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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..6d63abd --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #62257 (https://www.gutenberg.org/ebooks/62257) diff --git a/old/62257-8.txt b/old/62257-8.txt deleted file mode 100644 index 68cf880..0000000 --- a/old/62257-8.txt +++ /dev/null @@ -1,5048 +0,0 @@ -The Project Gutenberg EBook of Practical Organ Building, by W. E. Dickson - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: Practical Organ Building - -Author: W. E. Dickson - -Release Date: May 28, 2020 [EBook #62257] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK PRACTICAL ORGAN BUILDING *** - - - - -Produced by deaurider, Alan and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - - -[Illustration: _Frontispiece_.] - - - - - PRACTICAL - - ORGAN-BUILDING - - BY W. E. DICKSON, M.A. - PRECENTOR OF ELY CATHEDRAL - - _SECOND EDITION, REVISED, WITH ADDITIONS_ - - [Illustration: Capio Lumen] - - - LONDON - CROSBY LOCKWOOD AND CO. - 7, STATIONERS' HALL COURT, LUDGATE HILL - 1882 - - [_All rights reserved_] - - - - - LONDON: - PRINTED BY J. S. VIRTUE AND CO., LIMITED, - CITY ROAD. - - - - -PREFACE. - - -THIS little work is undertaken because it is believed that no treatise -on the construction of organs, at once short, practical, and accessible -by all classes of readers, is extant. - -The bulky volume of Hopkins and Rimbault, worthy as it is of all -commendation, and abounding with matter interesting to the musician, -does not profess to enter into details essential to the workman. The -same remark may be applied to sundry treatises in the form of articles -contributed to Encyclopędias, or to periodicals of a popular kind. -The writers of these articles, probably fully masters of the subject, -cannot, from the very nature of the case, command the time, space, and -amplitude of illustration absolutely necessary for the full elucidation -of the mechanical processes involved in the construction of the most -elaborate and ingenious of all musical instruments. - -Readers of the French language, indeed, may find all that they require -in a most admirable and exhaustive work, the "Facteur d'Orgues," by M. -Hamel, forming one of the series of the "Manuels-Roret," published -in 1849 by Roret of Paris, in three volumes, with an atlas of plates. -The author of this complete exposition of the organ-builder's art has -taken for the foundation of his book the great work of Dom Bedos, a -Benedictine monk, who printed in 1766-78, at Paris, two sumptuous folio -volumes, with plates, which leave unnoticed nothing which was known or -practised by the workmen of his period. The modern editor, however, who -displays a most intimate knowledge of his subject, together with an -enviable power of explaining it in all its minutest details, aided, as -he is, by the most accurate of all European languages, has produced in -his third volume a manual of the art of organ-building in recent times, -which covers the whole field of investigation, and of which it is not -too much to say that it can never be surpassed. - -A somewhat indifferent translation of a German treatise on the "Organ -and its Construction," by Herr Seidel, of Breslau, appeared some years -ago. But this work, like the English publication first noticed, is -not for the dwellers in workshops, but for organists, choir-masters, -clergymen, and others entrusted with the care of existing organs, or -likely to be concerned in the erection of new ones. - -The writer has lately perused, with much pleasure and advantage, a -tract of about forty pages on "Organ Voicing and Tuning," published for -the author (evidently a practical operator). He can warmly recommend -this unpretending introduction to the highest branch of the art, so -seldom mastered save by those who have had the advantage of early and -assiduous practice under skilled guidance. But it deals, of course, -with that highest branch only, and assumes previous knowledge of -mechanical construction. - -He himself, several years ago, contributed a short series of articles -on the construction of small organs to a periodical publication now -extinct. The letters which he received from working men, urging him -to treat the subject in greater detail, furnished a striking proof of -the extent to which the leisure hours of many artisans are devoted -to the production of an organ in some one of its innumerable forms, -from the toy with two or three stops to the complete instrument with -as many rows of keys. Such inquirers will not be satisfied, he fears, -by the narratives of "How we made our First Organ," and the like, -in well-meant and otherwise well-written books for boys. The real -difficulties of organ-building (and they are numerous) are simply -evaded in some recent books of this kind, which convey the irresistible -impression that their authors are not themselves handlers of the plane -and chisel. The true workman knows full well that the very simplest of -organs cannot be put together in a few weeks, out of school-hours, and -side by side with other undertakings. - -If the present work, in which the writer describes the results of -his own experience, and lays down no rules which he has not reduced -to practice in his own workshop, should have the effect of deterring -ingenious boys from attempting their "First Organ" until the possession -of a large stock of patience, as well as the command of leisure, and -of means moderately adequate for the purchase of good materials, -are abundantly and unmistakably assured to them, the author, once a -plodding and untiring boy-workman himself, will have reason to be -satisfied that his efforts to explain a complicated and intricate -structure have not been entirely fruitless. - - - - -PREFACE TO THE SECOND EDITION. - - -SINCE the publication of this work, the author has had reason to -believe that some hints as to the design and erection of small organs -in country churches may be acceptable to readers who occupy the -position, not of constructors, but of purchasers. He trusts that the -chapter now added, "On Village Church Organs," will be found to contain -the desired information. - - - - -CONTENTS. - - - CHAPTER I. - - _PLANT AND MATERIALS._ - PAGE - The Workshop--Tools--Lathe--Materials 1 - - - CHAPTER II. - - _THE STOPPED DIAPASON._ - - Tablature, or Names of Notes--Lengths of Pipes--Parts of - Stopped Pipe--The Scale--Two Methods of making Wooden - Pipes--Some Varieties of Pipes--Old English Organs 10 - - - CHAPTER III. - - _THE SOUND-BOARD._ - - Dimensions of Organs--Construction of Sound-board--Channels - --Sliders--Plantations of Pipes--Bars--Bearers--Upper Boards - --Rack-boards 27 - - - CHAPTER IV. - - _THE SOUND-BOARD._--(_Continued_.) - - Grooving--Boring Holes--Conducting-boards--Conveyances 44 - - - CHAPTER V. - - _THE WIND-CHEST._ - - Running of Wind--Blacklead used--Pallets--Leather for - Pallets--Springs--How to make them--Pull-downs--Drilling-- - Brass Plate--Front-board 55 - - - CHAPTER VI. - - _THE BELLOWS, TRUNKS, AND FRAME._ - - Shape of Bellows--Valves or Clacks--Cummins's Improvements - --Counter-balances--The Cuckoo-feeder--Hydraulic-power - Engines--Trunks--The Frame--Its general Dimensions--Hollow - Frame-work--Blowing Pedal--Blowing Lever 72 - - - CHAPTER VII. - - _PLANTATION OF PIPES._ - - Pipe-feet--Rack-pins--Symmetry 90 - - - CHAPTER VIII. - - _THE ACTION._ - - Definitions--Back-fall--Bridge--Square--Sticker--Tracker-- - Tapped Wires--Cloths--Buttons--Rollers--Roller-boards-- - Principle of Organ-action--Fan-frame--Keys--Roller-frame-- - Double Sound-board Action--Thumping-board 94 - - - CHAPTER IX. - - _VOICING AND TUNING._ - - Metal Pipes--Their Construction--Nicking--Voicing--The - Wind-gauge--Defects in Pipes--Temperament--Regulation 115 - - - CHAPTER X. - - _THE DRAW-STOPS._ - - Four Methods of drawing the Stops described--Levers-- - Bell-cranks--Trundles--Iron Trundles 127 - - - CHAPTER XI. - - _PEDALS._ - - Their Compass--Dimensions--Springs--Dip--Connection with - Key-board--Removable Pedal-board 135 - - - CHAPTER XII. - - _TWO-MANUAL ORGANS._ - - Remarks on the Swell-organ--Organs with Great and Choir-- - Borrowing in Two-manual Organs--Chamber Organ by Schmidt-- - The Swell-box--Its Construction--The Swell-action--Reed-stops - --Manual Couplers--Rising and Falling Bridges--Pedal Couplers - --Old Method of Coupling--A Combination Manual--The Pedal - Sub-bass of 16-feet Tone--Scale--Wind-valve for Pedal Chest-- - Violoncello Stop--Terzo Mano 141 - - - CHAPTER XIII. - - _VILLAGE CHURCH ORGANS._ - - Principles of Construction--Suggestions for Designs--Objections - noticed--Care of Old Organs 165 - - - - -ORGAN-BUILDING. - - - - -CHAPTER I. - -_PLANT AND MATERIALS._ - - -WE shall assume at once, and at the very outset, that our reader has -the fixed purpose of producing an organ which shall be creditable to -its builder, a source of pleasure to its players and their hearers, and -an ornament to the room or building in which it is erected: in short, -that he remembers the excellent maxim, "whatever is worth doing at all, -is worth doing well," and will not be content with rough workmanship, -inferior materials, and inharmonious results. - -Assuming this as the basis and principle of all our suggestions, -we shall nevertheless bear in mind the necessity of adapting our -rules to the conditions imposed by slender purses, and the imperfect -appliances of humble workshops. Without attempting to quote the actual -market prices of the wood, leather, and metal required, or of those -important parts of the instrument which in most cases will be purchased -ready-made, we shall endeavour to show how economy may be consulted -by obtaining all these gradually, as our work advances with that -inevitably slow progress which attends all proceedings in which most -haste is found to be worse speed. - -We shall buy nothing which we can make for ourselves. The common sense -of our readers may be trusted not to press the application of this -rule to a _reductio ad absurdum_. As we shall certainly buy, and not -make, our screws and nails, so in the course of the following pages -we may possibly recommend the buying of certain parts of the work, in -full remembrance of our rule. But even in these occasional instances -we shall probably point out how expenditure may be saved by patient -industry. We need not anticipate. Our readers will see for themselves -what we mean as we go on. - -Our task will be somewhat simplified if we suppose that an organ is -desired for a room of moderate size. Such an instrument will commonly -have one manual, or row of keys, with four or five stops, or sets of -pipes. Pedals, with or without pipes of their own of deep bass quality, -must be considered essential in every organ making any pretension to -completeness, or intended to afford useful practice for learners. -Taking this as a rough outline or sketch of probable plans, it will be -easy to see hereafter how they may be indefinitely extended. - -Our organ factory, then (with some such plan in our head), must be -a roomy, well-lighted, perfectly dry workshop, furnished with a -fire-place or stove for the glue-pot, with drawers or cupboards for -storing away skins of leather and other materials not in constant -requirement, and with shelves on which pipes may be stowed without -danger of rolling off. It must not be a mere shed or hovel in which we -might mend the cart or the wheel-barrow, and it should not be far from -our dwelling-house, if we are likely to work at our serious undertaking -in the winter evenings. - -The shop must be fitted with a full-sized bench in good condition, that -is to say, with its top dressed truly, and not hacked by rough usage; -and good workmanship will be much promoted if the usual appliances of -such a bench are of the best kind and in complete order. True planing, -so vitally essential in organ-building, cannot be done upon a crazy or -worn-out bench. The bench should stand near a window, and it should -be so placed that boards much longer than itself may be occasionally -dressed upon it by temporary arrangements. - -The tools required are chiefly those which are common to every joiner's -shop; notably and of first importance the three planes, the jack, the -jointer or trying plane, and the little smoothing plane. This last may -now be bought in a very handy form, entirely of iron, and fitted with -a clever adjustment by which the cutter can be set to any degree of -fineness. This little plane (an American invention) is invaluable for -many purposes involving extreme neatness and accuracy. The planes must -at all times be kept in first-rate order, and any defect which makes -its appearance must be instantly rectified by a careful use of the oil -stone. The latter, let us mention by the way, as we may have youthful -and inexperienced readers, should be levelled occasionally by being -rubbed on a flat slab with sand and water. The plane is emphatically -_the_ tool of the organ-builder, and no pains should be considered too -great to be bestowed on the care of these beautiful tools, or on the -attainment of dexterity in the use of them. - -The usual saws, the ripping saw, the panel saw, the dovetail, the -key-hole or pad saw, will be required; and we may take this opportunity -of remarking that as the organ-builder must have a strong dash of the -smith as well as of the joiner in his composition, his shop must have -a stout vice fixed in a convenient part of it, and a few good files -always available for brass or for iron. (The reader is doubtless aware -that the same file must not be used for both these metals.) Drills -for metal, some of them of small clockmaker's sizes with a bow and -breast-plate for working them, will belong to this department, which -will also include a screw-plate for tapping wires of various sizes from -one-eighth of an inch downwards, and cutting pliers or nippers for -dividing the wire. - -The tool-chest must contain a thoroughly good brace and bits; and -among the last should be some one of the various forms of adjustable -centre-bits for cutting large circular holes of graduated dimensions up -to 3 inches diameter. - -In connection with this it may here be mentioned that most of the holes -bored with the brace and bits (though not the huge holes just referred -to), will be scorched or charred with a red-hot iron, in order to clear -them of splinters, and allow a perfectly free passage for the air which -will pass through them. A few pieces of iron rod, of sizes suitable -for this purpose, will therefore be required. Many of these holes will -be also countersunk, that is, rendered conical at their extremity, -in order to receive the conical feet of the pipes which receive from -these conduits their supply of wind. This countersunk portion is also -scorched or charred, and two or three conical irons will be wanted for -this purpose. But we have not yet come to this. When we are ready for -these irons, we can have them made by any blacksmith, or we may have -put aside some stout morsels of old iron from which we ourselves may -contrive to fashion them. - -An important question must next be asked. - -Is a turning-lathe absolutely necessary as part of the plant of our -factory? We must answer this. We should be sorry to deny that a small -organ certainly can be and may be built without the aid of a lathe. -We know that it has been done. But it is equally undeniable that -the absence of a lathe, or of access to a lathe, will necessitate -the purchase of certain parts (wooden pipe-feet for instance, and -rack-pins), at an outlay which will bear an appreciable proportion to -the first cost of a simple and inexpensive machine. Pressed, then, -to say if our workshop must include a lathe, we are bound to reply in -the affirmative, explaining, in the same breath, that all the purposes -of the young organ-builder will be answered by a lathe of humble -character and trifling cost. We ourselves, during several years of -early beginnings, used a small clockmaker's lathe by Fenn, of Newgate -Street, just capable of admitting between its centres the little billet -of wood ready for shaping as a pipe-foot, that is to say, about 7 -inches in length, and from 2 inches down to half an inch in diameter. -We still possess this little lathe, and still sometimes use it for -small work. Some such simple lathe, or some lathe still simpler, being -voted as necessary, the usual turning-chisels and gouges will of course -accompany it, and we shall assume that our readers possess a sufficient -acquaintance with the wood-turner's art to require no hints from us on -the subject other than those which we shall give in regular course as -we proceed. If they are fortunate enough to possess a superior lathe, -with slide-rest and slow motion for turning iron and brass, they will -find the machine most conducive to good and durable workmanship, and we -shall not hesitate to point out, as we go on, how materially it will -assist us in giving strength, firmness, and finish, to various parts of -our work. - -We have furnished, then, our workshop, or rather, let us say, we see it -in our "mind's eye" furnished as we should wish it to be. And now we -may lay in our stock of wood. - -Several boards of half-inch pine, perfectly dry and sound, without -knots; these are of first necessity. Such boards are generally about 12 -feet in length and from 12 to 15 or even 20 or more inches in breadth. -If a little stock can be laid in of such boards when an opportunity -occurs of obtaining exceptionally clean stuff, it will be well to have -them by us. A board or two of three-quarters stuff, and a board of inch -stuff, all sound and clean pine, must be provided. - -And here we may pause for a moment. - -We intend to begin our organ by making a set of wooden pipes. Hence we -need not provide ourselves with more timber for the present than we -shall need for this first operation. But as in our imaginary furnishing -of the workshop, we included several or many things which belong rather -to future than to immediate use, so we may here place the reader in a -position to form some idea of the further expense to which he will be -put for the purchase of timber for his proposed small organ of four -or five stops. The pine boards just enumerated will give us our first -set of pipes; but when these are ready, we shall require some rather -costly wood for the sound-board. This should be Honduras mahogany, -often called "Bay wood," and of three thicknesses, say, three-quarters -stuff for the table of the sound-board;[1] a full inch, or, still -better, five-quarters, for the upper boards; and some very thin stuff, -three-eighths or less, known as "coach-panel," for the sliders. The -quantities, or number of square feet, of these mahogany boards will be -determined by considerations discussed in a subsequent chapter. The -wood must be carefully selected, for the grain of it is often tortuous -and unkindly for the plane; it must be, like the pine, free from large -knots, flaws, and cracks; and the completeness of its seasoning should -be quite unquestionable and beyond the reach of suspicion. - -[1] All these expressions will, of course, be explained hereafter. - -It is not unreasonable to assume that the reader, who has contemplated -for some time the building of an organ, has already by him some -materials which he knows will be necessary; for instance, some boards -of sound white deal for the framework, and perhaps for the bellows; -and some scantlings of red deal, or pitch pine, or oak, or mahogany, -or red cedar, for the blocks and stoppers of pipes. He will not need -the aid of this book to be aware that old materials may sometimes be -turned to excellent account in such a business as that upon which he is -embarking. We have known the purchase (for a pound or two) of an old -square pianoforte turn out a profitable investment. Its mahogany top -was solid, not veneered; and the thin boards found in its interior dry -as touch-wood, and perhaps one hundred years old, were made into pipes -of charming sweetness. - -The old organs before the days of mahogany were made chiefly of -oak, often called "wainscot." We ourselves have made much use of -this durable and trustworthy material, which may be obtained in the -convenient form known as "coopers' staves," being planks about 6 feet -in length, as many inches in width, and 2 or 3 inches thick. They may -be divided, at any saw-pit or saw-mill, into boards of the desired -thinness, and they work pleasantly under thoroughly sharp tools. - -And now we may set to work upon our set of wood pipes. - - - - -CHAPTER II. - -_THE STOPPED DIAPASON._ - - -WHY do we begin by making a set of wooden pipes? - -For two reasons. First, because they will afford a trial of patience, -and involve a great deal of good joinery. Second, because until they -are made, or, at any rate, until we know their precise dimensions, we -cannot plot out with accuracy the very important sound-board, which -is to carry them and the other pipes which are to follow. Either of -these reasons is, to our mind, sufficient, apart from the other; and -we strongly recommend the young beginner to set himself resolutely to -the manufacture of the complete set of wooden pipes belonging to the -commonest of all organ-stops, the Stopped Diapason, before taking any -step in the direction of the machinery or apparatus which is to waken -them into harmonious vibrations. - -Our explanations will be much assisted here if we introduce a few -definitions of terms in constant use. The pipes which we are about to -make will give notes, when tuned, which are familiarly designated by -certain names. Thus, the lowest note on the manual or key-board of -modern organs is called _Double C_ (printed CC). The note one octave -above this is _Tenor C_; the octave of Tenor C is _Middle C_; and -above this, again, we have _Treble C_ (often called _Foot C_) and _C -in Alto_. Some of the other notes of the scale, in a similar way, have -convenient names. Thus, the first F in the bass is _Double F_, or FF; -the next F, the F of the Tenor octave, is often called _Clef F_, as -the Bass, or F Clef, stands upon this line in music; its sharp is FF -sharp; but then we come at once to a single G, and this note is often -called _Gamut G_. The octave above this note is called _Fiddle G_, as -it sounds the same note as the fourth string of the violin. The note -B, we may add, throughout the organ, is understood to mean _B flat_; -the semitone above this is indicated by the musical symbol the Natural -(symbol). - -We have not quite done with this. There is another way of referring -to pipes, and to complete sets of pipes, which is in familiar use, -and is part of the mother-tongue of the organ-builder. We have said -that Treble C is often called _Foot C_. This is because the ordinary -open pipe of that note (speaking now quite inexactly, and without -precision), is 1 foot in length. In a similar way, CC is 8-_foot C_, or -the 8-_foot note_, because the open pipe is 8 feet in length, speaking -roundly or roughly. Tenor C is 4-_foot C_; Middle C, 2-_foot C_. - -It will be easily understood that these convenient designations are -retained, even though the construction of the pipes may render them -strictly inapplicable. Thus, the lowest note of our first stop will -still be 8-foot C, though, as we shall soon see, the stopping of the -wooden tube enables us to reduce the actual length by one-half. Our CC -will still be of 8-_feet pitch_, or _tone_, and by no means becomes a -4-_foot_ C, because its actual measurement, when completed, will not -exceed 4 feet in total length. - -One step further. The theoretical length of the lowest note is not -only used to designate that note and the pipes which belong to that -note, but is extended to the designation of the whole set of pipes of -which it is the lowest or longest. This whole set of pipes is called -familiarly a _Stop_; thus we have at once the ready terms, 8-feet -stops, 16-feet stops, 4-feet stops, 2-feet stops, &c.; and it will be -understood that by an 8-feet stop, we mean a set of pipes yielding the -common or ordinary pitch of the pianoforte, or of the human voice; -while a 4-feet stop, when the very same keys are pressed down, will -yield notes one octave higher than this ordinary or standard pitch; -the 2-feet stop, notes two octaves higher; the 16-feet stop, notes -one octave lower, or deeper. And if all these four stops are played -at the same time, (tuning and other manipulations being now assumed), -an effect will be produced highly agreeable to the ear, and vastly -superior to that which would result from the mere multiplication of -8-feet stops only. - -Our little organ of five stops, when completed, will probably be -described with correctness if it is said to contain two 8-feet stops, -two 4-feet stops, and one 2-foot stop: a ready and conventional way of -speaking, we repeat yet once more, since the instrument will contain no -open pipe 8 feet in length, and since, of the 4-feet stops, one will be -only of 4-feet tone, or pitch, while even the 2-feet stop, for reasons -which will be abundantly made clear, may possibly have no 2-feet pipe. - -Some pains have been taken to explain all this, because we have met -with young workmen whose comprehension of such rudimentary matters -was far from complete, and who were misled by the fanciful and wholly -unimportant _names_ engraved upon the knobs which govern the stops, -_e.g._ "Flute," "Dulciana," &c. If we have any such young beginners -among our present readers, they will see that the names are quite of -secondary concern, and that the essential thing is to have a clear -understanding of the _pitch_ of each stop, as represented by the length -of the pipe, _actual or virtual_, corresponding to the lowest note of -the manual. - -And now we proceed to our work. What we have to do is to make -fifty-four pipes, extending from CC to F in alto, and of the form or -sort known in England as Stopped Diapason. One of these pipes, let us -suppose Tenor C, is shown in Fig. 1. _a_ is a block of mahogany or oak, -or of some other wood faced with mahogany or oak, and about 3 inches in -length. It has a throat or deep depression across it, formed by taking -out the wood between two saw-cuts, or by boring adjacent holes with a -centre-bit. _b_ is a stopper, made of any wood, the exact size of the -block, or a trifle less, to allow for a leather covering, and fashioned -at top into a knob, or turned in the lathe, for convenient handling by -the tuner. _c_ is the pipe when put together by gluing three boards, -namely, the back and the two sides, to the block, and one, namely the -front board, to the edges of the sides. This fourth board is about 3 -inches shorter than the others, and has a lip formed on its lower edge -by bevelling the wood with a sharp chisel. _d_ is a cap, 3 inches long, -and as wide as the block with the side boards attached; it is hollowed -in a wedge-shaped form as shown in the figure. _e_ is a foot, turned in -the lathe, bored from end to end, and 5 or 6 inches in length. _f_ is -the completed pipe, with the stopper inserted, the cap put on, and the -foot in its place. - -[Illustration: Fig. 1.] - -We have to make fifty-four such pipes, each of the dimensions proper -for the production of its own note, deep in the bass or shrill in the -treble. - -It is quite clear that we must not work by "rule of thumb," but -understand well what we are about from the very first, if we do not -wish to cut our wood to waste and cover ourselves with mortification. - -Begin thus. Take a sheet of stout paper, and on it, with rule and -compasses, draw a scale showing all the requisite measurements. - -Here we must be a little arbitrary, and lay down the law without giving -lengthy reasons for our ruling. Stopped pipes are half the length of -open pipes yielding the same notes. Our CC pipe will therefore be -4 feet long. The four C's of the ascending scale are the halves of -each other. Therefore Tenor C will be 2 feet, Middle C 1 foot, Treble -C 6 inches, and C in alto 3 inches, in length. The word _nearly_, -or _about_, must be understood as prefixed in every case to our -measurements. Accordingly, the lengths of all the pipes in the stop -will be easily obtained by drawing a vertical line 1 foot in length -on the paper, and dividing it into twelve equal parts. At the bottom, -write Tenor C, 2 feet; at the top, Middle C, 1 foot. Then the length of -each of the eleven pipes intervening between these extremes will be at -once obtained by easy measurement. By doubling these lengths we shall -obtain those of the bass, or 8-feet octave. By halving them, those of -the middle octave. By dividing them by four, we get those of the treble -octave. - -Note well that these rough and approximate lengths are speaking -lengths of the wooden tubes, or, in other words, of the column of air -within them, measured from the top of the block to the under side -of the stopper. Hence, in cutting out the boards, the length of the -block--about 3 inches, or less in small pipes--must be added to three -of them, and an inch or more allowed to all four of them to give good -room for the stopper. - -But we are not yet in a position to cut out the boards. - -It might be thought that as we get the lengths by the easy arithmetical -process described above, so with equal ease shall we get the widths and -depths of the blocks. The pipes are not square, but are deeper than -they are wide, in the proportion of about 5 to 4. It might be thought -that if the block of Tenor C be 2 inches wide and 2-1/2 inches deep, -then the block of Middle C will be 1 inch by 1-1/4 inches; the block of -Foot C 1/2 inch by 5/8, and so on. This is not so. These treble pipes -would be quite unreasonably small, and would give weak and thin sounds, -while the bass octave, commencing with a block 4 inches by 5 inches, -would be needlessly large for a chamber organ. Without wasting words -upon a matter which is really very simple, let us say at once that we -shall adopt for our Stopped Diapason a scale commencing with a CC block -3-1/4 inches wide and 4 inches deep, and that the block of Tenor C will -be 2-1/8 inches wide and 2-5/8 deep. Thus the half of the width and -depth of the CC block will not be reached until the eighteenth note -above it, instead of the thirteenth, and in the higher parts of the -scale the diminution in the sizes of the blocks may be yet more gradual. - -[Illustration: Fig. 2.] - -A glance at Fig. 2 will enable our readers to draw scales for -themselves for the Stopped Diapason, and for other wooden stops which -may follow it, from a few given data, and to suit circumstances. A -minute or Chinese accuracy is not requisite. The vertical line of any -convenient length being drawn upon the paper, the width and depth of -the CC block are measured off upon a horizontal line drawn at its lower -extremity. Eighteen divisions being marked upon the vertical line, the -half-width and half-depth of the CC block are measured upon another -horizontal line drawn at the eighteenth mark. These points being joined -by straight lines, and horizontal lines being drawn at each of the -marks parallel to the others, we shall have the widths and depths of -the blocks of all the pipes from CC to Clef F inclusive, viz. eighteen -blocks. The next eighteen blocks will be sized in a precisely similar -manner, and as three times eighteen is equal to fifty-four, the whole -stop may be divided into three sections of eighteen pipes in each -section, and it may be for our convenience to make one section at a -time. - -There are two methods of working together the block and the four boards -which form the pipe. We will give them both, and decide between them. - -First method. Cut out the board for the back, and dress it carefully to -the exact width of the block. Glue the block to the lower extremity, -and when the glue is dry dress up all perfectly flush. Cut out the -side boards as wide as the depth of the block with the thickness of -the back board added to it. Glue them to the sides of the block and to -the edges of the backboard, obtaining a perfectly close joint by using -wooden clamps and wedges as in gluing up a violin, or by other obvious -contrivances. When the glue is dry dress up the front edges flush with -the block, and glue on the front board, which will be cut out as wide -as the block together with the thicknesses of the side boards. The -front board must overlap the upper edge of the block by about 1/8 inch -or more. If all this is carefully done according to the rules of good -joinery the result should be a neat and strong pipe, truly rectangular -at its upper or open extremity. Brads or sprigs are not to be thought -of in pipe-making, unless, indeed, in the very exceptional case of -organs intended for tropical climates. - -Second method. Cut out first the two side boards the width of the -depth of the block, and glue them to it. Dress the edges flush with -the block, and glue on at once the back and front boards, obtaining -irreproachable joints as before, and taking infinite care that the -upper extremities of the side boards do not approach each other. In -making our smaller pipes (say from Middle C upwards), we are in the -habit of straining whip-cord or stout hempen string round them, winding -it first upon a loose pipe-foot or smooth tool-handle to avoid cutting -the hands; and we ensure a correct aperture at the top by placing -within it a thin slice cut from the block itself, or by introducing the -stopper if it has been already prepared of the same size as the block. -The notches made by the string upon the edges of the soft pine-wood -are easily removed when the finished pipe is dressed over with a fine -plane. - -We have no difficulty in giving our decision in favour of the second -plan, which avoids the four tedious dryings of the glue, and which -admits more readily of pressure being applied to the freshly glued -joints. But in making open pipes, which have not to bear the driving-in -of a stopper, there is much to recommend the first method. - -This point being settled, we may cut out the side boards and prepare -the blocks for one of our divisions, let us say the middle section, -from Clef F sharp to the natural below Foot C. Blocks of this moderate -size will be best made by taking a piece of wood of suitable character, -long enough for six or more, and by dressing it down as each block is -cut off, making careful and constant use of the gauge, the square, -and the callipers. We like to form the throat with a centre-bit after -the pipe is put together. The thirty-six boards will be glued to the -eighteen blocks, and while the glue is drying we can prepare the backs -and fronts. The bevelled lip of the latter will be left uncut until all -the pipes have been glued up and dressed over, and the top edges nicely -cleaned off and made true. But as there will be, doubtless, a most -pardonable anxiety to hear the sound of one pipe, we will here explain -that the height of the mouth of each pipe must be equal to one-third -of its width; thus the mouth of the pipe measuring one inch and a half -across the block (A in our scale) will be 1/2 inch in height. In -measuring the height of the mouths, a pair of proportional compasses -with sliding centre, or common dividers set to thirds, fourths, and -fifths, will be useful if not necessary. The slope of the bevel is not -of great importance. Cut it with a sharp chisel, taking care not to -injure the block, and leave the lower edge or lip rather blunt. A sharp -and pointed knife may be employed in cutting the lip truly, guided by -the square. The use of fine glass-paper is permissible here to smooth -all these parts nicely. - -The throat having been formed in the face of the block, about 1 inch -from its lower end, bore the foot-hole in the bottom of the block clear -into the throat, beginning with a small borer, and enlarging the hole -cautiously, as rough and hasty proceedings might split the block at -this point, especially in the case of small pipes. - -Prepare the cap from a suitable bit of mahogany, oak, or other -close-grained wood, and hollow out the back of it with a chisel as -shown in _d_, Fig. 1. Form the flue or wind-way through which the air -is to pass to the lip by filing away the edge left at the top of the -wedge-shaped hollow, trying your work by placing the cap against the -side of the pipe or any other flat surface. The flue must not be wider -than 1/16 inch at Tenor C, and must be reduced as we ascend the scale -until it will hardly admit a slip of thin paper. It will not be so much -as 1/8 inch wide even at CC. - -Perhaps the stopper has been already prepared of the same size as -the block, and has been formed into a knob at top, or turned in the -lathe, or, in the case of the larger pipes, fitted with a turned handle -glued into a hole bored for its reception. Dress off the angles of the -stopper in order to allow room for the soft white leather with which -it is covered to fold itself in the corners of the pipe. We generally -rasp our stoppers, leaving them rough that the leather may cling to -the stopper and not to the pipe. The leather cannot be too thin if it -is soft, and if the stopper fits closely. Rub the interior of the top -of the pipe with a bit of tallow-candle, and introduce the stopper -cautiously. It should slide within the pipe at once easily and with -accurate fit, and if your joinery has been good there should be no fear -of splitting the pipe or of opening the joints. - -The cap when finally fitted will have its upper edge about 1/8 inch -below the upper edge of the block. On applying it in this position, -holding it there with your fingers, or tying it on with string, and -blowing gently into the foot-hole, you will have a pleasant fluty -musical note. Probably a little chirp or whistle will be heard before -the note comes on. The removal of this defect belongs to the important -operation called _voicing_, of which we shall treat hereafter. - -We have cut our boards from the half-inch pine, but as we rise in the -scale much thinner stuff will be used. It is well to foresee this in -laying in our materials. Red cedar, often used by cabinetmakers for -the inside of drawers and wardrobes, makes very pretty pipes, holds the -glue well, and has an agreeable odour in working. Harder woods, notably -oak, were often used by the old builders. Pear-tree commends itself -much in German workshops. - -The four or five lowest pipes (CC to EE, or higher) should be of -stouter stuff than half-inch, say five-eighths or even three-quarters. -The caps of these large pipes will not be glued on but fixed with three -screws, and we may modify a previous remark by admitting that in the -case of these larger pipes the use of nails is legitimate. - -Of the pipe-feet we shall speak when we come to the business of -planning the rack-board with its holes for their reception. - -We must not close this chapter without giving some further explanations -on the subject of pipe-making. - -Large pipes, both open and stopped, may be advantageously made with -_languids_ instead of blocks. Fig. 3 shows the section of a pipe so -made. The block is replaced by two pieces of suitable wood, _a a_, -let into the side boards with plenty of glue. The glue should also be -allowed to run freely into the angles and corners of the throat when -the back board is fitted. Pipes made in this way are a little lighter -than those with blocks. - -[Illustration: Fig. 3.] - -The stoppers of the smaller pipes, say from Fiddle G or Middle C to -top, are often bored with a hole passing clear through the wood and -leather, and burnt smooth with an iron. After what has been said of the -necessity of securing a good fit for the stopper, it might be thought -that this hole would ruin the pipe. Curiously enough it is not so, but -imparts a slight increase of fulness to the tone. The holes must not be -large, 1/4 inch at Middle C will be sufficient. Note well that pipes -with perforated stoppers must be a trifle longer, say 1 inch in 12, -than those completely closed. Thus the pipe for C sharp must be as long -as the fully stopped C pipe. - -Wooden pipes are also made with inverted mouths, that is to say, the -bevelled lip is formed on the inside instead of on the outside of the -front board. In this case the bevel is cut and the mouth measured and -formed before the pipe is put together, and the front board will be -of the same length as the others, and will be glued like them to the -block. The throat is cut through the board into the block, and the cap -will project beyond the level of the board. All this is shown in Fig. 4. - -[Illustration: Fig. 4.] - -We have a very charming Stopped Diapason made in this way, and with -perforated stoppers, in one of our organs. It is of red cedar from -Middle C to top; the lower part is of pine and of the ordinary -construction. The mouths are in the proportion of two-sevenths of the -width of each pipe. Inverted mouths are well suited, also, to the -Clarabella and Hohl Flöte, two kindred stops which sometimes take the -place of the Stopped Diapason in its upper octaves. The pipes are open, -and have a hollow penetrating tone; Middle C is 2 feet long, and its -block may be of the same size as that of the same note in our scale, -namely, _about_ 1-3/8 by 1-3/4. The mouth about 2/7 of the width. These -open pipes are tuned by means of shades, which are pieces of pipe metal -let into a saw-cut made in the top edge of the back board. The shade -must be as wide as the pipe, and 1/2 inch longer than its depth. The -pipe is flattened by bending the shade over the open top, sharpened by -raising it. - -The German stop, the Doppel-flöte, which has two mouths opposite to -each other, and of course two caps for each pipe, is seldom or never -heard in this country. A few pipes which we have made as experiments -hardly seem to repay us for the additional trouble and labour. - -Trouble and labour were of little account, apparently, in the old days -of English organ-building two centuries ago, if we may judge from the -really marvellous specimens of patient pipe-making in wood which have -come down to us. We ourselves have seen and played organs of exquisite -sweetness and beauty by old Bernhard Schmidt (1660-1708), containing -four or five stops in which every pipe was of oak, even up to the top -note of a Fifteenth of 2 feet. Such an organ, built by Loosemore, -1664, the builder of the cathedral organ, is preserved, we believe, -at Exeter. It has six stops, including a Twelfth, all made of wood. -Modern life is too hasty and impetuous for such efforts. If any of our -readers, however, should set themselves the task of making very small -pipes in wood, we advise them to form the block and foot from one -piece, and to follow the first method (see p. 18) in putting the minute -contrivance together. - - - - -CHAPTER III. - -_THE SOUND-BOARD._ - - -WE may fairly assume that no one will embark upon the very serious -business of building an organ, and that probably no one will read this -book, who has not sufficient previous knowledge of the subject to -understand what is meant by the expressions sound-board, wind-chest, -pallets, sliders. - -It may be taken as certain, moreover, that the reader who takes up this -book to assist him in the arduous work which he has undertaken, and -in the hope (which we trust we shall not disappoint) of finding rules -laid down in it which he can readily reduce to practice, has long ago -decided upon the position which the projected organ is to occupy, and -has measured with his eye, if not with his two-foot rule or tape, the -breadth, depth, and height which can be fairly allowed to the finished -instrument. - -Great diversity of dimension and design is one of the peculiarities -which distinguish organs from all other musical instruments. Our organ -may be wide and shallow like a book-case, or it may be of little -greater width than its key-board, but deep like a wardrobe; it may -be carried up nearly to the ceiling of a lofty apartment, or may be -kept down to suit the low-browed rafters of a country farmhouse or a -workman's cottage. - -The site chosen for the organ may allow of convenient access to the -back of it for tuning purposes; or it may compel us to arrange the -interior so that the back may always remain in close contact with the -wall. The projection of the keys, too, from the front, and therefore -the position of the player when seated at the instrument, possibly in -a small room; the place for the blowing-handle and for the person who -works it, so that convenient space may be left for him to fulfil his -irksome duty--these are matters of detail admitting of great variety of -treatment. - -There are cases in which it may be possible, and very advantageous, to -separate the bellows from the organ which they supply, and to establish -them in an adjoining room, or beneath the floor or platform on which -the organ is placed. - -All these considerations must receive full attention, and drawings or -rough sketches sufficiently intelligible to the workman himself must -be made in accordance with the decisions arrived at. Then, and not -till then, we can launch ourselves upon the very serious business of -designing and constructing the sound-board. - -A serious business, we say, making a large demand upon our industry and -perseverance, and calling for adroit use of tools of several different -characters. - -To facilitate our own task in describing the process of constructing -a sound-board, we shall divide this chapter into short sections, with -intervening remarks. - -1. The sound-board is a shallow box, divided internally into as many -transverse grooves or channels as there are notes on the key-board. -The pipes stand upon holes bored through the top of the box into these -channels; and it is plain that if air is made to fill these channels, -and to issue from these holes in a constant stream when we please, all -the pipes which stand upon the holes will give their sounds according -to their pitch and character. - -_Remark._--Thus if one channel, say the channel corresponding to Tenor -C, have five holes bored into it through the top of the box, then five -pipes standing upon those holes may be made to speak at once, or in -chorus, by pressing down the one key on the manual. - -2. It is plain that we must possess the power of opening and closing -these holes in sets or classes at our pleasure, so that the air may -be directed into those pipes which we desire to hear, while others -are silent. The top of the box is therefore made double, or of two -layers of wood; and between the two layers long strips of thin wood -are introduced, lying lengthwise, that is to say, at right angles to -the channels beneath or within. The holes are bored down through all -these three layers of wood forming the top of the box; and we see that -by sliding the thin slip an inch or so to the right or left, we can cut -off at once the current of air from the pipes standing on those holes, -since the apertures in the three layers will then no longer coincide. - -_Remark._--All this is quite independent of, and preliminary to, the -arrangements for admitting the supply of air to the channels themselves. - -3. Having already made our Stopped Diapason pipes, let us range them -on a table or floor, and consider well how they must be planted on a -sound-board such as we are about to make for our organ, be it broad and -shallow, or narrow and deep, be it low or lofty. - -_Remark._--No other stop will practically take up so much room on the -sound-board as the Stopped Diapason; hence, if we plot the board with -reference to it, all the other pipes will be easily worked in. - -[Illustration: Fig. 5.] - -4. On the opposite page several different plantations of the Stopped -Diapason are shown both in elevation and in plan. In Fig. 5 the pipes, -planted in a double row throughout, are placed alternately to the -right and to the left, meeting in the middle at the smallest pipe. The -exact reverse of this plantation, namely, placing the largest pipes in -the middle, and sloping down to the smallest pipes at each end, can -be easily imagined, and it is unnecessary to figure it. It is clear -that in both these plantations the large pipes occupy a space, as -regards depth, out of proportion to the space occupied by the upper -part of the stop. Fig. 6 shows a very common plantation of pipes, -which, as we shall see hereafter, allows us to simplify the internal -mechanism or action. Fig. 7, in plan only, shows a mode of economising -space as regards depth by planting the pipes of the lower octave in a -single row, resuming the double row at Tenor C. This plantation would -suit a wide and shallow organ. Figs. 8 and 9 show different methods -of planting the large pipes in order to avoid a disproportionate -sacrifice of space on the board. It will be seen at a glance that they -can be ranged behind the pipes of the tenor and treble octaves, or -carried off to the right and left in rows standing at right angles to -them. Fig. 10, in elevation only, shows how we may build an organ under -the ceiling of a very low room, by planting the eight feet octave on a -board of its own at a lower level than that of the sound-board proper. -And it is easy to conceive, without a figure, that this accessory board -may be replaced by two boards, to right and left, resulting in a plan -resembling that in Fig. 9, but giving a lower level to the tall pipes. - -[Illustration: Fig. 6.] - -[Illustration: Fig. 7.] - -[Illustration: Fig. 8.] - -[Illustration: Fig. 9.] - -_Remark._--We confess to a strong liking for these later plantations, -which require some little careful mechanical adaptations, but result -in a compact arrangement, admitting of enclosure in a case of graceful -outline. - -[Illustration: Fig. 10.] - -5. We have still some considerations requiring careful attention before -we can map out our sound-board. The plantation of the pipes will be -the chief guide to the planning of the channels, with the divisions or -spaces between them; but it must not be forgotten that the boring of -the holes for the supply of air must be done in regular lines within -spaces or widths easily covered by the sliders. A slider is seldom -more than from 2 to 3 inches wide; there are good reasons why this -width cannot conveniently be much exceeded. But the feet of the large -pipes in the bass octave will be as much as 5 inches or more apart when -the pipes are planted back to back, as in Figs. 5 and 6. Hence we must -decide, before we begin to work, not only how the pipes are to stand -on the board, but how they are to get their wind and be deprived of it -by the action of a slider of the usual width. Perhaps we shall resolve -to run two narrow sliders under the foot-holes of the whole stop, one -for each of the two rows, controlling both sliders by a single knob -or handle. By this method every pipe will stand on its wind, as the -workmen say, that is, will be in direct and uninterrupted communication -with the channel when the holes are open. Or possibly it may suit our -plans better to run two sliders under the feet of the bass pipes, and a -third between them, under the rest of the stop; all three, be it well -understood, extending from end to end of the sound-board, but having -holes only at the proper places, and being blank elsewhere: these -three sliders being governed by one knob, or by two, if the stop is -to draw in halves (as it is called), that is, as a separate Bass and -Treble. Or, once again, we may use a single slider for the whole stop, -but carry the wind through grooves fashioned in the solid wood from -the holes bored in the usual way to the points at which the pipes are -planted. And, lastly, we may carry the wind from the holes to pipes -planted in any position, and practically at any distance by tubes made -of pipe-metal or other material. - -_Remark._--It need hardly be said that an examination of the interior -of a well-built organ will be of great service to the beginner who is -planning his first sound-board. - -6. The dimensions, then, and character of the sound-board having been -determined after full consideration of the site for the organ, and -a drawing or sketch having been made for your own guidance, proceed -thus:--Take a board of good clean bay-wood, 1/2, 5/8, or 3/4 inch in -thickness, and long enough and wide enough to form the "table" or -top of your work; and dress this carefully until one of its surfaces -is quite true and level. This dressed or levelled side is to be the -lower or under side, and we are about to form upon it the grooves or -channels of which it will ultimately form the roof. Next prepare a -ruler or straight edge of any thin stuff, and on this, with compasses, -rule, and square, guided by plenty of deliberate consideration, mark -the size and place of each of the grooves, and of the bar of wood -which will divide each groove from its neighbour, from end to end. You -will find, of course, and you