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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).
1233:
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.
360:
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.
36:
133:
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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.
268:, 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
369:
1236:
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
1232:
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
295:
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
1499:
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
414:
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
1245:
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
359:
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
1228:
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
647:′. 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
240:
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,
236:
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
1156:
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
380:
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
1149:
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
346:
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
315:
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
350:
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
342:
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
2093:′ 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
1220:′ 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).
1160:
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.
1229:
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.
354:
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
1136:
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.
2076:. 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.
351:
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.
1959:
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:
385:) 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").
279:) 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.
457:
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
2017:, 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,
2009:, 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,
528:
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 ) (
237:
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.
241:
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
2674:
287:
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
2248:
296:
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
1105:
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:
2049:
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.
164:. 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" (
442:
1571:
1954:
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1561:; followed by a Roman numeral indicating the number of pipes that play simultaneously for a single note; example: Mixture III, or Fourniture IV–VI)
1752:
212:,” 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.
300:, it is inherently mechanical in nature. Many organs originally built with mechanical actuators have been retrofitted with electric actuators.
1812:
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388:
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
1153:
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.
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Many large organs have a 64′ stop in their stoplist, but nearly all of these are either digital, acoustic imitations (32′ combined with a
137:
119:
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rank it controls. In general, that label gives the organist two vital pieces of information about the rank of pipes in question:
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contain multiple ranks of pipes above unison pitch, usually octave and fifths. The number of ranks in a mixture is denoted by a
2035:
415:
32′ stop speaks one octave below a 16′ stop. Octave pitch lengths used in actual organs include 64′, 32′, 16′, 8′, 4′, 2′, 1′,
2192:
2669:
57:
2136:
100:
2057:
2046:." A former organ curator warned the stagehands when the Grand Ophicleide was going to be used, because of the volume.
183:. On electric or electronic organs that imitate a pipe organ, the same terms are often used, with the exception of the
72:
2385:
510:
The sounding length of a mutation stop gives the answer as to what pitch the rank sounds. For example, a stop labeled
53:
1576:
Flute stops attempt to imitate (to one degree or another) the sound of flute-class woodwind instruments, such as the
394:(pronounced "eight-foot") stop. This nomenclature refers to the approximate length of the longest pipe in a rank of
79:
144:. Shown here are several ranks of pipes, each of which would be controlled from one of the stops on the console.
2618:
2511:
2445:
2440:
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1471:
402:, the lowest pipe is about 4 feet long, but because it sounds at unison pitch, it is also known as an 8′ stop.
1192:′), though the individual ranks are more usually configured as separate stops (for example the Grande Tierce
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618:
86:
46:
2039:
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String stops attempt to imitate (to one degree or another) the sound of stringed instruments, such as the
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unification and duplexing to expand the tonal resources of a limited number of synthesized virtual ranks.
2005:
Percussion stops (often referred to as "toy counters" or "toy stops"), unlike other organ stops, are not
320:) is pressed, two pipes of the same rank will sound: the pipe normally corresponding to the key played (C
2301:
441:
209:
2034:
The loudest organ stop in the world is the Grand Ophicleide located in the Right Pedal division of the
2021:). Percussion stops are particularly common in theatre organs, which were generally made to accompany
338:
refers to one rank being made available from multiple stop knobs, often on different manuals or pedal.
68:
2042:
as having "a pure trumpet note of ear-splitting volume, more than six times the volume of the loudest
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2485:
2341:
1099:
373:
204:
2608:
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458:
1643:
Stopped Diapason (or Stopped Flute) — despite its name, the Stopped Diapason is a flute-class stop
2525:
2450:
2497:
2261:
1091:
2140:, ed. Nicholas Thistlethwaite and Geoffrey Webber (Cambridge University Press, 1998), p. 165.
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2415:
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2257:
1818:
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630:
525:
390:
188:
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303:
Other common designs include the spring chest, the cone valve chest, and the Pitman chest.
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1079:
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626:
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1270:
132:
93:
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269:
171:
The term can also refer to the control that operates this mechanism, commonly called a
2320:
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1269:, then low to high pitch, then louder to softer stops within a pitch level. Separate
1071:
1066:
356:
192:
184:
141:
1261:, showing both common stop names and conventional formatting. Within each division,
453:
Ranks that do not speak at the unison or some octave of the unison pitch are called
2593:
2530:
1237:
earlier organs). Sesquialteras therefore often have a sharper sound than Cornets.
