe's sound. The wind passes through the shallot and up into the resonator, which focuses and refines the sound wave produced by the reed. The length of the air column as well as the
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Scaling is important when determining the final tone color of a reed pipe, though it is not of primary importance as it is in flue pipe construction. This is because reed pipe resonators simply reinforce certain partials of the sound wave; the air column inside the resonator is not the primary
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voicer will take great care in shaping the curve of the tongue, because this controls how the tongue beats against the shallot. Whether the shallot is cylindrical or tapered (and, in the latter case, whether or not the taper is inverted) greatly affects the pipe's
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vibrator. The shape of the resonator, however, is quite important: an inverted-conical resonator (such as is typical with a
Trumpet rank) produces more harmonics than does a cylindrical resonator (like that of a Clarinet rank).
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which varied the wind pressure delivered to the free reed stop. This type of free reed was popular among certain organ builders of the nineteenth century due to the increased interest in a more expressive aesthetic.
216:) determine whether the tone is more Baroque or more Romantic. In addition, the type of block (whether a standard shape or a French "double-block") in which the reed assembly is set has an effect on the sound.
190:. This arrangement makes it possible to change the volume produced without changing its pitch by varying the wind pressure, which is not possible with normal organ pipes. Volume adjustment was available to the
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is used, wherein organ pipes are created so that instead of standing straight up, they appear to make a loop in the middle of the resonator. This is done by joining several small pieces of metal together.
239:(such as the Clarinet, the Oboe, and the Cor Anglais), which often (but not always) imitate orchestral instruments, and are used for quieter, solo passages (similar to woodwinds in an orchestra).
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joins with the upper opening of the shallot and extends above the boot. The resonator may be made in a wide variety of lengths, shapes, and configurations, depending on the desired tone quality.
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178:). In the other form of the reed, an enclosed boot does not exist (as in normal reed pipes); therefore, all the tongues are held together in the same chamber, as in the
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Reed pipes include all stops of the "Reed" class, and some stops from the "Hybrid" class. The reed stops of an organ are collectively called the "reed-work".
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in order to change the length of the tongue that is permitted to vibrate, thereby changing the pitch produced by the pipe. The
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is inserted through the boot and is bent to hold the reed against the shallot. The wire is moved up or down using a
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projects the sound in the same manner with a vertical resonator which turns at a 90-degree angle at the top.
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length, mass, and stiffness of the reed itself, determine the frequency of the instrument.
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The Organ: An
Encyclopedia - Page 5 Douglas Earl Bush, Richard Kassel - 2006
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For the instruments sometimes called "reed pipes" in
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In places where a full-length resonator will not fit, a technique called
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Williams, Peter & Renshaw, Martin (2001). "Reed-work". In
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67:) is directed towards the reed, which vibrates at a specific
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111:. This assembly protrudes from the underside of the
223:There are generally two main types of reed stops:
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267:The New Grove Dictionary of Music and Musicians
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170:A less-common type of reed construction is the
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79:. Reed pipes are common components of
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63:. Air under pressure (referred to as
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37:A schematic of a typical reed pipe.
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231:and reinforce the full organ; and
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103:(the reed) which rests against a
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71:. This is in contrast to
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16:Type of organ pipe
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57:strip known as a
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1312:Vittorio Baldini
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1019:Gregorio Allegri
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944:Orlando di Lasso
899:Jacques Arcadelt
866:Pierre de la Rue
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768:Johannes Martini
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308:. Archived from
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28:Reed instruments
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778:Leonel Power
578:Voix céleste
568:Registration
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1368:Early music
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1244:Elizabethan
1099:Jacopo Peri
1069:Alonso Lobo
1029:John Cooper
891:Late (1530)
851:Jean Mouton
763:Jean Japart
753:Walter Frye
588:Zimbelstern
372:Pipe organs
214:Schiffschen
121:tuning wire
81:pipe organs
1398:Philosophy
1393:Literature
1361:Background
1227:Traditions
1203:Magnificat
1193:Intermedio
1137:Burgundian
641:Repertoire
611:Fairground
583:Vox humana
558:Ophicleide
478:En chamade
243:References
233:solo reeds
229:flue stops
164:See also:
160:Free reeds
136:en chamade
73:flue pipes
51:organ pipe
1213:Offertory
1142:Colorists
1004:Mannerism
631:Portative
563:Plein-jeu
435:Swell box
430:Tremulant
188:harmonium
184:accordion
180:harmonica
172:free reed
151:Actuation
129:resonator
43:reed pipe
1459:Category
1434:Category
1411: â
1274:Portugal
1198:Madrigal
1172:Venetian
636:Positive
393:Builders
264:(eds.).
192:organist
144:mitering
1424:â
1254:Germany
1234:British
651:Theatre
553:Mixture
548:Gedackt
528:Bourdon
493:Voicing
488:Scaling
440:Tracker
398:Console
105:shallot
47:lingual
1444:Portal
1269:Poland
1249:France
1239:Cyprus
1218:Pavane
1012:c.1600
621:German
616:French
601:Barrel
543:Cornet
505:Tuning
413:Pedals
408:Manual
278:
260:&
210:timbre
101:tongue
21:Cornet
1388:Dance
1279:Spain
1259:Italy
1188:Carol
1167:Roman
656:Water
646:Shoes
606:Crawl
533:Tibia
515:Stops
470:Pipes
186:, or
113:block
109:wedge
69:pitch
55:brass
1208:Mass
1006:and
519:List
500:Reed
483:Flue
458:Stop
376:list
276:ISBN
119:. A
117:boot
87:Stop
65:wind
60:reed
1378:Art
235:or
134:An
1461::
304:.
291:^
274:.
182:,
83:.
41:A
690:e
683:t
676:v
521:)
517:(
378:)
374:(
364:e
357:t
350:v
286:â
284:.
30:.
23:.
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