were previously aware, that the widths -of the grooves and the thickness of the bars will vary in proportion -to their place in the scale. Let us say at once that 3/4 inch will be -ample width for the CC groove in our small organ; and let us advise -that the smallest groove in the treble be about 1/4 inch in width, and -that the bars between these narrow grooves be at least 3/8 or 1/2 inch -in thickness, in order to allow a good seat or margin for the pallets -or valves which are to govern the admission of the wind. In the bass -the bars will be very much thicker than this, or not, according to the -plan which you have adopted. The part of your rule in which you will -soon perceive that the chief danger of crowding your pipes will arise -is the tenor octave. Refer carefully to your pipes, and be quite sure -before you mark your ruler, that you are allowing room for Tenor C and -its neighbours to stand clear of each other when they are planted on -the completed board. Having satisfied yourself on these points, prepare -your bars from sound pine-wood, planing them with care, and especially -seeing that the edge of each bar is truly square with its sides. Two -inches will be an ample width for each bar, in other words, an ample -depth for each groove when completed. Their length will of course be -equal to the width of the table, less an inch or so, according to the -construction now to be described. - -There are now two methods of proceeding. First method:--The table being -turned over, with the dressed side uppermost, your ruler well in sight, -with plenty of hot and fresh glue fix your first thick bar at or near -either end of the table. We say, "or _near_ either end," because you -may like to leave room for a finishing cheek of mahogany when all the -bars are put in. The second bar will be glued to the table in like -manner, the proper distance from the first being secured by "filling-in -pieces" of wood of the exact thickness, glued between the bars at -their ends. This alternation of bars and fillings-in will be continued -until all the grooves have been formed according to your ruler; the -rough ends of the bars will then be dressed with a sharp plane, and -neat cheeks of stout bay-wood will be glued on all the four sides of -the divided box which you have thus built up. Second method:--Prepare -the bay-wood cheeks first, and in the two long ones, using a fine saw -and small chisel, cut grooves to receive the ends of the bars. Form -a shallow box by gluing these bay-wood sides and ends to the table. -The corners need not be dovetailed, but an equally close joint must -be secured if dovetailing is omitted. Then introduce the bars, using -an abundance of hot glue, and taking care that no bar fits so tightly -between the cheeks as to risk bending. When all the bars are glued in, -add more thin glue within each groove, placing the sound-board in a -sloping position that the glue may run into the angles, and afterwards -reversing the board to the opposite slope, repeating the coating of -thin glue. - -_Remark._--This unusual profusion of glue is to preclude the -possibility of air making its way from one groove to the adjacent one -bypassing between the edge of the bar and the table; and what is here -said applies equally to both methods. - -We ourselves prefer the second method to the first. M. Hamel, in his -wonderfully accurate and minute treatise, describes a third, in which -the fillings-in are avoided. Those to whom his book is accessible -cannot fail to share the present writer's admiration of his marvellous -industry, and of his great gift of clear and precise description of -mechanical processes. Hopkins and Rimbault may also be consulted with -much advantage. - -7. The work, thus glued up, must be left in a dry room for two or three -days, until all is perfectly set and hard. Meanwhile the other pieces -of which the completed sound-board will consist are being cut out and -prepared. We shall want the upper boards, the sliders, and the slips of -wood (_false sliders_ the French builders call them, while in England -they are termed _bearers_) which divide these from each other. - -We may safely suppose that if the ordinary form of sound-board has -been chosen--such, for instance, as that which is shown in Fig. 6--its -size will be about 4 feet, or 6 inches more, in length. Its width will -depend on the number of stops for which it is planned, and therefore -of sliders which are to work on the table; if we are to have five -stops, about 15 inches may be taken as the probable width, but this may -be less, or more, according to the class of stops selected, and the -arrangement chosen for their bass pipes. To give accurate measurements -in feet and inches for all the parts of the sound-board would only -mislead our readers at this stage of our labours. We give general rules -only: it must rest with the reader himself, as we have now abundantly -reminded him, to decide on the shape of his sound-board and to make the -plantation of his pipes, and the consequent arrangement of grooves and -sliders conformable thereto. - -Assuming, then, quite arbitrarily, and independently of all special -considerations, that the sound-board is 4 feet long and 15 inches wide, -we may cut out the upper boards from sound and clean bay-wood, 1-1/4 -inch thick. Cut them 6 inches longer than the sound-board. And now as -to width. As there are five stops, and five sliders for them, are we to -understand that we shall have also five upper boards? To this we reply, -by no means. Our stops, we assume, will be two of 8 feet, two of 4 -feet, and one of 2 feet. For reasons which we shall soon give, we shall -propose to have one upper board for each of these three divisions: -that for the 8-feet stops being 7 inches wide, that for the 4 feet 5 -inches, and for the 2 feet 3 inches. Under the 7-inch board there will -be two sliders, each 2 inches in width; under the 5-inch, two sliders, -each 1-1/2 inch in width; and under the 3-inch, one slider, 1-1/4 inch -wide. The bearers will be thus:--The two outside bearers, that is, -those which extend along the front and back margins of the sound-board, -to be 1-1/4 inch in width; the second bearer (reckoning from the back) -to be 1 inch; the third to be 1-1/2 inch, because it will lie beneath -the line of junction, or rather of division, between the two wider -upper boards; the fourth bearer may be 1/2 inch only, being merely a -separation between the next two sliders; the fifth may be 1-1/4 inch, -falling as it does under a line of division; the sixth is similar to -the first. It will thus be seen that we have-- - - 2 sliders, 2 inches each = 4 inches - 2 " 1-1/2 " " = 3 " - 1 " 1-1/4 " " = 1-1/4 " - 3 bearers, 1-1/4 " " = 3-3/4 " - 1 " 1-1/2 " " = 1-1/2 " - 1 " 1 " " = 1 " - 1 " 1/2 " " = 1/2 " - ------- - Total width = 15 inches. - -_Remark._--All this is so important that we have shown the measurements -drawn to scale in Fig. 11. - -Cut out the sliders and bearers from perfectly clean sound bay-wood or -red cedar boards, not more than 3/8 inch in thickness. Having turned -your sound-board over, with the table uppermost, assemble all the -pieces, and satisfy yourself that your measurements are correct, and -that so far there is no error in your plans. See that all your planes -are in first-rate order, and set yourself in earnest to bring to a -perfectly level and true surface the table or top of the sound-board, -and one side of the sliders and bearers. No pains must be spared to -render the surface of the table absolutely true. Apply a "straight -edge" rubbed with chalk, moving it in various directions, and use -unwearied diligence in removing all inequalities detected by this -means. Take care, too, that there is no "winding." In short, adopt -all the means which the rules of good joinery give you for producing -a surface faultlessly level. This done, arrange upon the table, with -their planed sides downwards, your sliders and bearers, and pin them -down upon it with very small brads, piercing through near their edges. -In doing this have regard to the grain of the wood, as you are about -to dress the upper surfaces. Sink the brads well out of the way of the -plane with a punch, and bring the sliders and bearers to a true level -as you did the table. - -[Illustration: Scale, two-thirds of an inch to a foot. Fig. 11.] - -_Remark._--M. Hamel advises that in making the sound-board the table -should be left 3 inches longer at each end than the actual box beneath, -expressly to afford a bearing for the ends of the sliders during this -business of planing them. If this suggestion is not followed, the -projecting ends of the sliders will require separate attention. - -The three upper boards may now be brought down upon the finished -sliders and bearers, and a couple of iron pins or dowels may be let -into each of them and into the bearers and table beneath, near their -extremities, for the purpose of confining them temporarily in the exact -places which they are to occupy. Dress over now the upper sides of the -three boards, which do not, however, require attention to absolute -truth. - -8. We cannot yet bore the holes for the pipes. Before we can do so we -must prepare yet another board or boards of clean pine, 5/8 or 3/4 inch -thick, 4 feet 6 inches long, and 15 inches wide, for the rack boards -through which the pipe-feet are to pass, and which are to maintain the -pipes in an upright position. If you have two upper boards the division -should occur between those of the 8-feet and 4-feet stops. Pin down -your rack-board upon the upper boards with brads here and there near -the edges. - -Let us now consider for a moment. We have made our box of fifty-four -transverse channels or grooves, and its top consists now of four layers -of wood--namely, the table, the sliders, the upper boards, and the -rack-boards. Through these four layers of wood, at the proper places, -are to be bored holes of various sizes clear through into the channels; -but it is plain that the holes in the rack-boards will always be much -larger than those in the three other layers, because the rack-boards -are to be ultimately raised about 5 inches above the upper board on -legs or pins, and will therefore receive the thick part of the conical -pipe-feet, while the holes in the upper board will only receive their -tip or small extremity. But the centres of the large holes in the -rack-board must coincide accurately with the centres of the small holes -beneath, and we shall therefore proceed to mark the exact spots where -each of the holes will commence. - -By the aid of your marked rule, trace a line on the front and back -cheeks of the sound-board, showing the centre of each groove. From -these points draw lines across the rack-boards. It is evident that all -holes bored through the four layers of wood at any point in any of -these lines must terminate in a channel. Draw lines at right angles to -the last, showing the widths of the sliders and bearers; it will then -be further evident that we cannot easily get wrong in boring the holes -so that they may penetrate the sliders at the exact points intended. -But the actual boring, with certain consequences or contingencies -belonging thereto, must be reserved for the next chapter. - - - - -CHAPTER IV. - -_THE SOUND-BOARD._--(_Continued._) - - -THE time has come when we must decide what our five stops are to be, -since the sizes and places of the holes must be in accordance with the -quality and character of the pipes supplied by them. - -The Stopped Diapason we have already made; and in our organ it will -be the chief or foundation stop of 8-feet tone. We shall assume that -the second stop in the 8-feet pitch will be a metal Dulciana, or small -open Diapason. The 4-feet stops will doubtless be a Principal (or some -equivalent) and a Flute. The 2-feet stop we will call simply Fifteenth -for the moment. For convenience of reference we will number the stops -thus:-- - - 1. Dulciana or open } 8 feet pitch - 2. Stopped Diapason } - 3. Principal } 4 " - 4. Flute } - 5. Fifteenth 2 " - -The pipes of No. 1, being the tallest in the organ, will be planted -nearest to the back; all the others, occupying the successive sliders, -will present a gradation of heights agreeable to the eye and convenient -for the tuner. - -No. 1, we say, is the tallest in the organ; but be it carefully -observed that in our small instrument it will not be carried down to -its lowest note CC, which would be 8 feet in speaking length; it will -not descend lower than tenor C, 4 feet, and the last or lowest twelve -notes or sounds will be obtained by using the corresponding pipes of -the Stopped Diapason as a bass for both stops. - -This will be done by "grooving;" and it will now be seen why, in -cutting out the upper boards, we were careful to have a single board -for the pipes of 8-feet pitch, and another single board for those of -4-feet pitch. For it is plain that by boring holes through the upper -board, sliders, and table into any groove of the sound-board, and by -connecting these holes together by means of another deep groove or -score cut in the wood of the upper board, and then covered in with an -air-tight covering, we obtain a secondary channel, supplied with air -by _either or both_ of the sliders at pleasure; and by boring one hole -through the air-tight covering, and planting a pipe on that hole, that -pipe will speak whenever a connection is made between the secondary -channel on which it stands and the main channel or groove below, which -is receiving air at the moment from the bellows. - -Clearly, therefore, if we bore holes through the upper boards and -sliders of Nos. 1 and 2 into the twelve grooves of the bass octave, -and then connect these twelve pairs of holes by cutting upper grooves -in the surface of the boards, covering them in by thin boards of wood -well glued down, we have then only to plant our twelve largest stopped -pipes on twelve new holes bored in these thin boards last mentioned, -and we have at once a bass common to both stops, and each of the two -stops will be practically, and for ordinary purposes, complete down to -the lowest note when its slider is drawn. When both sliders are drawn, -the secondary groove will receive air from both holes in the upper -board; but this will not have the effect of over-blowing the pipe, -since the _pressure_ or _weight_ of the air remains the same, and since -the pipe can only receive the quantity of air which is permitted to -pass through the aperture in its foot. - -It will now be seen why we did not at once bore the holes, or rather -mark their places, on the rack-board. Plainly, we must make these -twelve grooves first, and cover them in. Then, replacing the rack-board -as before, carefully mark on the latter the exact place of each bass -pipe, as it will stand on any part of its secondary groove. Afterwards, -with a bradawl or other sharp-pointed borer, prick quite through the -rack-board at every one of the points which you have marked throughout -its whole extent. At these points there will hereafter be circular -holes of various sizes for the reception of the pipe-feet, but in the -upper boards, sliders, and tables there will be smaller holes, adapted -for conveying its stream of air to each pipe. Before removing the -rack-board, decide upon the places where the rack-pins, or pillars -which will hold the rack-board up above the sound-board, are to be. -Have plenty of these, say six or eight if you have a single rack-board, -or five to each if you have two, in order to insure a firm plantation -of the pipes, and bore holes for them with a centre-bit, say 5/8 -diameter, through the rack-board and to the depth of 1 inch in the -upper boards. - -The rack-board now being put aside for the present, all the holes may -be bored through the upper boards, sliders, and table with bits of -various sizes. From what has been said above it will be seen that it is -not the sizes of these holes, but of the apertures in the pipe-feet, -which regulate the volumes of wind supplied to the pipes; but you will, -of course, use bits proportioned to the pipes you have in view. The -upper, or treble, holes must not let the little pipes slip into them, -nor must the larger holes throttle or check the flow of the wind. In -the bass the holes may be as large as the grooves will allow; and if -these are narrow, or if there is secondary grooving or conducting, it -will be well to cut the round hole at its interior aperture with a -sharp chisel into a square or rectangular opening; or to bore two round -holes and connect them by taking out the intervening wood. Afterwards, -with iron rods of various sizes, heated to redness, scorch all the -holes through the three thicknesses of wood, leaving a clear and smooth -charred passage for the wind. - -We have not yet done with grooving. This seems to be the proper place -for pointing out how the use of this system may further assist us in -the arrangement of an organ. - -Our bass pipes, we have said above, may be planted on holes cut _in any -part_ of the covering or roof of their respective secondary channels. -It follows readily from this that the secondary groove or channel may -be extended or prolonged for the express purpose of locating the pipes -in situations convenient for them. Quite apart from any necessity which -may exist for supplying a common bass to two or more sliders, we may -evidently plant our larger pipes almost where and how we please by -cutting grooves in the substance of the upper board, extending from the -table beneath to the point where we wish the pipe to be. So long as the -holes are of sufficient diameter and the grooves of ample dimensions, -the wind will reach a pipe located at a distance even of 2 or 3 feet -from its source of supply without any appreciable interval between the -impact of the finger on the key and the production of the sound; and -the grooves may be curved almost as we please, though sharp angles -should be avoided. - -Even if, in consequence of alterations of original plans or other -circumstances, the upper boards should not be of sufficient thickness -or size to admit of grooving, we may still avail ourselves of this -convenient system by using an additional or supplementary upper board, -which we will here call a conducting board, screwed down upon the main -upper board, and containing the grooves. To fix the exact places for -the holes in the under side of the conducting board, corresponding -with those in the table, spread a sheet of white paper over the upper -board at the part where the conducting is to be, making the edges or -corners of the paper coincide with those of the board, and rub the -paper with the finger so as to take clear impressions of the holes; -then transfer the paper to the under side of the conducting board, -guided by the edges and corners as above, and prick out on this under -side the centres of the circular impressions made on the paper. It is -evident that when the conducting board is applied to the upper board, -edges and corners coinciding as before, these punctured marks will be -exactly over the wind holes in the table. The holes in the upper side -of the conducting board will be marked as before from the rack-board, -and grooves cut and roofed in with thin wood, as previously described. - -Note further, that the grooving may be, if necessary, on both sides of -the upper boards. All that is needful in such case is, that after the -grooves on the under sides, next the sliders, are cut, the _whole of -the board_, and not merely the grooved part of it, shall be covered or -veneered with thin stuff. This must be dressed perfectly true, as in -the case of the solid or ungrooved board, and all the holes will be -bored through it. The upper sides will also have a neater appearance -if the roofing of thin mahogany or cedar is carried over its entire -surface. Upper boards so treated are, in fact, compounded of three -layers of wood, a central thick slab containing the grooves, and two -coverings or veneers. The gluing on of these latter must, of course, -be very sound and effectual in every part, or a running of wind might -ensue--a most provoking and really fatal defect, incurable without -complete reconstruction. - -Short grooves may be made by boring holes with a centre-bit in the -_edges_ of the upper boards, and making the wind-hole beneath and the -pipe-hole above communicate with this concealed tunnel. On plugging up -the external aperture in the edge of the board, or on stopping a whole -row of such apertures by gluing a band of leather, parchment, or thick -paper over them, it is clear that the wind will pass to the pipes at -pleasure. All such holes and channels must be scorched with hot irons. -To the true joiner this may seem an unworkmanlike expedient, but it is -necessary to prevent the weakening of the currents of air which would -ensue from friction against rough surfaces, and to preclude the risk of -carrying tiny chips and particles of wood into the pipes. If conducting -boards are used, they should be faced with soft white leather on their -under surfaces before they are screwed down in their places, unless, -indeed, they are glued down immovably. The places for the screws, as -well as for those which secure the whole upper board to the table, must -be carefully determined with reference to the grooves. - -Fig. 12 is intended to show, in a rough way, how in an upper board BB -grooves may conduct the wind from the holes in a slider AA to a row of -pipe-holes near the margin of the board, resulting in an arrangement -like that shown in Fig. 8. The dotted lines are meant to indicate -grooves cut in the under side of the board. It is clear that these -might be made to cross the others, so that different plantations of -pipes might be obtained, as in Fig. 9. - -[Illustration: Fig. 12.] - -_Remark._--These figures, however, must be understood rather as -illustrations of our meaning than as representations of actual work. - -Conveyancing tubes are in constant use, not only as substitutes for -grooving, but as ancillary to it. They are made of pipe-metal, and from -about 5/8 inch in diameter to much larger sizes. To manage them neatly -and well you should be adroit in the use of the soldering-iron. They -are commonly smeared over with a composition which will not receive -the melted solder; this composition is scraped off at the points where -a junction is to be made at an angle, and with the usual copper tool, -a little resin and tallow, the solder is applied. Much practice is -needed to give mastery of this process, apparently so easy; we have -known instances in which it has been avoided altogether by covering -the junctions of the conductors with white leather secured by thick -flour paste. It is right, also, to add, that we have seen successful -conveyances made of cartridge paper rolled upon wooden mandrels with -paste. Any tin-plate worker in your town or village would make them of -his own material or of zinc, and in an hour or two would solder all the -junctions for you when you had planned your arrangement thoroughly. - -Assuming, however, the use of the usual tubes, we may say that they are -thus applied. Let us suppose that the large pipe shown in Fig. 10 is to -be conducted off from the sound-board at the higher level to the plank -on which it stands. Bore the hole in the upper board a trifle larger -than the outside diameter of the tube. Glue a patch of white leather -over the hole, and cut out the aperture in this leather somewhat -smaller than the hole, leaving an excess of leather all round the hole -of about 1/8 inch. Then, making the end of the tube a little conical, -thrust it into the hole; it will carry in with it the surplus margin of -the leather, which will form around it an air-tight joint or collar. A -right angle may be allowed in the tube at this first commencement at -the hole itself, but in its subsequent course sharp corners should be -avoided. The pipe is planted on a hole bored to a sufficient depth in -a plank; a second hole, suited to a conducting tube, is bored at any -convenient distance from this, and communication made between these -two holes by a groove in the under side of the plank closed in with -leather, parchment, thick paper, or wood; then the end of the tube is -forced as before into the hole bored for it and provided with leather -packing, and all is complete. - -It is by these means that "speaking fronts" are arranged according to -any design. - -_Remark._--If you have all your pipes, metal as well as wood, ready -at hand, it might be well to pierce the rack-board and fit them in -their places at this stage of the proceedings, because chips and dust -are inseparable from the operation, and may be more troublesome and -mischievous after the pallets are put in than now. Those readers who -resolve on this course may turn, then, to the subsequent pages, in -which they will find all the directions which are necessary for their -guidance. For our own part, we prefer to continue in the next chapter -our account of the mechanism of the sound-board. - -We may further remark, that while the boring-tools are in use we may -perhaps do wisely in piercing holes also for the screws which are to -hold the upper boards down upon the sliders. If the planing has been -perfectly true, about four pairs of screws should be enough for each -upper board, and no extra screws should be required to force the boards -into closer contact at any intermediate part. The screws should pass -clear and easily through the holes in the boards, and should bite -well in the table beneath. The heads of the screws should be let down -below the level of the upper surface of the boards by counter-sinking, -and it is a useful practice to mark the places of these screws on the -rack-board as well, and to bore corresponding holes in this latter, in -order that if hereafter a slider should be pinched too tightly between -the upper board and table, the end of a long screw-driver may be -introduced to ease it by slackening the screws without disturbing the -pipes. - -But we shall have to return to this part of our subject. - - - - -CHAPTER V. - -_THE WIND-CHEST._ - - -THE somewhat wearisome task of boring more than 250 holes in the -sound-board being now assumed as accomplished, we may take the upper -boards and sliders apart, and retouch the holes here and there, as -required, with the hot iron. The apertures of the holes in the interior -of the channels must be thus attended to, as the boring-bit may have -occasionally torn the wood and left rough edges. Upon the faintest -suspicion arising in your mind of any flaw or crack set up in any -channel during the business of boring, smear over the whole interior of -that channel anew with thin glue, letting it flow as before into the -angles. A running of the wind from one channel to the next is, as we -have said, the most provoking of all defects, and might compel us to -pull the whole of the organ to pieces after it was set up. - -The running of wind from one pipe-hole to an adjacent one, either under -the slider or between the slider and upper board, though very annoying, -is a much less serious evil. As a precaution against its occurrence, it -is usual to make little cuts or canals running tortuously all across -the table from edge to edge between the pipe-holes, and to make similar -canals or ducts across the under side of the upper boards, so that no -vagrant wind can pass from a hole to its neighbour in any direction -without encountering one of these little cuts, and being conducted by -it to the edge of the sound-board, where it will escape harmlessly. -If the planing of all the surfaces is absolutely perfect, these cuts -should be unnecessary, and we have seen highly finished sound-boards in -which they were omitted; but we must recommend their introduction by -all young beginners. They may be neatly and quickly formed by using the -=V=-shaped tool common among sculptors in wood, and procurable at any -good tool warehouse. Its two edges should be exceedingly keen. The cuts -may be about 1/8 inch in depth. - -After this is done, the movement to and fro of the sliders should be -regulated by cutting a little slot in each of them, and letting a very -stout pin of wood or iron into the table within the slot, so as to stop -the slider at the exact points. Of course all your sliders will have -the same extent of play, say 1 inch, less or more, according to your -arrangement of the pipe-holes. You will probably have so far thought -over your whole work as to be able also to cut the openings or slots in -the projecting ends of the sliders by which the mechanism for drawing -them in and out will be applied to them. We shall show, hereafter, one -or two different ways of effecting this movement to and fro. - -After this, take some good blacklead in powder, and with a stiff brush -rub it over every part of the table until the whole surface has a -lustre like that of a well-cleaned boot. Treat the sliders and the -under side of the upper boards in the same way. This application of -blacklead greatly diminishes friction between wooden surfaces brought -into contact. Some operators mix the blacklead powder into a thick -paste with spirits of turpentine, or with water. We prefer using it -dry, but we heartily endorse M. Hamel's complaint that it is difficult -to procure blacklead of good quality. That which is sold for household -purposes is often little better than a gritty sand. - -When the blacklead has been applied, the bearers may be pinned down in -their places with small brads. The holes which you have bored for the -screws will be conspicuous in them: over each of these holes, using -thin glue or paste, place a slip of paper, extending 2 or 3 inches -along the bearer on each side of the hole. The use of this is to hold -up the upper board, in order that the slider may not be pinched so -tightly as to be immovable. The upper boards may then be laid upon the -bearers, with the sliders in place, and the screws turned until the -sliders can be made to glide to and fro with smooth and easy motion. - -Our bench, let us assume, has been swept and cleaned up after this -blacklead rubbing, and now we turn over our work and proceed to a new -class of operations. - -We have to attach to this lower side of our sound-board a shallow box -of the same length, and about 3 inches deep, called the wind-chest, -which is to contain the apparatus by which the admission of compressed -air to the channels is governed, and which is in direct communication -with the bellows by means of a wooden tube called the wind-trunk. - -We are mindful, of course, in drawing up this account of organ-building -operations, that the majority of our readers stand in no need of -definitions of these common terms. To such readers it is superfluous -to explain that the valves by which the channels are kept closed while -the keys are untouched by the fingers are called "pallets," and that -these pallets are slips of wood a few inches in length, planed to a -triangular prism-like section, faced with soft white leather, and held -up against the channels, so as effectually to prevent the ingress of -air, by springs. When the keys are pressed, the pallets corresponding -to them are drawn down or opened by wires called "pull-downs," passing -in an air-tight contrivance through the bottom of the chest. - -Fig. 13 is a transverse section of the wind-chest, in which _a_ is the -pallet, held up by _b_, the spring, and drawn down by _c_, the wire. -Part of the sound-board is shown above, also in section, as will be -easily comprehended; and Fig. 14 is a view of part of the interior of -the wind-chest when the front board is removed, four of the grooves -being shown in section. - -We proceed by sections, with intervening remarks, as in Chapter III. - -[Illustration: Fig. 13.] - -1. Seven inches will be an ample length for the pallets in our -organ; and as our channels are about 12-1/2 inches in length (inside -measurement), there will be between 5 and 6 inches of the channels -uncovered by the pallets, and closed permanently in another way. - -_Remark._--We take 7 inches as the length of our pallets on the -assumption that the widths of the channels are proportioned to a -sound-board about 4 feet long. - -[Illustration: Fig. 14.] - -2. Between the bars of the sound-board, at a distance of 6-1/2 inches -from that side at which you mean the movable front board to be, glue -pieces of thin wood about 2 inches long and fitting nicely, and when -the glue is dry dress these over with a fine plane truly flush with -the edges of the bars and of the cheeks. You have now a firm wooden -surface to which you will glue, by-and-by, the little flap of leather -which forms the hinge of the pallet. - -3. The width of the wind-chest will be governed by that of the space -covered by the pallets to be enclosed within it, in our case about 8 -or 9 inches. 3 inches will be a sufficient depth. Make the two ends or -cheeks of stout stuff, and face them up to correspond with those of -the sound-board, with which they will be flush, taking care that their -thickness is not so great as to prevent the leaving of an ample margin -to the two extreme channels for the pallet to rest upon. - -_Remark._--In one of these cheeks a trunk-hole may have to be cut -for the entrance of the wind. We ourselves greatly prefer making the -trunk-hole in the bottom board of our chests. Your plans may not admit -of this, and you will act accordingly. - -The back of the chest, called the "wind-bar," _d_, Fig. 13, should be -of strong and sound stuff, oak or mahogany, as it greatly helps to -strengthen the whole sound-board and to bear the weight of the pipes. -The corners should be dovetailed, or otherwise well and firmly jointed. -These three pieces, the two cheeks and the back or wind-bar, will now -be attached to the sound-board with glue and screws, to be separated -from it no more; but the bottom, _e_ (of 1-inch pine), will be fixed on -with screws only, strips of soft white leather being interposed between -the surfaces to ensure air-tightness; and the front board, _f_, will -be similarly fitted with an eye to occasional removal. - -_Remark._--All such screws should be dipped in melted tallow, or -otherwise well greased before use, that they may not rust in their -places. - -4. Prepare the pallets from clean and very dry pine. Every pallet -will be at least 1/4 inch wider than its channel, that it may have -not less than 1/8 inch of overlapping or margin on each side, and -it will have more than this space to spare at each end. The pallets -will be separated from each other when finally put in by stout pins -of iron or brass, driven into the bars _g_, Fig. 13 and Fig. 14. Two -such pins may be necessary between many of the pallets if the plan of -your sound-board has given unusual thickness to some of the bars, and -therefore unusual spaces between the pallets. - -5. The pallets are to be faced with white sheep-skin, and it is usual, -but not absolutely necessary, to give two layers of it to each pallet. -About an inch of surplus will be left at one end to form the hinge; -and this hinge should be stiffened by gluing a slip of thinner leather -upon it and upon the sloped-off end of the pallet. The quality of the -facing leather is of the highest importance, and we must counsel the -reader to procure it from a builder, or from one of the shops which -supply builders' materials. The price of such skins is between three -and four shillings. If an inferior leather is used disappointment is -sure to ensue; and though leather of very promising appearance may -be bought at the fellmongers' or shoemakers' in your town, you will -only be put to new expense and additional trouble in the end by using -it. In putting the leather on the pallets, a common plan is to pin -down a sheet of glass-paper of medium roughness on a board, and to -scatter a little whitening on it. The face of each leathered pallet -(when the glue is dry) is gently drawn across this whitened surface. -If, however, the leather is of superior quality in the first instance -the glass-paper may be omitted, and a little whitening rubbed upon the -leathered face will suffice. Even this may not be essential. - -6. In working the pallets in take great care that each channel is -covered by its pallet with an equal margin or surplus on each side -of it. It is well to trace pencil lines on the bars as a guide. As -you glue down each hinge give a little tap with a light hammer to the -pallet, and satisfy yourself by inspection that the impression on the -leather is equal and similar in every part. Allow no defect to pass. -Rectify, for instance, the slightest bruise or depression in any of -the bars at the points covered by the pallets. See, also, that all the -pallets play easily between their guide-pins. Finally, a slip of wood -about an inch wide may be bradded down upon the hinge-pieces. This is -not essential, but it is a protection against possible straining and -injury to the hinge by incautious treatment hereafter in cleaning the -surface of the pallets. - -_Remark._--Organs have been constructed in which the pallets were made -to play upon a pin at the hinder end, and not upon a leathern hinge -glued to the bars. Such pallets could be taken out one by one at any -time for repair or cleaning. But repairs and cleaning, if the original -workmanship is good, become necessary only at extremely rare intervals, -and these removable pallets may be ranked among the mere curiosities of -our subject. They are described and figured, however, by Seidel. - -7. The springs, see Fig. 13, are now commonly of steel, which has -extensively superseded brass, in consequence of the deterioration to -which the latter metal is subject. We are bound to say, however, that -we have used springs of best brass wire, even of late years, without -any disappointing results, and that sets of such brass springs are, -to our knowledge, as efficient as ever after thirty or forty years of -constant use. But it is undeniable that the brass wire now procurable -is subject to a change under the influence of damp and (it is said) -under that of the fumes of gas, which renders it brittle and quite -useless for purposes which require flexibility. Springs certainly -cannot be made from wire so spoilt; but, as we have said, when once -made from new wire, they may continue in use for periods practically -unlimited. - -_Remark._--The store of brass wire should be kept wrapped up in brown -paper. This applies also to brass plate. - -Whatever the wire, the springs may be quickly fashioned by using a -board, Fig. 15, in which you have fixed a stout wooden peg, _x_, and -two pins, _y_ and _z_. The wire, if brass, should be about No. 17 or -No. 18 of the gauge. The formation of the spring, by twisting the wire -round _x_, _y_, and _z_, is too obvious to require further remark. The -arms of the spring maybe about 5 inches in length, and they are curved -outwards (see Fig. 16) by drawing them between the thumb and fingers. -When so curved, and left uncompressed, the gape or distance between the -extremities will be 7 or 8 inches. - -[Illustration: Fig. 15.] - -[Illustration: Fig. 16.] - -_Remark._--The strength of the springs must be regulated by your plans -in other respects. We ourselves like strong springs, even if the manual -touch be in consequence a little heavy. - -8. The two extremities of each spring are bent at a right angle -or nearly. One of these will be inserted, but quite loosely, in a -small hole or punch-mark near the middle of the back of the pallet; -the other, also quite loosely, in a similar hole or depression in a -wooden bar extending the whole length of the wind-chest, and screwed -down within two notches made for it in the inside of the cheeks. -As the united pressure of the 54 springs will certainly bend this -bar, it is well to introduce a long screw at about its middle point, -passing through it, and biting well in one of the sounding-bars. The -spring-bar has a slip of wood, cedar or mahogany, about 2 inches wide, -glued or bradded to it along the side which is to be nearest to the -back of the chest. The springs will be held parallel to their pallets -by playing loosely in cuts, about 1/8 inch wide, made in this slip of -wood (Fig. 17). - -[Illustration: Fig. 17.] - -The socket, or punch-mark, upon which the pressure of the spring is -exerted, should be a little in advance of the middle of the pallet, so -that the latter may be held up against the bars throughout its extent. -The spring, be it carefully observed, is loosely held in place by the -sockets and by the rack in which it plays, and it can be removed at any -future time by the aid of the little clever tool which we have figured -in Fig. 18, and which you can make for yourself. - -[Illustration: Fig. 18.] - -When all this is done, furnish every pallet, if you have not already -done so at an earlier stage, with a little ring or crook, by which to -draw it down. This ring is best made by bending one end of a bit of -suitable wire, and thrusting the other obliquely into the pallet (see -Fig. 18_a_). This is better than driving in a little staple vertically. -The rings may be in a line drawn across the pallets about 1-1/2 inches -from their extremities. - -[Illustration: Fig. 18_a_.] - -_Remark._--But it will be convenient that the rings to which the -pull-downs will be hooked should be quite clear of the guide-pins. - -9. The bottom board being now put in its place for the moment, draw a -line upon it from end to end exactly above the line of rings on the -pallets, and draw lines at right angles to this corresponding with -the centre of each channel, and therefore of each pallet. At each of -these points a pull-down will pass through the board, and it is plain -that it must be made to do so without allowing the wind included in -the chest to escape. This was formerly effected by "purses" (French, -_boursettes_), little leather bags, tied or otherwise attached to the -pull-downs. We have seen this method successfully tried, but it is now -so completely superseded by a simpler and more effectual plan that we -do not think it worth our while to say more of it. - -The arrangement now invariably adopted is thus made:--Procure a strip -of brass plate, or several strips, equal in the aggregate to the length -of the chest, and about 1-1/2 inch or 2 inches wide. In too many organs -this plate is poor stuff, not thicker than a visiting-card, sometimes -even of zinc only, but in our opinion it should be at least as thick -as a shilling. Drill holes in this plate near the edges, and pin it -down for the moment on the bottom board, so that the lines of holes -for the pull-downs may run along its middle. Mark on the brass the -intersections of the lines as before. Having previously chosen the wire -for your pull-downs (of which more directly), take a fine drill, with -your breast-plate and bow, and on a bit of waste plate try the size -of the hole made by it, altering it on the oil-stone until the hole -receives the wire with the nicest and most accurate fit. - -_Remark._--It will be well to store away the drill afterwards, with a -bit of the wire as a specimen, and to use it for no other purpose. - -This drilling is not a difficult operation, and only requires care -and delicate manipulation. Of course, however, any clockmaker would -drill the holes for you. Assuming confidently that you will drill them -yourself, we recommend you to hold the bottom board, with the plate -on it, in the screw-clamp of your bench, or in a similar vertical -position, so that as the drill penetrates the brass it may be received -by the soft wood of the board. This will diminish the risk of breaking -it. - -_Remark._--Those who have a light handy lathe will know how to utilise -it in drilling the holes in the brass plate apart from the board. - -When all the holes are drilled, remove the plate, and clean off with -a fine file the rough projections thrown up by the drill. With a much -larger drill, twirled gently between the thumb and finger, smooth the -edges of all the holes on both sides of the plate. Try a bit of the -wire in every hole, and draw it to and fro, when necessary, until its -passage is perfectly smooth and easy. Grease should not be used; or, if -a little tallow is rubbed over the wire, it should be wiped off clean. - -The holes in the bottom board itself may be of any size we please, -since they have nothing to do with keeping in the wind, and merely -allow a perfectly clear passage for the wire pull-downs. - -It is plain that if we now pin down the drilled plate in its place, the -arrangement will not be complete without some provision for preventing -the escape of wind in large quantities, and with an intolerable hissing -noise, at the edges of the plate. - -The builders prevent this escape and hissing by fitting two long slips -or tringles of wood (see _h_, _k_, Fig. 13) along the two edges of -the plate with glue and brads, or screws. These slips press the plate -closely to the board throughout its entire length, and they protect -from injury at the same time the rings of the pull-downs, which might -easily be bent and distorted. - -Using thicker plate, however, we ourselves greatly prefer to glue -a strip of white leather, of the same width as the plate, over the -holes in the board, piercing it with a sufficiently large awl at the -centre of each hole, and we screw down our plate upon this leather, -using numerous short screws, placed only 4 or 5 inches apart, passing -through holes drilled near the edges of the plate, and countersunk in -the usual way. All escape of air is thus most effectually prevented, -and the slips or tringles of wood become unnecessary, except, indeed, -in their secondary character as protectors of the rings. - -The bottom board may now be put on, and strongly secured by plenty of -screws, well lubricated with tallow. Prepare the pull-downs, of uniform -length, each with its little ring neatly formed; pass each through its -hole in the plate, and with suitable pliers form the top of the wire -into a hook, which takes hold of the ring of the pallet. - -_Remark._--Or you may pass all the wires through the holes, and form -the hooks upon their ends before you fix the board in its place. - -The builders often muffle the hook or ring with silk thread, or a -morsel of soft and thin leather, to prevent a slight clicking noise -which might be heard of wire against wire. This, however, is really not -essential. It is, or formerly was, very common also to interpose an =S= -of wire between the hook of the pull-down and the ring of the pallet. -These connecting links are unnecessary, and are better omitted. - -According to strict rule the pull-downs, passing through holes in -brass, should themselves be of iron or steel; but we have always used -brass wire, and we must refer our readers to what we have said of this -material in treating of springs. They must judge for themselves. The -essential thing is that the wires should play easily and smoothly -through the holes, drawing down the pallets with perfect freedom, and -allowing them to return, when released, with a pleasant smartness. If -a single pull-down fails in these respects remove it at once. Perhaps -it is a little bent or bruised; possibly the hole in the plate may have -been inadvertently left with a sharp edge, which has cut a notch in -the wire; possibly, also, the pallet-ring may not be quite in a line -with its fellows, and therefore not quite correctly above the hole in -the plate, throwing the pull-down out of a right line into an oblique -one. Rectify all defects of this kind at any expenditure of time and -patience. - -We have left all this time several inches of each channel open or -uncovered, since the wind-chest closes in only that portion of the -channels to which the pallets are applied. We may now finish our work -by gluing white leather, or parchment, or even only stout paper, over -the open part of the channels, taking care that it adheres well in -every part. - -We may add that it is sometimes, or often, convenient to place the -wind-chest under the back part of the sound-board, and not under the -front; or to place it midway between the back and front, or a few -inches from either. This is done with an eye to arrangements connected -with the action or movement, which will be described in detail. When -the wind-chest is so placed care must be taken to provide for the -complete closing of the front board. A ledge of wood should be glued -and pinned to the bars in such case, to afford a bearing for the front -board and to receive the screws which secure it; or the edges of the -board may be leathered, and it may be thrust in, with a tight fit, -between the under side of the channels (roofed with wood at that point -for the purpose), the cheeks, and the bottom board, cut an inch wider -accordingly. Wedges are sometimes used, driven in behind clasps or -hooks of iron, to keep it in its place. But in truth, when the organ -is once well built and finished, several years may elapse without a -disturbance of the board. - - - - -CHAPTER VI. - -_THE BELLOWS, TRUNKS, AND FRAME._ - - -AFTER all our minute operations with small drills and fine wires, -calling for a light hand and patient accuracy, we have to turn to work -comparatively rough and coarse. The business of bellows-making presents -no serious difficulty, and we hope we may pass rapidly over it. We -shall have no reader who is not already familiar with the form of -organ-bellows, which consist of three main boards, namely, the middle -board, the top board or table, and the feeder, and of thin plates of -wood called ribs, the whole united together with flexible white leather -forming hinges and gussets. - -The shape or form of the bellows will of course be determined by that -of the organ; they may be long and narrow, or short and wide, like the -sound-board. Their capacity, or area, will depend on the number and -character of the pipes which they have to supply with wind. A common -rule is to assign two square feet of superficial area for each stop -in the organ; but this would be in excess of the requirements of such -a small organ as that which we are making. 