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221:
2203:
2648:
2638:
2598:
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2022:
2018:
1838:
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399:
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35:
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2014:
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pitch normally associated with the keys (i.e. the pitch of the same keys on a
161:
153:
220:
Organ pipes are physically organized within the organ into sets according to
2555:
2492:
2475:
2427:
2422:
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There are only two true and complete (acoustic, non-digital, going down to C
2006:
1807:
1479:
1475:
1274:
1266:
1262:
462:
395:
629:. Some organs contain mutations that are overtones of 16′ or 32′ to create
17:
368:
1830:
261:
2540:
2061:
2010:
1822:
1581:
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which tone quality the rank possesses (principal, trumpet, flute, etc.)
1164:
Occasionally Cornets are supplied based on a 16′ fundamental (16′, 8′,
1098:
in chords, and tierce mixtures became uncommon with the abandonment of
253:
2117:
Vogelgesang (also known as rosignolo), is a bird-imitating organ stop.
1817:
Reed stops attempt to imitate (to one degree or another) the sound of
208:
is the art of combining stops to produce a certain sound. The phrase "
2333:
1758:
411:
228:. A set of pipes producing the same timbre for each note is called a
225:
2073:
1762:
1500:
and names vary by language and era, here are some common examples:
382:
367:
257:
131:
556:′), with rarer examples from higher in the series, such as the "
1834:
1826:
524:′ (or one-third of 8′) has three times the frequency; i.e., the
2337:
202:, referring to rank(s) of pipes controlled by a single stop.
29:
2305:
2072:). The lowest note of these stops has a frequency of 8
1281:
1273:
stops are next to their corresponding normally-tuned stops.
440:
2229:"Notes about Historical Registration on the Santanyí Organ"
479:′ (labeled 3′ on some German and Swedish organs), 2′, and
2056:) 64′ stops in the world: the Contra-Trombone 64′ in the
1070:
major third is called a 'tierce mixture'. As a rule, the
1047:
5th harmonic of the note one octave below the fundamental
1038:
3rd harmonic of the note one octave below the fundamental
461:, composed of a flute and ranks making up its first four
291:, there is a strip of material (typically wood) called a
276:
252:
Some organs, particularly smaller historical organs from
275:
Ranks which are neither divided nor extended (see below
2038:. It stands on 100” wind pressure and is described by
2068:-Dulzian 64′ in the Boardwalk Hall Auditorium Organ (
1250:
which octave of pitches the rank is natively tuned to
2321:"Dictionary of the most frequently used organ stops"
2134:
James Dalton, "Iberian organ music before 1700," in
2506:
2461:
2376:
1534:
Quint (or Twelfth; sometimes in the Flute category)
1082:in relation to the fundamental. For thirds, the 14
60:. Unsourced material may be challenged and removed.
1094:interval is large enough to introduce noticeable
621:of the fundamental, and except when derived from
198:The term is also sometimes used as a synonym for
2180:. New York: Dodd, Mead, and Company. p. 13.
1277:are often labeled in red on stop knobs or tabs.
2349:
1661:
1484:Organ pipes fall into five broad categories:
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1508:
316:stops are selected and a key (for example, C
245:, which move in and out of the console, and
232:, while each key on a pipe organ controls a
2287:Organ Stops and Their Artistic Registration
249:, which toggle back and forth in position.
2356:
2342:
2334:
1955:Audio example of Gemshorn (flute + string)
617:Mutations usually sound at pitches in the
120:Learn how and when to remove this message
2675:Musical instrument parts and accessories
656:
324:), and the pipe one octave above that (C
2262:10.1093/gmo/9781561592630.article.29594
2127:
1507:Principal (or Diapason, Open Diapason,
1031:
654:This is a list of some mutation stops.
168:the passage of air to certain pipes).
156:that admits pressurized air (known as
1969:Geigen Principal (or Violin Diapason)
7:
2137:The Cambridge Companion to the Organ
307:Unification, borrowing and extension
277:Unification, borrowing and extension
58:adding citations to reliable sources
1966:Combination of String + Principal:
1257:This is an example of a pipe organ
542:′) and sixth (G) (larigot, nasat) (
136:The choir division of the organ at
25:
2193:"Jordi Bosch—The Unknown Master"
2176:Audsley, George Ashdown (1905).