3 feet 6 inches by 2 feet, -giving 7 square feet of area, will be ample dimensions in our case, -and will work in conveniently with the size which we have assumed -throughout for the sound-board, namely, about 4 feet or 4 feet 6 inches -by 15 inches. In arranging your plans in the first instance, allow -room for a drop or play of the feeder of at least 10 inches, free of -all interruption from the pedal or other contrivance for blowing, for -it is upon the capacity of the feeder that you must depend for the -quantity of air supplied, the upper part of the bellows being merely a -reservoir in which the compressed air is stored away, and from which -it is distributed to the pipes as it is wanted. The reservoir may have -a rise or play of about 10 inches or a foot. Get out the three main -boards of deal or any sound stuff, leaving the middle board some inches -longer than the other two, that its ends may rest upon the frame of -the organ, or upon other supports as you may arrange. Cut out pieces, -also, to form a shallow box, say 4 inches deep, upon the middle board, -of the same size as the top board. This is called a trunk-band, and is -introduced to allow of fixing the wind-trunks which are to convey the -wind to the chest. You will want also a light frame of three-quarters -stuff, pine recommended, to carry and support the ribs of the -reservoir; the four boards of which it is made will be of the same -width as the ribs themselves, namely, about 4 or 4-1/2 inches. The ribs -are of very thin stuff, say 1/4 inch, but they must be quite sound and -free from cracks. You will want sixteen ribs (eight pairs) for -the reservoir and six for the feeder; of these last the long ones will -be of triangular form. - -[Illustration: Fig. 19.] - -Cut plenty of large openings in the feeder board for the admission of -the external air, and in the middle board for the transfer of that air -to the reservoir. These openings may be rectangular, say 4 inches by -1-1/2, and there may be fully six of them in each board. After cutting -them, convert them into gratings by fitting little wooden bars across -them, 1 inch apart, let in flush with the board, and planed level. -Each of these gratings will be covered with a valve or clack of stout -white leather, two thicknesses glued together, and held down along -one edge by a slip of wood and brads. These leathern valves should -play with perfect ease, and it is well to thin down the hinge-flap, -or cut it half through with a sharp penknife, that the valve may fly -open at the slightest pressure of the wind, and may not throttle or -retard its passage. It is a common plan to make these valves without -a hinge, by attaching pieces of tape to the four corners, and pinning -down the ends of the tapes to the board. The whole valve then rises -and falls. We prefer the hinge. After cutting your ribs to the proper -shapes, in which you can hardly get wrong, sort them into pairs, and -glue a long strip of stout white sheep-skin along the edges of each -pair. Stout calico or linen may be substituted for leather on the -opposite side, namely, the side which will present the inner angle, -and in which the ribs will be in close contact when folded together. -A glance at Fig. 19 will show that the upper ribs of the reservoir are -in a position the reverse of that of the lower ribs. This inversion of -the ribs represents the result of a clever invention by one Cummins, -a clockmaker. Before its introduction, the air in the reservoir had -suffered a slightly unequal compression as the top board descended, in -consequence of the closing-in on all sides of the folds of the ribs, -which diminished the space occupied by the air. Cummins's ingenious -modification at once rectified this inequality, since the upper ribs -fold outwards, and allow more room for the air, precisely in the same -proportion as the lower ribs fold inwards and diminish the space. -An unpractised ear might not, indeed, detect the slight change in -the tone of the pipes caused by bellows made in the old-fashioned -way, but let us by all means follow Cummins's plan. You will do well -first to join the inner lower edges of the upper ribs to the inner -sides of the middle frame; then their other edges to the top board -at the proper distance from its margin; then attach the upper and -outer edges of the lower ribs to the outer edges of the middle frame; -lastly, the lower edges of the lower ribs to the trunk-band. All this -must be done quickly that the glue may not grow cold; it will much -facilitate a distasteful operation to use a small sponge with warm -water, passed over the outer or smooth side of the leathern strips as -they are glued on. The main hinge of the feeder will be best made by -passing pieces of hempen rope through several pairs of holes bored -obliquely for the purpose in the feeder board and middle board, and -wedged in with pegs and glue. Fig. 20 sufficiently explains this. Two -or three layers of the stoutest leather will be glued over the line of -junction formed by this hinge. There is no reason why the hinge should -not be on one of the long sides of the feeder, instead of its narrow -end, if your arrangements for the blowing-handle or pedal render this -form of construction desirable. (You have doubtless well considered -your blowing mechanism.) The ribs of the feeder being worked in like -those of the reservoir, and all the glue dry, fix the bellows in a -fully distended position by temporary appliances, and fill up the -open corners by gusset-pieces of your best and most flexible leather. -Material will be economised and neatness consulted by preparing a -paper pattern of the gusset-pieces in advance. Those of the feeder must -be very strong, and it may be well, but it is not necessary, to put on -a second pair over the first, but not glued to them in the folding or -crumpled part. All must be perfectly tight and well glued down in every -part. A mere pin-hole will betray itself hereafter by a disagreeable -hissing. - -[Illustration: Fig. 20.] - -[Illustration: Fig. 21.] - -We had almost forgotten to say that a valve 4 inches square, or -thereabout, must be fitted in the middle of the top board to prevent -over-blowing. This is generally made of a small board of wood, planed -truly level, and covered with two thicknesses of the pallet leather, -rubbed with whitening. It opens inwards, and is held closed by any -simple application of a stout spring made of much thicker wire -than the pallet springs. Fig. 21 suggests one of the very simplest -of arrangements. A string, fastened to the under side of this -safety-valve, and to the middle board beneath it, may be of such length -as to pull the valve open when the bellows are fully inflated; or the -valve may be pushed open from above by a wooden arm or catch attached -for the purpose to some part of the frame. - -The apertures for the trunks should be cut in the trunk-band, according -to well-digested plans, before the bellows are put together, that -there may be no sawdust or chips afterwards to get under the clacks; -and it is well to give the whole interior of the bellows two coats of -glue-size before the ribs are closed in. - -[Illustration: Fig. 22.] - -The little contrivance _a b c d_, Fig. 22, is to ensure the -simultaneous rising of the top board and middle frame when the bellows -are in action. It may be conveniently made of hoop-iron, but oak or any -hard and strong wood will be equally good. If some such contrivance -were not introduced, the top board and upper ribs would rise first on -the working of the feeder, and the frame and lower ribs would follow -in their turn. This would cause inequality of pressure, since the top -board would not at once bear up the weight of the frame and lower ribs. -The little jointed apparatus redresses this by causing the whole of the -ribs to obey the first admission of air. A simpler form of it will be -found in Fig. 22_a_. - -We are building a very small organ, but, desiring as we do to give as -much completeness to this treatise as circumstances will allow, we -here explain that in larger instruments two feeders are generally or -always introduced, unless, indeed, a "cuckoo feeder" is used, which -practically amounts to the same thing, being a long board hinged to -the under side of the middle board by a stout transverse piece in -its middle, and provided with two sets of ribs, each set filling up -the space from the middle hinge to the end of the board. This feeder -supplies wind with the upward as well as the downward stroke of the -bellows-handle, but it would not be suitable for an organ in which the -blowing is effected by the foot. - -[Illustration: Fig. 22_a_.] - -We may have readers who are so fortunately circumstanced as to be able -to apply water-power to their bellows. In this case two feeders should -be fitted in order to utilise both strokes of the ingenious little -machine, which consists essentially of a piston moving water-tight in -a cylinder provided with a valve which admits water alternately above -and below it. This is not the place for entering on a discussion of the -conditions essential to the due working of the water-pressure engine; -they may be studied in any modern treatise on hydro-dynamics; it is -enough for our present purpose to say that a cylinder not larger than -a common wine-bottle will give ample power for such an organ as ours, -provided that the pressure on the piston be not less than 30 lbs. to -the square inch, and that the supply-pipes be of ample size. Water, it -must be remembered, does not expand like steam when admitted into an -empty space, or rather into a space occupied only by atmospheric air; -hence large pipes, large valves, and large ports, or valve-openings, -must be provided, that the water-pressure, irresistible when properly -applied, may be thrown at once upon the point where it is wanted. But -this is by the way, and we will only add that the water machine should -be in a room or cellar below or adjoining that in which the organ -is placed, as a slight noise is inseparable from its action, and it -should act on the feeders by a wooden or iron rod brought up through -the floor. Still better if the whole apparatus, feeders, reservoir, -and all, can be down-stairs or in a neighbouring apartment, the -trunks only passing through the wall or floor. In very large modern -instruments the feeders, worked by steam or water, are commonly made to -move horizontally, in a way which will be understood if we imagine an -accordion or concertina laid upon its side. When the reservoir is fully -inflated it acts upon a valve, which reduces or cuts off the supply of -water or steam. - -The trunks are rectangular wooden tubes made of half-inch pine, and -well jointed. In their course from the trunk-band to the wind-chest -right-angled mitres are permissible, for it is a mistake, though a -common one, to imagine that the wind rushes in an impetuous stream -along the trunks as it does (for instance) along a conveyancing tube -when its pallet is open. The trunks are simply connecting links between -the reservoir and wind-chest, but they must be large enough to ensure -an equality of wind-density in both wind-chest and reservoir under -all demands on the part of the player. Our trunk may be 5 inches by -2, inside measurement; or it may be 9 or 10 inches wide by only 1; -or we may make it 3 or 4 inches square, as may suit our plans. The -ends of the trunk should not be glued into the openings cut in the -trunk-band and wind-chest. The ends, reduced by half the thickness of -the wood, and brought to a shoulder, should be glued into an opening -in a small board, an inch or two larger on all sides than the area of -the trunk. Engineers would call this a "flange." This flange being -leathered, and the aperture of the trunk cut out, it may be pressed -with four or more screws against the margins of the openings with which -it is in communication, and will thus be removable at any time if the -organ is taken down or altered. The interior of wind-trunks should be -well coated with thin glue, and the exterior should be painted. Some -builders prefer to cover the exterior of their trunks with paper, and -to line the ribs of the bellows with the same material, applied with -common paste. Trunks have been made, too, of zinc, and oval in section. - -The frame of the organ, whatever its form or plan, should be very -strong and solid, and should stand firmly in its place on the floor -without any tendency to vibration or unsteadiness. The pieces of which -it is composed should be of good deal, 1-1/4 inch thick, and from 3-1/2 -to 4-1/2 inches wide, according to circumstances, that is to say, -according to the weights which it has to carry. The essential points -are these, namely, that the keys, or manual, shall rest upon firm -supports at the proper height above the floor; that the sound-board -shall be borne upon bearers at a sufficient height above the keys to -admit the intervening mechanism; that the bellows shall be carried on -cross pieces far enough removed from the floor to admit of the free -play of the feeder. - -You will take into consideration, in designing your frame, the question -whether you will have pedals, and the still more important question -whether you will have separate pipes for them, and how they are to -be connected with the lower keys. Room must be provided for all the -apparatus involved in these arrangements, and, as in every part of -our work, so in this, we say that the reader himself must think over -carefully all contingencies, and make a preliminary drawing to scale -for his own guidance. - -Enough if we lay down here the following rules:-- - -1. The under side of the key-board must be 25 inches from the floor, -or from the upper surface of the pedal-board. - -2. The under side of the wind-chest should, if possible, be at least 15 -inches above the key-board. - -3. The middle board of the bellows should be fully 12 inches above the -floor, or above any trackers or other mechanism connected with pedals. - -4. The front edge of the key-board should project about 1 foot in -advance of the panels closing in the lower part of the case. - -5. Ample space should be secured for a large book-board by allowing -a still greater distance between this front edge of the keys and the -front edge of the sound-board above. - -These are not quite all the considerations involved in designing the -frame. The draw-stops and their connection with the sliders must be -well considered, and room left for the requisite apparatus; and the -position of the bellows-handle should be determined, and the part of -the frame on which its fulcrum or centre will rest. - -Fig. 23 gives, perhaps, the simplest form of frame usually adopted for -a small organ. It is made of four distinct frames, united at the angles -by screws, so that the whole can be easily taken to pieces. It must -be understood that the key-board is carried upon two cross-bearers, -leaving the under part of the tails of the keys accessible; and the -sound-board in like manner rests upon two bearers under its extreme -ends. If any longitudinal bar is introduced to assist in sustaining -the weight of the sound-board, it must be after careful consideration -of all the arrangements for the action or movements of the keys. -Similarly, the entrance of the trunk must depend on the mechanism of -the action and of the draw-stops. It is unnecessary to screw down -the sound-board to the bearers. Its own weight when loaded with the -pipes will keep it down, while a couple of dowels (short wooden pegs), -one in each bearer, fitting into sockets in the bottom board of the -wind-chest, will prevent it from moving laterally. - -[Illustration: Fig. 23.] - -There is another form of frame well suited to small organs, and which -we ourselves greatly approve. According to this plan, which is sketched -in Fig. 24, the bellows are enclosed in a stout low structure rising -no higher than the level of the key-board which rests upon its top. The -sound-board is carried upon cheeks screwed or otherwise attached to the -bottom board of the wind-chest either at its extreme ends or at points -nearer to its centre, according to your plans for the action and the -draw-stops. Or the cheeks may be united by a stout transverse piece or -girder, the sound-board being then kept in place by dowels only. - -[Illustration: Fig. 24.] - -The present writer has further modified this arrangement by -substituting a wide and shallow trunk for one of the cheeks. This trunk -is screwed by its flange to the bottom board of the wind-chest, where -the wind enters, and it is closed at the bottom, where it rests upon -the cross-bearers of the frame. A lateral aperture is cut in it an inch -or two from this lower end, and a short mitred trunk connects it with -the bellows. All this may be sufficiently understood by inspection of -Fig. 24. - -_Remark._--The late eminent builder, Mr. W. Hill, we believe, exhibited -an organ at the London International Exhibition in 1851 which had -hollow framework, serving as trunks. It is evident that by making -one end of our bellows rest upon a hollow bearer we might omit the -trunk-band entirely, since this hollow bearer might be directly -connected by a mitred trunk with the hollow cheek supporting the -wind-chest. And by making one leg of the bellows-frame hollow, and -connecting it at top with a hollow cross-bearer, carrying the cheek on -which rests the wind-chest, it is plain that we supersede the separate -trunk altogether. Such plans as these may amuse some of our readers. - -[Illustration: Fig. 25.] - -If the feeder is worked by the foot of the player such a pedal as -that shown in Fig. 25 will be found convenient. It is made of hard -wood--oak, birch, ash, or walnut--with iron or brass hoops and -pivots, and is screwed to the floor of the room, independently of the -organ-frame. The little roller should be covered or muffled with soft -leather, and you will see that it rolls clear of the valve-holes in the -feeder. By lengthening the middle piece or shaft we may work with the -right foot, a feeder having its play on the left side; but in such a -case the whole machine will be best made of iron by a smith. He will -coat the pedal for you with india-rubber where the foot rests upon -it--a much better plan than roughening it like a rasp. The pedal, as -figured, is intended to be on the extreme right of the player, and to -be clear of a pedal-board of two octaves. - -The reader will see that by reversing the positions of the arms of the -pedal it may be made to suit any little organ with a manual only. In -this case the muffled roller will traverse the feeder not crosswise, -but lengthwise. - -We pointed out in a former page that the position of a bellows-blower -must be considered in your plans for the finished instrument. If he -stands close to the player on either side of him the lever will be -easily poised upon a strong pin projecting from the frame. A piece of -web or a leathern strap will be a better connection with the feeder -than any rigid bar of wood or of iron. If the organ is not placed -against a wall the position of the blower may with equal ease be -precisely reversed. The lever, however, may be arranged parallel to the -back wall by constructing your bellows in the first instance with a -view to this, the hinge of the feeder being on one of its long sides, -as we have explained in a former page. Or, with a feeder hinged as -usual at its end, the lever may still be parallel to the back wall by -acting upon an arm with a roller precisely similar to our foot-blower. - -[Illustration: Fig. 26.] - -Another mode of effecting this is shown in Fig. 26. _a b_ is the -handle turning on a strong pin at _a_, fixed to the back of the frame. -_c d_ is a shaft which should be of iron, but might be of hard wood, -hooped at the ends, having two arms, _e_ and _f_, projecting from it -in opposite directions. This shaft turns on stout iron pivots which -enter holes in stanchions securely fixed to the frame. These holes -will be better for being bushed with brass. _g_ is a short wooden link -connecting the handle with the arm _f_; and _h_ is a wooden rod which -connects the arm _e_ with a forked lug screwed to the feeder. All these -connections are by stout turned pins of iron or brass. It is plain -that every downstroke of the handle _a b_ will bring up the feeder. All -this is a matter of mere mechanical arrangement; the simpler you can -make it, by diminishing as much as possible the number of pivots or -turnings, the better it will be. - -We conclude this chapter, and turn to the next branch of our subject, -with the assumption that the organ is thus far satisfactorily advanced. -When the new bellows are worked we assume that no hissing is heard, -and no escape of air perceived at any of the holes when a slider is -drawn, or at any part of the junctions of the trunk. We assume also -that when any pallet is opened by drawing down the ring of its wire, a -strong rush of wind will immediately follow, and will be as instantly -stopped by releasing the ring, when the pallet will close with a ready -and prompt snap. The sliders, too, must glide to and fro with perfect -smoothness and ease. - -Pass over no serious fault. Remedy all defects with unwearied patience, -even if it involves a reconstruction of your work. - -It is usual to paint the frame and bellows (leaving the ribs untouched, -however) with some dark priming. A dull red was formerly in vogue; -chocolate, dark brown, or a slaty black have now found favour in the -eyes of builders. - - - - -CHAPTER VII. - -_PLANTATION OF THE PIPES._ - - -WE explained in a former page that it is well to plant all the pipes -upon the sound-board before the pallets are fitted, because dust and -chips are inseparable from the operation, and may be troublesome and -mischievous if introduced into the grooves and conveyances. Some of our -readers, therefore, having their stock of pipes by them, have perhaps -already perused this chapter and acted upon its suggestions. It has -been reserved, however, for this place in our work, in accordance with -our wish to meet the case of workmen and young beginners who are under -the necessity of proceeding by degrees. - -Possessing a turning-lathe, and resolving to turn the wooden pipe-feet -yourself, you will doubtless commence by boring four or more holes in -a bit of thin board with centre-bits of different sizes as a guide or -gauge for the diameters of the pipe-feet. If you mount this little -board at a height of 4-1/2 inches above another board or stand, by -pillars or legs, it will represent a portion of your rack-board, and as -you rapidly throw off the feet in the lathe they will be as quickly -sorted by passing them into these trial holes. The billet of wood, -pine, willow, sycamore, or any other suitable stuff, should be bored -while still in the rough by a bit revolving in the lathe. The bore -cannot then fail to be central. It should ultimately be scorched with -a hot iron, unless, indeed, your borer has been so well suited to the -wood as to render unnecessary any further smoothing. The feet will be -slightly conical, the smaller end tapered off to fit the countersunk -hole on the board, the larger formed into a neck with a shoulder (see -Fig. 1). - -The rack-pins should be of mahogany or oak, with a shoulder at each -end, the necks fitting tightly in the holes provided for them already. -These necks may be blackleaded, to facilitate removal. - -All the holes may now be bored in the rack-board corresponding to our -two wooden stops (Nos. 2 and 4), at the points marked long ago, when -the grooving was finished; the board may be placed on its rack-pins, -and the feet dropped into their places, adjusted, where necessary, -with a half-round file. The pipes may then receive their feet one by -one, and if your calculations have been correct and your measurements -accurate they should stand in orderly array. Use the spirit-level, -square, and plumb-line in planting the pipes, to ensure truly -horizontal and perpendicular lines. The feet should not be actually -glued into the blocks until the last little adjustments have been given. - -In planting the metal pipes, holes 2 inches or more in diameter will -be required in the bass, while those in the extreme treble will be -little larger than a common quill. Adjustable bits may be bought, -clever contrivances producing beautifully true circular holes (see -Chap. II.). In the absence of these, we recommend you to use discs of -stiff paper or cardboard, representing the exact size, as ascertained -by callipers, of the conical foot of the pipe at about 5 inches from -its lower extremity; from these discs the outline of the holes may be -traced on the board, and all the holes, great and small, may be cut -out with a pad-saw, or bored with common bits, in every case a trifle -smaller than they are ultimately to be. Then, the rack-board being in -place, each pipe may be adjusted in its position by using a half-round -rasp, and similar or rat-tail files. With these you will easily give a -conical form to the holes in the board. - -Great care will be well bestowed in this operation. If, unfortunately, -you cut any hole too large, line it with a morsel of soft leather. But -every true workman will desire to resort as seldom as possible to this -expedient. - -Probably none of the metal pipes will require to be grooved off. But -this you have attended to long ago. If any of them are grooved off, -take care that the grooves are of ample size, that the wind may not be -throttled. - -When all the pipes are planted, whatever the arrangement which you have -adopted, they should gratify the eye by their perfect symmetry. - -"If they do not look well they will not sound well," was a good maxim -long ago impressed upon the writer by an ingenious German workman, to -whom he was indebted for much valuable information. - - - - -CHAPTER VIII. - -_THE ACTION._ - - -THIS important subject will be prefaced by a few definitions, -superfluous, perhaps, for some readers, necessary for others. - -_Backfall_. A lever of any clean wood, 3/8 inch or less in thickness, 1 -inch or 2 inches in width, and seldom more than 1 or 2 feet in length, -turning upon a wire as its axis or fulcrum. - -[Illustration: Fig. 27.] - -_Bridge_. Backfalls occur in sets, corresponding to the number of keys -in a manual or of pallets in a wind-chest. They are arranged side by -side in notches formed by taking out the wood between saw-cuts in a -balk of mahogany or oak 2, 3, or more inches square. This balk is -called a bridge. Fig. 27 shows part of a set of backfalls and their -bridge. - -_Square._ Squares are now usually of metal, but may be easily made of -wood, and consist of two arms, 2 or 3 inches long, united at a right -angle to each other, or cut at once from a single piece, and turning -on a wire as an axis passing through a hole at the intersection of -the arms. Like the backfalls, they may be arranged side by side in a -bridge, but the modern metal squares are screwed separately in their -places (Fig. 28). - -[Illustration: Fig. 28.] - -_Sticker._ A slender rod of light wood, not larger than a common cedar -pencil, and from a few inches to a foot or two in length (Fig. 29). - -[Illustration: Fig. 29.] - -_Tracker._ A flat riband of pine, sometimes several feet in length, -about 3/8 inch in width, and less than 1/8 inch in thickness. Trackers, -however, are now frequently slender round rods, like the stickers (see -Fig. 30). - -[Illustration: Fig. 30.] - -_Tapped Wires._ Formerly of brass, afterwards of tinned iron, and now -generally of phosphor-bronze or some other alloy. These are pieces of -wire about 3-1/2 inches in length, from No. 16 to No. 18 in gauge, and -cut with a screw-thread upon about half their length, with a ring or -hook at the untapped end. - -_Buttons_. Round nuts of old and thick leather, or latterly of a -composition into which gutta-percha enters, pierced at their centre to -receive the tapped part of the wire. - -_Cloths._ Little discs of woollen cloth, mostly red, used as mufflers -to prevent the rattling noise of wood against wood, or metal against -metal. - -[Illustration: Fig. 31.] - -_Roller._ An axis or shaft of light wood (but in certain cases of -iron), turning easily on two wires as pivots, which enter holes in -studs fixed firmly. The roller has two (or more) arms, 2 or 3 inches -long, projecting from it, generally near its ends. It is plain that -any motion given to the roller by acting on one of these arms will -be transmitted to the other arm. Rollers are in sets, like backfalls -and squares, and are arranged symmetrically on a board called a -roller-board (Fig. 31). - -The nine articles just described are all brought together in the action -of an organ, even of a simple kind. We shall endeavour in this chapter -to show how they are combined in ordinary circumstances, involving no -peculiar complications. - -[Illustration: Fig. 32.] - -A simple and rudimentary example of the principle underlying all -systems of organ-action may be seen in Fig. 32. _a b_ is the key-board, -in which each key (as always in England) is balanced on a pin-rail near -its centre, and has a pin, _c_, passing through a little mortice cut in -it, while another pin, _d_, out of sight, near its fore end, keeps it -in its place, parallel to its fellows. At the tail of the key, _e_ is -a sticker, having a wire thrust into each of its ends, and projecting -about 1 inch; one of these wires is inserted in a small hole drilled -in the key-tail, and conical beneath, or cut into a little mortice. -A "cloth" is slipped upon the wire to prevent the end of the sticker -from rattling upon the key-tail. The upper wire of the sticker slips -into a similar hole (a cloth interposed as before) in the end of _f_, a -backfall working in its bridge, _g_. The other end of _f_ is connected -at once to the pull-down of the pallet by a tapped wire and button. -Clearly, if a finger is placed upon the key, its hinder end will rise -and will push up the back end of the backfall, which will draw down the -pallet; and by simply reversing the position of the backfalls as shown -in the cut, we may pull down the pallets in the wind-chest when placed -under the back of the sound-board. - -If, then, we have fifty-four keys in the manual, a repetition of this -simple apparatus fifty-four times will be requisite to bring every -pallet, with the pipes controlled by it, under the command of the -player. - -But this is taking no account of the fact that the pipes are not -planted in an unbroken chromatic series from bass to treble. In the -arrangement shown in Fig. 5 (and in its reverse or opposite plan) it is -plain that our simple backfalls would fail us; while in Fig. 6 some of -the bass pipes are planted to the right of the player, equally out of -reach. - -Here we resort, then, to rollers. Fig. 33 shows a single roller, in -which _i k_ is the roller, turning on pivots in studs, and having arms, -_l_, _m_, of wood or of iron, projecting from it. The sticker from the -key-tail pushes up the arm _l_ when the key is depressed; the roller -turns on its pivots, and the arm _m_ pushes up the tail of the backfall -by another sticker, the pallet being thus opened as before; and it is -plain that by arranging a set of rollers on a board, as in Fig. 31, we -may act with ease upon pallets to the right and left which could not be -reached in any other way. - -[Illustration: Fig. 33.] - -The roller-board as here described is placed above the key-board, -with action by stickers; but it might be as easily placed immediately -under the wind-chest, with action by trackers. In this latter case, -the key-tail will push up the end of the backfall, the other end of -which will draw down a roller arm by means of a tracker; the other arm -of the roller will be hooked to the pull-down of the pallet by means -of another tracker. If so placed, room must of course be left for the -roller-boards by fixing the wind-chest at a sufficient height above -the backfalls. Figs. 34 and 35 show, sufficiently for our purpose, but -without any pretension to exactness of detail, the two positions of the -roller-board, and it is easy to see that by reversing the backfalls, -and in Fig. 35 the roller-board also, we can act upon a back wind-chest. - -[Illustration: Fig. 34.] - -Probably the reader has already surmised that the notches in the bridge -are by no means necessarily parallel to each other, or, in other -words, that the backfalls themselves are not parallel. The left-hand -pipes, as shown in Fig. 6, are reached by cutting the notches in -the bridge askew, so that while one end of the backfall is over the -key-tail, the other may be under the pull-down; and as this applies to -the whole set of backfalls, except those connected with the rollers, -the whole of the notches will be cut at varying angles to the central -line or axis, and the complete set of backfalls, when put in their -places, will present a fan-shaped plan. Hence it is sometimes called a -"fan-frame." - -[Illustration: Fig. 35.] - -But parallel backfalls occur constantly as transmitters of motion from -the keys to the rollers, and in other positions which will be noticed. -The plantation of pipes shown in Fig. 5, for instance, and the reverse -of it, which has the larger pipes in the centre, can only be adopted by -having a roller for every pallet; and in this case the backfalls will -be parallel, whether the action be by stickers or by trackers. - -Already, we hope, we have given explanations so far intelligible that -ingenious reader's might have no difficulty in devising for themselves -some one of the numerous distinct combinations which may be made of the -nine pieces or members which we began by defining. - -Let us take, however, the very common arrangement of Fig. 6 as that of -our organ, and apply to it the rules already laid down. - -1. The keys will be procured, of course, from a maker, unless the -cost--fifty to sixty shillings--can be saved by adapting an old set. -We ourselves are admirers of the old-fashioned claviers with black -naturals and white sharps, or sharps of bone or ivory with an ebony -line down the middle of each. We possess two specimens of double -manuals of this kind; one of them, taken from an organ by the elder -England, is extremely handsome, with a mahogany frame almost black -from age, purfled like a highly finished violin. It was presented to -the writer many years ago by the late excellent builder, Mr. Walker. -The other double set, in a plainer frame, was bought at a sale for the -sum of one shilling and sixpence! The chief objection to the use of -old claviers is that the keys, from long usage or from original faulty -construction, rattle audibly against their guide-pins. This, however, -may be quite obviated by bushing the little mortices which receive the -guide-pins with fine cloth, as modern piano keys are bushed, or with -thin leather--for instance, the kid of old gloves. If the keys are -handsome, a little patience bestowed in this way may well reward the -operator, who will find the movement of his old manual when this is -done as silent as he can wish it to be. - -2. We shall assume that the front board of the wind-chest is above -the keys, and that the organ is to stand against the wall. Hence the -backfalls will be turned towards the player, as in Figs. 32 and 34. But -all that we shall say will be applicable to backfalls acting on a back -wind-chest. - -The keys, whether new or old, will probably be 18 or 19 inches in -length from their front edges to the rear. Their position in the frame -should be such as to allow the front edge to project 10 inches at least -beyond the front line of the wind-chest, in order to allow room for -a book-board; hence our backfalls will be short. But their shortness -will not be an evil, since the extent of their play or oscillation is -extremely trifling. One-third of an inch will be a sufficient descent -of the pull-down; the other end of the backfall will traverse a similar -space, and it will easily be seen how small an arc will be described by -any point near the centre. Backfalls from 4 to 6 inches in length will, -therefore, present no practical inconvenience. At the same time it must -be admitted that with such short backfalls the obliquity of those to -the extreme left will be somewhat embarrassing, and we shall recommend -the use of rollers for the six pallets to the left as well as those -to the right, especially since, as we shall show, the width of the -roller-board will not be materially increased thereby. - -The backfalls should be of oak or mahogany, and the bridge of the same, -or other hard wood. If the bridge is not sufficiently strong and rigid, -a disagreeable and perceptible yielding of the whole manual will take -place when the player presses down a chord. The backfalls, if parallel, -or if only at a moderate degree of obliquity, will oscillate upon a -single wire extending throughout the whole range. This wire should be -sunk in a score or channel made with a =V=-tool before the notches of -the bridge are cut; and it should be held firmly down by small cross -slips of oak screwed with very fine screws into the wood of the bridge -between every six or so of the backfalls. This is much better than the -common way of driving in little staples of wire, which are apt to split -the wood, and are not easily extracted in case of repairs becoming -necessary. The small holes for such screws may be bored conveniently -with a drill, revolving by means of the Archimedean drill-stock, now -sold in all tool-shops for the use of fret-cutters. - -Stickers may be quickly, easily, and neatly made by a bead plane. Take -a piece of three-eighth pine board of the requisite length and dress -it over. Then, with a three-eighth bead plane, strike a bead along one -edge, reversing the board when cut half through, and using the plane -as before. A slender wooden rod will be the result, which will only -require a little smoothing with glass-paper. To fit the wires into the -ends of the stickers, mark the centre of the rod with a punch or other -suitable pointed tool, and pierce a hole with a fine drill revolving in -the lathe. The wire may then be driven down without fear of splitting -the sticker or of entering it obliquely and penetrating the side of it. - -For trackers we prefer round rods, made precisely as above, but with -a 1/4-inch bead. If tapped wires are to be inserted in the ends of -the trackers, it is well to flatten the inserted end of the wire by -hammering it, that it may not turn round in the wood when the button is -afterwards applied. A fine saw-cut is made in the end of the tracker, -the flattened part of the tapped wire inserted, and strong red thread, -well waxed, neatly tied round. The ends thus whipped are sometimes -varnished with a red composition. But this is superfluous. - -If flat trackers are unavoidable, they may be cut from a three-eighth -pine board with a gauge, armed with a cutting-point instead of the -usual scoring-pin. A smoothing plane should be specially prepared by -fixing two slips of wood to its face. These slips will prevent the -plane from cutting anything thinner than themselves. Then, the plane -being held firmly down upon the bench, an assistant, walking backwards, -draws the tracker beneath the blade until it is reduced to the same -thickness as the slips, say 1/8 inch. The tapped wires will be inserted -and the ends whipped as before. - -The squares shown in Fig. 28 are cut from thin boards of oak or -mahogany. Perhaps it will be found less troublesome and laborious to -make each square of two distinct arms, halved together and glued at the -angle, or more effectually joined by tenon and mortice. Metal squares -can be bought ready made, or they may be cut with shears from brass -plate. But we should use wood ourselves. - -The rollers will be of pine or deal. They are cut out and dressed up as -square or rectangular rods of the requisite length, but two of their -sides are afterwards rounded or curved. It follows from this that when -arranged side by side on their board the curved sides may be nearly in -contact. As our rollers are short, three-quarters stuff will suffice -for them, but rods inch or more square should be used when rollers have -a length exceeding 2 feet or 30 inches. - -Iron roller-arms have some great advantages, and they may be bought at -a moderate price per gross, neatly bushed at the holes to prevent a -rattling of metal against metal. But we ourselves deliberately prefer -arms of wood, involving, as they do, much greater labour. If these are -used, they should be made of oak or other hard wood, and let neatly -into a little mortice in the flat side of the roller. After they are -glued in, the holes may be pierced in each end of the roller to receive -the wires or pivots on which it revolves, and which should be stout and -rounded smoothly at the external extremity. One of the reasons why we -prefer wooden arms is this, viz. that the pivot can be driven into or -through the arm, which may thus be at the extreme end of the roller; -while if iron arms are used a margin or surplus must be left at each -end of the roller to allow room for the insertion of the pivot without -interfering with the arm, the screw of which passes through the axis of -the roller. But it is undeniable that iron arms abridge labour and save -time. - -The studs in which the pivots are supported are also among the fittings -which can be obtained from the shops; but we have always made our own -of oak, turning the peg or shank in the lathe. These studs must be -bushed with cloth. Drill the hole truly through the stud, using a borer -much larger than the pivot-wire. Cut a strip of red cloth about 3/8 -inch in width. Point one end of it, and draw it through the hole in the -stud. It will adapt itself to the circular hole, and will take the form -of a cloth pipe lining the hole, and effectually preventing a rattling -noise which would certainly be heard in its absence. - -The planning of a roller-board, so as to economise space as much -as possible, is one of those operations which call for forethought -and ingenuity. The forms which it may assume are numerous; we shall -indicate by one or two simple diagrams some of the combinations of the -fan-frame with rollers which occur in ordinary practice. - -Fig. 36 shows the usual way of carrying the touch to the pallets on -the right and left in the common form of sound-board shown in Fig. -6. A set of backfalls is assumed as _in situ_ under the wind-chest, -parallel to each other as regards the six pallets at each extremity, -but fan-framewise as regards the pallets from Tenor C to the top. As -the actual key-board (disregarding its frame) is about 2 feet 6 inches -in width, while the row of pull-downs on which it is to operate extends -to a length of 4 feet or more, we see that there will be an overhanging -margin or surplus of the wind-chest on each side of some 9 or more -inches, and it is probable that all the pallets affected by rollers -will be included in these overhanging portions of the chest. - -[Illustration: Fig. 36.] - -Take a piece of three-quarters or five-eighths board, the full length -of the wind-chest, and wide enough for your twelve rollers when placed -as we shall now direct. Dress it up, and give it two coats of priming. -At its lower edge mark the exact centres of the key-tails from end to -end of the key-board. At its upper edge mark the precise centres of the -tails of the twelve backfalls on which the rollers are to act, fixing -the board temporarily so that precision may be secured. Along the two -side margins of the board (which has been squared up true) mark rows -of dots at equal distances, say 1 inch or considerably less, according -to the scantling of your rollers, which may be placed as close to each -other as possible without actual contact when made to revolve through -a small arc on their pivots. You have now all the _data_ which you -require, and may draw pencil lines showing the exact place of every -stud on the board, the exact length of every roller, and the exact -spots on each roller at which the arms must be inserted. - -Fig. 36, in which _x y_ is the key-board, the rollers and stickers -being represented by lines only, shows that the longest roller, that -of CC sharp, is placed by itself at the top. This is done in order to -enable us to use a single stud, common to two rollers, throughout the -board until we come to the last, which will stand alone. If the rollers -of CC and of its sharp were thus placed in a line, running into a -single stud, there would be hardly room enough for the latter, as the -arms would be in immediate contiguity. By giving the CC sharp roller -a place by itself, we get the following pairs: CC and DD sharp; DD -and FF; EE and G; FF sharp and A; G-sharp and B natural; A sharp will -have its own two studs. Thus we obtain a distance of fully 1-3/4 inch -between the centres of the contiguous arms of these pairs of rollers; -and if iron arms are used, there is room to drive in the pivot without -meeting with the interruption of the screw in the heart of the wood. - -When these measurements have been made, and lines drawn in pencil or -chalk, the holes for the shanks of the studs may be bored, and the -board cleaned over and perhaps repainted. When the work is complete, -the cleanly planed rollers with their neat studs on the dark background -of the board should present a pleasing appearance. - -[Illustration: Fig. 37.] - -Sometimes the roller-board lies horizontally. It is then usually called -a roller-frame. Fig. 37 is a slight sketch showing how a roller-frame -may be united with squares in certain cases. _a b_ is a key-board, -acting by stickers on a set of squares, _c_, arranged in a bridge. _d_ -is another set of squares in a longer bridge under the pull-downs of a -chest, _e_, let us say that of the second manual in an instrument of -considerable size, placed at the back of the case, and possibly some -feet from the player. _f_ is a roller-frame, transmitting the touch by -trackers to the extreme pallets right and left. - -If economy of height is no object, however, the roller-board will be -placed between the squares _d_ and the chest _e_ in the usual vertical -position, or it may be above the keys. - -Sometimes space is saved by inserting the roller-arms on _opposite -sides_ of the rollers, cutting apertures in the board through which -one arm of each pair may protrude. This plan may be regarded as a -compromise between the fan-frame and roller-board, the latter doing -duty as a set of backfalls. - -[Illustration: Fig. 38.] - -This arrangement is sketched in Fig. 38. The roller-board, _g_, is -above the key-tails, which act by stickers on arms brought through -openings in the board. The opposite arms, _h h_, in front as usual, -act on the pull-downs by trackers. We have adopted this plan in a very -small organ, and under the necessity of economising space as much as -possible, with complete success, although every pallet had its roller, -the fan-frame being entirely absent. - -Rollers are often made of iron, especially in the case of pedal -movements, where space is not abundant. It will easily be understood -that iron tubes of small calibre, plugged with wood at the ends to -receive the pivots, and having iron arms screwed into drilled holes, -would present no serious difficulties to the workman, and might be -arranged upon a board little more than half the size of that required -by a set of rollers in wood. - -We must not close this chapter without explaining that the plantations -of pipes sketched or indicated in Figs. 8 and 9 may be contrived -without grooving by an arrangement involving no serious difficulty or -complication. - -[Illustration: Fig. 39.] - -In Fig. 39, _a b c_ is a sound-board shown in section, divided -internally into two unequal parts by a longitudinal bar at _b_. The -front part, _b c_, nearest to the player, has 42 channels, and carries -all the pipes from Tenor C upwards. The hinder part has 12 channels -only, and supplies the bass octave. These two separate internal -divisions will have their pallets and springs as usual, and a single -wind-chest may include both sets of pallets, or two wind-chests may -be united by a short trunk, or separate trunks may be fitted to each, -at the discretion and convenience of the builder. We have now only -to adapt a set of backfalls in a fan-frame to the front pallets, and -a roller-board acting on twelve parallel backfalls to the pallets of -the bass octave, and we have a very compact and sightly arrangement -of pipes without a single groove, every pipe standing on its wind. If -the back pipes were these--Stopped Diapason, Bass, 4-feet tone, and -open Flute, wood, 4 feet; while the front pipes comprised a Dulciana, -Stopped Diapason, and Principal, or some equivalent--this little -instrument might be entirely satisfactory in all respects. - -We may add that this arrangement of a double sound-board and wind-chest -has been successfully applied by the writer to an organ with two -manuals. The sound-board was about 5 feet 3 inches in length. The front -division had 84 channels, viz. 42 for each of the two manuals from -Tenor C to top F; the hinder division had 24 channels, viz. 12 for each -manual bass octave. There were practically eight stops, two of them -grooved to each other in the bass. Of this grooving, when there are two -manuals, we shall have something to say in a subsequent page. It is -not quite so simple an affair as the grooving already described. - -When the key-board is in its place, the stickers adjusted, and the -keys levelled by attention to the buttons on the tapped pull-downs, a -heavy damper or "thumping-board" should be laid across the key-board. -In modern organs this is generally a solid bar of lead, about 1/2 inch -thick, and about 1-1/2 inch in width; it is covered with baize on its -under side, and a guide-pin, moving loosely in a little vertical groove -cut in the key-frame at each end, keeps it in position. Our damper may -be of oak or mahogany, very straight and true, and loaded with lead, -run when fluid into cavities made with a large centre-bit. The damper, -lying upon the keys, and supported by them, helps to keep them level, -and by receiving the blow or shock of each key, as the finger leaves -it, it prevents a tapping noise which might be heard if the rising keys -were stopped only by the board of the key-frame. - -The descent or fall of the keys when pressed by the fingers should not -exceed 1/3 inch. - - - - -CHAPTER IX. - -_VOICING AND TUNING._ - - -THE time has now come when we may bring our little organ into musical -order, and reap some of the fruits of our toil. - -If the processes described in previous chapters have been steadily -carried out, the instrument is now complete (so far as the manual only -is concerned) with the exception of the draw-stop action, which we -intentionally reserve, and the external case. - -We shall insert here, therefore, a few pages on voicing, the important -and delicate operation by which the correct speech and distinctive tone -of organ-pipes is imparted to them. - -Let us warn the reader at once, and with emphasis, that the process -of voicing metal pipes is so complex that a complete mastery of its -practical details is by no means uniformly attained, even after years -of steady practice under skilled guidance. A very sensitive and -educated ear, a delicate sense of touch in the handling of fine tools, -and a thorough familiarity with the tonal quality, or _timbre_, of -the best examples of the many varieties of pipes--these gifts are -essential to the successful voicer. Hence we cannot counsel beginners -to attempt the voicing of metal pipes, unless they are fortunate enough -to find themselves in a position to obtain lessons from some clever -operator willing to give them, or unless they can gain permission to -attend at some first-class factory, for the express purpose of watching -the pipe-makers and voicers at work. - -We shall not be deterred, however, by these considerations from -describing, to the best of our ability, the business of voicing and -regulating an ordinary metal pipe, pointing out specially, as we go -on, all that may be necessary for the removal of defects and faults in -pipes already voiced by other hands. But we must acknowledge our own -obligations to the little treatise on voicing and tuning mentioned in -the preface to this work. Those who obtain and peruse this thoroughly -practical little tract will find all the information which they can -require. - -Figs. 40, 41 show the well-known forms of metal organ-pipes as seen -in the Open Diapason, Principal, &c. Figs. 42, 43 give details. The -languid, Fig. 42, is a little enlarged. It will be seen that the -essential features of wooden pipes have their counterpart in those of -metal--the language, or languid, answering to the wooden block, the -conical termination to the wooden pipe-foot, the cylindrical body to -the rectangular wooden tube. - -[Illustration: Fig. 40.] - -[Illustration: Fig. 41.] - -[Illustration: Fig. 42.] - -[Illustration: Fig. 43.] - -We have never made any metal pipes ourselves, and we doubt if our -readers will do well to embark upon an undertaking requiring special -"plant" and appliances in a separate workshop, and calling for great -dexterity and neatness in a class of operations familiar only to -trained artisans. For the information, however, of those who choose to -make the experiment, we may explain that the metal sheets from which -the pipes are made are thus produced:-- - -"The ingredients (viz. tin and lead in various proportions) are melted -together in a copper and then cast into sheets, a process effected by -pouring it in a molten state into a wooden trough, and running the -trough rapidly along a bench faced with _tick_. The metal escapes from -the trough through a narrow horizontal opening at the back, leaving -a layer of metal behind it as it proceeds; and the wider the cutting -is, of course the thicker will be the sheet of metal produced. After -being cast to an approximate thickness, the metal is planed down to the -precise thickness required. It is then cut into portions of the shape -necessary to give to the pipes the required size and form, and is thus -finally worked up."[2] - -[2] Hopkins and Rimbault, p. 76. - -The three parts which compose the pipe are first separately prepared. -The sheet of metal is rolled round a wooden cylinder or cone, called a -mandrel, and the edges are soldered together. The extreme neatness of -this soldered joint is secured by smearing the metal with composition, -which is scraped off at that part only which is to retain the solder; -but a steady hand, and long familiarity with the manipulation of -the heated copper tool and with the properties of soft solder, are -absolutely essential to success. - -At the lower part of the body thus soldered, the mouth is formed by -flattening a portion of the cylinder and by cutting away a horizontal -slip of the metal. The width of the mouth is to be in all cases a -quarter of the circumference of the pipe. In the case of large pipes -the mouth is formed by cutting away a piece of metal of considerable -size, and replacing it by a sheet called the "leaf," having the mouth -cut on its lower edge. - -The foot is formed in a similar manner, and has a flattened portion -corresponding to that of the body. - -The language, or languid, is a circular disc of much thicker stuff, -bevelled off round its periphery, which is altered into a straight -line at that portion which will lie beneath the mouth when the pipe is -complete. - -The three component parts are thus worked together. - -The languid is placed on the wide opening of the foot, and the windway -formed by leaving a narrow slit between the straight edge of the -languid and the flattened lip of the foot. The two are then neatly -soldered together. The body is then soldered to the foot, care being -taken to adjust the mouth exactly opposite to the windway. - -The larger pipes have ears, namely, rectangular pieces of metal -soldered on each side of the mouth. - -Thus completed and cleaned over, the pipes are handed to the voicer. - -It will be remembered that we left a wooden pipe, similarly put -together but unvoiced, in an earlier portion of this book. We have -now to explain that both classes of pipes pass through a similar or -analogous course of treatment at the hands of the voicer. - -With small metal tools, called notchers, of which he has four or five, -he cuts a row of nicks in the straight edge of the languid, causing it -to resemble somewhat the edge of a saw. These nicks or notches, coarse -or fine, close together or at rarer intervals, as the case may be, -conduct the sheet of wind from the foot-hole against the upper lip of -the mouth, and influence to a most important extent the character of -the tone. - -In a similar way, and using a file ground to a saw-like edge, the -operator on a wooden pipe cuts nicks in the slightly bevelled upper -edge of the block, and continues or prolongs these notches obliquely -across the front of the block, letting them die away or come to nothing -at their extremity. Fig. 44 shows the front of a block thus treated. - -[Illustration: Fig. 44.] - -The art of the voicer, however, is by no means expended upon this -notching of the languids and blocks. It extends to the accurate and -nice adjustment of the height of the mouth, the aperture of the -foot-hole, and the width of the windway. All these will bear strict -proportion to the scale or size of the body of the pipe, and to the -weight or pressure of the wind. - -It will be seen, therefore, that the tone, quality, or _timbre_ of an -organ-pipe, and therefore of a "stop" or set of organ-pipes, depends -upon skilled attention to at least six distinct considerations, viz.:-- - - _a._ Scale of pipe. - _b._ Height of mouth. - _c._ Diameter of foot-hole. - _d._ Width of windway. - _e._ Character of notching. - _f._ Weight of wind. - -It is the thorough mastery of the art of manipulating pipes, with -all these essential points kept in view, which enables the voicer to -produce the exquisite contrasts of tone heard in good organs between -the tranquil Dulciana and the delicate Salcional; between the Violin -Diapason and the Gamba; between the Keraulophon and the Viola, as -variously constructed; between the fluty-toned stops, of wood or of -metal, to which various names have been given: and the full chorus -or combined power of a large instrument will be majestic, imposing, -and dignified, or, on the other hand, shrill, harsh, and unpleasing -(quality of materials being assumed to be similar), in proportion to -the skill, taste, and judgment with which it is finally voiced and -regulated. - -We have said enough, perhaps, to justify our advice that metal pipes be -procured in a finished condition from competent makers. - -Our little organ contains two metal stops, viz. a Dulciana (or a small -Open Diapason) from Tenor C to f in alt, and a Principal of 4 feet -throughout. Each of these, made of good metal, should cost £6 or £7. -Cheap pipes mean inferior metal, and this we cannot recommend in any -organ, great or small. The nearer the approach made to pure tin the -better (other essential points being assumed) will be the quality of -the tone. - -In ordering the pipes, the weight or pressure of wind on which they are -to speak must be carefully specified. This may be easily ascertained -by using a wind-gauge, a little instrument which we sketch in its -simplest form in Fig. 45. It consists of a glass tube, bent as shown -in the figure (this can be done at any glass-blower's or optician's), -and having its lower end inserted in a wooden pipe-foot. Planting the -gauge on any hole of full size in any part of the sound-board, we pour -a little water into the bent part or dip of the gauge. On blowing the -bellows steadily, and depressing the key on the manual corresponding to -the groove on which the gauge is placed, the water will be depressed in -the inner column, and will rise in the outer. By adjusting the weights -on the bellows we may make this difference in the levels of the two -columns greater or less as we please. In our organ we shall have a -"2-inch wind;" that is to say, we shall load the bellows so that the -gauge may indicate a difference of 2 inches between the two columns. - -[Illustration: Fig. 45.] - -We may note here that about 7 lbs. per square foot of surface of -top-board will be required to give this pressure. Pieces of old cast -iron about an inch thick may be procured at any foundry, and form the -most suitable material for weights. - -The voicer having worked to a 2-inch wind, it is probable that when -the new metal pipes are planted in their places they will speak -with charming evenness and truth. If some or any of them, however, -betray some defects, it will be well not to meddle with them until we -have satisfied ourselves that the fault does not belong to our own -mechanism. If, for instance, one pipe should be softer or less prompt -and clear than the others, let us be sure that the flow of wind to that -pipe is not interrupted or throttled by a chip in the wind-hole or -(if there is conveyancing) in the channel. This will be ascertained by -planting the pipe for the moment on some other groove than its own. If -the holes and channels are all clear, and the pallet is opened freely -by the key, the fault must be in the pipe. This may have suffered some -little injury in the packing case, _e.g._ the lower lip may have been -nipped too close to the edge of the languid, thus reducing the width of -the windway. This may be carefully rectified with the flat blade of a -common table-knife, or similar object. Or the languid itself may have -been bent or depressed by the weight of another pipe, packed within it -to save room in the case. If this is so, the languid must be carefully -pushed back to the level by a stout wire or rod inserted through the -foot-hole. If the _upper_ lip has been pressed inwards, we must counsel -the utmost care in bringing it back to its position. The pipe should be -sent back to the maker if the distortion is serious or considerable. If -it is slight we may rectify it by passing a slip of iron bent into the -shape of the letter =L= through the mouth, and thus pulling forward the -whole of the lower par of the "leaf," preserving its regular slope as -before. If the mouth, lips, and languid are all right, it is possible -that by some accident the size of the foot-hole has been reduced. It -may be cautiously enlarged with a penknife or with a broach; and if -under other circumstances the foot-hole requires reduction, this maybe -done by gently rapping or hammering the metal round the aperture with -the flat side of a chisel. The builders have a heavy brass cone for -effecting this reduction called a "knocking-up cup." Similar brass -cones, we may here add, are used in tuning. They are expensive, however. - -All that we have said of possible defects in metal pipes applies, -_mutatis mutandis_, to wooden pipes; and as we make these ourselves we -may deal more boldly with them. - -An unvoiced wooden pipe will generally emit a chirp or whistle before -its note. The nicking of the block will remove this, but if we overdo -this nicking we shall hear a huskiness or buzzing equally or more -disagreeable. This husky quality may also be due to a too wide windway; -in this case, remove the cap and rub the inside face of it on a sheet -of glass-paper pinned down upon a board, or plane off the inside face -and file the windway anew. If the mouth has been cut too high, there -may be nothing for it but to take off the front board and remake the -pipe. If the pipe, in other respects good, is too loud, plug the -foot-hole with neat flat plugs. If it is too soft, the pipe-foot may -have been imperfectly bored, or may be defective in some way, or chips -may have been left in the throat of the pipe. Ill-fitting stoppers -are a fruitful source of defects in wooden stopped pipes. Refit them -in every case of doubt, and leave no room for misgivings as to the -soundness of the joints of the pipe near the top. - -We must point out to our readers that strength, sonority, or power -must on no account be expected from wooden pipes. A tone utterly harsh -and intolerable will be the result of over-blowing the Stopped Diapason -or Flute, stops of which the characteristic quality should only be -tranquil sweetness and softness. The flute of 4-feet tone, especially, -cannot be too delicate, and in its upper octave great patience will be -requisite in the adjustment of the tiny mouths and windways to prevent -shrillness. - -These remarks apply also to our fifth stop, which we have been content -hitherto to call simply "Fifteenth" 2-feet. The Fifteenth proper is -a metal stop of strong shrill quality, having its value in large -instruments, where it is balanced by other stops in affinity with it. -Such a stop would be quite unsuitable to our little organ. If we are to -have a 2-feet stop at all, it should be a "Flageolet" or "Flautina," -an echo, in fact, of the 4-feet Flute. This may be successfully made -by diligent operators in wood, the lower part stopped, the upper part -open. The professional voicers produce the fluty quality from ordinary -metal Fifteenths by peculiar treatment of the mouth. In foreign organs -such stops are generally or often of conical form, the narrow aperture -at the top. These stops (which may also be of 4-feet or 8-feet pitch) -usually bear the names "Gems-horn" or "Spitz-flute." - -We may dismiss the subject of Tuning with a very few remarks. The -general principles of Temperament--that is to say, of the compromise -or adaptation requisite in the modern scale of an octave containing -twelve semitones--are not peculiar to organs, and may be studied in -any treatise. Mr. Hopkins exhausts the subject in a very interesting -chapter of his great work. Our useful little tract on voicing gives -all needful information. A sensible and practical pamphlet on the same -subject has been published by Mr. Hemstock, organist of Diss. - -You will begin with Regulation, that is, with equalising the power or -strength of the pipes composing each stop. Bestow every care on this, -especially in the upper ranges of the small wooden pipes. The pleasing -effect of the organ will greatly depend upon success in this operation. - -When satisfied on this point, tune your wooden pipes to the metal -Principal, which has been sent from the maker's ready tuned and voiced. -After this rough approximation to absolute correctness, go over the -whole organ with great deliberation and care, following the rules given -in the works which we have cited, or in any one of them. A second or -third tuning may be requisite before a sensitive ear is quite satisfied. - -Cones and cups of boxwood, or made of sheet copper with brazed seams, -may be used in the absence of the expensive cast-brass articles. - - - - -CHAPTER X. - -_THE DRAW-STOPS._ - - -WE have provided no means as yet for bringing the sliders under the -control of the player. The mechanism by which this will be effected -must depend upon our plans for the case and book-board. - -_Method 1._--As we have only five stops we may have resolved to arrange -the knobs in a horizontal row above the key-board, and below the edge -of the book. We shall soon see that this arrangement will result in -much convenience and simplicity. - -The ends of the sliders project at each end 2 or 3 inches beyond the -margin of the sound-board. To the cheek of the wind-chest, below these -projecting ends, will be screwed a stout balk of oak or mahogany (say -2-1/2 inches square), constituting a bridge, and having stout levers, -after the manner of backfalls, working in notches. These levers should -be of oak, birch, or other hard wood, at least 1/2 or 5/8 inch in -thickness, and not less than 2 inches wide; and the pins on which they -work should be very stout, say 1/4 inch in diameter, and should be -held down in their places by slips of hard wood firmly screwed down -to the bridge. All this is sufficiently shown in Fig. 46, and it will -be quite plain to the comprehension of every reader that these levers -(like backfalls) may be askew to the straight line of the bridge, so -that while their upper ends spread out to reach the sliders, their -lower extremities may be brought into any position convenient of access. - -[Illustration: Fig. 46.] - -The arms of these levers will of course be of unequal lengths. About -2 inches, or a trifle more, will be found a sufficient and agreeable -play for the draw-stops. If the sliders have a play of 1 inch only, it -is clear that the lower arm of the levers must be twice the length of -the upper arm. At any rate the adjustment of the play of the draw-stops -to that of the sliders should be made in fitting these levers, and not -in any other part of the mechanism. The upper end of the lever, shaped -into a tenon or tongue, will enter a square aperture in the end of the -slider, and the edges of this aperture should be bevelled, in order -that the lever may bear equally upon it in all positions. Rub the end -of the lever with blacklead, and use this wherever there is friction of -wood against wood. - -The levers being fitted, three at one end and two at the other, or -all the five at the same end, as may best suit the position of the -wind-trunk, the form of the frame, and other considerations, it will -be easy to connect them with the draw-stops by means of squares or -bell-cranks. - -[Illustration: Fig. 47.] - -Fig. 47 shows these squares or bell-cranks arranged upon a board which -is screwed upon the key-frame. They may be cut out of sheet iron or -may be made of oak, the arms halved together or joined by tenon and -mortice. They should work upon a strong pin of iron or brass, and a -small block underneath each square lifts it above the level of the -board. A trace, or light rod of pine, 1 inch or 7/8 square, notched at -one end to receive the arm of the crank, and at the other to catch the -end of the lever, is connected with each by a pin of iron or brass, and -blacklead is used as before. - -The draw-stops are generally turned and polished for a few inches at -the end which appears in sight, and which carries the knob, and it is -usual to line the holes through which this turned and polished part -protrudes with scarlet or other cloth. The tails of these draw-bars, -left square, should work in guides cut in a vertical piece at the back, -or otherwise arranged to ensure parallel movement. A short slip of hard -wood or of metal connects each draw-bar with its bell-crank. The action -of this mechanism must not be considered satisfactory unless each stop -operates with ease and exactness, and without any sense of elasticity -or unequal resistance. - -The knobs will be easily fashioned, from a good pattern, by any turner -possessing a light lathe; nor is it difficult to engrave the names on -the ivory faces. A convenient tool for this latter purpose may be made -by grinding down the end of a small triangular file. But the engraver's -"burin" may be bought at the tool-shops. The knobs will not be glued -into the ends of the draw-bars until all is complete, that the engraved -titles may be rightly adjusted at a true level. - -_Method 2._--If it is preferred to place the draw-stops to the right -and left of the player, as in large organs, we shall have the bridges -and levers as before. The draw-bars will run through guides at the -back, fixed to some part of the frame, and their polished ends will -be brought through lined holes in the cheeks of the case, fitted -according to taste. The connection of these horizontal draw-bars with -the vertical levers will be effected by squares or bell-cranks of a -form known as "trundles." We give a representation of one of these -in Fig. 48, where _a_ is the slider, _b_ the lever acting upon it, -_c_ the trace connecting it with _d_, an arm of the trundle _e f_. -This trundle should be of oak, birch, or other hard wood; it has pins -at each end, which are received into holes bored in bearers arranged -accordingly, and not shown in the figure, or in the frame itself of the -organ. (It is well to char these holes.) The trundles are of course -placed parallel to each other in a row, and the second arm of each -trundle will be inserted at the level answering to the position of the -draw-bar. In the cut _g h_ is this second arm and draw-bar. - -[Illustration: Fig. 48.] - -The trundles are easily made of iron, and with manifest increase of -strength and neatness. We have used gas-pipe for this purpose, 1/2 -inch in external diameter. The arms made from iron slips, 1/2 inch -wide and 1/4 thick, were brought to a round pin at one end in the -lathe. This round pin passes through a hole drilled through the trundle -(whether tubular or solid), fitting it tightly, and the projecting -end is spread out with a riveting hammer. All this may be done cold, -but still more effectually with the aid of a forge. The ends of the -trundle will be received in charred holes in bearers as before, using -tallow as a lubricator; or if tube is adopted, brass or iron pins may -be jammed into the ends of the tube, and trued up in the lathe. All -such iron-work, introduced here or elsewhere in the organ, may be -painted over with the composition known as "Brunswick black varnish," -which will prevent rust. The holes in the arms, to receive the pins of -the traces and draw-bars, will be drilled with ease in the ever-handy -lathe, or with a bow and breast-plate, or by any blacksmith. - -[Illustration: Fig. 49.] - -_Method 3._--In small organs, with short sound-boards, the iron -trundles may be made to act at once upon the sliders, without the -intervention of the levers and bridge. When this is done the upper arm -of the trundle will be quite at its top, and will be sloped or bent -upwards as shown in Fig. 49. Near its end will be a short and strong -pin, which will enter a little slot or oblong hole in the slider. The -trundle will revolve in a wooden collar screwed to the cheek of the -wind-chest, and at its base in a hole in a bearer or in the organ-frame -as before. The draw-bar will act directly upon the lower arm of the -trundle, and the lengths of the two arms must be proportioned to each -other, so as to compensate for the difference between the play of the -slider and that of the draw-stop. - -Cases of peculiar construction may be easily imagined, in which two -sets of trundles may become necessary, communicating with each other -by long traces. In some other cases the trundles may be horizontally -placed, like a roller-frame, and common squares may act upon the -sliders; with upright traces connecting them with the arms of the -horizontal trundles; while combinations of these various plans will -suggest themselves to the inventive reader to meet possible exigencies -of position or arrangement. - -_Method 4._--We may still further explain that trundles may be -discarded by fixing common squares or bell-cranks upon steps or stages -cut on the edge of a piece of thick plank, screwed to the organ-frame, -the steps or stages corresponding to the levels of the draw-stops as -arranged in the cheeks or jambs of the organ. The draw-bars will act -directly on these squares, which will transmit the movement to the -levers by traces; but in this case it is plain that the levers will -be of varying lengths, and must be provided with separate bridges, in -order that the proper relation may be maintained between the play of -the several parts. This plan has much to recommend it. - -We have entered at some length into the subject of the draw-stop -action, because much of the comfort of the player depends upon its -efficiency. The arrangement to be adopted should be well considered, -and the plans for it matured at an early stage of the work. All the -pins used should fit accurately, and it is well that means should be -taken to prevent the dropping or working out of these pins. A very -neat way of guarding against this common accident is to reduce a small -portion of the end of the pin with a file or in the lathe, and to cut -a screw-thread upon this reduced portion; a leather button will then -render failure impossible. The other end of the pin is usually bent -down at a right angle. - -Composition pedals, for drawing and shutting off the stops in groups by -the foot, are not wanted in so small an organ as ours, and we need not -describe them. - - - - -CHAPTER XI. - -_PEDALS._ - - -WE have hitherto said nothing of pedals. What we shall now say will not -occupy much of our remaining space. - -We have to fit our little organ with a set of pedals pulling down the -bass keys of the manual, but commanding no separate pipes of their own. - -What is to be their compass? On this we have to remark that when an -organ is intended for the practising of a student or professional -musician, or for the performance by any player whatever of genuine -organ music, the full compass of thirty notes, C to f, is quite -essential. On this point no room must be left for misconception. But -small organs, designed for humble and unambitious players, or for the -accompaniment of voices in a room or in a village church, may be fitted -with pedal-boards shorter by a whole octave than this complete or full -compass. A range of seventeen notes, C to e, will certainly suffice for -the ordinary practice of the great majority of persons who are at all -likely to sit down to our little organ. - -Observe, however, that this curtailed pedal-board must be placed in -the same position relatively to the key-board which would be occupied -by one of full range. In other words, it must _not_ be located, for -appearance sake, in the middle of the case, but must be pushed away -to the left of the player, leaving a blank space on the floor to the -right. If this were overlooked, it is plain that a player accustomed to -the imperfect pedals would be utterly at fault when introduced to an -instrument of higher character. - -An excellent rule on this subject has been laid down by Mr. Hopkins, -whose opinion in such matters is judicial. It is this:--To place the -central C of the pedals--the thirteenth note, commencing from the -left--directly underneath the middle C of the manual. If this rule be -observed, the foot will easily find all the notes of the lower octave, -whether the compass be complete or curtailed; and we must leave to -our readers to decide upon the range of their pedal-board after a -due consideration of circumstances. Seventeen notes (an octave and a -third) must be taken as a minimum; twenty notes (octave and a half) and -twenty-five notes (two octaves) are alternatives still falling short -of the full compass of thirty notes necessary for the practice of the -preludes and fugues of Bach and other great masters. - -The pedals should be made of oak, and should be from 18 to 20 inches -in length, 1 inch wide or thick, and at least 1-1/2 or 2 inches in -depth. The sharps, or short keys, should be about 5 inches in length, -but they are glued or otherwise fastened upon strips of oak as long as -the other pedals. The front or near end of the sharps should stand up -about 1 inch above the level of the naturals; from this point they may -slope up to 1-3/8 inch. The long tails or bearers of the sharps must -be sunk about 1 inch below the level of the naturals, in order that -they may not be touched by the foot. The fore-end of the sharps will be -well rounded off, and the upper edge of all the pedal keys will be made -slightly convex. Lastly, the distance between the centres of any two -adjoining naturals may be 2-1/2 inches precisely. Of course an empty -space or gap will appear between E and F and between B and C in each -octave, as those intervals have no intervening short key. - -We have found the following arrangements convenient and satisfactory. -Make the pedal-frame of stout oak; the back bar, behind the heels of -the player, a balk 3 inches or more by 2 inches. The fore end of the -frame under the organ-panel is formed by an upper and a lower bar, -between which strong round pins of oak are placed, making a rack -through which the ends of the pedals protrude an inch or two. These -protruding ends, where they pass through the rack, are muffled with -cloth to prevent rattling, and each pedal descends upon a small pad of -vulcanised india-rubber, and is met by a similar pad under the upper -bar when it recovers its position. If this is properly managed the -movement will be quite noiseless. - -The builders commonly use a spring, screwed at one end to the under -part of each pedal, and pressing at the other extremity upon a board or -bar; or, on the other hand, the springs are screwed to this board or -bar and press against the under sides of the pedals. In this case the -tail of the pedal key, out of sight under the back bar of the frame, -works upon a pin passing into a mortice. - -We ourselves, however, have long used a spring which serves both for -spring and for hinge. It is a simple slip of steel, 5-1/2 inches long, -5/8 inch wide, and 1/16 inch thick, having two holes near the one end, -and one hole near the other. This latter is screwed firmly down to -the back bar of the frame, which, as we have already explained, is a -balk 3 inches by 2. The fore end of the spring is screwed by its two -holes to the under side of the tails of the natural keys (cut away to -receive it), and to the upper side of the tails of the sharp keys. Or, -the spring may be quite concealed from view by being let into a saw-cut -in the tails of all the pedals. We have found this plan perfectly -effectual, and we strongly recommend it to our readers. The springs can -be made by any smith for twopence or threepence each. Their strength or -resistance can be easily regulated by screwing them, not to the plane -surface of the back balk, but within grooves cut in it, 1/2 inch deep -at the back, diminishing to nothing in front. A few turns of the screw -(which should be well greased with tallow), by lowering the tail of -the spring, will bring on it a strain or tension which enables us to -adjust with accuracy the resistance of each pedal to the pressure of -the foot. - -The pedal-board should be laid upon the floor so that the distance -between the upper surface of the pedal natural keys and the upper -surface of the manual natural keys may be 28 inches. - -The manual should overhang the pedal-board so that the front of its -sharps may be just over the front of the pedal-sharps. - -The seat of the player, to correspond with these arrangements, should -be 22 inches above the pedals. The dip, or fall, of the pedals, under -the foot of the player, need not exceed 5/8 inch, or at most 3/4 inch, -where they pass through the rack. - -The connection between the pedals and keys will be by backfalls, -working in a strong bridge secured to the frame below the key-board. -These may be parallel, in which case a roller-board will be requisite, -or disposed as a fan-frame. The hinder end of each backfall has a -tapped wire passing through a hole in it, and carrying a button on its -top, muffled with a disc of cloth or baize. The lower end of the wire -underneath the backfall is bent into a ring, so as to be easily turned -round by the finger and thumb. These adjustable buttons push up the -tails of the keys when the fore ends of the backfalls are drawn down -by trackers connecting them with the pedals. The eyes or rings on the -pedals, to which these trackers are hooked, should be bushed, and great -care should be taken to secure noiseless action in every part. - -The pedal-board is usually secured to the floor by a couple of screws -passing through the side cheeks. But it is sometimes convenient, -especially in small rooms, to make it removable at pleasure. This can -be easily done by fitting a set of false or dwarf pedals, about 6 -inches in length, in a bridge spaced to correspond with the keys of -the pedal-board, and screwed to the floor under the organ. These false -pedals are practically short backfalls, turning on a wire near their -hinder end, and having the trackers hooked to them an inch or two -from their fore end; and some simple form of spring should be placed -under each. Then we have only to adjust matters so that the protruding -ends of the organ-pedals may rest upon the fore ends of these false -pedals, either or both of them being leathered or otherwise muffled at -the point of contact, and it is plain that the pressure of the foot -on any pedal will pull down the manual key as before. Two iron pins -should be fitted to the pedal frame, going into holes in brass or iron -plates screwed to the floor. These guide-pins will insure instantaneous -fitting of the pedal-board at any time. - - - - -CHAPTER XII. - -_TWO-MANUAL ORGANS._ - - -THIS treatise must not close without some reference to organ work of a -more advanced kind than that which we have taken as the groundwork or -medium of our hints on this subject. - -Some of our readers may very naturally wish to understand the -construction of an organ with two or more manuals and a pedal with -separate pipes; and this implies a description of coupling movements -and of the swell-box and its appliances. - -In the first place, let us remark that as the swell-organ is a modern -invention, innumerable examples of organs with more than one manual and -with numerous stops, but entirely without the swell, were in existence -in England up to a recent period, and are still to be found in every -part of the continent of Europe. A great number of the most renowned -organs of Germany and of Holland, organs furnished with four manuals -and an immense aggregate of pipes, are without the swell to this day. - -This is not the place to discuss the question whether the introduction -of the swell, as the second division of an organ with only two -manuals, has been an unmixed advantage, and whether it has or has -not tended to raise the standard of organ music and organ-playing in -England. But some few musicians may agree with the present writer that -it is quite possible to sacrifice sound principles of organ-building to -the prevailing worship of the pretty and fanciful effects of the swell, -and may even go so far as to regret, with him, the supersession of the -old "choir organ," with its sweet tranquil tone and quiet cheerful -brightness. We ourselves make no secret of our wish that in the design -and erection of organs with only two manuals, the second manual should -act upon a choir organ, while the swell should be reserved for those -instruments in which a third manual is introduced. But we are quite -aware that these views will be received with derision by a great -majority of persons, who have become accustomed to the constant use of -the swell and of the pedal Bourdons which characterizes the playing of -many English organists on modern English organs. - -Quite apart, however, from these views, which must be taken for what -they are worth, there are reasons why any reader, resolving from the -first to construct a small organ with two manuals for chamber use, will -do well to resist the temptation to introduce the swell. These reasons -will become apparent if we sketch out one or two plans for such chamber -organs, and we should only occupy space needlessly by stating them in -advance. - -Resolving, then, to indulge ourselves with two manuals, but compelled -to be economical of space and of pecuniary outlay, we decide at once -to plant all the pipes, belonging to both manuals alike, upon a single -sound-board, and by the system of borrowing to avoid the reduplication -of large pipes in the bass octave. - -To our original design of five stops on a single manual, let us suppose -that we have added three, played by a second key-board. We must assume -that the five stops belonging to the first manual (the lower), will be -all throughout, and may be something like this, viz.: an open Diapason -with wood bass octave; a Clarabella, with stopped bass octave; a -Principal, Flute, and 2-feet stop as before. Then the second or upper -manual should have some such stops as these: Stopped Diapason, the -bass octave borrowed from that of the Clarabella; Dulciana to Tenor C; -Gems-horn, or some other light 4-feet stop, the bass octave borrowed -from that of the Flute or Principal. - -As the sound-board will have two grooves for each note throughout -its whole extent, namely 108 grooves if the manuals are of the usual -compass, its length might be unwieldy and inconvenient, ill adapted -to the size of ordinary rooms. We must strongly recommend, therefore, -that the arrangement shown in Fig. 39 (see p. 112) be adopted. On the -front portion, _b c_, containing eighty-four grooves, and carrying -eight sliders, all the stops from Tenor C to top F may be planted. On -the back portion, _a b_, which will have twenty-four grooves only, all -the bass pipes will be placed, unless, indeed, we assume that the large -open 8-feet pipes are conveyanced off. This back portion will carry one -slider for this open bass, one for each of the 4-feet and 2-feet stops, -and two pairs of twin sliders, placed close together, for the borrowed -stopped bass and borrowed 4-feet bass. - -Our readers may feel confidence in the directions now given if we say -that we are describing an organ built by ourselves and now in our -possession.[3] The sound-board, admitting of eighty-four grooves in -its front division, is 5 feet 3 inches long, and its seven sliders (we -have no stopped Flute), with the bearers, occupy a width of 16 inches; -but the 4-feet octave of the Open Diapason, and six pipes of the -Dulciana, are brought into sight as a "speaking front," and therefore -fill no space on the board itself. The back part of the board, with -four sliders (two of them twin), has also a width of about 16 inches, -our large open wood bass being on a board at a lower level, as in Fig. -10. Thus the whole board, carrying practically eight stops (one of our -stops is of two ranks, viz. a Twelfth and Fifteenth) throughout, is 5 -feet 3 inches long and 32 inches wide. - -[3] This organ is sketched in the frontispiece. - -We hope we have said quite enough in former pages of roller boards and -backfalls to enable any intelligent reader to devise for himself the -double action of such an organ. An inspection of Figs. 37, 38, and 39 -may suggest ideas to him. An essential point is that everything should -be within reach if defects should require attention; and access to the -back as well as to the front of such an organ is indispensable. - -A word about the borrowing. It is plainly not enough to groove the two -channels of each note together in the bass, as in the case of a single -manual. If this were done the wind would fill the _whole_ of the two -channels upon lowering a key in the bass octave of either manual, and -_all the stops_ of which the sliders happened to be drawn at the time -would speak together. Thus our purpose of borrowing one particular stop -would be defeated. We must effect it thus: the twin sliders will be -closely contiguous, and will only be separated by short pins of brass -or iron let into the table, to prevent the friction of actual contact. -Thus the two holes which are to be brought into connection are near -to each other, and the communicating groove will be short. If this -is cut in the upper board itself it must be neatly executed, and the -bottom of the groove must be level and smooth. Over each of the two -holes within the groove so cut must be placed a valve, consisting of a -small piece of pallet leather covering the hole completely, and rising -with complete freedom by a hinge along its edge, like the clacks of -the bellows. Each pair of holes being furnished with these valves the -grooves are roofed in and the pipes planted, as described in earlier -pages of this book. On lowering one of the keys the wind will affect -the borrowed pipe only, since the little valve will stop the twin -hole and prevent the flow of air through it into the channel. If the -key corresponding to the same note be pressed down on both manuals, -then both the little valves will be blown open by the wind; but if -all the channels, grooves, and holes be of ample size, so that there -is no throttling of the wind, the speech of the pipe will be entirely -unaltered, since it will only receive a given _quantity_ of wind -through the perforation in its foot, and this wind will be of the same -_weight_ or _pressure_ as before. - -The borrowing grooves may be cut in the under surface of a separate -board, which will then form a roof or cover to the several pairs of -valves arranged over the holes on the upper surface of the sound-board -itself. Or this borrowing-board may be put together with bars, cheeks, -and an upper table like a light sound-board. The essential point is -that all the openings be of ample size, and that the valves fly open -widely at the slightest breath of wind, and close the holes as promptly -when the wind is withdrawn. If due attention is given to all this no -failure need be anticipated with the borrowed basses. - -We have proposed the lower key-board as "Manual I.," in accordance -with the German usage, and because that arrangement will facilitate -some of our mechanism, for instance, the pulling down by the pedals of -the bass notes. But lovers of old English organs, among whom we must -reckon ourselves, may prefer to make Manual I. the upper manual of the -two. A beautiful instrument of this class, built by the late J. C. -Bishop, stands in the chapel of Jesus College, Cambridge, and was the -gift of an accomplished amateur, whose performances on it are still -remembered.[4] The same gentleman was the possessor of a chamber organ -of exquisite tone by Bernhard Schmidt, of such remarkable composition -that it merits description here. The lower manual, or Choir, had three -stops, an Open Diapason, a Stopped Diapason, and a Principal, all made -of oak, and of extreme delicacy and beauty. The upper manual, or Great, -had likewise three stops, all metal, namely, Stopped Flute, Fifteenth, -and Mixture of two ranks (19th and 22nd in the bass, 12th and 17th in -the treble). The Stopped Diapason could also be played upon this manual -by borrowing. A coupler united the lower to the upper at pleasure, -and then the "Full Organ" was produced upon the upper manual with an -astonishing effect of sprightliness and brightness. Such an organ as -this, with some changes (its key-boards were very antiquated, and so -high from the ground that the player was perforce erect), might afford -an admirable model for imitation. - -[4] The late Sir John Sutton, Bart., author of "A Short Account of -Organs built in England from the Reign of King Charles II. to the -Present Time." Masters, 1847. - -Let us add that if pedal notes of 16-feet tone are added to an -organ of this class, namely of two manuals, Great and Choir, only -twelve large pipes will be necessary, even though the compass of the -pedal-board be of thirty notes complete. This great economy of space -and outlay will be secured thus: 1st, by making the pedals pull down -on the chief manual throughout their whole extent as before; 2nd, by -adapting the twelve deep pipes to the lower octave of the pedals, and -by making their upper octave and a half pull down upon the lowest -keys of the second manual. A moment's reflection will show that the -16-feet tone is thus obtained throughout the whole compass, and no -inconvenience whatever will ensue to the player. - -The mode of introducing the large bass pipes, and of pulling down as -above, will be described before we conclude this work. - -Still desiring to erect a _chamber_ organ, and, therefore, to be chary -of space and cost, we must now show how the swell-box may be included -in our design. - -We shall suppose that the organ has been completed so far as the lower -manual is concerned, with all that pertains to it, according to the -rules which have now been given at length and in detail. In laying it -out we must assume that care has been taken to give increased size to -the bellows, and to arrange the frame for the reception of a second -sound-board. - -We feel it due as well to our readers as to ourselves to explain that -we confine ourselves in all that follows to a description of work done -by ourselves in our own workshop. - -We shall place only three stops in our swell, which will have a -compass of forty-two notes, from Tenor C to top f. The stops will be -a Diapason in wood, partly stopped, and the rest open; a Flute of -4-feet tone in wood, open throughout; and a Gamba of reedy quality, in -metal, of 8-feet pitch, but only descending to Fid. G., 3 feet, the -remaining notes being grooved to No. 1. This curtailment is greatly to -be regretted, but such imperfections are among the objections to the -swell-box, which would assume dimensions inconsistent with a _chamber_ -organ if an attempt were made to give full compass to its 8-feet stops. - -The sound-board for these three stops will be only 2 feet 9 inches in -length, and 1 foot in width; but the upper boards must have an ample -margin or surplus in both directions to afford support for the box -which will rest upon them. - -This box must be made of thick stuff, say 1-1/2 inch deal; it will -therefore be very heavy, and care must be taken to provide for its -weight in planning the frame. It should be put together with screws, -so that it can easily be taken to pieces for transit, and it is usual -to line the whole of its interior with sheets of thick brown paper, -applied with glue. It will be very convenient, if access can be had to -the back of the organ, to fit the back of the box with hinged doors, -or to make the back removable like a shutter; in this case the pipes -should be planted so as to present themselves readily to the tuner. -If access to the back cannot be had, then a space is inevitable in the -middle of the organ for a passage-board, on which the tuner may stand, -or at least place his foot, while he removes the front shades in order -to reach the pipes planted accordingly. In the swell-boxes of church -organs the sides of the box are generally fitted as doors; then, the -pipes being planted with the tallest in the centre, diminishing in -height to each end, half of them can be tuned at one operation. When -the pipes are thus planted, the top of the box will slope towards each -side from a central ridge, like the roof of a house. - -[Illustration: Fig. 50.] - -We cannot doubt that many of our readers have had, or may have, -opportunities of examining the construction of the shutters or shades -of a swell-box. We have sketched it, however, in Fig. 50. The shades -are 6 inches in breadth, and of the same thickness as the rest of the -box, and each shade turns on pins let into the ends of it at a distance -of 2 inches from its upper edge. These pins work in notches cut in the -cheeks of the box, so formed that any shade may be easily lifted out -and replaced. The edges of the shades are bevelled to half a right -angle so that they overlap when closed, and the bevelled surfaces are -faced with leather or cloth to shut in the sound more effectually. - -[Illustration: Fig. 51.] - -The mode of opening the shades, and so producing a _crescendo_, is -shown in Fig. 51. _a_, _b_, _c_ are arms of oak, morticed into the -shades at the level of the pins, viz. 2 inches from the upper line; -_d e_ is a long rod or tringle of wood, connecting all these arms by -pins passing through them and itself. It is evident that by drawing up -this rod at its top, or by pushing it up from below, we shall open all -the shades at once, and as they are hung on axes placed at one-third -of their breadth, they will close by their own weight when released. -The leverage by which this movement is brought under the control of -the player may be safely left to the inventive powers of the reader. -It is usual to give promptness to the return of the swell-pedal, and -therefore to the closing of the shades, by attaching a strong spiral -spring to the pedal, and to some firm point in the frame. - -[Illustration: Fig. 52.] - -As the swell-box is at the back of the instrument, its key-action will -have to pass or cross that of the Great organ. The way in which this -will be effected must depend a little upon circumstances--for instance, -upon the length of the key-tails in the two manuals. If the swell -manual acts by squares and trackers, while the Great has backfalls -and stickers, the small trackers, being thin ribands of wood, can be -easily made to pass between the Great stickers. Or if the swell-keys -act on backfalls, these backfalls may be thinned down behind the line -of key-tails, so as to allow the stickers of the lower manual to pass -between them. This may be understood from Fig. 52, though that figure -refers to another subject. The worst plan of all is to make the lower -stickers pass through holes or mortices in the upper key-tails, since -this prevents the removal of the upper key-board without a disturbance -of the whole action. - -We believe that these constructive details contain in themselves the -grounds on which we based our advice to hesitate before including a -swell-box in the design for a small chamber organ. It has been made -apparent that it brings with it a considerable increase of bulk, -weight, and complication, and that it cannot possess the full compass. -We must add that if the bellows are worked by the foot, the use of the -swell-pedal at the same time is of course impossible. - -The large swells of church organs owe their grandeur of effect to their -reed-stops; the trumpet, of which the oboe is a soft echo and our -little gamba a faint and humble imitation, the horn or cornopean, and -the double trumpet or bassoon, a stop of 16-feet pitch. All reed-stops -are quite beyond the range of amateur construction, and each of the -above will cost about £25 if purchased from a good maker and made of -first-class material. Beautiful as such stops are when made and voiced -by highly-skilled workmen, they may easily be unpleasing and even -offensive. - -Let us add that the twelve notes of the swell manual, below Tenor C, -may be made to act on the lower manual by a "choir coupler" (see next -section, and Fig. 52); or, if there is a complete pedal Sub-bass or -Bourdon of twenty-five or more notes, the silent keys of the swell -manual may borrow the pedal notes from CC, 8-feet tone upwards. An -easy mechanical movement of squares and trackers will effect this. - -Two manuals imply couplers, though we greatly regret the incessant use -of these contrivances by modern organists. - -[Illustration: Fig. 53.] - -We shall treat, very briefly, of couplers under three heads, viz. the -coupling of-- - - (_a_) Upper Manual to Lower Manual. - - (_b_) Lower Manual to Upper Manual. - - (_c_) Manuals to Pedals. - -(_a_) The common Tumbler coupler is represented in Fig. 53. _a_ is -a slender bridge, having as many notches as keys in the manual, -and fitted with short stickers called tumblers. These tumblers, or -stickers, are generally rectangular in section, and they must fit the -notches neatly but with freedom of motion; the notches are closed in by -a tringle of wood glued over them, thus forming a series of mortices; -and each sticker has a little pin, or a pair of pins, to prevent it -from falling out of its notch or mortice. Or, the tumblers may be made -from round rods, and may pass through round holes in the bridge. They -are well blackleaded in either case. Now if this bridge, with its -tumblers, is placed between the manuals near their hinder extremities, -if the length of the tumblers is equal to the interval between the -upper and lower key-tails, it is evident that on pressing down a key of -the lower manual the tumbler will push up the tail of the corresponding -key on the upper manual, and so on throughout the full compass of both. -To reverse this, and to leave the manuals separate and independent as -before, the bridge is made to take a quarter of a revolution in sockets -fitted to carry its ends, which are rounded or turned in the lathe; the -tumblers, by this partial revolution, are then no longer perpendicular, -but parallel to the key-tails, as shown by the dotted lines in the -figure, and cease to be touched by them. On the whole, this is the -simplest form of swell-coupler. - -[Illustration: Fig. 54.] - -The tumblers may also be placed on or off by causing the bridge to -slide between guides for a distance of 1 inch or 2 inches. When the -bridge is pushed back by drawing a stop-handle (which acts upon a -horizontal trundle with arms and traces to give the sliding motion), -the tumblers act on the key-tails; when it is drawn forward by -thrusting in the stop, they fall into a hollow cut in the key-tails, -and are too short to be of use. The hollow in the key-tails is -bevelled, and the inclined plane so formed is leathered and blackleaded -(see Fig. 54). - -[Illustration: Fig. 55.] - -The ram coupler, Fig. 55, acts in a way closely resembling the last. -Instead of tumblers, the bridge carries a set of short backfalls, -turning on a wire as usual, and cut at the free end into a circular -form. The sliding of the bridge brings these circular ends into contact -with the key-tails of both manuals, or places them in a hollow cut -in the keys, bevelled, leathered, and blackleaded as before. The -ram-coupler can be used between manuals arranged too closely to admit -of tumblers. - -(_b_) It will facilitate our description of the choir-coupler and -pedal-couplers if we here point out that if a bridge with backfalls -(or squares) be made to rise or fall 1/2 inch or more at pleasure, the -action connected with it will be thrown into or out of gear at the will -of the player. If, in Fig. 32, for instance, the bridge _g_ be made to -rise 1/2 inch by drawing a stop-handle, the stickers _e_ will then be -too short by 1/2 inch, or the pull-downs _h_ will be too long in an -equal degree, and the manual will be silenced. - -[Illustration: Fig. 56.] - -An easy way of making such a bridge rise and fall is shown in Fig. 56. -The bridge _a_, which cannot be too solid and heavy, is held between -guides, _c d_, which are blackleaded and accurately adjusted. At each -end of the bridge is fitted a little roller or wheel of box-wood, -turning freely on a pin. To the frame below is fitted another such -roller, or two, as in the figure. Between these two or three rollers, -at each end of the bridge, an inclined plane of wood, _e_, is made to -traverse by means of a horizontal trundle and arms. It will be seen at -a glance that when the inclined plane is pushed between the rollers -by drawing or thrusting in a stop-handle, it lifts the bridge between -the guides and dislocates the action; when it is withdrawn, the bridge -resumes its place by its own weight, and the action is again in order. - -It is now easy to understand the construction of the remaining -couplers. The choir-coupler (Fig. 52, p. 152), has two bridges, _x_, -_y_, with two sets of short backfalls and communicating stickers. If -the bridges are fixed, then on depressing any key on the upper manual -its tail raises the backfall, which presses down the lower backfall, -which in its turn pushes up the tail of the lower key and causes the -note to be heard. If the upper bridge be made to rise or the lower to -fall 1/2 inch, then the keys are at once disconnected. - -(_c_) The coupling of manuals to pedals is generally effected by rising -and falling bridges, carrying backfalls which push up the tails of -the keys. These bridges are arranged one above the other beneath the -keyboards in large organs with three or four manuals, each bridge -bringing its own manual into connection with the pedals by the movement -already described. One roller-board (the rollers are often of iron for -the sake of compactness) suffices for all the sets of backfalls, and -the stickers (in this case generally flat strips of wood) pass through -mortices cut in the tails of the lower keys to act upon the tails of -the keys to which they belong. - -The reader will easily perceive from these hints how the pedals may be -made to act through their whole extent upon one of our manuals, and -through only a part of their extent upon the other manual, as we have -hinted at page 148. There will be two bridges, one over the other, and -a very little ingenuity will be required to plan the roller-board so -that the central C of the pedals shall pull down the lowest C of the -second manual (be it upper or lower), and thus give the octave below -(or 16-feet pitch) without additional pipes from that note upwards. -But this, perhaps, belongs to the subject of the pedal organ, which we -reserve for the conclusion