622:
34:
2036:Boardwalk Hall Auditorium Organ
1829:, reed instruments such as the
45:needs additional citations for
2280:Dictionary of Pipe Organ Stops
2202:: 114–116, 143. Archived from
1980:Combination of String + Flute
1:
2302:"Encyclopedia of Organ Stops"
2070:click here for a sound sample
2062:click here for a sound sample
2164:Understanding the Pipe Organ
2151:Understanding the Pipe Organ
2058:Sydney Town Hall Grand Organ
1525:Super Octave (or Fifteenth,
2696:
2191:Grenzing, Gerhard (1993).
1772:Gamba (or Viola da Gamba,
1469:
507:′ on some German organs).
2589:
2178:The Art of Organ-Building
2285:George Ashdown Audsley,
1472:List of pipe organ stops
1466:Classifications of stops
1086:discrepancy between the
602:′ Major 7th which when C
449:Mutations and resultants
2254:Oxford University Press
2252:. Oxford Music Online.
138:St. Raphael's Cathedral
2246:"Vogelgesang (Ger.)".
2040:Guinness World Records
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1078:of mixtures are tuned
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377:
210:pull out all the stops
191:, which use the term "
145:
2670:Pipe organ components
1279:
1100:meantone temperaments
1059:Certain stops called
444:
371:
135:
2112:Other types of stops
1863:Trompette en Chamade
1651:(or Harmonic Flute,
1522:Octave (or Prestant)
1431:Lieblich Gedeckt 16′
606:is played sounds a B
592:′). There's also an
374:Naval Academy Chapel
283:Methods of actuation
152:is a component of a
54:improve this article
27:Part of a pipe organ
2566:Trompette militaire
2437:Combination action
1677:(or Chimney Flute,
1351:Stopped Diapason 8′
1206:′ and Grand Nasard
658:
633:, e.g., quint-bass
625:, are always tuned
465:, sounding 8′, 4′,
2619:Historical Society
2300:Stauff, Edward L.
2249:Grove Music Online
2166:, 2009, Chapter 6.
2044:locomotive whistle
1841:. Common examples:
1790:Violin (or Viola,
1765:. Common examples:
1660:Concert Flute (or
1584:. Common examples:
1398:Contra Fagotto 16′
1265:are listed before
657:
446:
378:
146:
2657:
2656:
2446:Tubular-pneumatic
2441:Electro-pneumatic
2227:Frankel, Stuart.
2162:John R. Shannon,
2149:John R. Shannon,
1819:brass instruments
1793:Viole d'Orchestre
1461:
1460:
1427:Open Diapason 16′
1301:Harmonic Flute 4′
1028:
1027:
372:The organ at the
266:divided registers
189:clonewheel organs
130:
129:
122:
104:
16:(Redirected from
2687:
2416:Expression pedal
2396:Eight-foot pitch
2358:
2351:
2344:
2335:
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2316:
2314:
2313:
2304:. Archived from
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2101:
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2029:Notable examples
1997:
1990:
1940:
1932:
1924:
1916:
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1873:
1865:
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1853:
1795:
1787:
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1742:
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1705:
1696:
1690:
1682:
1680:Flûte à Cheminée
1676:
1665:
1656:
1654:Flûte Octaviante
1650:
1648:Flûte Harmonique
1639:
1630:
1624:
1616:
1610:
1602:
1596:
1578:transverse flute
1560:
1554:
1548:
1542:
1530:
1518:
1512:
1447:
1443:
1439:Rausch Quinte II
1411:
1407:
1403:
1399:
1392:
1391:
1387:
1384:
1374:
1373:
1369:
1366:
1349:Open Diapason 8′
1329:
1325:
1316:
1315:
1311:
1308:
1297:Chimney Flute 8′
1282:
1219:
1218:
1214:
1211:
1205:
1204:
1200:
1197:
1191:
1190:
1186:
1183:
1177:
1176:
1172:
1169:
1132:
1131:
1127:
1124:
1118:
1117:
1113:
1110:
1048:
1045:
1039:
1036:
1014:
1013:
1009:
985:
984:
980:
956:
955:
951:
927:
926:
922:
898:
897:
893:
890:
865:
864:
860:
857:
832:
831:
827:
824:
809:Nazard, Twelfth
799:
798:
794:
791:
766:
765:
761:
758:
747:
746:
742:
739:
719:
718:
714:
711:
700:
699:
695:
692:
659:
646:
645:
641:
638:
631:difference tones
601:
600:
596:
591:
590:
586:
577:
576:
572:
569:
555:
554:
550:
547:
541:
540:
536:
533:
523:
522:
518:
515:
506:
505:
501:
498:
492:
491:
487:
484:
478:
477:
473:
470:
434:
433:
429:
424:
423:
419:
364:Pitch and length
125:
118:
114:
111:
105:
103:
62:
38:
30:
21:
2695:
2694:
2690:
2689:
2688:
2686:
2685:
2684:
2660:
2659:
2658:
2653:
2585:
2502:
2457:
2411:Crescendo pedal
2372:
2362:
2325:
2323:
2319:
2311:
2309:
2299:
2296:
2278:Stevens Irwin,
2275:
2273:Further reading
2270:
2269:
2245:
2244:
2240:
2226:
2225:
2221:
2212:
2210:
2206:
2195:
2190:
2189:
2185:
2175:
2174:
2170:
2161:
2157:
2148:
2144:
2133:
2129:
2124:
2114:
2103:
2099:
2096:
2094:
2089:
2085:
2082:
2080:
2055:
2031:
1927:Vox Humana (or
1837:, and even the
1663:Flauto Traverso
1482:
1470:Main articles:
1468:
1462:
1453:Swell to Pedal
1452:
1448:
1445:
1444:
1441:
1440:
1438:
1436:
1434:
1432:
1430:
1428:
1426:
1412:
1409:
1408:
1405:
1404:
1401:
1400:
1397:
1396:
1394:
1389:
1385:
1382:
1380:
1378:
1376:
1371:
1367:
1364:
1362:
1360:
1358:
1356:
1355:Voix Céleste 8′
1354:
1352:
1350:
1348:
1337:Swell to Great
1334:
1330:
1327:
1326:
1323:
1322:
1320:
1319:Super Octave 2′
1318:
1313:
1309:
1306:
1304:
1302:
1300:
1298:
1296:
1294:
1292:
1243:
1226:
1216:
1212:
1209:
1207:
1202:
1198:
1195:
1193:
1188:
1184:
1181:
1179:
1174:
1170:
1167:
1165:
1143:
1129:
1125:
1122:
1120:
1115:
1111:
1108:
1106:
1057:
1052:
1051:
1046:
1042:
1037:
1033:
1021:
1011:
1007:
1006:
992:
982:
978:
977:
963:
953:
949:
948:
934:
924:
920:
919:
905:
895:
891:
888:
886:
872:
862:
858:
855:
853:
839:
829:
825:
822:
820:
806:
796:
792:
789:
787:
773:
763:
759:
756:
754:
744:
740:
737:
735:
726:
716:
712:
709:
707:
697:
693:
690:
688:
682:Name on manual
678:
674:
669:
643:
639:
636:
634:
619:harmonic series
613:
610:below the top C
609:
605:
598:
594:
593:
588:
584:
583:
574:
570:
567:
565:
552:
548:
545:
543:
538:
534:
531:
529:
520:
516:
513:
511:
503:
499:
496:
494:
489:
485:
482:
480:
475:
471:
468:
466:
451:
431:
427:
426:
421:
417:
416:
408:
398:. In a rank of
366:
327:
323:
319:
309:
285:
218:
126:
115:
109:
106:
63:
61:
51:
39:
28:
23:
22:
15:
12:
11:
5:
2693:
2691:
2683:
2682:
2677:
2672:
2662:
2661:
2655:
2654:
2652:
2651:
2646:
2641:
2636:
2631:
2626:
2621:
2616:
2611:
2606:
2601:
2596:
2590:
2587:
2586:
2584:
2583:
2578:
2573:
2568:
2563:
2558:
2553:
2548:
2543:
2538:
2533:
2528:
2523:
2517:
2515:
2504:
2503:
2501:
2500:
2495:
2490:
2489:
2488:
2483:
2473:
2467:
2465:
2459:
2458:
2456:
2455:
2454:
2453:
2448:
2443:
2435:
2430:
2425:
2420:
2419:
2418:
2413:
2403:
2398:
2393:
2388:
2382:
2380:
2374:
2373:
2363:
2361:
2360:
2353:
2346:
2338:
2332:
2331:
2317:
2295:
2294:External links
2292:
2291:
2290:
2283:
2274:
2271:
2268:
2267:
2238:
2233:Sonus Paradisi
2219:
2183:
2168:
2155:
2153:, 2009, p. 83.
2142:
2126:
2125:
2123:
2120:
2119:
2118:
2113:
2110:
2109:
2108:
2077:
2053:
2050:
2047:
2030:
2027:
2003:
2002:
2001:
2000:
1999:
1998:
1991:
1984:
1978:
1977:
1976:
1973:
1970:
1963:
1962:
1961:
1960:
1949:
1948:
1947:
1944:
1941:
1934:
1925:
1918:
1904:
1901:
1898:
1884:
1875:
1867:
1845:
1844:
1843:
1842:
1805:
1804:
1803:
1800:
1797:
1788:
1779:
1775:Viole de Gambe
1769:
1768:
1767:
1766:
1745:
1744:
1743:
1736:
1722:
1707:
1700:Quintaton (or
1698:
1684:
1670:
1667:
1658:
1644:
1641:
1632:
1618:
1604:
1588:
1587:
1586:
1585:
1564:
1563:
1562:
1535:
1532:
1523:
1520:
1504:
1503:
1502:
1501:
1495:Audio example
1467:
1464:
1459:
1458:
1451:Great to Pedal
1437:Choral Bass 4′
1417:
1377:Block Flute 2′
1339:
1280:
1255:
1254:
1251:
1242:
1239:
1225:
1222:
1142:
1139:
1092:equal tempered
1056:
1053:
1050:
1049:
1040:
1030:
1029:
1026:
1025:
1022:
1019:
1016:
1004:
1001:
997:
996:
993:
990:
987:
975:
972:
968:
967:
964:
961:
958:
946:
943:
939:
938:
935:
932:
929:
917:
914:
910:
909:
906:
903:
900:
884:
881:
877:
876:
873:
870:
867:
851:
848:
844:
843:
840:
837:
834:
818:
815:
811:
810:
807:
804:
801:
785:
782:
778:
777:
774:
771:
768:
752:
749:
731:
730:
727:
724:
721:
705:
702:
684:
683:
680:
676:
671:
666:
663:
611:
607:
603:
450:
447:
407:
404:
376:has 522 stops.
365:
362:
357:theatre organs
325:
321:
317:
308:
305:
284:
281:
217:
214:
160:) to a set of
128:
127:
42:
40:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2692:
2681:
2678:
2676:
2673:
2671:
2668:
2667:
2665:
2650:
2647:
2645:
2642:
2640:
2637:
2635:
2632:
2630:
2627:
2625:
2622:
2620:
2617:
2615:
2612:
2610:
2607:
2605:
2602:
2600:
2597:
2595:
2592:
2591:
2588:
2582:
2579:
2577:
2574:
2572:
2569:
2567:
2564:
2562:
2559:
2557:
2554:
2552:
2549:
2547:
2544:
2542:
2539:
2537:
2534:
2532:
2529:
2527:
2524:
2522:
2519:
2518:
2516:
2513:
2509:
2505:
2499:
2496:
2494:
2491:
2487:
2484:
2482:
2479:
2478:
2477:
2474:
2472:
2469:
2468:
2466:
2464:
2460:
2452:
2449:
2447:
2444:
2442:
2439:
2438:
2436:
2434:
2431:
2429:
2426:
2424:
2421:
2417:
2414:
2412:
2409:
2408:
2407:
2404:
2402:
2399:
2397:
2394:
2392:
2389:
2387:
2384:
2383:
2381:
2379:
2375:
2370:
2366:
2359:
2354:
2352:
2347:
2345:
2340:
2339:
2336:
2322:
2318:
2308:on 2016-12-06
2307:
2303:
2298:
2297:
2293:
2288:
2284:
2281:
2277:
2276:
2272:
2263:
2259:
2255:
2251:
2250:
2242:
2239:
2234:
2230:
2223:
2220:
2209:on 2020-07-08
2205:
2201:
2194:
2187:
2184:
2179:
2172:
2169:
2165:
2159:
2156:
2152:
2146:
2143:
2139:
2138:
2131:
2128:
2121:
2116:
2115:
2111:
2078:
2075:
2071:
2067:
2063:
2059:
2051:
2048:
2045:
2041:
2037:
2033:
2032:
2028:
2026:
2024:
2020:
2016:
2012:
2008:
1996:
1992:
1989:
1985:
1982:
1981:
1979:
1974:
1971:
1968:
1967:
1965:
1964:
1958:
1957:
1956:
1953:
1952:
1950:
1945:
1942:
1939:
1935:
1931:
1926:
1923:
1919:
1915:
1909:
1905:
1902:
1899:
1895:
1889:
1885:
1881:
1876:
1874:(or Trombone)
1872:
1868:
1864:
1858:
1852:
1847:
1846:
1840:
1836:
1832:
1828:
1824:
1820:
1816:
1815:
1814:
1813:Audio example
1811:
1810:
1809:
1806:
1801:
1798:
1794:
1789:
1786:
1785:
1780:
1776:
1771:
1770:
1764:
1760:
1756:
1755:
1754:
1753:Audio example
1751:
1750:
1749:
1746:
1741:
1737:
1733:
1727:
1723:
1719:
1713:
1708:
1704:
1699:
1695:
1689:
1685:
1681:
1675:
1671:
1668:
1664:
1659:
1655:
1649:
1645:
1642:
1638:
1633:
1629:
1623:
1619:
1615:
1609:
1605:
1601:
1595:
1590:
1589:
1583:
1579:
1575:
1574:
1573:
1572:Audio example
1570:
1569:
1568:
1565:
1559:
1553:
1547:
1541:
1536:
1533:
1529:
1524:
1521:
1517:
1511:
1506:
1505:
1498:
1497:
1496:
1493:
1492:
1490:
1487:
1486:
1485:
1481:
1477:
1473:
1465:
1457:
1454:
1449:
1423:
1422:
1418:
1416:
1413:
1410:Vox Humana 8′
1359:Röhr Flute 4′
1353:Salicional 8′
1345:
1344:
1340:
1338:
1335:
1331:
1289:
1288:
1284:
1283:
1278:
1276:
1272:
1268:
1264:
1260:
1252:
1249:
1248:
1247:
1240:
1238:
1234:
1230:
1223:
1221:
1162:
1158:
1154:
1151:
1148:
1140:
1138:
1134:
1103:
1101:
1097:
1093:
1089:
1085:
1081:
1077:
1073:
1068:
1067:Roman numeral
1064:
1063:
1054:
1044:
1041:
1035:
1032:
1024:Quadragesima
1023:
1017:
1005:
1002:
999:
998:
994:
988:
976:
973:
970:
969:
965:
959:
947:
944:
941:
940:
936:
930:
918:
915:
912:
911:
907:
901:
885:
882:
879:
878:
874:
868:
852:
849:
846:
845:
842:Tierce, Terz
841:
835:
819:
816:
813:
812:
808:
802:
786:
783:
780:
779:
776:Gross Tierce
775:
769:
753:
750:
733:
732:
728:
722:
706:
703:
686:
685:
681:
673:Sounding note
672:
667:
664:
661:
660:
655:
652:
650:
632:
628:
624:
623:unified ranks
620:
615:
581:
563:
559:
527:
508:
464:
460:
456:
448:
443:
439:
436:
413:
405:
403:
401:
400:stopped pipes
397:
393:
392:
386:
384:
375:
370:
363:
361:
358:
352:
348:
344:
341:
337:
333:
329:
314:
306:
304:
301:
299:
294:
290:
282:
280:
278:
273:
271:
267:
263:
259:
255:
250:
248:
244:
238:
235:
231:
227:
223:
215:
213:
211:
207:
206:
201:
196:
194:
190:
186:
185:Hammond organ
182:
178:
174:
169:
167:
163:
159:
155:
151:
143:
142:Dubuque, Iowa
139:
134:
124:
121:
113:
102:
99:
95:
92:
88:
85:
81:
78:
74:
71: –
70:
66:
65:Find sources:
59:
55:
49:
48:
43:This article
41:
37:
32:
31:
19:
2571:Voix céleste
2561:Registration
2531:Tibia Clausa
2507:
2378:Construction
2324:. Retrieved
2310:. Retrieved
2306:the original
2286:
2279:
2247:
2241:
2232:
2222:
2211:. Retrieved
2204:the original
2200:ISO Yearbook
2199:
2186:
2177:
2171:
2163:
2158:
2150:
2145:
2135:
2130:
2023:silent films
2004:
1930:Voix Humaine
1848:Trumpet (or
1821:such as the
1784:Voix Céleste
1634:Subbass (or
1537:Mixture (or
1491:or Diapason
1483:
1455:
1450:
1424:
1420:
1419:
1414:
1402:Trompette 8′
1346:
1342:
1341:
1336:
1332:
1299:Principal 4′
1291:Prestant 16′
1290:
1286:
1285:
1258:
1256:
1244:
1241:Nomenclature
1235:
1231:
1227:
1224:Sesquialtera
1163:
1159:
1155:
1152:
1144:
1135:
1104:
1060:
1058:
1043:
1034:
653:
648:
616:
614:of a piano.