of this book. - -It is right to add here that in old-fashioned organs, both in England -and on the Continent (where many such instruments remain unaltered), -the manuals were made to couple by being drawn out or pushed in about -1/2 inch. A spur or protuberance of wood was glued to the upper part of -the tail of each key, and a similar spur to the under part of the tail -of the key in the manual above. These spurs had rounded ends covered -with leather. On shifting one of the key-boards backwards or forwards -the spurs met each other, and the coupling was effected. Or the spurs -were glued under the front of each key, immediately behind the beading -of the key-frame, and upon the upper surface of each key in the manual -beneath it, and a similar shifting brought about a like result. We -see no objection to this very simple old-fashioned arrangement strong -enough to induce us to discard it from consideration. - -The common type of small church organ with Great and Swell (throughout) -would be vastly improved by the introduction of a manual between the -other two, having no stops of its own, but coupled to both by such -spurs. Instead of two qualities of sound, namely Swell alone and -Great and Swell combined (the incessant use of the coupler being -the inveterate habit of most players), we should have three: Great -alone, Swell alone, and combination of Great and Swell. This obvious -improvement could be introduced into new organs or added to existing -instruments at a very small cost. There should be a coupler to connect -this Combination Manual with the pedals. - -It is undeniable that the addition of a pedal organ with a Sub-bass or -Bourdon of 16-feet tone is a very important and valuable improvement -to any organ, large or small. It gives a dignified cathedral-like -solemnity and grandeur which every ear can appreciate. We shall bring -our treatise to a close by a few remarks upon it. - -1. The pipes will be made precisely like those of the Stopped Diapason, -of which they may be regarded as a continuation, and they should -be of stout material, the last four or five of inch stuff, then -three-quarters to the twelfth or thirteenth note above. - -On the question of scale the most diverse opinions have found favour -of late years. A writer whose _dicta_ are entitled to respect[5] urges -that the lowest pipe (CCC, 16-feet tone) should have the enormous if -not preposterous scale of 11-1/2 by 13 inches inside measurement, and -that the next six pipes above it should be in proportion. After that, -he says, a smaller scale may suffice. It is clear that if this ruling -be correct we may dismiss the idea of introducing a Sub-bass into our -chamber organ. Mr. Hopkins, on the other hand, prints two scales for -16-feet toned Bourdons, the larger of which gives 6-1/8 inches by 4-5/8 -as the inside measurement of the CCC pipe; while the smaller gives 5 -inches by 3-3/8 for the same pipe. We may safely adopt this larger -scale of Mr. Hopkins; and we will only say further that with our light -2-inch wind the mouths should be cut up one-third of the width, or -rather less, and the foot-holes should be of ample size. - -[5] Rev. F. G. Hayne, Mus. Doc., "Hints on the Purchase of an Organ." -Novello, 1867. - -2. Their location in the organ must depend very much on special -circumstances. When they can be placed in a row at the back of the -instrument, their connection with the pedals becomes very simple, two -sets of squares with trackers running under the bellows being all that -will be necessary. If the room has abundance of height, the back set of -squares may act on a roller-board, and then the pipes can be disposed -symmetrically, the largest at each end. - -3. The board on which they stand will not require a slider. It will be, -in fact, a wind-chest only, a long box of stout pine or deal, having -holes in its top countersunk to receive the pipe-feet. Under each hole -is placed a pallet or valve, held up by a strong spring, and having a -pull-down wire passed through a brass plate in the usual way. - -The aperture of the wind-trunk is in the lower board of this chest, and -over it, before the board is in place, is fitted a valve, faced with -leather, and made to slide to and fro between guides. An iron spindle, -turned to fit accurately in a brass collar, carries an arm jointed -to the valve by a connecting rod or trace; and outside the chest it -carries another arm, at right angles to this, jointed to the draw-stop -handle or its trace. We have, in fact, a trundle passing air-tight -through a collar, and by this simple contrivance we can shut off the -wind at pleasure from the chest. Other methods of effecting this are in -use, and may easily be devised. The pipes are very frequently placed -on both sides of the organ, to the right and left. In this case the -two chests will be at right angles to the manual chest or chests, and -the action will be less direct. But it will be readily arranged as -follows:--The pedal roller board will be long enough to act upon sets -of squares, carried on the organ-frame to the right and left of the -player, and at any convenient height. The other arms of these squares -act by trackers on roller-frames placed under the chests. - -There are cases in which this roller-board will be better placed at -the back of the organ, the connection between it and the pedals being -by squares and trackers; and there are also cases in which a large -roller-frame lying upon the ground under the bellows may be made to -answer every purpose. Bell-cranks, or horizontal squares, may also -transmit the pressure of the foot on the pedal by other squares and -trackers to the pedal pallets in a manner analogous to that of the -draw-stop action, Fig. 49. There is abundant room for ingenuity and -contrivance in all these details; the essential points are strength, -quietness, and accessibility for repair or adjustment. - -Some of our readers may be able to indulge in the luxury of a second -pedal stop. This should be a Violoncello in metal, of 8-feet tone -and length. In this case the pedal chest or chests will be regular -sound-boards, with sliders; or the Sub-bass may be on a chest as -already described, while the Violoncello may be on another, with two -actions. - -We have only to add, that the power and effectiveness of small organs -may be increased by the contrivance called a "Terzo Mano" (Third -Hand), or octave coupler. Let us suppose that an ordinary action has -been fitted with backfalls in the usual positions. Then a second -bridge, rising and falling by a draw-stop, is introduced, carrying -skew backfalls which act on the pull-downs an octave higher than the -first set. Thus the key CC will take down the Tenor C note, and so on -throughout the scale. It is evident that the effect on the ear will -be nearly, though not quite, the same as if each 8-feet stop had its -corresponding 4-feet stop drawn with it. An Open Diapason will sound -like an Open Diapason and Principal; a Stopped Diapason, like a Stopped -Diapason and Stopped Flute, &c. To render the illusion complete, the -pipes should be carried up twelve notes higher than the apparent -compass of the key-board, that is to say, if the key-board has -fifty-four notes the sound-board should have sixty-six grooves. - -In a similar way the pedal Sub-bass may be made to play in octaves, -producing the effect of a Sub-bass, 16-feet tone, with a Flute-bass of -8-feet tone added to it. - -Of all such mechanical devices it must be said, finally, that neatness, -accuracy, and noiseless precision of action are the conditions -necessary to complete success. - - - - -CHAPTER XIII. - -_VILLAGE CHURCH ORGANS._ - - -OUR labours have hitherto been exclusively directed towards the -production, in private workshops and by young workmen, of small -organs adapted for domestic use. That such organs should be of varied -character, and that they should represent the differing musical tastes -and unequal mechanical ingenuity and adroitness of their unprofessional -or self-taught constructors, is the legitimate outcome of the -circumstances assumed. - -The case of organs for churches must be regarded from a different -stand-point. Designed for public use, and consecrated to lofty -purposes, they should reflect no private fancies or peculiar -tastes; should admit of no experiments or eccentricities; should -be distinguished by excellence of material, finished perfection of -workmanship, and solid stability of structure. We cannot, therefore, -recommend the construction of any church-organ in a private workshop. -The aim and object of this volume would be entirely misconceived by any -reader who should imagine that we encourage such an ambitious attempt. -However humble as to style of architecture the church may be, however -unpretending the scheme for the organ may be, we must strenuously -advocate the placing the order for its erection in the hands of a -well-established firm of professional builders. - -Guarding ourselves thus, we trust, against all possibility of -misconception, we shall endeavour in the following pages to offer -some suggestions on the subject of village organs, which may tend -to smooth away perplexities from the path of those who, without any -previous acquaintance with such matters, find themselves called upon to -exercise discretion, and pronounce decisive judgment on estimates and -specifications submitted to them by builders and by musicians. - -In using the term "Village," we refer less to locality than to -condition. We desire to be of service to the promoters of the erection -of an organ in those very numerous cases in which no skilled player is -resident in the place, and in which the new instrument will inevitably -be left to the modest efforts of a schoolmistress or of a young -beginner, on whose ability, moreover, no greater demand will be made -than that which is involved in the accompaniment of simple chanting -and psalmody. It is to the dwellers in such quiet corners of the -country that we would offer a few rules or maxims, based, we hope, on -principles, the soundness of which will commend itself to their good -sense. - -Let us bring together, in a compressed form, a few of these maxims, -afterwards examining them in detail. - -A village organ should be of simple construction, containing no -mechanism liable to sudden derangement. It should stand well in -tune, without attention, even though placed in a building exposed -to alternations of temperature and perhaps not free from dampness. -Its musical effects should be readily and obviously producible by -any person sitting down to it for the first time, and guided only by -experience gained at the harmonium or pianoforte. It should present no -facilities for ambitious attempts at executive display by thoughtless -aspirants. Its power, or volume, should be sufficient to assert itself -unmistakably in a full congregational chorus; and its tone, or quality, -should be that which long experience has shown to be impressive and -pleasing to the vast majority of listeners. Hence, it will be capable -of emitting no sounds which might be described by any uneducated hearer -as odd or curious. Lastly, let us add that its case should be shapely, -even if destitute of ornamentation. - -Whole pages of disquisition may be saved if we proceed at once to apply -these maxims to the specification of the smallest and least costly -organ which we shall recommend for a village church: an organ, namely, -with four stops only. - -1. Organ No. 1. The manual will be from CC to E in alt, 53 notes. - -_Remark._--The key-board is more sightly when its two extremities -are rendered similar by this omission of the top F. But the further -omission of the four upper notes would still leave a compass of 49 -notes, amply sufficient for the accompaniment of voices. - -2. Its stops will be these:-- - -(_a_) Open Diapason, metal throughout, or of metal from Gamut G, with -seven pipes of open wood below. - -_Remark._--These open wood pipes, when properly scaled and voiced, have -some advantages over metal for our present purpose, and may be placed -so as to close in the back of the case instead of panelling. - -(_b_) Principal of metal throughout, being the octave of the Open -Diapason, to which it will therefore be made to conform as regards -scale and voicing. - -_Remark._--The two stops, (_a_) and (_b_), when played together, will -furnish the element of power, or loudness, to the organ. - -(_c_) Stopped Diapason of wood throughout, or of metal with chimneys -from middle C to top; but not with a Clarabella of open wood as its -upper part. - -_Remark._--The metal Stopped Diapasons which have come down to us from -the days of Harris, and other old builders, are often of exquisite -beauty of tone. Modern builders are apt to neglect the stop, and to -treat it as a mere "Coppel," or vehicle for exhibiting the qualities of -imitative stops. We should be glad to persuade them to make the upper -octaves of oak, after the example of Schmidt. - -(_d_) Stopped Flute of wood throughout, or of metal with chimneys as to -its three upper octaves. This stop pretends to no imitation whatever -of the well-known musical instrument, the Flute, but is simply the -octave of the Stopped Diapason, of which it should follow the scale and -voicing. - -_Remark._--The two stops, (_c_) and (_d_), when played together, supply -to the organ the important element of softness and tranquil clearness; -and when added to (_a_) and (_b_), they enhance the fullness and volume -of those stops, while correcting a certain crudeness or tendency -towards harshness. The Stopped Flute fulfils a further most important -office. When added to the two Diapasons (without the Principal), it -imparts not only a most pleasing silvery sweetness to the tone, but -gives a definiteness of pitch which will correct the tendency of -school-children to sing out of tune. This stop should, therefore, on no -account be omitted, or cancelled in favour of more showy or conspicuous -qualities of tone. - -3. Be it carefully observed that the stops (_a_) and (_b_) can be -made to produce sounds of several gradations of loudness according to -the scale of the pipes, the pressure or weight of the wind, and the -character of the voicing. Their tone will be further affected by the -substance and quality of the pipe-metal. Let us confidently assume -that the order for the new organ will be given to no builder who does -not hold his art in such esteem as to be incapable of using inferior -and perishable materials. The metal should be tin and lead only, in at -least equal proportions; still better if the tin be three-fourths, -four-fifths, or seven-eighths of the whole alloy. The wind-pressure -should be light, as we desire that the feeder should be easily worked -by the foot of the player. The scaling and voicing must be left to the -judgment of a trustworthy builder, as they will vary with the capacity -of the church and the requirements of the singing. Enough if we advise -that, even in the case of the smallest church, the two metal stops -be of bold, out-speaking character, asserting themselves distinctly, -and having no tinge of the muffled or subdued quality proper to -chamber-organs. - -4. The case of the organ, even if carving be entirely absent, may be -of graceful and pleasing outline by making the upper part, above the -level of the keys, overhang the lower part, or base, which encloses the -bellows.[6] This lower part need not be much wider than the key-board -itself, and about three feet in depth, from front to back. If the upper -part be five feet in width, it will overhang the base one foot or a -little less on each side, obtaining apparent support from a pair of -brackets. The total height, if the open bass pipes be set down at the -back, will not exceed nine feet; but the speaking front may be well -thrown up by the usual expedients if the church be lofty. We strongly -advise that these speaking front pipes be left of their natural -silver colour, which they will not lose if tin predominates largely -over lead in the alloy. For our own part, we are no admirers of the -chocolates, dark blues, and sage greens smeared upon front pipes by way -of decorating them. Too often, we fear, such diapers are a cloak for -very inferior metal, which would soon betray the presence of antimony -and other deleterious ingredients by turning black if left unpainted. - -[6] See the frontispiece of this book. Some charming but elaborate -designs will be found in the Rev. F. H. Sutton's "Church Organs," -published by Rivingtons. Folio. 1872. - -The draw-stops will be most conveniently handled if arranged above the -keys, under the ledge of the book-board, as in the harmonium. It will -be well to place the Stopped Diapason and Flute on the left, and the -Open Diapason and Principal (which will be more frequently drawn and -shut off) on the right, leaving an interval of a foot or so between the -two pairs. - -The cost of this four-stop organ, made of first-class materials, in a -case of stained deal or pitch-pine, should not exceed £80. A provincial -builder, who works with his own hands, might undertake it for a smaller -sum, but we cannot counsel a diminution of cost by a lowering of the -standard of the pipe-metal or by a resort to inferior woods. - -A hasty _résumé_ of our design will show a close correspondence with -our initial maxims. - -The organ is:-- - -1. Of simple construction, containing no mechanism liable to sudden -derangement. - -2. It will stand well in tune, without attention, even for years, -especially if the smaller stopped pipes be of metal with chimneys. - -3. A new player will be met by no special difficulty whatever. - -4. As there is no "swell," there can be no exhibition, on the part of -the player, of the peculiar forms of bad taste to which that invention -lends fatal facility; and as there are no pedals, there will be no -lumbering and blundering attempts to play grand compositions never -meant for village churches. - -5. Its power, or volume, will be ample for the accompaniment of the -ordinary congregational singing of two or three hundred persons, and -more than abundantly sufficient for the support of a rustic choir; -and it emits no sounds which can provoke criticism by singularity of -intonation, and which have not been found, by long years of experience, -to be invariably agreeable to all musical ears. - -Organ No. 2. To the four-stop instrument just described, a "Dulciana" -might be added, at a further cost of about £10, less or more, according -to quality of pipe-metal, &c. Its compass will be from Tenor C to top, -or, still better, from B flat or a lower note, the remaining sounds -being obtained by grooving to the Stopped Diapason. The Dulciana is of -beautifully delicate tone, slightly nasal; when played with the Stopped -Diapason it gives a charming clearness and sonority to that soft stop. -When the Flute is added, we have a true choir-organ quality, most -useful in the accompaniment of low and solemn music. - -_Remark._--Some builders or organists may recommend a "Salicional," -or "Viola di Gamba," or "Keraulophon," in place of the Dulciana. All -these stops, when properly made, are of beautiful tone, but their -beauty is of a kind which soon satisfies, and then is apt to weary -the listener. They are therefore excluded from our village organ by -one of our maxims. The same sentence of exclusion must be passed -upon the class of stops known as "Lieblich Gedact," and rightly -introduced in large organs as alternatives for the Stopped Diapason -and Stopped Flute. "Their tone in the treble," says Mr. Hayne,[7] "is -so peculiar as to become wearisome, and a little of them goes a very -long way." The imitative Flutes, which have many different names, -as "Flauto Traverso," "Concert Flute," "Oboe Flute," and the like, -find their place in organs of much larger dimensions than our village -organ; and Harmonic stops, of every pitch and quality, are shut out -by their costliness, if not by the character of their tone, which is -unacceptable to some ears. - -[7] "Hints, &c.," p. 14. - -Organ No. 3. Perhaps greater loudness may be reasonably desired when -the village church is large and the singers numerous. This accession -of power will be gained by adding two more complete ranks of pipes, -namely, a Twelfth of three feet (nominal) and a Fifteenth of two feet, -both in metal. We cannot enter into controversy with modern purists -who object to the Twelfth. Enough that its effect, when duly balanced, -has been accepted as dignified and elevating for centuries past. As it -is never used without the Fifteenth, the pipes of both may be governed -by one slider, and in this case the stop may be called "Mixture, ii. -ranks." - -The additional cost of the Twelfth and Fifteenth, with the necessary -enlargement of the sound-board and bellows, may be £20 or £25. - -Organ No. 4. The stops which have been enumerated, with one or two -additions, might be distributed between two manuals, with great -advantage to the player, and without a violation of any of our -self-imposed conditions. Instead of suggesting the list of stops -ourselves, we give the names and distribution of those in the beautiful -little organ in the choir of Jesus College Chapel, Cambridge, designed -by the late Sir J. Sutton, Bart., and built by the late J. C. Bishop, -some old wooden pipes by Schmidt being worked in. - - -_Upper Manual, or Great Organ._ - - 1. Open Diapason 8 feet. - 2. Stopped Diapason 8 " tone - 3. Principal 4 " - 4. Twelfth 3 " - 5. Fifteenth 2 " - 6. Tierce 1-3/5 " - 7. Mixture iii. ranks. - -_Lower Manual, or Choir Organ._ - - 1. Open Diapason, wood 8 feet. - 2. Stopped Diapason " 8 " tone. - 3. Open Flute " 4 " - 4. Stopped Flute " 4 " tone. - -Such an organ could not be costly, as there is no swell-box, and as -large Bourdons or 16-feet Open Diapasons are absent, together with -couplers and all other complications. But perhaps it is luxuriously -large for a village church of average size. It might be somewhat -lessened thus:-- - -Organ No. 5. - -_Great Organ (Upper or Lower, as preferred)._ - - 1. Open Diapason 8 feet. - 2. Hohl-flöte, wood 8 " - 3. Principal 4 " - 4. Stopped Flute 4 " - 5. Mixture iii. ranks. - - -_Choir Organ (Lower or Upper)._ - - 1. Stopped Diapason 8 feet tone - 2. Dulciana 8 " - 3. Gemshorn, _a light Principal_ 4 " " - -_Remark._--The Mixture, No. 5, will be 15th, 19th and 22nd from CC to -middle B, and 8th, 12th and 15th onwards to the top. - - * * * * * - -Perhaps we should not conclude without noticing one or two objections -to our plans. - -First. "Organs cannot be properly played without pedals." - -Most unquestionably true classical organ music cannot be played on -instruments with manuals only. But it was on such instruments that the -illustrious HANDEL, with his contemporaries and predecessors, Croft, -Boyce, Worgan, the blind Stanley, and a host of others, delighted their -audiences by their masterly performance. Pedals were not added to -English organs until the latest years of the eighteenth century. The -nineteenth was far advanced before the pedal-board, of full compass, -had come to be considered an essential part of every organ. - -Why should the effective management of organs without pedals be among -the lost arts? Why should not the clever manipulation of such organs be -practised by ladies, and by the modest players in villages, to whom the -preludes and fugues which echo through the aisles of the cathedral must -ever be a dead language? Why should the cathedral player himself, fresh -from his pedal fugues, deem it beneath his dignity to draw sweet music, -in a totally different style, from an instrument on which Handel would -have willingly displayed his powers? - -We were present on a certain occasion, many years ago, when the late -Professor Walmisley, of Cambridge, was asked to play on a small and -old-fashioned organ without pedals. The distinguished pedallist and -renowned interpreter of Bach's compositions did not turn away with -contempt. He seated himself, and charmed all who were present by his -ingenious extemporisation. The skill, and learning, and resource of the -true musician were never more conspicuously displayed. - -We see no reason whatever why such a bright example should not be -followed; and, while we yield to no one in appreciation of the -pedal-organ, and of the music proper for it, we hold that the typical -organ of the village church has no concern with these, and that no -greater demand should be made upon the executive powers of its player -than that which is made in the acquirement of a pure _legato_ style at -the pianoforte or harmonium. - -Second. "Why omit the Swell, the greatest improvement of modern organs?" - -The Swell-organ proper owes its effectiveness to its reed stops, and -these are one and all excluded from our village organ by the fact that -they require the frequent attention of a tuner. We grant, however, -that reedy stops of the Gamba class might take their place in small -organs; and we admit that our organs, Nos. 1, 2, and 3, might be very -easily enclosed in swell boxes, while a "Swell" might take the place of -a "Choir" in No. 5. Such alterations would have many advocates, both -professional and amateur. - -In adhering resolutely to our plans, we must express the opinion that -the judicious management of the Swell is a gift rather than an art. -It is but occasionally, we think, that refined taste is made evident -by a sparing use of the tempting contrivance. Too frequently, even in -churches of high class and pretension, the tone of the swell-organ, -with its mechanical rise and fall, prevails from the beginning to the -end of the performance, until the ear longs for relief. If the abuse of -the Swell be thus common even in town churches, is it well to trust -an apparatus which may be so easily misunderstood to the discretion of -players in village churches? - -Moreover, our village organ is for the accompaniment of singers. -We believe that many musicians will endorse our opinion that as -an accompaniment for singers the Swell-organ is misleading and -unsatisfactory. An accurate ear will often detect a slight difference -of pitch in the pipes of a small Swell-organ when the shades are closed -or suddenly opened. We have repeatedly heard the voices of the men -and boys, even in very good choirs, thrown out of tune by injudicious -persistence in the use of the Swell as an accompaniment. The sense -of discomfort and uncertainty was removed at once when the player -transferred his hands to the Choir-manual, with its quiet and cheerful -brightness. - -It is for these reasons, and not from any want of appreciation of the -effect of the Swell in the hands of an educated and gifted performer, -that we counsel our village friends to turn a deaf ear to the praises -of the Swell which will doubtless reach them from many quarters, and -to rest content with genuine organ-tone produced by means which do not -lend themselves to abuse. - -A few words may be added for the guidance of those who find themselves -entrusted with the care of old instruments. - -The eighteenth century witnessed the erection, in the churches of many -country towns, of noble organs, honestly constructed by true artists, -men who disdained the use of inferior timber or of base metal. A great -number of these costly and beautiful instruments remained unaltered, -or at least uninjured, within the recollection of the present writer, -but demolition rather than restoration has been at work during the last -thirty or more years, and the plea which we would put forward for the -reverent preservation of the works of old masters may now be opportune -in but few and isolated cases. - -Nevertheless, if it should happen to any of our readers to discover in -a village church, or in that of some quiet market-town, an organ by -SNETZLER (1749), by his predecessors, or by his immediate successors, -ending with the ENGLANDS, father and son, we would earnestly counsel a -respectful treatment of the valuable contents. - -An old picture may have long lain hidden in a lumber-room, with -its face to the wall; when brought into the light, and its merits -recognised by an expert, its possessor replaces the worm-eaten -stretcher and decayed frame by new wood, but he would indeed act -strangely if he permitted the house-painter to touch the precious -canvas with his brush. - -Yet we have known many organs by the builders and of the period -indicated above, taken down and carted away; their pipes (in Snetzler's -case of nearly pure tin) sold for a trifling sum or thrown into the -melting-pot; and this wanton destruction has been justified on the -ground that the time is come for a "better instrument," that the old -organ is "screamy;" above all, that the belauded "Swell" is wanting. -Accordingly the modern builder meets the wishes of his customers -by providing an organ of the common-place type, and the reign of -Swell-coupler and Pedal Bourdon is duly inaugurated. - -Surely a wiser course would have been this:--Carefully preserve every -pipe, and round out those which may be bruised by rolling them on -mandrils; insist on the inclusion of all these pipes without any -omission whatever in the new structure which the ravages of the worm -may have rendered inevitable; add to these original contents (if funds -permit) some modern ranks of pipes carefully voiced by an accomplished -artist to the same pressure of wind, and calculated to support and -balance the shrill high tones which the old organ doubtless contains; -repair the old case, and even retain the old key-board if possible. - -No doubt, in towns, where a succession of skilled players may be -found, the addition of a Swell-organ and of a pedal-organ, both most -carefully designed, scaled, and voiced, cannot justly be disapproved. -The instrument, thus reinstated, will be a most interesting link with -the past; will supply in itself a history of the progress of the -organ-builder's art, and will possess an individuality of tone which -educated listeners will appreciate, and which they fail to perceive in -many or most of the organs erected in the present day. - - - - -INDEX. - - - Action. (_See_ KEYBOARD, PEDAL.) - - - Backfalls, 94 - - Bars of sound-board, 36 - - Bearers of ditto, 38 - - Bell-cranks, 129 - - Bellows, construction of, 73 - - Blacklead, 57 - - Blowing pedal and lever, 86 - - Boards, upper, 39 - - Borrowing in bass octave, 45, 145 - - Bourdon, 160 - - Brass, its employment, 63, 67 - - Bridge, 94, 157 - - Building-frame, 81 - - Buttons, leather, 96 - - - Channels, 29 - - Choir-organ, 142 - - Clarabella, 25 - - Cloths, 96 - - Compass, of pedals, 135 - - Combination-manual, 159 - - Conducting-boards, 48 - - Conveyances, 51 - - Counter-balances for bellows, 78 - - Couplers, various kinds of, 152-157 - - Cuckoo-feeder, 79 - - Cummins, his invention, 75 - - - Diapason, open, 44, 121 - - Diapason, stopped, 10 - - Dip of keys and of pedals, 103, 139 - - Drilling, 67 - - Double sound-boards, 112 - - Draw-stops, 127 - - Dulciana, 121 - - - Engines, hydraulic, 79 - - - Fan-frame, 101 - - Feeders, 79 - - Fifteenth, Flageolet, Flautina, 125 - - Flute, 125 - - Frame, building, 81 - - - Gamba, 149 - - Gems-horn, 125 - - Great-organ, 147 - - Grooving, 45, 145 - - - Key-boards, 102 - - Key movements, 97 - - - Lathe, 5 - - Leather for pallets, 61 - - - Manuals, 146 - - Manual and Pedal, their relation, 136, 139 - - Manual for combination, 159 - - Materials for sound-board, 7 - - - Names of notes in scale, 10 - - Nicking. (_See_ VOICING.) - - - Organ, Old English, 25, 147 - - - Pallets, 61 - - Pedal-organ, 136, 160 - - Pipes, wooden, 14, 23 - metal, 117 - lengths of, 11, 15 - plantation of, 30, 99 - - Principal, 44, 121 - - Pull-downs, 69 - - - Rack-boards, pins, 42 - - Reed-stops, 153 - - Regulation, 126 - - Ribs, inverted, 75 - - Roller-board, 96 - - Running of wind, 50, 55 - - - Scales for pipes, 16 - - Sliders, 29 - - Sound-board, construction of, 39 - - Spitz-flute, 125 - - Springs for pallets, 63 - - Squares, 95 - - Stickers, 95 - - Stops, methods of drawing, 127 - - Sub-bass, 160 - - Swell-organ, box, 141, 150 - - - Tablature, or nomenclature of notes, 10 - - Temperament, 125 - - Terzo Mano, 163 - - Trackers, 95 - - Trundles, wooden, iron, 131 - - Tuning, 126 - - - Valves of bellows, 74, 77 - - Voicing pipes, metal and wooden, 120 - - Village Church Organs, 165 - - - Wind-chest, 55 - - Wind-gauge, 122 - - Wind-trunks, 80 - - Wind-valve, or ventil, 162 - - Workshop, 2 - - -THE END. - - -PRINTED BY J. S. VIRTUE AND CO., LIMITED, CITY ROAD, LONDON. - - - - - Transcriber's Notes: - - Bold type is shown as =strong=. - - Italics are shown thus: _sloping_. - - Small capitals have been capitalised. - - Illustrations have been moved out of mid-paragraph. - - Variations in spelling and hyphenation are retained. - - Punctuation has been retained as published. - - 'Fig 29.' has been added to the illustration on page 95. - - - - - -End of Project Gutenberg's Practical Organ Building, by W. E. 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E. Dickson - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: Practical Organ Building - -Author: W. E. Dickson - -Release Date: May 28, 2020 [EBook #62257] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK PRACTICAL ORGAN BUILDING *** - - - - -Produced by deaurider, Alan and the Online Distributed -Proofreading Team at https://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - - -<div class="figcenter"> -<img src="images/cover.jpg" alt="cover" /> -</div> - -<div class="figcentera"> -<img src="images/fig1.jpg" alt="" /> -<p class="caption center"><i>Frontispiece</i></p> -</div> - - - -<h1> -PRACTICAL<br /> -<br /> -<span class="xlarge gesperrt">ORGAN-BUILDING</span></h1> - -<p class="c p4 xxlarge"><span class="smcap">By</span> W. E. DICKSON, M.A.<br /> -<span class="half">PRECENTOR OF ELY CATHEDRAL</span></p> - -<p class="c p4"><i>SECOND EDITION, REVISED, WITH ADDITIONS</i></p> - -<div class="figcentera"> -<img src="images/fig2.jpg" alt="Capio Lumen" /> -</div> - - -<p class="c p4">LONDON<br /> -<span class="xlarge gesperrt">CROSBY LOCKWOOD AND CO.</span><br /> -<span class="medium">7, STATIONERS' HALL COURT, LUDGATE HILL</span><br /> -1882</p> - -<p class="c">[<i>All rights reserved</i>] -</p> - - - - -<p class="c p2 medium"> -LONDON:<br /> -PRINTED BY J. S. VIRTUE AND CO., LIMITED,<br /> -CITY ROAD.<br /> -</p> -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> - - - - -<div class="chapter"> -<p class="ph2">PREFACE.</p></div> - -<div class="figcenter"> -<img src="images/fig3.jpg" alt="printers mark" /> -</div> - - -<p><span class="smcap">This</span> little work is undertaken because it is believed -that no treatise on the construction of organs, at -once short, practical, and accessible by all classes -of readers, is extant.</p> - -<p>The bulky volume of Hopkins and Rimbault, -worthy as it is of all commendation, and abounding -with matter interesting to the musician, does not -profess to enter into details essential to the workman. -The same remark may be applied to sundry -treatises in the form of articles contributed to -Encyclopędias, or to periodicals of a popular kind. -The writers of these articles, probably fully masters -of the subject, cannot, from the very nature of the -case, command the time, space, and amplitude of -illustration absolutely necessary for the full elucidation -of the mechanical processes involved in the -construction of the most elaborate and ingenious -of all musical instruments.</p> - -<p>Readers of the French language, indeed, may -find all that they require in a most admirable -and exhaustive work, the "Facteur d'Orgues," by -M. Hamel, forming one of the series of the<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> -"Manuels-Roret," published in 1849 by Roret of -Paris, in three volumes, with an atlas of plates. -The author of this complete exposition of the -organ-builder's art has taken for the foundation of -his book the great work of Dom Bedos, a Benedictine -monk, who printed in 1766-78, at Paris, two -sumptuous folio volumes, with plates, which leave -unnoticed nothing which was known or practised -by the workmen of his period. The modern editor, -however, who displays a most intimate knowledge -of his subject, together with an enviable power of -explaining it in all its minutest details, aided, as -he is, by the most accurate of all European -languages, has produced in his third volume a -manual of the art of organ-building in recent -times, which covers the whole field of investigation, -and of which it is not too much to say that it -can never be surpassed.</p> - -<p>A somewhat indifferent translation of a German -treatise on the "Organ and its Construction," by -Herr Seidel, of Breslau, appeared some years ago. -But this work, like the English publication first -noticed, is not for the dwellers in workshops, but -for organists, choir-masters, clergymen, and others -entrusted with the care of existing organs, or likely -to be concerned in the erection of new ones.</p> - -<p>The writer has lately perused, with much pleasure -and advantage, a tract of about forty pages on -"Organ Voicing and Tuning," published for the -author (evidently a practical operator). He can -warmly recommend this unpretending introduction<span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span> -to the highest branch of the art, so seldom mastered -save by those who have had the advantage of early -and assiduous practice under skilled guidance. -But it deals, of course, with that highest branch -only, and assumes previous knowledge of mechanical -construction.</p> - -<p>He himself, several years ago, contributed a -short series of articles on the construction of small -organs to a periodical publication now extinct. -The letters which he received from working men, -urging him to treat the subject in greater detail, -furnished a striking proof of the extent to which -the leisure hours of many artisans are devoted to -the production of an organ in some one of its -innumerable forms, from the toy with two or three -stops to the complete instrument with as many -rows of keys. Such inquirers will not be satisfied, -he fears, by the narratives of "How we made -our First Organ," and the like, in well-meant -and otherwise well-written books for boys. The -real difficulties of organ-building (and they are -numerous) are simply evaded in some recent -books of this kind, which convey the irresistible -impression that their authors are not themselves -handlers of the plane and chisel. The true workman -knows full well that the very simplest of -organs cannot be put together in a few weeks, out -of school-hours, and side by side with other undertakings.</p> - -<p>If the present work, in which the writer describes -the results of his own experience, and lays<span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> -down no rules which he has not reduced to practice -in his own workshop, should have the effect of -deterring ingenious boys from attempting their -"First Organ" until the possession of a large -stock of patience, as well as the command of -leisure, and of means moderately adequate for the -purchase of good materials, are abundantly and -unmistakably assured to them, the author, once a -plodding and untiring boy-workman himself, will -have reason to be satisfied that his efforts to explain -a complicated and intricate structure have -not been entirely fruitless.</p> - -<hr class="tb" /> - -<p class="ph2">PREFACE TO THE SECOND EDITION.</p> - -<div class="figcenter"> -<img src="images/fig3.jpg" alt="printers mark" /> -</div> - -<p><span class="smcap">Since</span> the publication of this work, the author has -had reason to believe that some hints as to the -design and erection of small organs in country -churches may be acceptable to readers who occupy -the position, not of constructors, but of purchasers. -He trusts that the chapter now added, "On Village -Church Organs," will be found to contain the -desired information.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p> - - -<div class="chapter"> -<p class="ph2">CONTENTS.</p></div> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> - -<tr><td class="tdc"><a href="#c1">CHAPTER I.</a></td></tr> - <tr><td class="tdc"><i>PLANT AND MATERIALS.</i></td></tr> - <tr><td class="tdc"></td><td class="tdr half">PAGE</td></tr> - <tr><td class="tdl">The Workshop—Tools—Lathe—Materials</td> - <td class="tdr">1</td></tr> - -<tr><td class="tdc"><a href="#c2">CHAPTER II.</a></td></tr> - <tr><td class="tdc"><i>THE STOPPED DIAPASON.</i></td></tr> - <tr><td class="tdl">Tablature, or Names of Notes—Lengths of Pipes—Parts of - Stopped Pipe—The Scale—Two Methods of making Wooden - Pipes—Some Varieties of Pipes—Old English Organs</td> - <td class="tdrb">10</td></tr> - -<tr><td class="tdc"><a href="#c3">CHAPTER III.</a></td></tr> - <tr><td class="tdc"><i>THE SOUND-BOARD.</i></td></tr> - <tr><td class="tdl">Dimensions of Organs—Construction of Sound-board—Channels—Sliders—Plantations - of Pipes—Bars—Bearers—Upper - Boards—Rack-boards</td> - <td class="tdrb">27</td></tr> - -<tr><td class="tdc"><a href="#c4">CHAPTER IV.</a></td></tr> - <tr><td class="tdc"><i>THE SOUND-BOARD.</i>—(<i>Continued</i>.)</td></tr> - <tr><td class="tdl">Grooving—Boring Holes—Conducting-boards—Conveyances</td> - <td class="tdrb">44</td></tr> - -<tr><td class="tdc"><a href="#c5">CHAPTER V.</a></td></tr> - <tr><td class="tdc"><i>THE WIND-CHEST.</i></td></tr> - <tr><td class="tdl">Running of Wind—Blacklead used—Pallets—Leather for - Pallets—Springs—How to make them—Pull-downs—Drilling—Brass Plate—Front-board</td> - <td class="tdrb">55</td></tr> - -<tr><td class="tdc"><a href="#c6">CHAPTER VI.</a></td></tr> - <tr><td class="tdc"><i>THE BELLOWS, TRUNKS, AND FRAME.</i></td></tr> - <tr><td class="tdl">Shape of Bellows—Valves or Clacks—Cummins's Improvements—Counter-balances—The - Cuckoo-feeder—Hydraulic-power - Engines—Trunks—The Frame—Its general Dimensions—Hollow - Frame-work—Blowing Pedal—Blowing Lever</td> - <td class="tdrb">72</td></tr> - -<tr><td class="tdc"><a href="#c7">CHAPTER VII.</a></td></tr> - <tr><td class="tdc"><i>PLANTATION OF PIPES.</i></td></tr> - <tr><td class="tdl">Pipe-feet—Rack-pins—Symmetry</td> - <td class="tdr"><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span>90</td></tr> - -<tr><td class="tdc"><a href="#c8">CHAPTER VIII.</a></td></tr> - <tr><td class="tdc"><i>THE ACTION.</i></td></tr> - <tr><td class="tdl">Definitions—Back-fall—Bridge—Square—Sticker—Tracker—Tapped -Wires—Cloths—Buttons—Rollers—Roller-boards—Principle -of Organ-action—Fan-frame—Keys—Roller-frame—Double -Sound-board Action—Thumping-board </td> -<td class="tdrb">94</td></tr> - -<tr><td class="tdc"><a href="#c9">CHAPTER IX.</a></td></tr> - <tr><td class="tdc"><i>VOICING AND TUNING.</i></td></tr> - <tr><td class="tdl">Metal Pipes—Their Construction—Nicking—Voicing—The - Wind-gauge—Defects in Pipes—Temperament—Regulation</td> - <td class="tdrb">115</td></tr> - -<tr><td class="tdc"><a href="#c10">CHAPTER X.</a></td></tr> - <tr><td class="tdc"><i>THE DRAW-STOPS.</i></td></tr> - <tr><td class="tdl">Four Methods of drawing the Stops described—Levers—Bell-cranks—Trundles—Iron - Trundles</td> - <td class="tdrb">127</td></tr> - -<tr><td class="tdc"><a href="#c11">CHAPTER XI.</a></td></tr> - <tr><td class="tdc"><i>PEDALS.</i></td></tr> - <tr><td class="tdl">Their Compass—Dimensions—Springs—Dip—Connection with - Key-board—Removable Pedal-board</td> - <td class="tdrb">135</td></tr> - -<tr><td class="tdc"><a href="#c12">CHAPTER XII.</a></td></tr> - <tr><td class="tdc"><i>TWO-MANUAL ORGANS.</i></td></tr> - <tr><td class="tdl">Remarks on the Swell-organ—Organs with Great and Choir—Borrowing - in Two-manual Organs—Chamber Organ by - Schmidt—The Swell-box—Its Construction—The Swell-action—Reed-stops—Manual - Couplers—Rising and Falling - Bridges—Pedal Couplers—Old Method of Coupling—A - Combination Manual—The Pedal Sub-bass of 16-feet Tone—Scale—Wind-valve - for Pedal Chest—Violoncello Stop—Terzo Mano</td> - <td class="tdrb">141</td></tr> - -<tr><td class="tdc"><a href="#c13">CHAPTER XIII.</a></td></tr> - <tr><td class="tdc"><i>VILLAGE CHURCH ORGANS.</i></td></tr> - <tr><td class="tdl">Principles of Construction—Suggestions for Designs—Objections - noticed—Care of Old Organs</td> - <td class="tdrb">165</td></tr> -</table> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> - - - -<div class="chapter"> -<p class="ph2" id="c1">ORGAN-BUILDING.</p></div> - -<div class="figcenter"> -<img src="images/fig3.jpg" alt="printers mark" /> -</div> - -<h2>CHAPTER I.</h2> - -<p class="c"><i>PLANT AND MATERIALS.</i></p> - - -<p><span class="smcap">We</span> shall assume at once, and at the very outset, -that our reader has the fixed purpose of producing -an organ which shall be creditable to its builder, a -source of pleasure to its players and their hearers, -and an ornament to the room or building in which -it is erected: in short, that he remembers the -excellent maxim, "whatever is worth doing at all, -is worth doing well," and will not be content with -rough workmanship, inferior materials, and inharmonious -results.</p> - -<p>Assuming this as the basis and principle of all -our suggestions, we shall nevertheless bear in mind -the necessity of adapting our rules to the conditions -imposed by slender purses, and the imperfect appliances -of humble workshops. Without attempting -to quote the actual market prices of the wood, -leather, and metal required, or of those important -parts of the instrument which in most cases will be -purchased ready-made, we shall endeavour to show<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> -how economy may be consulted by obtaining all -these gradually, as our work advances with that -inevitably slow progress which attends all proceedings -in which most haste is found to be worse -speed.</p> - -<p>We shall buy nothing which we can make for -ourselves. The common sense of our readers may -be trusted not to press the application of this rule -to a <i>reductio ad absurdum</i>. As we shall certainly -buy, and not make, our screws and nails, so in the -course of the following pages we may possibly -recommend the buying of certain parts of the work, -in full remembrance of our rule. But even in these -occasional instances we shall probably point out -how expenditure may be saved by patient industry. -We need not anticipate. Our readers will see for -themselves what we mean as we go on.</p> - -<p>Our task will be somewhat simplified if we suppose -that an organ is desired for a room of moderate -size. Such an instrument will commonly have one -manual, or row of keys, with four or five stops, or -sets of pipes. Pedals, with or without pipes of their -own of deep bass quality, must be considered -essential in every organ making any pretension to -completeness, or intended to afford useful practice -for learners. Taking this as a rough outline or -sketch of probable plans, it will be easy to see hereafter -how they may be indefinitely extended.</p> - -<p>Our organ factory, then (with some such plan in -our head), must be a roomy, well-lighted, perfectly -dry workshop, furnished with a fire-place or stove<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> -for the glue-pot, with drawers or cupboards for -storing away skins of leather and other materials -not in constant requirement, and with shelves on -which pipes may be stowed without danger of -rolling off. It must not be a mere shed or hovel in -which we might mend the cart or the wheel-barrow, -and it should not be far from our dwelling-house, -if we are likely to work at our serious undertaking -in the winter evenings.</p> - -<p>The shop must be fitted with a full-sized bench -in good condition, that is to say, with its top dressed -truly, and not hacked by rough usage; and good -workmanship will be much promoted if the usual -appliances of such a bench are of the best kind and -in complete order. True planing, so vitally essential -in organ-building, cannot be done upon a crazy -or worn-out bench. The bench should stand near -a window, and it should be so placed that boards -much longer than itself may be occasionally dressed -upon it by temporary arrangements.</p> - -<p>The tools required are chiefly those which are -common to every joiner's shop; notably and of first -importance the three planes, the jack, the jointer or -trying plane, and the little smoothing plane. This -last may now be bought in a very handy form, -entirely of iron, and fitted with a clever adjustment -by which the cutter can be set to any degree of -fineness. This little plane (an American invention) -is invaluable for many purposes involving extreme -neatness and accuracy. The planes must at all -times be kept in first-rate order, and any defect<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> -which makes its appearance must be instantly -rectified by a careful use of the oil stone. The -latter, let us mention by the way, as we may have -youthful and inexperienced readers, should be -levelled occasionally by being rubbed on a flat -slab with sand and water. The plane is emphatically -<i>the</i> tool of the organ-builder, and no pains -should be considered too great to be bestowed on -the care of these beautiful tools, or on the attainment -of dexterity in the use of them.</p> - -<p>The usual saws, the ripping saw, the panel saw, -the dovetail, the key-hole or pad saw, will be -required; and we may take this opportunity of -remarking that as the organ-builder must have a -strong dash of the smith as well as of the joiner in -his composition, his shop must have a stout vice -fixed in a convenient part of it, and a few good -files always available for brass or for iron. (The -reader is doubtless aware that the same file must -not be used for both these metals.) Drills for -metal, some of them of small clockmaker's sizes -with a bow and breast-plate for working them, -will belong to this department, which will also -include a screw-plate for tapping wires of various -sizes from one-eighth of an inch downwards, and -cutting pliers or nippers for dividing the wire.</p> - -<p>The tool-chest must contain a thoroughly good -brace and bits; and among the last should be -some one of the various forms of adjustable centre-bits -for cutting large circular holes of graduated -dimensions up to 3 inches diameter.</p> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> - -<p>In connection with this it may here be mentioned -that most of the holes bored with the brace and -bits (though not the huge holes just referred to), -will be scorched or charred with a red-hot iron, -in order to clear them of splinters, and allow a -perfectly free passage for the air which will pass -through them. A few pieces of iron rod, of sizes -suitable for this purpose, will therefore be required. -Many of these holes will be also countersunk, that -is, rendered conical at their extremity, in order to -receive the conical feet of the pipes which receive -from these conduits their supply of wind. This -countersunk portion is also scorched or charred, -and two or three conical irons will be wanted for -this purpose. But we have not yet come to this. -When we are ready for these irons, we can have -them made by any blacksmith, or we may have -put aside some stout morsels of old iron from -which we ourselves may contrive to fashion -them.</p> - -<p>An important question must next be asked.</p> - -<p>Is a turning-lathe absolutely necessary as part -of the plant of our factory? We must answer this. -We should be sorry to deny that a small organ -certainly can be and may be built without the aid -of a lathe. We know that it has been done. But -it is equally undeniable that the absence of a lathe, -or of access to a lathe, will necessitate the purchase -of certain parts (wooden pipe-feet for -instance, and rack-pins), at an outlay which will -bear an appreciable proportion to the first cost of<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> -a simple and inexpensive machine. Pressed, then, -to say if our workshop must include a lathe, we -are bound to reply in the affirmative, explaining, -in the same breath, that all the purposes of the -young organ-builder will be answered by a lathe -of humble character and trifling cost. We ourselves, -during several years of early beginnings, -used a small clockmaker's lathe by Fenn, of Newgate -Street, just capable of admitting between its -centres the little billet of wood ready for shaping -as a pipe-foot, that is to say, about 7 inches -in length, and from 2 inches down to half an -inch in diameter. We still possess this little lathe, -and still sometimes use it for small work. Some -such simple lathe, or some lathe still simpler, -being voted as necessary, the usual turning-chisels -and gouges will of course accompany it, and we -shall assume that our readers possess a sufficient -acquaintance with the wood-turner's art to require -no hints from us on the subject other than those -which we shall give in regular course as we -proceed. If they are fortunate enough to possess -a superior lathe, with slide-rest and slow motion -for turning iron and brass, they will find the -machine most conducive to good and durable -workmanship, and we shall not hesitate to point -out, as we go on, how materially it will assist us -in giving strength, firmness, and finish, to various -parts of our work.