579:
561:
557:
509:
454:
452:
437:
409:
389:
387:
379:
353:
349:
345:
339:
335:
331:
330:
312:
310:
302:
292:
289:slider chest
288:
286:
274:
265:
251:
246:
242:
239:
233:
229:
219:
205:Registration
203:
199:
197:
180:
176:
172:
170:
165:
157:
149:
147:
116:
107:
97:
90:
83:
76:
69:"Organ stop"
64:
52:Please help
47:verification
44:
2680:Organ stops
2581:Zimbelstern
2365:Pipe organs
2064:), and the
2019:zimbelstern
1988:Spitz Flöte
1860:, Clarion,
1839:human voice
1799:Violoncello
1709:Nazard (or
1694:Cor de Nuit
1442:Posaune 16′
1429:Subbass 16′
1425:Subbass 32′
1406:Hautbois 8′
1395:Cymbale III
1347:Bourdon 16′
1295:Gemshorn 8′
1293:Prestant 8′
313:unification
298:electricity
162:organ pipes
18:Organ stops
2664:Categories
2634:Repertoire
2604:Fairground
2576:Vox humana
2551:Ophicleide
2471:En chamade
2326:2016-04-02
2312:2017-01-03
2213:2015-01-24
2122:References
2015:snare drum
2007:aerophones
1972:Salicional
1946:Ophicleide
1703:Quintadena
1591:Flute (or
1540:Fourniture
1435:Bourdon 8′
1415:Tremulant
1328:Clarion 4′
1324:Trumpet 8′
1321:Mixture IV
1275:Reed stops
1178:′, 4′ and
966:Tredezime
679:is played
396:open pipes
264:, feature
243:stop knobs
154:pipe organ
150:organ stop
110:March 2018
80:newspapers
2624:Portative
2556:Plein-jeu
2428:Swell box
2423:Tremulant
1943:Cornopean
1914:Krummhorn
1877:Oboe (or
1857:Trompette
1688:Nachthorn
1674:Rohrflöte
1546:Plein Jeu
1528:Doublette
1510:Prinzipal
1489:Principal
1480:Reed pipe
1476:Flue pipe
1446:Tromba 8′
1433:Octave 8′
1357:Octave 4′
1333:Tremulant
995:Mollterz
908:Septième
665:Interval
662:Harmonic
649:resultant
463:overtones
438:Example:
340:Extension
336:duplexing
332:Borrowing
311:The term
247:stop tabs
216:Mechanics
177:stop knob
2629:Positive
2386:Builders
2256:. 2002.
2107:′ stops.