</p> - -<p>We have furnished, then, our workshop, or -rather, let us say, we see it in our "mind's eye"<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> -furnished as we should wish it to be. And now we -may lay in our stock of wood.</p> - -<p>Several boards of half-inch pine, perfectly dry -and sound, without knots; these are of first necessity. -Such boards are generally about 12 feet in -length and from 12 to 15 or even 20 or more inches -in breadth. If a little stock can be laid in of such -boards when an opportunity occurs of obtaining -exceptionally clean stuff, it will be well to have them -by us. A board or two of three-quarters stuff, and -a board of inch stuff, all sound and clean pine, must -be provided.</p> - -<p>And here we may pause for a moment.</p> - -<p>We intend to begin our organ by making a set -of wooden pipes. Hence we need not provide -ourselves with more timber for the present than -we shall need for this first operation. But as in -our imaginary furnishing of the workshop, we -included several or many things which belong -rather to future than to immediate use, so we may -here place the reader in a position to form some -idea of the further expense to which he will be put -for the purchase of timber for his proposed small -organ of four or five stops. The pine boards just -enumerated will give us our first set of pipes; but -when these are ready, we shall require some rather -costly wood for the sound-board. This should be -Honduras mahogany, often called "Bay wood," -and of three thicknesses, say, three-quarters stuff -for the table of the sound-board;<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> a full inch, or, -<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>still better, five-quarters, for the upper boards; and -some very thin stuff, three-eighths or less, known -as "coach-panel," for the sliders. The quantities, -or number of square feet, of these mahogany boards -will be determined by considerations discussed in -a subsequent chapter. The wood must be carefully -selected, for the grain of it is often tortuous -and unkindly for the plane; it must be, like the -pine, free from large knots, flaws, and cracks; and -the completeness of its seasoning should be quite -unquestionable and beyond the reach of suspicion.</p> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> All these expressions will, of course, be explained hereafter.</p></div> - -<p>It is not unreasonable to assume that the reader, -who has contemplated for some time the building -of an organ, has already by him some materials -which he knows will be necessary; for instance, -some boards of sound white deal for the framework, -and perhaps for the bellows; and some -scantlings of red deal, or pitch pine, or oak, or -mahogany, or red cedar, for the blocks and -stoppers of pipes. He will not need the aid of -this book to be aware that old materials may -sometimes be turned to excellent account in such -a business as that upon which he is embarking. -We have known the purchase (for a pound or two) -of an old square pianoforte turn out a profitable -investment. Its mahogany top was solid, not -veneered; and the thin boards found in its interior -dry as touch-wood, and perhaps one hundred years -old, were made into pipes of charming sweetness.</p> - -<p>The old organs before the days of mahogany -were made chiefly of oak, often called "wainscot."<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> -We ourselves have made much use of this durable -and trustworthy material, which may be obtained -in the convenient form known as "coopers' staves," -being planks about 6 feet in length, as many -inches in width, and 2 or 3 inches thick. They -may be divided, at any saw-pit or saw-mill, into -boards of the desired thinness, and they work -pleasantly under thoroughly sharp tools.</p> - -<p>And now we may set to work upon our set of -wood pipes.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> - -<div class="chapter"> -<h2 id="c2">CHAPTER II.</h2> -</div> - -<p class="c"><i>THE STOPPED DIAPASON.</i></p> - - -<p><span class="smcap">Why</span> do we begin by making a set of wooden -pipes?</p> - -<p>For two reasons. First, because they will afford -a trial of patience, and involve a great deal of good -joinery. Second, because until they are made, or, -at any rate, until we know their precise dimensions, -we cannot plot out with accuracy the very important -sound-board, which is to carry them and the -other pipes which are to follow. Either of these -reasons is, to our mind, sufficient, apart from the -other; and we strongly recommend the young -beginner to set himself resolutely to the manufacture -of the complete set of wooden pipes belonging -to the commonest of all organ-stops, the Stopped -Diapason, before taking any step in the direction of -the machinery or apparatus which is to waken -them into harmonious vibrations.</p> - -<p>Our explanations will be much assisted here if -we introduce a few definitions of terms in constant -use. The pipes which we are about to make will -give notes, when tuned, which are familiarly -designated by certain names. Thus, the lowest<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> -note on the manual or key-board of modern organs -is called <i>Double C</i> (printed CC). The note one -octave above this is <i>Tenor C</i>; the octave of Tenor -C is <i>Middle C</i>; and above this, again, we have -<i>Treble C</i> (often called <i>Foot C</i>) and <i>C in Alto</i>. Some -of the other notes of the scale, in a similar way, -have convenient names. Thus, the first F in the -bass is <i>Double F</i>, or FF; the next F, the F of the -Tenor octave, is often called <i>Clef F</i>, as the Bass, or -F Clef, stands upon this line in music; its sharp is -FF sharp; but then we come at once to a single G, -and this note is often called <i>Gamut G</i>. The octave -above this note is called <i>Fiddle G</i>, as it sounds the -same note as the fourth string of the violin. The -note B, we may add, throughout the organ, is -understood to mean <i>B flat</i>; the semitone above -this is indicated by the musical symbol the Natural -(♮).</p> - -<p>We have not quite done with this. There is -another way of referring to pipes, and to complete -sets of pipes, which is in familiar use, and is part -of the mother-tongue of the organ-builder. We -have said that Treble C is often called <i>Foot C</i>. -This is because the ordinary open pipe of that note -(speaking now quite inexactly, and without precision), -is 1 foot in length. In a similar way, -CC is 8-<i>foot C</i>, or the 8-<i>foot note</i>, because the open -pipe is 8 feet in length, speaking roundly or -roughly. Tenor C is 4-<i>foot C</i>; Middle C, 2-<i>foot C</i>.</p> - -<p>It will be easily understood that these convenient -designations are retained, even though the construc<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>tion -of the pipes may render them strictly inapplicable. -Thus, the lowest note of our first stop will -still be 8-foot C, though, as we shall soon see, the -stopping of the wooden tube enables us to reduce -the actual length by one-half. Our CC will still -be of 8-<i>feet pitch</i>, or <i>tone</i>, and by no means becomes -a 4-<i>foot</i> C, because its actual measurement, when -completed, will not exceed 4 feet in total length.</p> - -<p>One step further. The theoretical length of the -lowest note is not only used to designate that note -and the pipes which belong to that note, but is -extended to the designation of the whole set of -pipes of which it is the lowest or longest. This -whole set of pipes is called familiarly a <i>Stop</i>; thus -we have at once the ready terms, 8-feet stops, -16-feet stops, 4-feet stops, 2-feet stops, &c.; and it -will be understood that by an 8-feet stop, we mean -a set of pipes yielding the common or ordinary -pitch of the pianoforte, or of the human voice; -while a 4-feet stop, when the very same keys are -pressed down, will yield notes one octave higher -than this ordinary or standard pitch; the 2-feet -stop, notes two octaves higher; the 16-feet stop, -notes one octave lower, or deeper. And if all -these four stops are played at the same time, -(tuning and other manipulations being now -assumed), an effect will be produced highly agreeable -to the ear, and vastly superior to that which -would result from the mere multiplication of 8-feet -stops only.</p> - -<p>Our little organ of five stops, when completed,<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> -will probably be described with correctness if it is -said to contain two 8-feet stops, two 4-feet stops, -and one 2-foot stop: a ready and conventional -way of speaking, we repeat yet once more, since -the instrument will contain no open pipe 8 feet -in length, and since, of the 4-feet stops, one will -be only of 4-feet tone, or pitch, while even the -2-feet stop, for reasons which will be abundantly -made clear, may possibly have no 2-feet pipe.</p> - -<p>Some pains have been taken to explain all this, -because we have met with young workmen whose -comprehension of such rudimentary matters was -far from complete, and who were misled by the -fanciful and wholly unimportant <i>names</i> engraved -upon the knobs which govern the stops, <i>e.g.</i> -"Flute," "Dulciana," &c. If we have any such -young beginners among our present readers, they -will see that the names are quite of secondary -concern, and that the essential thing is to have a -clear understanding of the <i>pitch</i> of each stop, as -represented by the length of the pipe, <i>actual or -virtual</i>, corresponding to the lowest note of the -manual.</p> - -<p>And now we proceed to our work. What we -have to do is to make fifty-four pipes, extending -from CC to F in alto, and of the form or sort known -in England as Stopped Diapason. One of these -pipes, let us suppose Tenor C, is shown in Fig. 1. -<i>a</i> is a block of mahogany or oak, or of some other -wood faced with mahogany or oak, and about 3 -inches in length. It has a throat or deep depres<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>sion -across it, formed by taking out the wood -between two saw-cuts, or by boring adjacent holes -with a centre-bit. <i>b</i> is a stopper, made of any -wood, the exact size of the block, or a trifle less, -to allow for a leather -covering, and fashioned -at top into a knob, or -turned in the lathe, for -convenient handling by -the tuner. <i>c</i> is the pipe -when put together by -gluing three boards, -namely, the back and -the two sides, to the -block, and one, namely -the front board, to the -edges of the sides. This -fourth board is about -3 inches shorter than the -others, and has a lip -formed on its lower edge -by bevelling the wood with a sharp chisel. <i>d</i> is a -cap, 3 inches long, and as wide as the block with -the side boards attached; it is hollowed in a -wedge-shaped form as shown in the figure. <i>e</i> is a -foot, turned in the lathe, bored from end to end, -and 5 or 6 inches in length. <i>f</i> is the completed -pipe, with the stopper inserted, the cap put on, and -the foot in its place.</p> - -<div class="figleft" id="illus2"> -<img src="images/fig4.jpg" alt="" /> -<p class="caption center little">Fig. 1.</p> -</div> - -<p>We have to make fifty-four such pipes, each of -the dimensions proper for the production of its<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> -own note, deep in the bass or shrill in the -treble.</p> - -<p>It is quite clear that we must not work by "rule -of thumb," but understand well what we are about -from the very first, if we do not wish to cut our wood -to waste and cover ourselves with mortification.</p> - -<p>Begin thus. Take a sheet of stout paper, and on -it, with rule and compasses, draw a scale showing -all the requisite measurements.</p> - -<p>Here we must be a little arbitrary, and lay down -the law without giving lengthy reasons for our -ruling. Stopped pipes are half the length of open -pipes yielding the same notes. Our CC pipe will -therefore be 4 feet long. The four C's of the -ascending scale are the halves of each other. -Therefore Tenor C will be 2 feet, Middle C 1 foot, -Treble C 6 inches, and C in alto 3 inches, in length. -The word <i>nearly</i>, or <i>about</i>, must be understood as -prefixed in every case to our measurements. Accordingly, -the lengths of all the pipes in the stop -will be easily obtained by drawing a vertical line -1 foot in length on the paper, and dividing it into -twelve equal parts. At the bottom, write Tenor C, -2 feet; at the top, Middle C, 1 foot. Then the -length of each of the eleven pipes intervening -between these extremes will be at once obtained by -easy measurement. By doubling these lengths we -shall obtain those of the bass, or 8-feet octave. By -halving them, those of the middle octave. By -dividing them by four, we get those of the treble -octave.</p> - -<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> - -<p>Note well that these rough and approximate -lengths are speaking lengths of the wooden tubes, -or, in other words, of the column of air within them, -measured from the top of the block to the under -side of the stopper. Hence, in cutting out the -boards, the length of the block—about 3 inches, or -less in small pipes—must be added to three of them, -and an inch or more allowed to all four of them to -give good room for the stopper.</p> - -<p>But we are not yet in a position to cut out the -boards.</p> - -<p>It might be thought that as we get the lengths by -the easy arithmetical process described above, so -with equal ease shall we get the widths and depths -of the blocks. The pipes are not square, but are -deeper than they are wide, in the proportion of -about 5 to 4. It might be thought that if the block -of Tenor C be 2 inches wide and 2½ inches deep, -then the block of Middle C will be 1 inch by -1¼ inches; the block of Foot C ½ inch by ⅝, and so -on. This is not so. These treble pipes would be -quite unreasonably small, and would give weak -and thin sounds, while the bass octave, commencing -with a block 4 inches by 5 inches, would -be needlessly large for a chamber organ. Without -wasting words upon a matter which is really very -simple, let us say at once that we shall adopt for our -Stopped Diapason a scale commencing with a CC -block 3¼ inches wide and 4 inches deep, and that -the block of Tenor C will be 2⅛ inches wide and -2⅝ deep. Thus the half of the width and depth<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> -of the CC block will not be reached until the -eighteenth note above it, instead of the thirteenth, -and in the higher parts of the scale the diminution -in the sizes of the blocks may be yet more gradual.</p> - -<div class="figcenter"> -<img src="images/fig5.jpg" alt="" /> -<p class="caption center little">Fig. 2.</p> -</div> - -<p>A glance at Fig. 2 will enable our readers to -draw scales for themselves for the Stopped -Diapason, and for other wooden stops which may -follow it, from a few given data, and to suit cir<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>cumstances. -A minute or Chinese accuracy is not -requisite. The vertical line of any convenient -length being drawn upon the paper, the width and -depth of the CC block are measured off upon a -horizontal line drawn at its lower extremity. -Eighteen divisions being marked upon the vertical -line, the half-width and half-depth of the CC block -are measured upon another horizontal line drawn -at the eighteenth mark. These points being joined -by straight lines, and horizontal lines being drawn -at each of the marks parallel to the others, we shall -have the widths and depths of the blocks of all the -pipes from CC to Clef F inclusive, viz. eighteen -blocks. The next eighteen blocks will be sized in -a precisely similar manner, and as three times -eighteen is equal to fifty-four, the whole stop may -be divided into three sections of eighteen pipes in -each section, and it may be for our convenience to -make one section at a time.</p> - -<p>There are two methods of working together the -block and the four boards which form the pipe. -We will give them both, and decide between them.</p> - -<p>First method. Cut out the board for the back, -and dress it carefully to the exact width of the -block. Glue the block to the lower extremity, and -when the glue is dry dress up all perfectly flush. -Cut out the side boards as wide as the depth of the -block with the thickness of the back board added -to it. Glue them to the sides of the block and to -the edges of the backboard, obtaining a perfectly -close joint by using wooden clamps and wedges<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> -as in gluing up a violin, or by other obvious contrivances. -When the glue is dry dress up the -front edges flush with the block, and glue on the -front board, which will be cut out as wide as the -block together with the thicknesses of the side -boards. The front board must overlap the -upper edge of the block by about ⅛ inch or -more. If all this is carefully done according to the -rules of good joinery the result should be a neat -and strong pipe, truly rectangular at its upper or -open extremity. Brads or sprigs are not to be -thought of in pipe-making, unless, indeed, in the -very exceptional case of organs intended for tropical -climates.</p> - -<p>Second method. Cut out first the two side -boards the width of the depth of the block, and -glue them to it. Dress the edges flush with the -block, and glue on at once the back and front -boards, obtaining irreproachable joints as before, -and taking infinite care that the upper extremities -of the side boards do not approach each other. In -making our smaller pipes (say from Middle C -upwards), we are in the habit of straining whip-cord -or stout hempen string round them, winding -it first upon a loose pipe-foot or smooth tool-handle -to avoid cutting the hands; and we ensure -a correct aperture at the top by placing within it a -thin slice cut from the block itself, or by introducing -the stopper if it has been already prepared -of the same size as the block. The notches made -by the string upon the edges of the soft pine-wood<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> -are easily removed when the finished pipe is -dressed over with a fine plane.</p> - -<p>We have no difficulty in giving our decision in -favour of the second plan, which avoids the four -tedious dryings of the glue, and which admits -more readily of pressure being applied to the -freshly glued joints. But in making open pipes, -which have not to bear the driving-in of a stopper, -there is much to recommend the first method.</p> - -<p>This point being settled, we may cut out the -side boards and prepare the blocks for one of our -divisions, let us say the middle section, from Clef F -sharp to the natural below Foot C. Blocks of this -moderate size will be best made by taking a piece -of wood of suitable character, long enough for six -or more, and by dressing it down as each block is -cut off, making careful and constant use of the -gauge, the square, and the callipers. We like to -form the throat with a centre-bit after the pipe is -put together. The thirty-six boards will be glued -to the eighteen blocks, and while the glue is drying -we can prepare the backs and fronts. The -bevelled lip of the latter will be left uncut until all -the pipes have been glued up and dressed over, -and the top edges nicely cleaned off and made -true. But as there will be, doubtless, a most -pardonable anxiety to hear the sound of one pipe, -we will here explain that the height of the mouth -of each pipe must be equal to one-third of its width; -thus the mouth of the pipe measuring one inch -and a half across the block (A in our scale) will<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> -be ½ inch in height. In measuring the height of -the mouths, a pair of proportional compasses with -sliding centre, or common dividers set to thirds, -fourths, and fifths, will be useful if not necessary. -The slope of the bevel is not of great importance. -Cut it with a sharp chisel, taking care not to injure -the block, and leave the lower edge or lip rather -blunt. A sharp and pointed knife may be employed -in cutting the lip truly, guided by the -square. The use of fine glass-paper is permissible -here to smooth all these parts nicely.</p> - -<p>The throat having been formed in the face of the -block, about 1 inch from its lower end, bore the -foot-hole in the bottom of the block clear into the -throat, beginning with a small borer, and enlarging -the hole cautiously, as rough and hasty proceedings -might split the block at this point, especially in -the case of small pipes.</p> - -<p>Prepare the cap from a suitable bit of mahogany, -oak, or other close-grained wood, and hollow out -the back of it with a chisel as shown in <i>d</i>, Fig. 1. -Form the flue or wind-way through which the -air is to pass to the lip by filing away the edge -left at the top of the wedge-shaped hollow, -trying your work by placing the cap against the -side of the pipe or any other flat surface. The -flue must not be wider than 1⁄16 inch at Tenor C, -and must be reduced as we ascend the scale until -it will hardly admit a slip of thin paper. It will -not be so much as ⅛ inch wide even at CC.</p> - -<p>Perhaps the stopper has been already prepared<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> -of the same size as the block, and has been formed -into a knob at top, or turned in the lathe, or, in the -case of the larger pipes, fitted with a turned handle -glued into a hole bored for its reception. Dress -off the angles of the stopper in order to allow room -for the soft white leather with which it is covered -to fold itself in the corners of the pipe. We generally -rasp our stoppers, leaving them rough that -the leather may cling to the stopper and not to the -pipe. The leather cannot be too thin if it is soft, -and if the stopper fits closely. Rub the interior of -the top of the pipe with a bit of tallow-candle, and -introduce the stopper cautiously. It should slide -within the pipe at once easily and with accurate -fit, and if your joinery has been good there should -be no fear of splitting the pipe or of opening the -joints.</p> - -<p>The cap when finally fitted will have its upper -edge about ⅛ inch below the upper edge of the -block. On applying it in this position, holding -it there with your fingers, or tying it on with -string, and blowing gently into the foot-hole, -you will have a pleasant fluty musical note. -Probably a little chirp or whistle will be heard -before the note comes on. The removal of this -defect belongs to the important operation called -<i>voicing</i>, of which we shall treat hereafter.</p> - -<p>We have cut our boards from the half-inch pine, -but as we rise in the scale much thinner stuff will -be used. It is well to foresee this in laying in our -materials. Red cedar, often used by cabinet<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>makers -for the inside of drawers and wardrobes, -makes very pretty pipes, holds the glue well, and -has an agreeable odour in working. Harder -woods, notably oak, were often used by the old -builders. Pear-tree commends itself much in -German workshops.</p> - -<p>The four or five lowest pipes (CC to EE, or -higher) should be of stouter stuff than half-inch, -say five-eighths or even three-quarters. The caps -of these large pipes will not be glued on but fixed -with three screws, and we may modify a previous -remark by admitting that in the case of these -larger pipes the use of nails is legitimate.</p> - -<p>Of the pipe-feet we shall speak when we come -to the business of planning the rack-board -with its holes for their reception.</p> - -<p>We must not close this chapter -without giving some further explanations -on the subject of pipe-making.</p> - -<p>Large pipes, both open and stopped, -may be advantageously made with -<i>languids</i> instead of blocks. Fig. 3 -shows the section of a pipe so made. -The block is replaced by two pieces -of suitable wood, <i>a a</i>, let into the side -boards with plenty of glue. The glue -should also be allowed to run freely -into the angles and corners of the -throat when the back board is fitted. Pipes made in -this way are a little lighter than those with blocks.</p> - -<div class="figright"> -<img src="images/fig6.jpg" alt="" /> -<p class="caption center little">Fig. 3.</p> -</div> - -<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> - -<p>The stoppers of the smaller pipes, say from -Fiddle G or Middle C to top, are often bored with -a hole passing clear through the wood and leather, -and burnt smooth with an iron. After what has -been said of the necessity of securing a good fit for -the stopper, it might be thought that this hole -would ruin the pipe. Curiously enough it is not -so, but imparts a slight increase of fulness to the -tone. The holes must not be large, ¼ inch at -Middle C will be sufficient. Note well that pipes -with perforated stoppers must be a trifle longer, -say 1 inch in 12, than those completely closed. -Thus the pipe for C sharp must be as long as the -fully stopped C pipe.</p> - -<p>Wooden pipes are also made with inverted -mouths, that is to say, the bevelled -lip is formed on the inside instead of -on the outside of the front board. In -this case the bevel is cut and the -mouth measured and formed before -the pipe is put together, and the front -board will be of the same length as -the others, and will be glued like them -to the block. The throat is cut -through the board into the block, and -the cap will project beyond the level -of the board. All this is shown in -Fig. 4.</p> - -<div class="figleft"> -<img src="images/fig7.jpg" alt="" /> -<p class="caption center little">Fig. 4.</p> -</div> - -<p>We have a very charming Stopped -Diapason made in this way, and with -perforated stoppers, in one of our organs. It<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> -is of red cedar from Middle C to top; the -lower part is of pine and of the ordinary construction. -The mouths are in the proportion of -two-sevenths of the width of each pipe. Inverted -mouths are well suited, also, to the Clarabella -and Hohl Flöte, two kindred stops which sometimes -take the place of the Stopped Diapason -in its upper octaves. The pipes are open, and -have a hollow penetrating tone; Middle C is 2 feet -long, and its block may be of the same size as that -of the same note in our scale, namely, <i>about</i> 1⅜ by -1¾. The mouth about 2⁄7 of the width. These open -pipes are tuned by means of shades, which are -pieces of pipe metal let into a saw-cut made in the -top edge of the back board. The shade must be as -wide as the pipe, and ½ inch longer than its -depth. The pipe is flattened by bending the shade -over the open top, sharpened by raising it.</p> - -<p>The German stop, the Doppel-flöte, which has -two mouths opposite to each other, and of course -two caps for each pipe, is seldom or never heard in -this country. A few pipes which we have made as -experiments hardly seem to repay us for the additional -trouble and labour.</p> - -<p>Trouble and labour were of little account, -apparently, in the old days of English organ-building -two centuries ago, if we may judge from the -really marvellous specimens of patient pipe-making -in wood which have come down to us. We ourselves -have seen and played organs of exquisite -sweetness and beauty by old Bernhard Schmidt<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> -(1660-1708), containing four or five stops in which -every pipe was of oak, even up to the top note of -a Fifteenth of 2 feet. Such an organ, built by -Loosemore, 1664, the builder of the cathedral -organ, is preserved, we believe, at Exeter. It has -six stops, including a Twelfth, all made of wood. -Modern life is too hasty and impetuous for such -efforts. If any of our readers, however, should set -themselves the task of making very small pipes in -wood, we advise them to form the block and foot -from one piece, and to follow the first method <a href="#Page_18">(see -p. 18)</a> in putting the minute contrivance together.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> - -<div class="chapter"> -<h2 id="c3">CHAPTER III.</h2> -</div> - - -<p class="c"><i>THE SOUND-BOARD.</i></p> - - -<p><span class="smcap">We</span> may fairly assume that no one will embark -upon the very serious business of building an -organ, and that probably no one will read this -book, who has not sufficient previous knowledge of -the subject to understand what is meant by the -expressions sound-board, wind-chest, pallets, -sliders.</p> - -<p>It may be taken as certain, moreover, that the -reader who takes up this book to assist him in the -arduous work which he has undertaken, and in the -hope (which we trust we shall not disappoint) of -finding rules laid down in it which he can readily -reduce to practice, has long ago decided upon the -position which the projected organ is to occupy, -and has measured with his eye, if not with his two-foot -rule or tape, the breadth, depth, and height -which can be fairly allowed to the finished instrument.</p> - -<p>Great diversity of dimension and design is one -of the peculiarities which distinguish organs from -all other musical instruments. Our organ may be -wide and shallow like a book-case, or it may be of<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> -little greater width than its key-board, but deep -like a wardrobe; it may be carried up nearly to -the ceiling of a lofty apartment, or may be kept -down to suit the low-browed rafters of a country -farmhouse or a workman's cottage.</p> - -<p>The site chosen for the organ may allow of convenient -access to the back of it for tuning purposes; -or it may compel us to arrange the interior -so that the back may always remain in close contact -with the wall. The projection of the keys, too, -from the front, and therefore the position of the -player when seated at the instrument, possibly in -a small room; the place for the blowing-handle -and for the person who works it, so that convenient -space may be left for him to fulfil his -irksome duty—these are matters of detail admitting -of great variety of treatment.</p> - -<p>There are cases in which it may be possible, and -very advantageous, to separate the bellows from -the organ which they supply, and to establish -them in an adjoining room, or beneath the floor -or platform on which the organ is placed.</p> - -<p>All these considerations must receive full attention, -and drawings or rough sketches sufficiently -intelligible to the workman himself must be made -in accordance with the decisions arrived at. Then, -and not till then, we can launch ourselves upon -the very serious business of designing and constructing -the sound-board.</p> - -<p>A serious business, we say, making a large -demand upon our industry and perseverance, and<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> -calling for adroit use of tools of several different -characters.</p> - -<p>To facilitate our own task in describing the process -of constructing a sound-board, we shall divide -this chapter into short sections, with intervening -remarks.</p> - -<p>1. The sound-board is a shallow box, divided -internally into as many transverse grooves or -channels as there are notes on the key-board. -The pipes stand upon holes bored through the top -of the box into these channels; and it is plain that -if air is made to fill these channels, and to issue -from these holes in a constant stream when we -please, all the pipes which stand upon the holes -will give their sounds according to their pitch and -character.</p> - -<p><i>Remark.</i>—Thus if one channel, say the channel -corresponding to Tenor C, have five holes bored -into it through the top of the box, then five pipes -standing upon those holes may be made to speak -at once, or in chorus, by pressing down the one -key on the manual.</p> - -<p>2. It is plain that we must possess the power of -opening and closing these holes in sets or classes -at our pleasure, so that the air may be directed -into those pipes which we desire to hear, while -others are silent. The top of the box is therefore -made double, or of two layers of wood; and -between the two layers long strips of thin wood -are introduced, lying lengthwise, that is to say, at -right angles to the channels beneath or within.<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> -The holes are bored down through all these three -layers of wood forming the top of the box; and we -see that by sliding the thin slip an inch or so to -the right or left, we can cut off at once the current -of air from the pipes standing on those holes, since -the apertures in the three layers will then no -longer coincide.</p> - -<p><i>Remark.</i>—All this is quite independent of, and -preliminary to, the arrangements for admitting -the supply of air to the channels themselves.</p> - -<p>3. Having already made our Stopped Diapason -pipes, let us range them on a table or floor, and -consider well how they must be planted on a -sound-board such as we are about to make for our -organ, be it broad and shallow, or narrow and -deep, be it low or lofty.</p> - -<p><i>Remark.</i>—No other stop will practically take up -so much room on the sound-board as the Stopped -Diapason; hence, if we plot the board with reference -to it, all the other pipes will be easily -worked in.</p> - -<div class="figcenter"> -<img src="images/fig8.jpg" alt="" /> -<p class="caption center little">Fig. 5.</p> -</div> - -<p>4. On the opposite page several different plantations -of the Stopped Diapason are shown both in -elevation and in plan. In Fig. 5 the pipes, planted -in a double row throughout, are placed alternately -to the right and to the left, meeting in the middle -at the smallest pipe. The exact reverse of this -plantation, namely, placing the largest pipes in the -middle, and sloping down to the smallest pipes at -each end, can be easily imagined, and it is unnecessary -to figure it. It is clear that in both these -<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>plantations the large pipes occupy a space, as -regards depth, out of proportion to the space occupied -by the upper part of the stop. Fig. 6 shows a -very common plantation of pipes, which, as we -shall see hereafter, allows us to simplify the internal -mechanism or action. Fig. 7, in plan only, shows -a mode of economising space as regards depth by -planting the pipes of the lower octave in a single -row, resuming the double row at Tenor C. This -plantation would suit a wide and shallow organ. -Figs. 8 and 9 show different methods of planting -the large pipes in order to avoid a disproportionate -<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>sacrifice of space on the board. It will be seen at a -glance that they can be ranged behind the pipes of -the tenor and treble octaves, or carried off to the -right and left in rows standing at right angles to -them. Fig. 10, in elevation only, shows how we -may build an organ under the ceiling of a very low -room, by planting the eight feet octave on a board<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> -of its own at a lower level than that of the sound-board -proper. And it is easy to conceive, without -a figure, that this accessory board may be replaced -by two boards, to right and left, resulting in a plan -resembling that in Fig. 9, but giving a lower level -to the tall pipes.</p> - -<div class="figcenter"> -<img src="images/fig9.jpg" alt="" /> -<p class="caption center little">Fig. 6.</p> -</div> - -<div class="figcenter"> -<img src="images/fig10.jpg" alt="" /> -<p class="caption center little">Fig. 7.</p> -</div> - -<div class="figcenter"> -<img src="images/fig11.jpg" alt="" /> -<p class="caption center little">Fig. 8.</p> -</div> - -<div class="figcenter"> -<img src="images/fig12.jpg" alt="" /> -<p class="caption center little">Fig. 9.</p> -</div> - -<p><i>Remark.</i>—We confess to a strong liking for these -later plantations, which require some little careful -mechanical adaptations, but result in a compact -arrangement, admitting of enclosure in a case of -graceful outline.</p> - -<div class="figlefta"> -<img src="images/fig13.jpg" alt="" /> -<p class="caption center little">Fig. 10.</p> -</div> - -<p>5. We have still some considerations requiring -careful attention before we can map out our sound-board. -The plantation of the pipes will be the -chief guide to the planning of the channels, with -the divisions or spaces between them; but it must -not be forgotten that the boring of the holes for the -supply of air must be done in regular lines within -spaces or widths easily covered by the sliders. A<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> -slider is seldom more than from 2 to 3 inches -wide; there are good reasons why this width -cannot conveniently be much exceeded. But the -feet of the large pipes in the bass octave will be as -much as 5 inches or more apart when the pipes -are planted back to back, -as in Figs. 5 and 6. Hence -we must decide, before we -begin to work, not only -how the pipes are to stand -on the board, but how they -are to get their wind and -be deprived of it by the -action of a slider of the -usual width. Perhaps we -shall resolve to run two -narrow sliders under the -foot-holes of the whole -stop, one for each of the -two rows, controlling both -sliders by a single knob or -handle. By this method -every pipe will stand on its -wind, as the workmen say, -that is, will be in direct and uninterrupted communication -with the channel when the holes are open. -Or possibly it may suit our plans better to run two -sliders under the feet of the bass pipes, and a third -between them, under the rest of the stop; all three, -be it well understood, extending from end to end -of the sound-board, but having holes only at the<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> -proper places, and being blank elsewhere: these -three sliders being governed by one knob, or by -two, if the stop is to draw in halves (as it is called), -that is, as a separate Bass and Treble. Or, once -again, we may use a single slider for the whole stop, -but carry the wind through grooves fashioned in the -solid wood from the holes bored in the usual way to -the points at which the pipes are planted. And, -lastly, we may carry the wind from the holes to pipes -planted in any position, and practically at any distance -by tubes made of pipe-metal or other material.</p> - -<p><i>Remark.</i>—It need hardly be said that an examination -of the interior of a well-built organ will be -of great service to the beginner who is planning -his first sound-board.</p> - -<p>6. The dimensions, then, and character of the -sound-board having been determined after full consideration -of the site for the organ, and a drawing -or sketch having been made for your own guidance, -proceed thus:—Take a board of good clean bay-wood, -½, ⅝, or ¾ inch in thickness, and long -enough and wide enough to form the "table" or -top of your work; and dress this carefully until one -of its surfaces is quite true and level. This dressed -or levelled side is to be the lower or under side, -and we are about to form upon it the grooves or -channels of which it will ultimately form the roof. -Next prepare a ruler or straight edge of any thin -stuff, and on this, with compasses, rule, and square, -guided by plenty of deliberate consideration, mark -the size and place of each of the grooves, and of<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> -the bar of wood which will divide each groove from -its neighbour, from end to end. You will find, of -course, and you were previously aware, that the -widths of the grooves and the thickness of the -bars will vary in proportion to their place in the -scale. Let us say at once that ¾ inch will be -ample width for the CC groove in our small organ; -and let us advise that the smallest groove in the -treble be about ¼ inch in width, and that the -bars between these narrow grooves be at least -⅜ or ½ inch in thickness, in order to allow a good -seat or margin for the pallets or valves which are -to govern the admission of the wind. In the bass -the bars will be very much thicker than this, or -not, according to the plan which you have adopted. -The part of your rule in which you will soon perceive -that the chief danger of crowding your pipes -will arise is the tenor octave. Refer carefully to -your pipes, and be quite sure before you mark your -ruler, that you are allowing room for Tenor C and -its neighbours to stand clear of each other when -they are planted on the completed board. Having -satisfied yourself on these points, prepare your -bars from sound pine-wood, planing them with -care, and especially seeing that the edge of each -bar is truly square with its sides. Two inches will -be an ample width for each bar, in other words, -an ample depth for each groove when completed. -Their length will of course be equal to the width -of the table, less an inch or so, according to the -construction now to be described.</p> - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> - -<p>There are now two methods of proceeding. First -method:—The table being turned over, with the -dressed side uppermost, your ruler well in sight, -with plenty of hot and fresh glue fix your first thick -bar at or near either end of the table. We say, "or -<i>near</i> either end," because you may like to leave -room for a finishing cheek of mahogany when all -the bars are put in. The second bar will be glued -to the table in like manner, the proper distance -from the first being secured by "filling-in pieces" -of wood of the exact thickness, glued between the -bars at their ends. This alternation of bars and -fillings-in will be continued until all the grooves -have been formed according to your ruler; the -rough ends of the bars will then be dressed with a -sharp plane, and neat cheeks of stout bay-wood will -be glued on all the four sides of the divided box -which you have thus built up. Second method:—Prepare -the bay-wood cheeks first, and in the two -long ones, using a fine saw and small chisel, cut -grooves to receive the ends of the bars. Form a -shallow box by gluing these bay-wood sides and -ends to the table. The corners need not be dovetailed, -but an equally close joint must be secured if -dovetailing is omitted. Then introduce the bars, -using an abundance of hot glue, and taking care -that no bar fits so tightly between the cheeks as to -risk bending. When all the bars are glued in, add -more thin glue within each groove, placing the -sound-board in a sloping position that the glue -may run into the angles, and afterwards reversing<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> -the board to the opposite slope, repeating the -coating of thin glue.</p> - -<p><i>Remark.</i>—This unusual profusion of glue is to -preclude the possibility of air making its way from -one groove to the adjacent one bypassing between -the edge of the bar and the table; and what is -here said applies equally to both methods.</p> - -<p>We ourselves prefer the second method to the -first. M. Hamel, in his wonderfully accurate and -minute treatise, describes a third, in which the -fillings-in are avoided. Those to whom his book is -accessible cannot fail to share the present writer's -admiration of his marvellous industry, and of his -great gift of clear and precise description of mechanical -processes. Hopkins and Rimbault may -also be consulted with much advantage.</p> - -<p>7. The work, thus glued up, must be left in a -dry room for two or three days, until all is perfectly -set and hard. Meanwhile the other pieces of which -the completed sound-board will consist are being -cut out and prepared. We shall want the upper -boards, the sliders, and the slips of wood (<i>false -sliders</i> the French builders call them, while in -England they are termed <i>bearers</i>) which divide -these from each other.</p> - -<p>We may safely suppose that if the ordinary form -of sound-board has been chosen—such, for instance, -as that which is shown in Fig. 6—its size will be -about 4 feet, or 6 inches more, in length. Its width -will depend on the number of stops for which it is -planned, and therefore of sliders which are to work<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> -on the table; if we are to have five stops, about -15 inches may be taken as the probable width, but -this may be less, or more, according to the class -of stops selected, and the arrangement chosen for -their bass pipes. To give accurate measurements -in feet and inches for all the parts of the sound-board -would only mislead our readers at this stage -of our labours. We give general rules only: it -must rest with the reader himself, as we have now -abundantly reminded him, to decide on the shape -of his sound-board and to make the plantation -of his pipes, and the consequent arrangement of -grooves and sliders conformable thereto.</p> - -<p>Assuming, then, quite arbitrarily, and independently -of all special considerations, that the sound-board -is 4 feet long and 15 inches wide, we may -cut out the upper boards from sound and clean -bay-wood, 1¼ inch thick. Cut them 6 inches longer -than the sound-board. And now as to width. As -there are five stops, and five sliders for them, are -we to understand that we shall have also five upper -boards? To this we reply, by no means. Our -stops, we assume, will be two of 8 feet, two of -4 feet, and one of 2 feet. For reasons which we -shall soon give, we shall propose to have one upper -board for each of these three divisions: that for the -8-feet stops being 7 inches wide, that for the 4 feet -5 inches, and for the 2 feet 3 inches. Under -the 7-inch board there will be two sliders, each -2 inches in width; under the 5-inch, two sliders, -each 1½ inch in width; and under the 3-inch, one<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> -slider, 1¼ inch wide. The bearers will be thus:—The -two outside bearers, that is, those which extend -along the front and back margins of the sound-board, -to be 1¼ inch in width; the second bearer -(reckoning from the back) to be 1 inch; the third -to be 1½ inch, because it will lie beneath the line -of junction, or rather of division, between the two -wider upper boards; the fourth bearer may be -½ inch only, being merely a separation between the -next two sliders; the fifth may be 1¼ inch, falling -as it does under a line of division; the sixth is -similar to the first. It will thus be seen that we -have—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> - -<tr><td class="tdl">2</td> - <td class="tdc">sliders,</td> - <td class="tdl">2</td> - <td class="tdc">inches</td> - <td class="tdc">each</td> - <td class="tdc">=</td> - <td class="tdl">4</td> - <td class="tdc">inches</td></tr> - -<tr><td class="tdl">2</td> - <td class="tdc">"</td> - <td class="tdl">1½</td> - <td class="tdc">"</td> - <td class="tdc">"</td> - <td class="tdc">=</td> - <td class="tdl">3</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">1</td> - <td class="tdc">"</td> - <td class="tdl">1¼</td> - <td class="tdc">"</td> - <td class="tdc">"</td> - <td class="tdc">=</td> - <td class="tdl">1¼</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">3</td> - <td class="tdc">bearers,</td> - <td class="tdl">1¼</td> - <td class="tdc">"</td> - <td class="tdc">"</td> - <td class="tdc">=</td> - <td class="tdl">3¾</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">1</td> - <td class="tdc">"</td> - <td class="tdl">1½</td> - <td class="tdc">"</td> - <td class="tdc">"</td> - <td class="tdc">=</td> - <td class="tdl">1½</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">1</td> - <td class="tdc">"</td> - <td class="tdl">1</td> - <td class="tdc">"</td> - <td class="tdc">"</td> - <td class="tdc">=</td> - <td class="tdl">1</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">1</td> - <td class="tdc">"</td> - <td class="tdr">½</td> - <td class="tdc">"</td> - <td class="tdc">"</td> - <td class="tdc">=</td> - <td class="tdr">½</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl"></td> - <td class="tdc"></td> - <td class="tdl"></td> - <td class="tdc"></td> - <td class="tdc"></td> - <td class="tdc"></td> - <td class="tdl">—</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl"></td> - <td class="tdc"></td> - <td class="tdl"></td> - <td class="tdc"></td> - <td class="tdc">Total width</td> - <td class="tdc">=</td> - <td class="tdl">15</td> - <td class="tdc">inches.</td></tr> -</table> - -<p><i>Remark.</i>—All this is so important that we have -shown the measurements drawn to scale in Fig. 11.</p> - -<p>Cut out the sliders and bearers from perfectly -clean sound bay-wood or red cedar boards, not -more than ⅜ inch in thickness. Having turned -your sound-board over, with the table uppermost, -assemble all the pieces, and satisfy yourself that -your measurements are correct, and that so far -there is no error in your plans. See that all your -planes are in first-rate order, and set yourself in -earnest to bring to a perfectly level and true sur<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>face -the table or top of the sound-board, and one -side of the sliders and bearers. No pains must be -spared to render the surface of the table absolutely -true. Apply a "straight edge" rubbed with -chalk, moving it in various directions, and use -unwearied diligence in removing all inequalities -detected by this means. Take care, too, that there -is no "winding." In short, adopt all the means -which the rules of good joinery give you for producing -a surface faultlessly level. This done, -arrange upon the table, with their planed sides -downwards, your sliders and bearers, and pin them -down upon it with very small brads, piercing -through near their edges. In doing this have -regard to the grain of the wood, as you are about -to dress the upper surfaces. Sink the brads well -out of the way of the plane with a punch, and bring -the sliders and bearers to a true level as you did -the table.</p> - -<div class="figcenter"> -<img src="images/fig14.jpg" alt="" /> -<p class="caption center little">Scale, two-thirds of an inch to a foot.<br /> Fig. 11.</p> -</div> - -<p><i>Remark.</i>—M. Hamel advises that in making the -sound-board the table should be left 3 inches -longer at each end than the actual box beneath, -expressly to afford a bearing for the ends of the<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> -sliders during this business of planing them. If -this suggestion is not followed, the projecting ends -of the sliders will require separate attention.</p> - -<p>The three upper boards may now be brought -down upon the finished sliders and bearers, and a -couple of iron pins or dowels may be let into each -of them and into the bearers and table beneath, -near their extremities, for the purpose of confining -them temporarily in the exact places which they -are to occupy. Dress over now the upper sides of -the three boards, which do not, however, require -attention to absolute truth.</p> - -<p>8. We cannot yet bore the holes for the pipes. -Before we can do so we must prepare yet another -board or boards of clean pine, ⅝ or ¾ inch thick, 4 -feet 6 inches long, and 15 inches wide, for the -rack boards through which the pipe-feet are to -pass, and which are to maintain the pipes in an -upright position. If you have two upper boards -the division should occur between those of the -8-feet and 4-feet stops. Pin down your rack-board -upon the upper boards with brads here and there -near the edges.</p> - -<p>Let us now consider for a moment. We have -made our box of fifty-four transverse channels or -grooves, and its top consists now of four layers of -wood—namely, the table, the sliders, the upper -boards, and the rack-boards. Through these four -layers of wood, at the proper places, are to be -bored holes of various sizes clear through into the -channels; but it is plain that the holes in the rack<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>-boards -will always be much larger than those in -the three other layers, because the rack-boards are -to be ultimately raised about 5 inches above the -upper board on legs or pins, and will therefore -receive the thick part of the conical pipe-feet, -while the holes in the upper board will only -receive their tip or small extremity. But the -centres of the large holes in the rack-board must -coincide accurately with the centres of the small -holes beneath, and we shall therefore proceed to -mark the exact spots where each of the holes will -commence.