2066:Diaphone
1995:Erzähler
1983:Gemshorn
1975:Dulciana
1922:Bombarde
1908:Cromorne
1900:Clarinet
1880:Hautbois
1851:Trompete
1831:clarinet
1637:Soubasse
1303:Twelfth
1259:stoplist
1062:mixtures
1055:Mixtures
875:Larigot
670:of pipe
578:′) and "
558:septième
526:interval
455:mutation
262:Portugal
200:register
181:drawknob
173:stop tab
166:stopping
2644:Theatre
2546:Mixture
2541:Gedackt
2521:Bourdon
2486:Voicing
2481:Scaling
2433:Tracker
2391:Console
2102:⁄
2088:⁄
2011:marimba
1951:Hybrid
1938:Dulzian
1888:Fagotto
1871:Posaune
1823:trumpet
1802:Violone
1740:Larigot
1669:Piccolo
1622:Bourdon
1614:Gedeckt
1608:Gedackt
1582:piccolo
1552:Cymbale
1388:⁄
1379:Tierce
1370:⁄
1361:Nazard
1312:⁄
1271:celeste
1215:⁄
1201:⁄
1187:⁄
1173:⁄
1133:′, 1′.
1128:⁄
1119:′, 2′,
1114:⁄
1096:beating
1010:⁄
981:⁄
952:⁄
923:⁄
894:⁄
861:⁄
828:⁄
795:⁄
762:⁄
743:⁄
715:⁄
696:⁄
642:⁄
597:⁄
587:⁄
573:⁄
562:septima
551:⁄
537:⁄
519:⁄
502:⁄
488:⁄
474:⁄
430:⁄
425:′, and
420:⁄
406:Octaves
254:England
193:drawbar
94:scholar
2614:German
2609:French
2594:Barrel
2536:Cornet
2498:Tuning
2406:Pedals
2401:Manual
1894:Basson
1759:violin
1748:String
1726:Tierce
1712:Nasard
1628:Bordun
1558:Scharf
1516:Montre
1478:, and
1456:
1147:cornet
1141:Cornet
1076:thirds
1072:fifths
729:Quint
675:when C
668:Length
560:" or "
493:′ (or
459:cornet
412:octave
293:slider
270:manual
226:timbre
96:
89:
82:
75:
67:
2649:Water
2639:Shoes
2599:Crawl
2526:Tibia
2508:Stops
2463:Pipes
2207:(PDF)
2196:(PDF)
1763:cello
1718:Nasat
1600:Flöte
1594:Flûte
1567:Flute
1421:PEDAL
1343:SWELL
1287:GREAT
1267:reeds
1263:flues
937:None
383:piano
258:Spain
179:, or
101:JSTOR
87:books
2512:List
2493:Reed
2476:Flue
2451:Stop
2369:list
2013:and
1911:(or
1903:Tuba
1891:(or
1835:oboe
1833:and
1827:tuba
1825:and
1808:Reed
1761:and
1732:Terz
1729:(or
1691:(or
1625:(or
1611:(or
1580:and
1090:and
1088:just
1084:cent
1080:pure
1074:and
1003:P40
974:m31
945:M27
916:M23
883:m21
850:P19
817:M17
784:P12
751:M10
627:pure
580:none
410:The
234:note
230:rank
224:and
222:note
187:and
158:wind
73:news
2258:doi
1000:48
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704:P5
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260:or
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902:B♭
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847:6
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814:5
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781:3
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651:.
635:10
599:15
391:8′
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1307:+
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1210:+
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1203:5
1199:1
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1194:3
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1180:3
1175:3
1171:1
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1130:3
1126:1
1123:+
1121:1
1116:3
1112:2
1109:+
1107:2
1020:9
1018:G
1012:6
1008:1
991:8
979:8
962:7
960:A
950:8
933:7
931:D
925:9
921:8
904:6
896:7
892:1
889:+
887:1
871:6
869:G
863:3
859:1
856:+
854:1
838:6
836:E
830:5
826:3
823:+
821:1
805:5
803:G
797:3
793:2
790:+
788:2
772:5
770:E
764:5
760:1
757:+
755:3
745:2
741:1
738:+
736:2
734:(
725:4
723:G
717:3
713:1
710:+
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694:1
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640:2
637:+
612:8
608:7
604:4
595:8
589:9
585:8
575:7
571:1
568:+
566:1
553:3
549:1
546:+
544:1
539:5
535:3
532:+
530:1
521:3
517:2
514:+
512:2
504:2
500:1
497:+
495:1
490:5
486:3
483:+
481:1
476:3
472:2
469:+
467:2
432:4
428:1
422:2
418:1
326:4
322:3
318:3
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117:(
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108:(
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91:·
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77:·
50:.
20:)
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