</p> - -<p>By the aid of your marked rule, trace a line on -the front and back cheeks of the sound-board, -showing the centre of each groove. From these -points draw lines across the rack-boards. It is -evident that all holes bored through the four -layers of wood at any point in any of these lines -must terminate in a channel. Draw lines at right -angles to the last, showing the widths of the sliders -and bearers; it will then be further evident that we -cannot easily get wrong in boring the holes so -that they may penetrate the sliders at the exact -points intended. But the actual boring, with -certain consequences or contingencies belonging -thereto, must be reserved for the next chapter.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> - -<div class="chapter"> -<h2 id="c4">CHAPTER IV.</h2> -</div> - -<p class="c"><i>THE SOUND-BOARD.</i>—(<i>Continued.</i>)</p> - - -<p><span class="smcap">The</span> time has come when we must decide what our -five stops are to be, since the sizes and places of -the holes must be in accordance with the quality -and character of the pipes supplied by them.</p> - -<p>The Stopped Diapason we have already made; -and in our organ it will be the chief or foundation -stop of 8-feet tone. We shall assume that the -second stop in the 8-feet pitch will be a metal -Dulciana, or small open Diapason. The 4-feet -stops will doubtless be a Principal (or some equivalent) -and a Flute. The 2-feet stop we will call -simply Fifteenth for the moment. For convenience -of reference we will number the stops thus:—</p> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> - -<tr><td class="tdl">1.</td> - <td class="tdl">Dulciana or open</td> - <td class="tdl">}</td> - <td class="tdl">8</td> - <td class="tdc">feet pitch</td></tr> - -<tr><td class="tdl">2.</td> - <td class="tdl">Stopped Diapason</td> - <td class="tdl">}</td> - <td class="tdl">"</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">3.</td> - <td class="tdl">Principal</td> - <td class="tdl">}</td> - <td class="tdl">4</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">4.</td> - <td class="tdl">Flute</td> - <td class="tdl">}</td> - <td class="tdl">"</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">5.</td> - <td class="tdl">Fifteenth</td> - <td class="tdl"></td> - <td class="tdl">2</td> - <td class="tdc">"</td></tr> -</table> - -<p>The pipes of No. 1, being the tallest in the -organ, will be planted nearest to the back; all the -others, occupying the successive sliders, will present -a gradation of heights agreeable to the eye -and convenient for the tuner.</p> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> - -<p>No. 1, we say, is the tallest in the organ; but be -it carefully observed that in our small instrument it -will not be carried down to its lowest note CC, -which would be 8 feet in speaking length; it will -not descend lower than tenor C, 4 feet, and the last -or lowest twelve notes or sounds will be obtained -by using the corresponding pipes of the Stopped -Diapason as a bass for both stops.</p> - -<p>This will be done by "grooving;" and it will -now be seen why, in cutting out the upper boards, -we were careful to have a single board for the -pipes of 8-feet pitch, and another single board for -those of 4-feet pitch. For it is plain that by boring -holes through the upper board, sliders, and table -into any groove of the sound-board, and by connecting -these holes together by means of another deep -groove or score cut in the wood of the upper board, -and then covered in with an air-tight covering, we -obtain a secondary channel, supplied with air by -<i>either or both</i> of the sliders at pleasure; and by -boring one hole through the air-tight covering, -and planting a pipe on that hole, that pipe will -speak whenever a connection is made between -the secondary channel on which it stands and the -main channel or groove below, which is receiving -air at the moment from the bellows.</p> - -<p>Clearly, therefore, if we bore holes through the -upper boards and sliders of Nos. 1 and 2 into the -twelve grooves of the bass octave, and then connect -these twelve pairs of holes by cutting upper grooves -in the surface of the boards, covering them in by<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> -thin boards of wood well glued down, we have then -only to plant our twelve largest stopped pipes on -twelve new holes bored in these thin boards last -mentioned, and we have at once a bass common to -both stops, and each of the two stops will be practically, -and for ordinary purposes, complete down to -the lowest note when its slider is drawn. When -both sliders are drawn, the secondary groove will -receive air from both holes in the upper board; -but this will not have the effect of over-blowing the -pipe, since the <i>pressure</i> or <i>weight</i> of the air remains -the same, and since the pipe can only receive the -quantity of air which is permitted to pass through -the aperture in its foot.</p> - -<p>It will now be seen why we did not at once bore -the holes, or rather mark their places, on the rack-board. -Plainly, we must make these twelve -grooves first, and cover them in. Then, replacing -the rack-board as before, carefully mark on the -latter the exact place of each bass pipe, as it will -stand on any part of its secondary groove. Afterwards, -with a bradawl or other sharp-pointed -borer, prick quite through the rack-board at every -one of the points which you have marked throughout -its whole extent. At these points there will -hereafter be circular holes of various sizes for the -reception of the pipe-feet, but in the upper boards, -sliders, and tables there will be smaller holes, -adapted for conveying its stream of air to each -pipe. Before removing the rack-board, decide -upon the places where the rack-pins, or pillars<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> -which will hold the rack-board up above the sound-board, -are to be. Have plenty of these, say six or -eight if you have a single rack-board, or five to -each if you have two, in order to insure a firm -plantation of the pipes, and bore holes for them -with a centre-bit, say ⅝ diameter, through the -rack-board and to the depth of 1 inch in the -upper boards.</p> - -<p>The rack-board now being put aside for the -present, all the holes may be bored through the -upper boards, sliders, and table with bits of -various sizes. From what has been said above -it will be seen that it is not the sizes of these -holes, but of the apertures in the pipe-feet, which -regulate the volumes of wind supplied to the pipes; -but you will, of course, use bits proportioned to the -pipes you have in view. The upper, or treble, -holes must not let the little pipes slip into them, -nor must the larger holes throttle or check the flow -of the wind. In the bass the holes may be as -large as the grooves will allow; and if these are -narrow, or if there is secondary grooving or conducting, -it will be well to cut the round hole at its -interior aperture with a sharp chisel into a square -or rectangular opening; or to bore two round holes -and connect them by taking out the intervening -wood. Afterwards, with iron rods of various sizes, -heated to redness, scorch all the holes through the -three thicknesses of wood, leaving a clear and -smooth charred passage for the wind.</p> - -<p>We have not yet done with grooving. This seems<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> -to be the proper place for pointing out how the use -of this system may further assist us in the arrangement -of an organ.</p> - -<p>Our bass pipes, we have said above, may be -planted on holes cut <i>in any part</i> of the covering or -roof of their respective secondary channels. It -follows readily from this that the secondary groove -or channel may be extended or prolonged for the -express purpose of locating the pipes in situations -convenient for them. Quite apart from any necessity -which may exist for supplying a common bass -to two or more sliders, we may evidently plant our -larger pipes almost where and how we please by -cutting grooves in the substance of the upper -board, extending from the table beneath to the point -where we wish the pipe to be. So long as the -holes are of sufficient diameter and the grooves -of ample dimensions, the wind will reach a pipe -located at a distance even of 2 or 3 feet from its -source of supply without any appreciable interval -between the impact of the finger on the key and -the production of the sound; and the grooves may -be curved almost as we please, though sharp angles -should be avoided.</p> - -<p>Even if, in consequence of alterations of original -plans or other circumstances, the upper boards -should not be of sufficient thickness or size to admit -of grooving, we may still avail ourselves of this convenient -system by using an additional or supplementary -upper board, which we will here call a -conducting board, screwed down upon the main<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> -upper board, and containing the grooves. To fix -the exact places for the holes in the under side of the -conducting board, corresponding with those in the -table, spread a sheet of white paper over the upper -board at the part where the conducting is to be, -making the edges or corners of the paper coincide -with those of the board, and rub the paper with the -finger so as to take clear impressions of the holes; -then transfer the paper to the under side of the -conducting board, guided by the edges and corners -as above, and prick out on this under side the -centres of the circular impressions made on the -paper. It is evident that when the conducting -board is applied to the upper board, edges and -corners coinciding as before, these punctured -marks will be exactly over the wind holes in the -table. The holes in the upper side of the conducting -board will be marked as before from the rack-board, -and grooves cut and roofed in with thin -wood, as previously described.</p> - -<p>Note further, that the grooving may be, if necessary, -on both sides of the upper boards. All that -is needful in such case is, that after the grooves on -the under sides, next the sliders, are cut, the <i>whole -of the board</i>, and not merely the grooved part of it, -shall be covered or veneered with thin stuff. This -must be dressed perfectly true, as in the case of the -solid or ungrooved board, and all the holes will be -bored through it. The upper sides will also have -a neater appearance if the roofing of thin mahogany -or cedar is carried over its entire surface. Upper<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> -boards so treated are, in fact, compounded of three -layers of wood, a central thick slab containing -the grooves, and two coverings or veneers. The -gluing on of these latter must, of course, be very -sound and effectual in every part, or a running of -wind might ensue—a most provoking and really -fatal defect, incurable without complete reconstruction.</p> - -<p>Short grooves may be made by boring holes with -a centre-bit in the <i>edges</i> of the upper boards, and -making the wind-hole beneath and the pipe-hole -above communicate with this concealed tunnel. -On plugging up the external aperture in the edge -of the board, or on stopping a whole row of such -apertures by gluing a band of leather, parchment, -or thick paper over them, it is clear that the wind -will pass to the pipes at pleasure. All such holes -and channels must be scorched with hot irons. To -the true joiner this may seem an unworkmanlike -expedient, but it is necessary to prevent the weakening -of the currents of air which would ensue from -friction against rough surfaces, and to preclude the -risk of carrying tiny chips and particles of wood -into the pipes. If conducting boards are used, they -should be faced with soft white leather on their -under surfaces before they are screwed down in -their places, unless, indeed, they are glued down -immovably. The places for the screws, as well as -for those which secure the whole upper board to the -table, must be carefully determined with reference -to the grooves.</p> - -<p><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> - -<p>Fig. 12 is intended to show, in a rough way, -how in an upper board BB grooves may conduct -the wind from the holes in a slider AA to a row of -pipe-holes near the margin of the board, resulting -in an arrangement like that shown in Fig. 8. The -dotted lines are meant to indicate grooves cut -in the under side of the board. It is clear that -these might be made to cross the others, so that -different plantations of pipes might be obtained, as -in Fig. 9.</p> - -<div class="figcenter"> -<img src="images/fig15.jpg" alt="" /> -<p class="caption center little">Fig. 12.</p> -</div> - -<p><i>Remark.</i>—These figures, however, must be understood -rather as illustrations of our meaning than -as representations of actual work.</p> - -<p>Conveyancing tubes are in constant use, not -only as substitutes for grooving, but as ancillary -to it. They are made of pipe-metal, and from -about ⅝ inch in diameter to much larger sizes. -To manage them neatly and well you should be -adroit in the use of the soldering-iron. They are -commonly smeared over with a composition which -will not receive the melted solder; this composition -is scraped off at the points where a junction is -to be made at an angle, and with the usual copper -tool, a little resin and tallow, the solder is applied. -Much practice is needed to give mastery of this<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> -process, apparently so easy; we have known -instances in which it has been avoided altogether -by covering the junctions of the conductors with -white leather secured by thick flour paste. It is -right, also, to add, that we have seen successful -conveyances made of cartridge paper rolled upon -wooden mandrels with paste. Any tin-plate -worker in your town or village would make them -of his own material or of zinc, and in an hour or -two would solder all the junctions for you when -you had planned your arrangement thoroughly.</p> - -<p>Assuming, however, the use of the usual tubes, -we may say that they are thus applied. Let -us suppose that the large pipe shown in Fig. 10 -is to be conducted off from the sound-board at the -higher level to the plank on which it stands. Bore -the hole in the upper board a trifle larger than the -outside diameter of the tube. Glue a patch of -white leather over the hole, and cut out the aperture -in this leather somewhat smaller than the -hole, leaving an excess of leather all round the -hole of about 1/8 inch. Then, making the end of -the tube a little conical, thrust it into the hole; -it will carry in with it the surplus margin of -the leather, which will form around it an air-tight -joint or collar. A right angle may be allowed -in the tube at this first commencement at the hole -itself, but in its subsequent course sharp corners -should be avoided. The pipe is planted on a hole -bored to a sufficient depth in a plank; a second -hole, suited to a conducting tube, is bored at any<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> -convenient distance from this, and communication -made between these two holes by a groove in the -under side of the plank closed in with leather, -parchment, thick paper, or wood; then the end of -the tube is forced as before into the hole bored for -it and provided with leather packing, and all is -complete.</p> - -<p>It is by these means that "speaking fronts" are -arranged according to any design.</p> - -<p><i>Remark.</i>—If you have all your pipes, metal as -well as wood, ready at hand, it might be well to -pierce the rack-board and fit them in their places -at this stage of the proceedings, because chips and -dust are inseparable from the operation, and may -be more troublesome and mischievous after the -pallets are put in than now. Those readers who -resolve on this course may turn, then, to the subsequent -pages, in which they will find all the directions -which are necessary for their guidance. For -our own part, we prefer to continue in the next -chapter our account of the mechanism of the sound-board.</p> - -<p>We may further remark, that while the boring-tools -are in use we may perhaps do wisely in -piercing holes also for the screws which are to -hold the upper boards down upon the sliders. If -the planing has been perfectly true, about four -pairs of screws should be enough for each upper -board, and no extra screws should be required to -force the boards into closer contact at any intermediate -part. The screws should pass clear and<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> -easily through the holes in the boards, and should -bite well in the table beneath. The heads of the -screws should be let down below the level of the -upper surface of the boards by counter-sinking, -and it is a useful practice to mark the places of -these screws on the rack-board as well, and to -bore corresponding holes in this latter, in order -that if hereafter a slider should be pinched too -tightly between the upper board and table, the -end of a long screw-driver may be introduced to -ease it by slackening the screws without disturbing -the pipes.</p> - -<p>But we shall have to return to this part of our -subject.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> - -<div class="chapter"> -<h2 id="c5">CHAPTER V.</h2> -</div> - -<p class="c"><i>THE WIND-CHEST.</i></p> - - -<p><span class="smcap">The</span> somewhat wearisome task of boring more than -250 holes in the sound-board being now assumed -as accomplished, we may take the upper boards -and sliders apart, and retouch the holes here and -there, as required, with the hot iron. The apertures -of the holes in the interior of the channels must -be thus attended to, as the boring-bit may have -occasionally torn the wood and left rough edges. -Upon the faintest suspicion arising in your mind -of any flaw or crack set up in any channel during -the business of boring, smear over the whole interior -of that channel anew with thin glue, letting it flow -as before into the angles. A running of the wind -from one channel to the next is, as we have said, -the most provoking of all defects, and might compel -us to pull the whole of the organ to pieces after it -was set up.</p> - -<p>The running of wind from one pipe-hole to an -adjacent one, either under the slider or between -the slider and upper board, though very annoying, -is a much less serious evil. As a precaution against -its occurrence, it is usual to make little cuts or<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> -canals running tortuously all across the table from -edge to edge between the pipe-holes, and to make -similar canals or ducts across the under side of the -upper boards, so that no vagrant wind can pass -from a hole to its neighbour in any direction without -encountering one of these little cuts, and being -conducted by it to the edge of the sound-board, -where it will escape harmlessly. If the planing of -all the surfaces is absolutely perfect, these cuts -should be unnecessary, and we have seen highly -finished sound-boards in which they were omitted; -but we must recommend their introduction by all -young beginners. They may be neatly and quickly -formed by using the <span class="sym">V</span>-shaped tool common among -sculptors in wood, and procurable at any good tool -warehouse. Its two edges should be exceedingly -keen. The cuts may be about ⅛ inch in depth.</p> - -<p>After this is done, the movement to and fro of -the sliders should be regulated by cutting a little -slot in each of them, and letting a very stout pin -of wood or iron into the table within the slot, so as -to stop the slider at the exact points. Of course all -your sliders will have the same extent of play, say -1 inch, less or more, according to your arrangement -of the pipe-holes. You will probably have so far -thought over your whole work as to be able also to -cut the openings or slots in the projecting ends of -the sliders by which the mechanism for drawing -them in and out will be applied to them. We shall -show, hereafter, one or two different ways of effecting -this movement to and fro.</p> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p> - -<p>After this, take some good blacklead in powder, -and with a stiff brush rub it over every part of the -table until the whole surface has a lustre like that -of a well-cleaned boot. Treat the sliders and the -under side of the upper boards in the same way. -This application of blacklead greatly diminishes -friction between wooden surfaces brought into contact. -Some operators mix the blacklead powder -into a thick paste with spirits of turpentine, or with -water. We prefer using it dry, but we heartily -endorse M. Hamel's complaint that it is difficult to -procure blacklead of good quality. That which is -sold for household purposes is often little better -than a gritty sand.</p> - -<p>When the blacklead has been applied, the -bearers may be pinned down in their places with -small brads. The holes which you have bored for -the screws will be conspicuous in them: over each -of these holes, using thin glue or paste, place a -slip of paper, extending 2 or 3 inches along the -bearer on each side of the hole. The use of this is -to hold up the upper board, in order that the slider -may not be pinched so tightly as to be immovable. -The upper boards may then be laid upon the -bearers, with the sliders in place, and the screws -turned until the sliders can be made to glide to and -fro with smooth and easy motion.</p> - -<p>Our bench, let us assume, has been swept and -cleaned up after this blacklead rubbing, and now -we turn over our work and proceed to a new class -of operations.</p> - -<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> - -<p>We have to attach to this lower side of our -sound-board a shallow box of the same length, -and about 3 inches deep, called the wind-chest, -which is to contain the apparatus by which the -admission of compressed air to the channels is -governed, and which is in direct communication -with the bellows by means of a wooden tube called -the wind-trunk.</p> - -<p>We are mindful, of course, in drawing up this -account of organ-building operations, that the -majority of our readers stand in no need of definitions -of these common terms. To such readers it -is superfluous to explain that the valves by which -the channels are kept closed while the keys are -untouched by the fingers are called "pallets," and -that these pallets are slips of wood a few inches in -length, planed to a triangular prism-like section, -faced with soft white leather, and held up against -the channels, so as effectually to prevent the ingress -of air, by springs. When the keys are pressed, the -pallets corresponding to them are drawn down or -opened by wires called "pull-downs," passing in an -air-tight contrivance through the bottom of the chest.</p> - -<p>Fig. 13 is a transverse section of the wind-chest, -in which <i>a</i> is the pallet, held up by <i>b</i>, the spring, -and drawn down by <i>c</i>, the wire. Part of the sound-board -is shown above, also in section, as will be -easily comprehended; and Fig. 14 is a view of part -of the interior of the wind-chest when the front -board is removed, four of the grooves being shown -in section.</p> - -<p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> - -<p>We proceed by sections, with intervening remarks, -as in Chapter III.</p> - -<div class="figcenter" id="illus1"> -<img src="images/fig16.jpg" alt="" /> -<p class="caption center little">Fig. 13.</p> -</div> - -<p>1. Seven inches will be an ample length for the -pallets in our organ; and as our channels are about -12½ inches in length (inside measurement), there -will be between 5 and 6 inches of the channels -uncovered by the pallets, and closed permanently -in another way.</p> - -<p><i>Remark.</i>—We take 7 inches as the length of our -pallets on the assumption that the widths of the -channels are proportioned -to a sound-board -about 4 feet long.</p> - -<div class="figright"> -<img src="images/fig17.jpg" alt="" /> -<p class="caption center little">Fig. 14.</p> -</div> - -<p>2. Between the bars -of the sound-board, at a -distance of 6½ inches -from that side at which -you mean the movable -front board to be, glue pieces of thin wood about -2 inches long and fitting nicely, and when the glue -is dry dress these over with a fine plane truly flush -with the edges of the bars and of the cheeks. You<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> -have now a firm wooden surface to which you will -glue, by-and-by, the little flap of leather which -forms the hinge of the pallet.</p> - -<p>3. The width of the wind-chest will be governed -by that of the space covered by the pallets to be -enclosed within it, in our case about 8 or 9 inches. -3 inches will be a sufficient depth. Make the two -ends or cheeks of stout stuff, and face them up to -correspond with those of the sound-board, with -which they will be flush, taking care that their -thickness is not so great as to prevent the leaving -of an ample margin to the two extreme channels -for the pallet to rest upon.</p> - -<p><i>Remark.</i>—In one of these cheeks a trunk-hole -may have to be cut for the entrance of the wind. -We ourselves greatly prefer making the trunk-hole -in the bottom board of our chests. Your plans -may not admit of this, and you will act accordingly.</p> - -<p>The back of the chest, called the "wind-bar," <i>d</i>, -Fig. 13, should be of strong and sound stuff, oak or -mahogany, as it greatly helps to strengthen the -whole sound-board and to bear the weight of the -pipes. The corners should be dovetailed, or otherwise -well and firmly jointed. These three pieces, -the two cheeks and the back or wind-bar, will now -be attached to the sound-board with glue and -screws, to be separated from it no more; but the -bottom, <i>e</i> (of 1-inch pine), will be fixed on with -screws only, strips of soft white leather being interposed -between the surfaces to ensure air-tightness;<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> -and the front board, <i>f</i>, will be similarly fitted with -an eye to occasional removal.</p> - -<p><i>Remark.</i>—All such screws should be dipped in -melted tallow, or otherwise well greased before -use, that they may not rust in their places.</p> - -<p>4. Prepare the pallets from clean and very dry -pine. Every pallet will be at least ¼ inch wider -than its channel, that it may have not less than -⅛ inch of overlapping or margin on each side, and -it will have more than this space to spare at each -end. The pallets will be separated from each -other when finally put in by stout pins of iron or -brass, driven into the bars <i>g</i>, Fig. 13 and Fig. 14. -Two such pins may be necessary between many of -the pallets if the plan of your sound-board has -given unusual thickness to some of the bars, and -therefore unusual spaces between the pallets.</p> - -<p>5. The pallets are to be faced with white sheep-skin, -and it is usual, but not absolutely necessary, -to give two layers of it to each pallet. About an -inch of surplus will be left at one end to form the -hinge; and this hinge should be stiffened by gluing -a slip of thinner leather upon it and upon the -sloped-off end of the pallet. The quality of the -facing leather is of the highest importance, and -we must counsel the reader to procure it from a -builder, or from one of the shops which supply -builders' materials. The price of such skins is -between three and four shillings. If an inferior -leather is used disappointment is sure to ensue; -and though leather of very promising appearance<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> -may be bought at the fellmongers' or shoemakers' -in your town, you will only be put to new expense -and additional trouble in the end by using it. In -putting the leather on the pallets, a common plan -is to pin down a sheet of glass-paper of medium -roughness on a board, and to scatter a little -whitening on it. The face of each leathered -pallet (when the glue is dry) is gently drawn -across this whitened surface. If, however, the -leather is of superior quality in the first instance -the glass-paper may be omitted, and a little -whitening rubbed upon the leathered face will -suffice. Even this may not be essential.</p> - -<p>6. In working the pallets in take great care that -each channel is covered by its pallet with an equal -margin or surplus on each side of it. It is well to -trace pencil lines on the bars as a guide. As you -glue down each hinge give a little tap with a light -hammer to the pallet, and satisfy yourself by inspection -that the impression on the leather is equal -and similar in every part. Allow no defect to pass. -Rectify, for instance, the slightest bruise or depression -in any of the bars at the points covered -by the pallets. See, also, that all the pallets play -easily between their guide-pins. Finally, a slip of -wood about an inch wide may be bradded down -upon the hinge-pieces. This is not essential, but -it is a protection against possible straining and -injury to the hinge by incautious treatment hereafter -in cleaning the surface of the pallets.</p> - -<p><i>Remark.</i>—Organs have been constructed in<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> -which the pallets were made to play upon a pin -at the hinder end, and not upon a leathern hinge -glued to the bars. Such pallets could be taken -out one by one at any time for repair or cleaning. -But repairs and cleaning, if the original workmanship -is good, become necessary only at extremely -rare intervals, and these removable pallets may be -ranked among the mere curiosities of our subject. -They are described and figured, however, by -Seidel.</p> - -<p>7. The springs, see Fig. 13, are now commonly -of steel, which has extensively superseded brass, in -consequence of the deterioration to which the latter -metal is subject. We are bound to say, however, -that we have used springs of best brass wire, even -of late years, without any disappointing results, -and that sets of such brass springs are, to our -knowledge, as efficient as ever after thirty or forty -years of constant use. But it is undeniable that -the brass wire now procurable is subject to a -change under the influence of damp and (it is -said) under that of the fumes of gas, which renders -it brittle and quite useless for purposes which -require flexibility. Springs certainly cannot be -made from wire so spoilt; but, as we have said, -when once made from new wire, they may continue -in use for periods practically unlimited.</p> - -<p><i>Remark.</i>—The store of brass wire should be kept -wrapped up in brown paper. This applies also to -brass plate.</p> - -<p>Whatever the wire, the springs may be quickly<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> -fashioned by using a board, Fig. 15, in which you -have fixed a stout wooden peg, <i>x</i>, and two pins, <i>y</i> -and <i>z</i>. The wire, if brass, -should be about No. 17 or -No. 18 of the gauge. The formation -of the spring, by twisting -the wire round <i>x</i>, <i>y</i>, and <i>z</i>, -is too obvious to require further remark. The arms -of the spring maybe about 5 inches -in length, and they are curved outwards -(see Fig. 16) by drawing them -between the thumb and fingers. -When so curved, and left uncompressed, -the gape or distance between -the extremities will be 7 or 8 inches.</p> - -<div class="figleft"> -<img src="images/fig18.jpg" alt="" /> -<p class="caption center little">Fig. 15.</p> -</div> - -<div class="figleft"> -<img src="images/fig19.jpg" alt="" /> -<p class="caption center little">Fig. 16.</p> -</div> - -<p><i>Remark.</i>—The strength of the springs must be -regulated by your plans in other respects. We -ourselves like strong springs, even if the manual -touch be in consequence a little heavy.</p> - -<p>8. The two extremities of each spring are bent -at a right angle or nearly. One of these will be -inserted, but quite loosely, in a small hole or -punch-mark near the middle of the back of the -pallet; the other, also quite loosely, in a similar -hole or depression in a wooden bar extending the -whole length of the wind-chest, and screwed down -within two notches made for it in the inside of the -cheeks. As the united pressure of the 54 springs -will certainly bend this bar, it is well to introduce -a long screw at about its middle point, passing -through it, and biting well in one of the sounding-<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>bars. -The spring-bar has a slip of wood, cedar -or mahogany, about 2 inches wide, glued or -bradded to it along the -side which is to be nearest -to the back of the chest. -The springs will be held -parallel to their pallets by -playing loosely in cuts, -about ⅛ inch wide, made -in this slip of wood (Fig. -17).</p> - -<div class="figright"> -<img src="images/fig20.jpg" alt="" /> -<p class="caption center little">Fig. 17.</p> -</div> - -<p>The socket, or punch-mark, upon which the -pressure of the spring is exerted, should be a little -in advance of the middle of the pallet, so that the -latter may be held up against the bars throughout -its extent. The spring, be it carefully observed, is -loosely held in place by the sockets and by the -rack in which it plays, and it can be removed at -any future time by the aid of the little clever tool -which we have figured in Fig. 18, and which you -can make for yourself.</p> - - - -<p>When all this is done, furnish every pallet, if you -have not already done so at an earlier stage, with -a little ring or crook, by which to draw it down. -This ring is best made by bending one end of a<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> -bit of suitable wire, and thrusting the other -obliquely into the pallet (see Fig. 18<i>a</i>). This is -better than driving in a little -staple vertically. The rings -may be in a line drawn across -the pallets about 1½ inches from their extremities.</p> - -<div class="figcenter"> -<img src="images/fig21.jpg" alt="" /> -<p class="caption center little">Fig. 18.</p> -</div> - -<p><i>Remark.</i>—But it will be convenient that the -rings to which the pull-downs will be hooked -should be quite clear of the guide-pins.</p> - -<div class="figleft"> -<img src="images/fig22.jpg" alt="" /> -<p class="caption center little">Fig. 18<i>a</i>.</p> -</div> - -<p>9. The bottom board being now put in its place -for the moment, draw a line upon it from end to -end exactly above the line of rings on the pallets, -and draw lines at right angles to this corresponding -with the centre of each channel, and therefore of -each pallet. At each of these points a pull-down -will pass through the board, and it is plain that it -must be made to do so without allowing the wind -included in the chest to escape. This was formerly -effected by "purses" (French, <i>boursettes</i>), little -leather bags, tied or otherwise attached to the -pull-downs. We have seen this method successfully -tried, but it is now so completely superseded -by a simpler and more effectual plan that we do -not think it worth our while to say more of it.</p> - -<p>The arrangement now invariably adopted is thus -made:—Procure a strip of brass plate, or several -strips, equal in the aggregate to the length of the -chest, and about 1½ inch or 2 inches wide. In -too many organs this plate is poor stuff, not -thicker than a visiting-card, sometimes even of -zinc only, but in our opinion it should be at least<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> -as thick as a shilling. Drill holes in this plate -near the edges, and pin it down for the moment on -the bottom board, so that the lines of holes for the -pull-downs may run along its middle. Mark on -the brass the intersections of the lines as before. -Having previously chosen the wire for your pull-downs -(of which more directly), take a fine drill, -with your breast-plate and bow, and on a bit of -waste plate try the size of the hole made by it, -altering it on the oil-stone until the hole receives -the wire with the nicest and most accurate fit.</p> - -<p><i>Remark.</i>—It will be well to store away the drill -afterwards, with a bit of the wire as a specimen, -and to use it for no other purpose.</p> - -<p>This drilling is not a difficult operation, and only -requires care and delicate manipulation. Of course, -however, any clockmaker would drill the holes for -you. Assuming confidently that you will drill -them yourself, we recommend you to hold the -bottom board, with the plate on it, in the screw-clamp -of your bench, or in a similar vertical position, -so that as the drill penetrates the brass it may -be received by the soft wood of the board. This -will diminish the risk of breaking it.</p> - -<p><i>Remark.</i>—Those who have a light handy lathe -will know how to utilise it in drilling the holes in -the brass plate apart from the board.</p> - -<p>When all the holes are drilled, remove the plate, -and clean off with a fine file the rough projections -thrown up by the drill. With a much larger drill, -twirled gently between the thumb and finger,<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> -smooth the edges of all the holes on both sides of -the plate. Try a bit of the wire in every hole, and -draw it to and fro, when necessary, until its passage -is perfectly smooth and easy. Grease should not -be used; or, if a little tallow is rubbed over the -wire, it should be wiped off clean.</p> - -<p>The holes in the bottom board itself may be of -any size we please, since they have nothing to do -with keeping in the wind, and merely allow a perfectly -clear passage for the wire pull-downs.</p> - -<p>It is plain that if we now pin down the drilled -plate in its place, the arrangement will not be -complete without some provision for preventing -the escape of wind in large quantities, and with -an intolerable hissing noise, at the edges of the -plate.</p> - -<p>The builders prevent this escape and hissing by -fitting two long slips or tringles of wood <a href="#illus1">(see <i>h</i>, <i>k</i>, -Fig. 13)</a> along the two edges of the plate with glue -and brads, or screws. These slips press the plate -closely to the board throughout its entire length, -and they protect from injury at the same time the -rings of the pull-downs, which might easily be bent -and distorted.</p> - -<p>Using thicker plate, however, we ourselves -greatly prefer to glue a strip of white leather, of -the same width as the plate, over the holes in the -board, piercing it with a sufficiently large awl at -the centre of each hole, and we screw down our -plate upon this leather, using numerous short -screws, placed only 4 or 5 inches apart, passing<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> -through holes drilled near the edges of the plate, -and countersunk in the usual way. All escape of -air is thus most effectually prevented, and the slips -or tringles of wood become unnecessary, except, -indeed, in their secondary character as protectors -of the rings.</p> - -<p>The bottom board may now be put on, and -strongly secured by plenty of screws, well lubricated -with tallow. Prepare the pull-downs, of -uniform length, each with its little ring neatly -formed; pass each through its hole in the plate, -and with suitable pliers form the top of the wire -into a hook, which takes hold of the ring of the -pallet.</p> - -<p><i>Remark.</i>—Or you may pass all the wires through -the holes, and form the hooks upon their ends -before you fix the board in its place.</p> - -<p>The builders often muffle the hook or ring with -silk thread, or a morsel of soft and thin leather, to -prevent a slight clicking noise which might be -heard of wire against wire. This, however, is -really not essential. It is, or formerly was, very -common also to interpose an <span class="sym">S</span> of wire between -the hook of the pull-down and the ring of the -pallet. These connecting links are unnecessary, -and are better omitted.</p> - -<p>According to strict rule the pull-downs, passing -through holes in brass, should themselves be of -iron or steel; but we have always used brass -wire, and we must refer our readers to what we -have said of this material in treating of springs.<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> -They must judge for themselves. The essential -thing is that the wires should play easily and -smoothly through the holes, drawing down the -pallets with perfect freedom, and allowing them to -return, when released, with a pleasant smartness. -If a single pull-down fails in these respects remove -it at once. Perhaps it is a little bent or bruised; -possibly the hole in the plate may have been inadvertently -left with a sharp edge, which has cut a -notch in the wire; possibly, also, the pallet-ring -may not be quite in a line with its fellows, and -therefore not quite correctly above the hole in the -plate, throwing the pull-down out of a right line -into an oblique one. Rectify all defects of this kind -at any expenditure of time and patience.</p> - -<p>We have left all this time several inches of each -channel open or uncovered, since the wind-chest -closes in only that portion of the channels to which -the pallets are applied. We may now finish our -work by gluing white leather, or parchment, or -even only stout paper, over the open part of the -channels, taking care that it adheres well in every -part.</p> - -<p>We may add that it is sometimes, or often, convenient -to place the wind-chest under the back -part of the sound-board, and not under the front; -or to place it midway between the back and front, -or a few inches from either. This is done with an -eye to arrangements connected with the action -or movement, which will be described in detail. -When the wind-chest is so placed care must be<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> -taken to provide for the complete closing of the -front board. A ledge of wood should be glued and -pinned to the bars in such case, to afford a bearing -for the front board and to receive the screws which -secure it; or the edges of the board may be -leathered, and it may be thrust in, with a tight fit, -between the under side of the channels (roofed -with wood at that point for the purpose), the -cheeks, and the bottom board, cut an inch wider -accordingly. Wedges are sometimes used, driven -in behind clasps or hooks of iron, to keep it in its -place. But in truth, when the organ is once well -built and finished, several years may elapse without -a disturbance of the board.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p> - -<div class="chapter"> -<h2 id="c6">CHAPTER VI.</h2> -</div> - -<p class="c"><i>THE BELLOWS, TRUNKS, AND FRAME.</i></p> - - -<p><span class="smcap">After</span> all our minute operations with small drills -and fine wires, calling for a light hand and patient -accuracy, we have to turn to work comparatively -rough and coarse. The business of bellows-making -presents no serious difficulty, and we hope we may -pass rapidly over it. We shall have no reader -who is not already familiar with the form of organ-bellows, -which consist of three main boards, -namely, the middle board, the top board or table, -and the feeder, and of thin plates of wood called -ribs, the whole united together with flexible white -leather forming hinges and gussets.</p> - -<p>The shape or form of the bellows will of course -be determined by that of the organ; they may be -long and narrow, or short and wide, like the sound-board. -Their capacity, or area, will depend on the -number and character of the pipes which they have -to supply with wind. A common rule is to assign -two square feet of superficial area for each stop in -the organ; but this would be in excess of the -requirements of such a small organ as that which -we are making. 3 feet 6 inches by 2 feet, giving<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> -7 square feet of area, will be ample dimensions in -our case, and will work in conveniently with the -size which we have assumed throughout for the -sound-board, namely, about 4 feet or 4 feet 6 inches -by 15 inches. In arranging your plans in the first -instance, allow room for a drop or play of the -feeder of at least 10 inches, free of all interruption -from the pedal or other contrivance for blowing, -for it is upon the capacity of the feeder that you -must depend for the quantity of air supplied, the -upper part of the bellows being merely a reservoir -in which the compressed air is stored away, and -from which it is distributed to the pipes as it is -wanted. The reservoir may have a rise or play of -about 10 inches or a foot. Get out the three main -boards of deal or any sound stuff, leaving the -middle board some inches longer than the other -two, that its ends may rest upon the frame of the -organ, or upon other supports as you may arrange. -Cut out pieces, also, to form a shallow box, say -4 inches deep, upon the middle board, of the same -size as the top board. This is called a trunk-band, -and is introduced to allow of fixing the wind-trunks -which are to convey the wind to the chest. You -will want also a light frame of three-quarters stuff, -pine recommended, to carry and support the ribs -of the reservoir; the four boards of which it is -made will be of the same width as the ribs themselves, -namely, about 4 or 4½ inches. The ribs are -of very thin stuff, say ¼ inch, but they must be quite -sound and free from cracks. You will want six<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>teen -ribs (eight pairs) for the reservoir and six for -the feeder; of these last the long ones will be of -triangular form.</p> - -<div class="figcenter"> -<img src="images/fig23.jpg" alt="" /> -<p class="caption center little">Fig. 19.</p> -</div> - -<p>Cut plenty of large openings in the feeder board -for the admission of the external air, and in the -middle board for the transfer of that air to the -reservoir. These openings may be rectangular, -say 4 inches by 1½, and there may be fully six of -them in each board. After cutting them, convert -them into gratings by fitting little wooden bars -across them, 1 inch apart, let in flush with the -board, and planed level. Each of these gratings -will be covered with a valve or clack of stout white -leather, two thicknesses glued together, and held -down along one edge by a slip of wood and brads. -These leathern valves should play with perfect -ease, and it is well to thin down the hinge-flap, or -cut it half through with a sharp penknife, that the -valve may fly open at the slightest pressure of the -wind, and may not throttle or retard its passage. -It is a common plan to make these valves without -a hinge, by attaching pieces of tape to the four -corners, and pinning down the ends of the tapes to -the board. The whole valve then rises and falls. -We prefer the hinge. After cutting your ribs to -the proper shapes, in which you can hardly get -wrong, sort them into pairs, and glue a long strip -of stout white sheep-skin along the edges of each -pair. Stout calico or linen may be substituted for -leather on the opposite side, namely, the side -which will present the inner angle, and in which -<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>the ribs will be in close contact when folded -together. A glance at Fig. 19 will show that the -upper ribs of the reservoir are in a position the -reverse of that of the lower ribs. This inversion of -the ribs represents the result of a clever invention -by one Cummins, a clockmaker. Before its introduction, -the air in the reservoir had suffered a -slightly unequal compression as the top board -descended, in consequence of the closing-in on all -sides of the folds of the ribs, which diminished the -space occupied by the air. Cummins's ingenious -modification at once rectified this inequality, since -the upper ribs fold outwards, and allow more room -for the air, precisely in the same proportion as the -lower ribs fold inwards and diminish the space. -An unpractised ear might not, indeed, detect the -slight change in the tone of the pipes caused by -bellows made in the old-fashioned way, but let us -by all means follow Cummins's plan. You will do -well first to join the inner lower edges of the upper -ribs to the inner sides of the middle frame; then -<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span>their other edges to the top board at the proper -distance from its margin; then attach the upper -and outer edges of the lower ribs to the outer edges -of the middle frame; lastly, the lower edges of the -lower ribs to the trunk-band. All this must be -done quickly that the glue may not grow cold; it -will much facilitate a distasteful operation to use a -small sponge with warm water, passed over the -outer or smooth side of the leathern strips as they -are glued on. The main hinge of the feeder will -be best made by passing pieces of hempen rope -through several pairs of holes bored obliquely for -the purpose in the feeder board and middle board, -and wedged in with pegs and glue. Fig. 20 sufficiently -explains this. Two -or three layers of the stoutest -leather will be glued over -the line of junction formed -by this hinge. There is no -reason why the hinge should -not be on one of the long -sides of the feeder, instead -of its narrow end, if your arrangements for the -blowing-handle or pedal render this form of construction -desirable. (You have doubtless well considered -your blowing mechanism.) The ribs of the -feeder being worked in like those of the reservoir, -and all the glue dry, fix the bellows in a fully -distended position by temporary appliances, and -fill up the open corners by gusset-pieces of your -best and most flexible leather. Material will be<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> -economised and neatness consulted by preparing -a paper pattern of the gusset-pieces in advance. -Those of the feeder must be very strong, and it -may be well, but it is not necessary, to put on a -second pair over the first, but not glued to them -in the folding or crumpled part. All must be perfectly -tight and well glued down in every part. A -mere pin-hole will betray itself hereafter by a -disagreeable hissing.</p> - -<div class="figlefta"> -<img src="images/fig24.jpg" alt="" /> -<p class="caption center little">Fig. 20.</p> -</div> - -<p>We had almost forgotten to say that a valve -4 inches square, or thereabout, must be fitted in -the middle of the top board to prevent over-blowing. -This is generally made of a small board of -wood, planed truly level, and covered with two -thicknesses of the pallet leather, rubbed with -whitening. It opens inwards, and is held closed -by any simple application of a stout spring made -of much thicker wire than the pallet springs. -Fig. 21 suggests one of the very simplest of -arrangements. A string, fastened to the under -side of this safety-valve, and to the middle board -beneath it, may be of such length as to pull the -valve open when the bellows are fully inflated; or -the valve may be pushed open from above by a -wooden arm or catch attached for the purpose to -some part of the frame.</p> - -<div class="figcenter"> -<img src="images/fig25.jpg" alt="" /> -<p class="caption center little">Fig. 21.</p> -</div> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> - -<p>The apertures for the trunks should be cut in -the trunk-band, according to well-digested plans, -before the bellows are put together, that there -may be no sawdust or chips afterwards to get -under the clacks; and it is well to give the whole -interior of the bellows two coats of glue-size before -the ribs are closed in.</p> - -<div class="figcenter"> -<img src="images/fig26.jpg" alt="" /> -<p class="caption center little">Fig. 22.</p> -</div> - -<p>The little contrivance <i>a b c d</i>, Fig. 22, is to ensure -the simultaneous rising of the top board and -middle frame when the bellows are in action. It -may be conveniently made of hoop-iron, but oak -or any hard and strong wood will be equally good. -If some such contrivance were not introduced, the -top board and upper ribs would rise first on the -working of the feeder, and the frame and lower -ribs would follow in their turn. This would cause -inequality of pressure, since the top board would -not at once bear up the weight of the frame and -lower ribs. The little jointed apparatus redresses -this by causing the whole of the ribs to obey the -first admission of air. A simpler form of it will -be found in Fig. 22<i>a</i>.</p> - -<p>We are building a very small organ, but, desiring -as we do to give as much completeness to this<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> -treatise as circumstances will allow, we here -explain that in larger instruments two feeders are -generally or always introduced, unless, indeed, a -"cuckoo feeder" is used, which practically amounts -to the same thing, being a long board hinged to -the under side of the middle board by a stout -transverse piece in its middle, and provided with -two sets of ribs, each set filling up the space from -the middle hinge to the end of the board. This -feeder supplies wind with the upward as well as -the downward stroke of the bellows-handle, but it -would not be suitable for an organ in which the -blowing is effected by the foot.</p> - -<div class="figcenter"> -<img src="images/fig27.jpg" alt="" /> -<p class="caption center little">Fig. 22<i>a</i>.</p> -</div> - -<p>We may have readers who are so fortunately -circumstanced as to be able to apply water-power -to their bellows. In this case two feeders should -be fitted in order to utilise both strokes of the -ingenious little machine, which consists essentially -of a piston moving water-tight in a cylinder provided -with a valve which admits water alternately -above and below it. This is not the place for -entering on a discussion of the conditions essential -to the due working of the water-pressure engine;<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> -they may be studied in any modern treatise on -hydro-dynamics; it is enough for our present -purpose to say that a cylinder not larger than a -common wine-bottle will give ample power for -such an organ as ours, provided that the pressure -on the piston be not less than 30 lbs. to the square -inch, and that the supply-pipes be of ample size. -Water, it must be remembered, does not expand -like steam when admitted into an empty space, or -rather into a space occupied only by atmospheric -air; hence large pipes, large valves, and large -ports, or valve-openings, must be provided, that -the water-pressure, irresistible when properly -applied, may be thrown at once upon the point -where it is wanted. But this is by the way, and -we will only add that the water machine should be -in a room or cellar below or adjoining that in which -the organ is placed, as a slight noise is inseparable -from its action, and it should act on the feeders by -a wooden or iron rod brought up through the floor. -Still better if the whole apparatus, feeders, reservoir, -and all, can be down-stairs or in a neighbouring -apartment, the trunks only passing through -the wall or floor. In very large modern instruments -the feeders, worked by steam or water, are -commonly made to move horizontally, in a way -which will be understood if we imagine an accordion -or concertina laid upon its side. When the reservoir -is fully inflated it acts upon a valve, which -reduces or cuts off the supply of water or steam.</p> - -<p>The trunks are rectangular wooden tubes made<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> -of half-inch pine, and well jointed. In their course -from the trunk-band to the wind-chest right-angled -mitres are permissible, for it is a mistake, though -a common one, to imagine that the wind rushes -in an impetuous stream along the trunks as it does -(for instance) along a conveyancing tube when its -pallet is open. The trunks are simply connecting -links between the reservoir and wind-chest, but -they must be large enough to ensure an equality -of wind-density in both wind-chest and reservoir -under all demands on the part of the player. Our -trunk may be 5 inches by 2, inside measurement; -or it may be 9 or 10 inches wide by only 1; or -we may make it 3 or 4 inches square, as may suit -our plans. The ends of the trunk should not be -glued into the openings cut in the trunk-band and -wind-chest. The ends, reduced by half the thickness -of the wood, and brought to a shoulder, should -be glued into an opening in a small board, an inch -or two larger on all sides than the area of the -trunk. Engineers would call this a "flange." -This flange being leathered, and the aperture of -the trunk cut out, it may be pressed with four or -more screws against the margins of the openings -with which it is in communication, and will thus -be removable at any time if the organ is taken -down or altered. The interior of wind-trunks -should be well coated with thin glue, and the -exterior should be painted. Some builders prefer -to cover the exterior of their trunks with paper, -and to line the ribs of the bellows with the same<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> -material, applied with common paste. Trunks -have been made, too, of zinc, and oval in section.</p> - -<p>The frame of the organ, whatever its form or -plan, should be very strong and solid, and should -stand firmly in its place on the floor without any -tendency to vibration or unsteadiness. The pieces -of which it is composed should be of good deal, -1¼ inch thick, and from 3½ to 4½ inches wide, according -to circumstances, that is to say, according -to the weights which it has to carry. The essential -points are these, namely, that the keys, or manual, -shall rest upon firm supports at the proper height -above the floor; that the sound-board shall be -borne upon bearers at a sufficient height above the -keys to admit the intervening mechanism; that the -bellows shall be carried on cross pieces far enough -removed from the floor to admit of the free play of -the feeder.</p> - -<p>You will take into consideration, in designing -your frame, the question whether you will have -pedals, and the still more important question -whether you will have separate pipes for them, and -how they are to be connected with the lower keys. -Room must be provided for all the apparatus -involved in these arrangements, and, as in every -part of our work, so in this, we say that the reader -himself must think over carefully all contingencies, -and make a preliminary drawing to scale for his -own guidance.</p> - -<p>Enough if we lay down here the following rules:—</p> - -<p>1. The under side of the key-board must be 25<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> -inches from the floor, or from the upper surface of -the pedal-board.</p> - -<p>2. The under side of the wind-chest should, if -possible, be at least 15 inches above the key-board.</p> - -<p>3. The middle board of the bellows should be -fully 12 inches above the floor, or above any trackers -or other mechanism connected with pedals.</p> - -<p>4. The front edge of the key-board should project -about 1 foot in advance of the panels closing -in the lower part of the case.</p> - -<p>5. Ample space should be secured for a large -book-board by allowing a still greater distance -between this front edge of the keys and the front -edge of the sound-board above.</p> - -<p>These are not quite all the considerations -involved in designing the frame. The draw-stops -and their connection with the sliders must be well -considered, and room left for the requisite apparatus; -and the position of the bellows-handle -should be determined, and the part of the frame -on which its fulcrum or centre will rest.</p> - -<p>Fig. 23 gives, perhaps, the simplest form of -frame usually adopted for a small organ. It is -made of four distinct frames, united at the angles -by screws, so that the whole can be easily taken to -pieces. It must be understood that the key-board -is carried upon two cross-bearers, leaving the -under part of the tails of the keys accessible; and -the sound-board in like manner rests upon two -bearers under its extreme ends. If any longitudinal -bar is introduced to assist in sustaining<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> -the weight of the sound-board, it must be after -careful consideration of all the arrangements for -the action or movements of the keys. Similarly, -the entrance of the trunk must depend on the -mechanism of the action and of the draw-stops. -It is unnecessary to screw down the sound-board -to the bearers. Its own weight when -loaded with the pipes will keep it down, while a -couple of dowels (short wooden pegs), one in each -bearer, fitting into sockets in the bottom board -of the wind-chest, will prevent it from moving -laterally.</p> - -<div class="figcenter"> -<img src="images/fig28.jpg" alt="" /> -<p class="caption center little">Fig. 23.</p> -</div> - -<p>There is another form of frame well suited to -small organs, and which we ourselves greatly -approve. According to this plan, which is sketched -in Fig. 24, the bellows are enclosed in a stout low<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> -structure rising no higher than the level of the -key-board which rests upon its top. The sound-board -is carried upon cheeks screwed or otherwise -attached to the bottom board of the wind-chest -either at its extreme ends or at points nearer to -its centre, according to your plans for the action -and the draw-stops. Or the cheeks may be united -by a stout transverse piece or girder, the sound-board -being then kept in place by dowels only.</p> - -<div class="figcenter"> -<img src="images/fig29.jpg" alt="" /> -<p class="caption center little">Fig. 24.</p> -</div> - -<p>The present writer has further modified this -arrangement by substituting a wide and shallow -trunk for one of the cheeks. This trunk is screwed -by its flange to the bottom board of the wind-chest, -where the wind enters, and it is closed at<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> -the bottom, where it rests upon the cross-bearers -of the frame. A lateral aperture is cut in it an -inch or two from this lower end, and a short mitred -trunk connects it with the bellows. All this may -be sufficiently understood by inspection of Fig. 24.</p> - -<p><i>Remark.</i>—The late eminent builder, Mr. W. -Hill, we believe, exhibited an organ at the London -International Exhibition in 1851 which had hollow -framework, serving as trunks. It is evident that -by making one end of our bellows rest upon a -hollow bearer we might omit the trunk-band -entirely, since this hollow bearer might be directly -connected by a mitred trunk with the hollow -cheek supporting the wind-chest. And by making -one leg of the bellows-frame hollow, and connecting -it at top with a hollow cross-bearer, carrying -the cheek on which rests the wind-chest, it is plain -that we supersede the separate trunk altogether. -Such plans as these may amuse some of our readers.</p> - -<div class="figcenter"> -<img src="images/fig30.jpg" alt="" /> -<p class="caption center little">Fig. 25.</p> -</div> - -<p>If the feeder is worked by the foot of the player -such a pedal as that shown in Fig. 25 will be found -convenient. It is made of hard wood—oak, birch, -ash, or walnut—with iron or brass hoops and -pivots, and is screwed to the floor of the room, -independently of the organ-frame. The little<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> -roller should be covered or muffled with soft -leather, and you will see that it rolls clear of the -valve-holes in the feeder. By lengthening the -middle piece or shaft we may work with the right -foot, a feeder having its play on the left side; but -in such a case the whole machine will be best -made of iron by a smith. He will coat the pedal -for you with india-rubber where the foot rests -upon it—a much better plan than roughening it -like a rasp. The pedal, as figured, is intended to -be on the extreme right of the player, and to be -clear of a pedal-board of two octaves.</p> - -<p>The reader will see that by reversing the positions -of the arms of the pedal it may be made to suit -any little organ with a manual only. In this case -the muffled roller will traverse the feeder not crosswise, -but lengthwise.</p> - -<p>We pointed out in a former page that the position -of a bellows-blower must be considered in -your plans for the finished instrument. If he -stands close to the player on either side of him -the lever will be easily poised upon a strong pin -projecting from the frame. A piece of web or a -leathern strap will be a better connection with the -feeder than any rigid bar of wood or of iron. If -the organ is not placed against a wall the position -of the blower may with equal ease be precisely -reversed. The lever, however, may be arranged -parallel to the back wall by constructing your -bellows in the first instance with a view to this, -the hinge of the feeder being on one of its long<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> -sides, as we have explained in a former page. Or, -with a feeder hinged as usual at its end, the lever -may still be parallel to the back wall by acting -upon an arm with a roller precisely similar to our -foot-blower.</p> - -<div class="figcenter"> -<img src="images/fig31.jpg" alt="" /> -<p class="caption center little">Fig. 26.</p> -</div> - -<p>Another mode of effecting this is shown in -Fig. 26. <i>a b</i> is the handle turning on a strong pin -at <i>a</i>, fixed to the back of the frame. <i>c d</i> is a shaft -which should be of iron, but might be of hard -wood, hooped at the ends, having two arms, <i>e</i> and -<i>f</i>, projecting from it in opposite directions. This -shaft turns on stout iron pivots which enter holes -in stanchions securely fixed to the frame. These -holes will be better for being bushed with brass. -<i>g</i> is a short wooden link connecting the handle -with the arm <i>f</i>; and <i>h</i> is a wooden rod which connects -the arm <i>e</i> with a forked lug screwed to the -feeder. All these connections are by stout turned<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> -pins of iron or brass. It is plain that every downstroke -of the handle <i>a b</i> will bring up the feeder. -All this is a matter of mere mechanical arrangement; -the simpler you can make it, by diminishing -as much as possible the number of pivots or turnings, -the better it will be.</p> - -<p>We conclude this chapter, and turn to the next -branch of our subject, with the assumption that -the organ is thus far satisfactorily advanced. When -the new bellows are worked we assume that no -hissing is heard, and no escape of air perceived at -any of the holes when a slider is drawn, or at -any part of the junctions of the trunk. We assume -also that when any pallet is opened by drawing -down the ring of its wire, a strong rush of wind -will immediately follow, and will be as instantly -stopped by releasing the ring, when the pallet will -close with a ready and prompt snap. The sliders, -too, must glide to and fro with perfect smoothness -and ease.</p> - -<p>Pass over no serious fault. Remedy all defects -with unwearied patience, even if it involves a -reconstruction of your work.</p> - -<p>It is usual to paint the frame and bellows (leaving -the ribs untouched, however) with some dark -priming. A dull red was formerly in vogue; -chocolate, dark brown, or a slaty black have now -found favour in the eyes of builders.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> - -<div class="chapter"> -<h2 id="c7">CHAPTER VII.</h2> -</div> - -<p class="c"><i>PLANTATION OF THE PIPES.</i></p> - - -<p><span class="smcap">We</span> explained in a former page that it is well to -plant all the pipes upon the sound-board before the -pallets are fitted, because dust and chips are inseparable -from the operation, and may be troublesome -and mischievous if introduced into the grooves -and conveyances. Some of our readers, therefore, -having their stock of pipes by them, have perhaps -already perused this chapter and acted upon its -suggestions. It has been reserved, however, for -this place in our work, in accordance with our wish -to meet the case of workmen and young beginners -who are under the necessity of proceeding by -degrees.</p> - -<p>Possessing a turning-lathe, and resolving to turn -the wooden pipe-feet yourself, you will doubtless -commence by boring four or more holes in a bit of -thin board with centre-bits of different sizes as a -guide or gauge for the diameters of the pipe-feet. -If you mount this little board at a height of 4½ inches -above another board or stand, by pillars or legs, it -will represent a portion of your rack-board, and as -you rapidly throw off the feet in the lathe they will<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> -be as quickly sorted by passing them into these -trial holes. The billet of wood, pine, willow, sycamore, -or any other suitable stuff, should be bored -while still in the rough by a bit revolving in the -lathe. The bore cannot then fail to be central. -It should ultimately be scorched with a hot iron, -unless, indeed, your borer has been so well suited -to the wood as to render unnecessary any further -smoothing. The feet will be slightly conical, the -smaller end tapered off to fit the countersunk hole -on the board, the larger formed into a neck with a -shoulder <a href="#illus2">(see Fig. 1)</a>.</p> - -<p>The rack-pins should be of mahogany or oak, with -a shoulder at each end, the necks fitting tightly in -the holes provided for them already. These necks -may be blackleaded, to facilitate removal.</p> - -<p>All the holes may now be bored in the rack-board -corresponding to our two wooden stops (Nos. 2 -and 4), at the points marked long ago, when the -grooving was finished; the board may be placed -on its rack-pins, and the feet dropped into their -places, adjusted, where necessary, with a half-round -file. The pipes may then receive their feet -one by one, and if your calculations have been -correct and your measurements accurate they -should stand in orderly array. Use the spirit-level, -square, and plumb-line in planting the pipes, to -ensure truly horizontal and perpendicular lines. -The feet should not be actually glued into the blocks -until the last little adjustments have been given.</p> - -<p>In planting the metal pipes, holes 2 inches or<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> -more in diameter will be required in the bass, -while those in the extreme treble will be little -larger than a common quill. Adjustable bits may -be bought, clever contrivances producing beautifully -true circular holes <a href="#c2">(see Chap. II.)</a>. In the -absence of these, we recommend you to use discs -of stiff paper or cardboard, representing the exact -size, as ascertained by callipers, of the conical foot -of the pipe at about 5 inches from its lower -extremity; from these discs the outline of the holes -may be traced on the board, and all the holes, great -and small, may be cut out with a pad-saw, or bored -with common bits, in every case a trifle smaller -than they are ultimately to be. Then, the rack-board -being in place, each pipe may be adjusted in -its position by using a half-round rasp, and similar -or rat-tail files. With these you will easily give a -conical form to the holes in the board.</p> - -<p>Great care will be well bestowed in this operation. -If, unfortunately, you cut any hole too large, line it -with a morsel of soft leather. But every true workman -will desire to resort as seldom as possible to -this expedient.</p> - -<p>Probably none of the metal pipes will require to -be grooved off. But this you have attended to long -ago. If any of them are grooved off, take care that -the grooves are of ample size, that the wind may -not be throttled.</p> - -<p>When all the pipes are planted, whatever the -arrangement which you have adopted, they should -gratify the eye by their perfect symmetry.</p> - -<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p> - -<p>"If they do not look well they will not sound -well," was a good maxim long ago impressed -upon the writer by an ingenious German workman, -to whom he was indebted for much valuable -information.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p> - -<div class="chapter"> -<h2 id="c8">CHAPTER VIII.</h2> -</div> - -<p class="c"><i>THE ACTION.</i></p> - - -<p><span class="smcap">This</span> important subject will be prefaced by a few -definitions, superfluous, perhaps, for some readers, -necessary for others.</p> - -<p><i>Backfall</i>. A lever of any clean wood, ⅜ inch -or less in thickness, 1 inch or 2 inches in -width, and seldom more than 1 or 2 feet in length, -turning upon a wire as its axis or fulcrum.</p> - -<div class="figcenter"> -<img src="images/fig32.jpg" alt="" /> -<p class="caption center little">Fig. 27.</p> -</div> - -<p><i>Bridge</i>. Backfalls occur in sets, corresponding -to the number of keys in a manual or of pallets in -a wind-chest. They are arranged side by side in -notches formed by taking out the wood between -saw-cuts in a balk of mahogany or oak 2, 3, or -more inches square. This balk is called a bridge. -Fig. 27 shows part of a set of backfalls and their -bridge.</p> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> - -<p><i>Square.</i> Squares are now usually of metal, but -may be easily made of -wood, and consist of two -arms, 2 or 3 inches long, -united at a right angle to -each other, or cut at once -from a single piece, and -turning on a wire as an -axis passing through a -hole at the intersection of the arms. Like the -backfalls, they may be arranged side by -side in a bridge, but the modern metal -squares are screwed separately in their -places (Fig. 28).</p> - -<div class="figright"> -<img src="images/fig33.jpg" alt="" /> -<p class="caption center little">Fig. 28.</p> -</div> - -<p><i>Sticker.</i> A slender rod of light wood, -not larger than a common cedar pencil, -and from a few inches to a foot or two in -length (Fig. 29).</p> - -<div class="figleft"> -<img src="images/fig34.jpg" alt="" /> -<p class="caption center little">Fig. 29.</p> -</div> - -<p><i>Tracker.</i> A flat riband of pine, sometimes -several feet in length, about ⅜ inch -in width, and less than ⅛ inch in thickness. -Trackers, however, are now frequently -slender round rods, like the stickers (see Fig. -30).</p> - -<div class="figright"> -<img src="images/fig35.jpg" alt="" /> -<p class="caption center little">Fig. 30.</p> -</div> - -<p><i>Tapped Wires.</i> Formerly of brass, afterwards -of tinned iron, and now generally of -phosphor-bronze or some other alloy. These -are pieces of wire about 3½ inches in length, -from No. 16 to No. 18 in gauge, and cut with -a screw-thread upon about half their length, -with a ring or hook at the untapped end.</p> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> - -<p><i>Buttons</i>. Round nuts of old and thick leather, -or latterly of a composition into which gutta-percha -enters, pierced at their centre to receive the tapped -part of the wire.</p> - -<p><i>Cloths.</i> Little discs of woollen cloth, mostly red, -used as mufflers to prevent the rattling noise of -wood against wood, or metal against metal.</p> - -<p><i>Roller.</i> An axis or shaft of light wood (but in -certain cases of iron), turning easily on two wires -as pivots, which enter holes in studs fixed firmly. -The roller has two (or more) arms, 2 or 3 inches -long, projecting from it, generally near its ends. -It is plain that any motion given to the roller by -acting on one of these arms will be transmitted to -the other arm. Rollers are in sets, like backfalls -and squares, and are arranged symmetrically on a -board called a roller-board (Fig. 31).</p> - -<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> - -<p>The nine articles just described are all brought -together in the action of an organ, even of a simple -kind. We shall endeavour in this chapter to -show how they are combined in ordinary circumstances, -involving no peculiar complications.</p> - -<p>A simple and rudimentary example of the principle -underlying all systems of organ-action may -be seen in Fig. 32. <i>a b</i> is the key-board, in which -each key (as always in England) is balanced on -a pin-rail near its centre, and has a pin, <i>c</i>, passing -through a little mortice cut in it, while another -pin, <i>d</i>, out of sight, near its fore end, keeps it in -its place, parallel to its fellows. At the tail of -the key, <i>e</i> is a sticker, having a wire thrust into -each of its ends, and projecting about 1 inch; one -of these wires is inserted in a small hole drilled in -the key-tail, and conical beneath, or cut into a<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> -little mortice. A "cloth" is slipped upon the wire -to prevent the end of the sticker from rattling -upon the key-tail. The upper wire of the sticker -slips into a similar hole (a cloth interposed as -before) in the end of <i>f</i>, a backfall working in its -bridge, <i>g</i>. The other end of <i>f</i> is connected at once -to the pull-down of the pallet by a tapped wire and -button. Clearly, if a finger is placed upon the key, -its hinder end will rise and will push up the back -end of the backfall, which will draw down the -pallet; and by simply reversing the position of -the backfalls as shown in the cut, we may pull -down the pallets in the wind-chest when placed -under the back of the sound-board.</p> - -<div class="figcenter"> -<img src="images/fig36.jpg" alt="" /> -<p class="caption center little">Fig. 31.</p> -</div> - -<p>If, then, we have fifty-four keys in the manual, a -repetition of this simple apparatus fifty-four times -will be requisite to bring every pallet, with the -pipes controlled by it, under the command of the -player.</p> - -<div class="figcenter"> -<img src="images/fig37.jpg" alt="" /> -<p class="caption center little">Fig. 32.</p> -</div> - -<p>But this is taking no account of the fact that the -pipes are not planted in an unbroken chromatic -series from bass to treble. In the arrangement -shown in Fig. 5 (and in its reverse or opposite -plan) it is plain that our simple backfalls would -fail us; while in Fig. 6 some of the bass pipes are -planted to the right of the player, equally out of -reach.</p> - -<p>Here we resort, then, to rollers. Fig. 33 shows -a single roller, in which <i>i k</i> is the roller, turning on -pivots in studs, and having arms, <i>l</i>, <i>m</i>, of wood or -of iron, projecting from it. The sticker from the<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> -key-tail pushes up the arm <i>l</i> when the key is -depressed; the roller turns on its pivots, and the -arm <i>m</i> pushes up the tail of the backfall by another -sticker, the pallet being thus opened as before; -and it is plain that by arranging a set of rollers on -a board, as in Fig. 31, we may act with ease upon -pallets to the right and left which could not be -reached in any other way.</p> - -<div class="figcenter"> -<img src="images/fig38.jpg" alt="" /> -<p class="caption center little">Fig. 33.</p> -</div> - -<p>The roller-board as here described is placed -above the key-board, with action by stickers; but -it might be as easily placed immediately under the -wind-chest, with action by trackers. In this latter -case, the key-tail will push up the end of the backfall, -the other end of which will draw down a -roller arm by means of a tracker; the other arm -of the roller will be hooked to the pull-down of the -pallet by means of another tracker. If so placed, -room must of course be left for the roller-boards by -fixing the wind-chest at a sufficient height above -the backfalls. Figs. 34 and 35 show, sufficiently -for our purpose, but without any pretension to -exactness of detail, the two positions of the roller-board, -and it is easy to see that by reversing the -backfalls, and in Fig. 35 the roller-board also, we -can act upon a back wind-chest.</p> - -<div class="figcenter"> -<img src="images/fig39.jpg" alt="" /> -<p class="caption center little">Fig. 34.</p> -</div> - -<p>Probably the reader has already surmised that -the notches in the bridge are by no means neces<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>sarily -parallel to each other, or, in other words, -that the backfalls themselves are not parallel. The -left-hand pipes, as shown in Fig. 6, are reached by -cutting the notches in the bridge askew, so that -while one end of the backfall is over the key-tail, -the other may be under the pull-down; and as this<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> -applies to the whole set of backfalls, except those -connected with the rollers, the whole of the notches -will be cut at varying angles to the central line or -axis, and the complete set of backfalls, when put -in their places, will present a fan-shaped plan. -Hence it is sometimes called a "fan-frame."</p> - -<div class="figcenter"> -<img src="images/fig40.jpg" alt="" /> -<p class="caption center little">Fig. 35.</p> -</div> - -<p>But parallel backfalls occur constantly as transmitters -of motion from the keys to the rollers, and -in other positions which will be noticed. The -plantation of pipes shown in Fig. 5, for instance, -and the reverse of it, which has the larger pipes in -the centre, can only be adopted by having a roller -for every pallet; and in this case the backfalls will -be parallel, whether the action be by stickers or by -trackers.</p> - -<p><span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span></p> - -<p>Already, we hope, we have given explanations so -far intelligible that ingenious reader's might have -no difficulty in devising for themselves some one -of the numerous distinct combinations which may -be made of the nine pieces or members which we -began by defining.</p> - -<p>Let us take, however, the very common arrangement -of Fig. 6 as that of our organ, and apply to it -the rules already laid down.</p> - -<p>1. The keys will be procured, of course, from a -maker, unless the cost—fifty to sixty shillings—can -be saved by adapting an old set. We ourselves are -admirers of the old-fashioned claviers with black -naturals and white sharps, or sharps of bone or -ivory with an ebony line down the middle of each. -We possess two specimens of double manuals of -this kind; one of them, taken from an organ by -the elder England, is extremely handsome, with -a mahogany frame almost black from age, purfled -like a highly finished violin. It was presented to -the writer many years ago by the late excellent -builder, Mr. Walker. The other double set, in a -plainer frame, was bought at a sale for the sum of -one shilling and sixpence! The chief objection to -the use of old claviers is that the keys, from long -usage or from original faulty construction, rattle -audibly against their guide-pins. This, however, -may be quite obviated by bushing the little mortices -which receive the guide-pins with fine cloth, as -modern piano keys are bushed, or with thin leather—for -instance, the kid of old gloves. If the keys are<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> -handsome, a little patience bestowed in this way -may well reward the operator, who will find the -movement of his old manual when this is done as -silent as he can wish it to be.</p> - -<p>2. We shall assume that the front board of the -wind-chest is above the keys, and that the organ is -to stand against the wall. Hence the backfalls -will be turned towards the player, as in Figs. 32 -and 34. But all that we shall say will be applicable -to backfalls acting on a back wind-chest.</p> - -<p>The keys, whether new or old, will probably be -18 or 19 inches in length from their front edges to -the rear. Their position in the frame should be -such as to allow the front edge to project 10 inches -at least beyond the front line of the wind-chest, in -order to allow room for a book-board; hence our -backfalls will be short. But their shortness will -not be an evil, since the extent of their play or -oscillation is extremely trifling. One-third of an -inch will be a sufficient descent of the pull-down; -the other end of the backfall will traverse a similar -space, and it will easily be seen how small an arc -will be described by any point near the centre. -Backfalls from 4 to 6 inches in length will, therefore, -present no practical inconvenience. At the -same time it must be admitted that with such short -backfalls the obliquity of those to the extreme left -will be somewhat embarrassing, and we shall -recommend the use of rollers for the six pallets to -the left as well as those to the right, especially since,<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> -as we shall show, the width of the roller-board will -not be materially increased thereby.</p> - -<p>The backfalls should be of oak or mahogany, and -the bridge of the same, or other hard wood. If the -bridge is not sufficiently strong and rigid, a disagreeable -and perceptible yielding of the whole -manual will take place when the player presses -down a chord. The backfalls, if parallel, or if only -at a moderate degree of obliquity, will oscillate -upon a single wire extending throughout the whole -range. This wire should be sunk in a score or -channel made with a <span class="sym">V</span>-tool before the notches of the -bridge are cut; and it should be held firmly down -by small cross slips of oak screwed with very fine -screws into the wood of the bridge between every -six or so of the backfalls. This is much better than -the common way of driving in little staples of wire, -which are apt to split the wood, and are not easily -extracted in case of repairs becoming necessary. -The small holes for such screws may be bored conveniently -with a drill, revolving by means of the -Archimedean drill-stock, now sold in all tool-shops -for the use of fret-cutters.</p> - -<p>Stickers may be quickly, easily, and neatly made -by a bead plane. Take a piece of three-eighth pine -board of the requisite length and dress it over. -Then, with a three-eighth bead plane, strike a bead -along one edge, reversing the board when cut half -through, and using the plane as before. A slender -wooden rod will be the result, which will only -require a little smoothing with glass-paper. To fit<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> -the wires into the ends of the stickers, mark the -centre of the rod with a punch or other suitable -pointed tool, and pierce a hole with a fine drill -revolving in the lathe. The wire may then be -driven down without fear of splitting the sticker -or of entering it obliquely and penetrating the side -of it.</p> - -<p>For trackers we prefer round rods, made precisely -as above, but with a ¼-inch bead. If tapped wires -are to be inserted in the ends of the trackers, it is -well to flatten the inserted end of the wire by -hammering it, that it may not turn round in the -wood when the button is afterwards applied. A -fine saw-cut is made in the end of the tracker, the -flattened part of the tapped wire inserted, and -strong red thread, well waxed, neatly tied round. -The ends thus whipped are sometimes varnished -with a red composition. But this is superfluous.</p> - -<p>If flat trackers are unavoidable, they may be cut -from a three-eighth pine board with a gauge, armed -with a cutting-point instead of the usual scoring-pin. -A smoothing plane should be specially prepared -by fixing two slips of wood to its face. These -slips will prevent the plane from cutting anything -thinner than themselves. Then, the plane being -held firmly down upon the bench, an assistant, -walking backwards, draws the tracker beneath the -blade until it is reduced to the same thickness as -the slips, say ⅛ inch. The tapped wires will be -inserted and the ends whipped as before.</p> - -<p>The squares shown in Fig. 28 are cut from thin<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> -boards of oak or mahogany. Perhaps it will be -found less troublesome and laborious to make each -square of two distinct arms, halved together and -glued at the angle, or more effectually joined by -tenon and mortice. Metal squares can be bought -ready made, or they may be cut with shears from -brass plate. But we should use wood ourselves.</p> - -<p>The rollers will be of pine or deal. They are -cut out and dressed up as square or rectangular -rods of the requisite length, but two of their sides -are afterwards rounded or curved. It follows from -this that when arranged side by side on their -board the curved sides may be nearly in contact. -As our rollers are short, three-quarters stuff will -suffice for them, but rods inch or more square -should be used when rollers have a length exceeding -2 feet or 30 inches.</p> - -<p>Iron roller-arms have some great advantages, -and they may be bought at a moderate price per -gross, neatly bushed at the holes to prevent a -rattling of metal against metal. But we ourselves -deliberately prefer arms of wood, involving, as -they do, much greater labour. If these are used, -they should be made of oak or other hard wood, -and let neatly into a little mortice in the flat side -of the roller. After they are glued in, the holes -may be pierced in each end of the roller to receive -the wires or pivots on which it revolves, and which -should be stout and rounded smoothly at the -external extremity. One of the reasons why we -prefer wooden arms is this, viz. that the pivot can<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> -be driven into or through the arm, which may thus -be at the extreme end of the roller; while if iron -arms are used a margin or surplus must be left at -each end of the roller to allow room for the insertion -of the pivot without interfering with the arm, -the screw of which passes through the axis of the -roller. But it is undeniable that iron arms abridge -labour and save time.</p> - -<p>The studs in which the pivots are supported are -also among the fittings which can be obtained -from the shops; but we have always made our own -of oak, turning the peg or shank in the lathe. -These studs must be bushed with cloth. Drill the -hole truly through the stud, using a borer much -larger than the pivot-wire. Cut a strip of red -cloth about ⅜ inch in width. Point one end of it, -and draw it through the hole in the stud. It will -adapt itself to the circular hole, and will take the -form of a cloth pipe lining the hole, and effectually -preventing a rattling noise which would certainly -be heard in its absence.</p> - -<p>The planning of a roller-board, so as to economise -space as much as possible, is one of those -operations which call for forethought and ingenuity. -The forms which it may assume are -numerous; we shall indicate by one or two simple -diagrams some of the combinations of the fan-frame -with rollers which occur in ordinary practice.</p> - -<p>Fig. 36 shows the usual way of carrying the -touch to the pallets on the right and left in the -common form of sound-board shown in Fig. 6. A<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> -set of backfalls is assumed as <i>in situ</i> under the -wind-chest, parallel to -each other as regards the -six pallets at each extremity, -but fan-framewise -as regards the pallets -from Tenor C to the top. -As the actual key-board -(disregarding its frame) is -about 2 feet 6 inches in -width, while the row of -pull-downs on which it -is to operate extends to -a length of 4 feet or -more, we see that there -will be an overhanging -margin or surplus of the -wind-chest on each side -of some 9 or more inches, -and it is probable that -all the pallets affected by -rollers will be included -in these overhanging portions -of the chest.</p> - -<div class="figlefta"> -<img src="images/fig41.jpg" alt="" /> -<p class="caption center little">Fig. 36.</p> -</div> - -<p>Take a piece of three-quarters -or five-eighths -board, the full length of -the wind-chest, and wide -enough for your twelve -rollers when placed as we -shall now direct. Dress it up, and give it two<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> -coats of priming. At its lower edge mark the -exact centres of the key-tails from end to end of -the key-board. At its upper edge mark the precise -centres of the tails of the twelve backfalls on which -the rollers are to act, fixing the board temporarily -so that precision may be secured. Along the two -side margins of the board (which has been squared -up true) mark rows of dots at equal distances, say -1 inch or considerably less, according to the scantling -of your rollers, which may be placed as close -to each other as possible without actual contact -when made to revolve through a small arc on their -pivots. You have now all the <i>data</i> which you -require, and may draw pencil lines showing the -exact place of every stud on the board, the exact -length of every roller, and the exact spots on each -roller at which the arms must be inserted.</p> - -<p>Fig. 36, in which <i>x y</i> is the key-board, the rollers -and stickers being represented by lines only, shows -that the longest roller, that of CC sharp, is placed -by itself at the top. This is done in order to enable -us to use a single stud, common to two rollers, -throughout the board until we come to the last, -which will stand alone. If the rollers of CC and of -its sharp were thus placed in a line, running into a -single stud, there would be hardly room enough -for the latter, as the arms would be in immediate -contiguity. By giving the CC sharp roller a place -by itself, we get the following pairs: CC and DD -sharp; DD and FF; EE and G; FF sharp and A; -G-sharp and B natural; A sharp will have its own<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> -two studs. Thus we obtain a distance of fully -1¾ inch between the centres of the contiguous arms -of these pairs of rollers; and if iron arms are used, -there is room to drive in the pivot without meeting -with the interruption of the screw in the heart of -the wood.</p> - -<p>When these measurements have been made, and -lines drawn in pencil or chalk, the holes for the -shanks of the studs may be bored, and the board -cleaned over and perhaps repainted. When the -work is complete, the cleanly planed rollers with -their neat studs on the dark background of the -board should present a pleasing appearance.</p> - -<p>Sometimes the roller-board lies horizontally. -It is then usually called a roller-frame. Fig. 37 is -a slight sketch showing how a roller-frame may -be united with squares in certain cases. <i>a b</i> is a -key-board, acting by stickers on a set of squares, <i>c</i>, -arranged in a bridge. <i>d</i> is another set of squares -in a longer bridge under the pull-downs of a chest, -<i>e</i>, let us say that of the second manual in an instru<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>ment -of considerable size, placed at the back of the -case, and possibly some feet from the player. <i>f</i> is -a roller-frame, transmitting the touch by trackers -to the extreme pallets right and left.</p> - -<div class="figcenter"> -<img src="images/fig42.jpg" alt="" /> -<p class="caption center little">Fig. 37.</p> -</div> - -<p>If economy of height is no object, however, the -roller-board will be placed between the squares <i>d</i> -and the chest <i>e</i> in the usual vertical position, or it -may be above the keys.</p> - -<p>Sometimes space is saved by inserting the roller-arms -on <i>opposite sides</i> of the rollers, cutting apertures -in the board through which one arm of each -pair may protrude. This plan may be regarded as -a compromise between the fan-frame and roller-board, -the latter doing duty as a set of backfalls.</p> - -<div class="figright"> -<img src="images/fig43.jpg" alt="" /> -<p class="caption center little">Fig. 38.</p> -</div> - -<p>This arrangement is sketched in Fig. 38. The -roller-board, <i>g</i>, is above the key-tails, which act by -stickers on arms -brought through -openings in the -board. The opposite -arms, <i>h h</i>, in -front as usual, act -on the pull-downs -by trackers. We -have adopted this -plan in a very small -organ, and under -the necessity of economising space as much as -possible, with complete success, although every -pallet had its roller, the fan-frame being entirely -absent.</p> - -<p><span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span></p> - -<p>Rollers are often made of iron, especially in the -case of pedal movements, where space is not -abundant. It will easily be understood that iron -tubes of small calibre, plugged with wood at the -ends to receive the pivots, and having iron arms -screwed into drilled holes, would present no -serious difficulties to the workman, and might be -arranged upon a board little more than half the -size of that required by a set of rollers in wood.</p> - -<p>We must not close this chapter without explaining -that the plantations of pipes sketched or -indicated in Figs. 8 and 9 may be contrived without -grooving by an arrangement involving no serious -difficulty or complication.</p> - -<div class="figcenter"> -<img src="images/fig44.jpg" alt="" /> -<p class="caption center little">Fig. 39.</p> -</div> - -<p>In Fig. 39, <i>a b c</i> is a sound-board shown in -section, divided internally into two unequal parts -by a longitudinal bar at <i>b</i>. The front part, <i>b c</i>, -nearest to the player, has 42 channels, and carries<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> -all the pipes from Tenor C upwards. The hinder -part has 12 channels only, and supplies the bass -octave. These two separate internal divisions will -have their pallets and springs as usual, and a single -wind-chest may include both sets of pallets, or two -wind-chests may be united by a short trunk, or -separate trunks may be fitted to each, at the discretion -and convenience of the builder. We have -now only to adapt a set of backfalls in a fan-frame -to the front pallets, and a roller-board acting on -twelve parallel backfalls to the pallets of the bass -octave, and we have a very compact and sightly -arrangement of pipes without a single groove, -every pipe standing on its wind. If the back pipes -were these—Stopped Diapason, Bass, 4-feet tone, -and open Flute, wood, 4 feet; while the front -pipes comprised a Dulciana, Stopped Diapason, -and Principal, or some equivalent—this little -instrument might be entirely satisfactory in all -respects.</p> - -<p>We may add that this arrangement of a double -sound-board and wind-chest has been successfully -applied by the writer to an organ with two manuals. -The sound-board was about 5 feet 3 inches in -length. The front division had 84 channels, -viz. 42 for each of the two manuals from Tenor -C to top F; the hinder division had 24 channels, -viz. 12 for each manual bass octave. There were -practically eight stops, two of them grooved to each -other in the bass. Of this grooving, when there -are two manuals, we shall have something to say<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> -in a subsequent page. It is not quite so simple an -affair as the grooving already described.</p> - -<p>When the key-board is in its place, the stickers -adjusted, and the keys levelled by attention to the -buttons on the tapped pull-downs, a heavy damper -or "thumping-board" should be laid across the -key-board. In modern organs this is generally a -solid bar of lead, about ½ inch thick, and about -1½ inch in width; it is covered with baize on its -under side, and a guide-pin, moving loosely in a -little vertical groove cut in the key-frame at each -end, keeps it in position. Our damper may be of -oak or mahogany, very straight and true, and -loaded with lead, run when fluid into cavities made -with a large centre-bit. The damper, lying upon -the keys, and supported by them, helps to keep -them level, and by receiving the blow or shock of -each key, as the finger leaves it, it prevents a -tapping noise which might be heard if the rising -keys were stopped only by the board of the key-frame.</p> - -<p>The descent or fall of the keys when pressed by -the fingers should not exceed ⅓ inch.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p> - -<div class="chapter"> -<h2 id="c9">CHAPTER IX.</h2> -</div> - -<p class="c"><i>VOICING AND TUNING.</i></p> - - -<p><span class="smcap">The</span> time has now come when we may bring our -little organ into musical order, and reap some of -the fruits of our toil.</p> - -<p>If the processes described in previous chapters -have been steadily carried out, the instrument is -now complete (so far as the manual only is concerned) -with the exception of the draw-stop action, -which we intentionally reserve, and the external -case.</p> - -<p>We shall insert here, therefore, a few pages on -voicing, the important and delicate operation by -which the correct speech and distinctive tone of -organ-pipes is imparted to them.</p> - -<p>Let us warn the reader at once, and with -emphasis, that the process of voicing metal pipes -is so complex that a complete mastery of its -practical details is by no means uniformly attained, -even after years of steady practice under -skilled guidance. A very sensitive and educated -ear, a delicate sense of touch in the handling of -fine tools, and a thorough familiarity with the -tonal quality, or <i>timbre</i>, of the best examples of<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> -the many varieties of pipes—these gifts are -essential to the successful voicer. Hence we -cannot counsel beginners to attempt the voicing of -metal pipes, unless they are fortunate enough to -find themselves in a position to obtain lessons -from some clever operator willing to give them, -or unless they can gain permission to attend at -some first-class factory, for the express purpose -of watching the pipe-makers and voicers at work.</p> - -<p>We shall not be deterred, however, by these -considerations from describing, to the best of our -ability, the business of voicing and regulating an -ordinary metal pipe, pointing out specially, as we -go on, all that may be necessary for the removal -of defects and faults in pipes already voiced by -other hands. But we must acknowledge our own -obligations to the little treatise on voicing and -tuning mentioned in the preface to this work. -Those who obtain and peruse this thoroughly -practical little tract will find all the information -which they can require.</p> - -<p>Figs. 40, 41 show the well-known forms of metal -organ-pipes as seen in the Open Diapason, Principal, -&c. Figs. 42, 43 give details. The languid, -Fig. 42, is a little enlarged. It will be seen that -the essential features of wooden pipes have their -counterpart in those of metal—the language, or -languid, answering to the wooden block, the -conical termination to the wooden pipe-foot, -the cylindrical body to the rectangular wooden -tube.</p> - -<p><span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span></p> - -<div class="figright"> -<img src="images/fig45.jpg" alt="" /> -<p class="caption center little">Fig. 40. Fig. 41. Fig. 42. Fig. 43.</p> -</div> - -<p>We have never made any metal pipes ourselves, -and we doubt if our readers will do well to embark -upon an undertaking requiring special "plant" -and appliances in a separate workshop, and calling -for great dexterity and neatness in a class of -operations familiar only to trained artisans. For -the information, however, -of those who choose to -make the experiment, we -may explain that the -metal sheets from which -the pipes are made are -thus produced:— -"The ingredients (viz. -tin and lead in various -proportions) are melted -together in a copper and -then cast into sheets, a -process effected by pouring -it in a molten state -into a wooden trough, and -running the trough rapidly -along a bench faced with -<i>tick</i>. The metal escapes from the trough through a -narrow horizontal opening at the back, leaving a -layer of metal behind it as it proceeds; and the -wider the cutting is, of course the thicker will be the -sheet of metal produced. After being cast to an -approximate thickness, the metal is planed down -to the precise thickness required. It is then cut -into portions of the shape necessary to give to<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> -the pipes the required size and form, and is thus -finally worked up."<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Hopkins and Rimbault, p. 76.</p></div> - -<p>The three parts which compose the pipe are first -separately prepared. The sheet of metal is rolled -round a wooden cylinder or cone, called a mandrel, -and the edges are soldered together. The extreme -neatness of this soldered joint is secured by smearing -the metal with composition, which is scraped -off at that part only which is to retain the solder; -but a steady hand, and long familiarity with the -manipulation of the heated copper tool and with -the properties of soft solder, are absolutely essential -to success.</p> - -<p>At the lower part of the body thus soldered, the -mouth is formed by flattening a portion of the -cylinder and by cutting away a horizontal slip of -the metal. The width of the mouth is to be in all -cases a quarter of the circumference of the pipe. -In the case of large pipes the mouth is formed by -cutting away a piece of metal of considerable size, -and replacing it by a sheet called the "leaf," having -the mouth cut on its lower edge.</p> - -<p>The foot is formed in a similar manner, and has -a flattened portion corresponding to that of the -body.</p> - -<p>The language, or languid, is a circular disc of -much thicker stuff, bevelled off round its periphery, -which is altered into a straight line at that -portion which will lie beneath the mouth when the -pipe is complete.</p> - -<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span></p> - -<p>The three component parts are thus worked -together.</p> - -<p>The languid is placed on the wide opening of the -foot, and the windway formed by leaving a narrow -slit between the straight edge of the languid and -the flattened lip of the foot. The two are then -neatly soldered together. The body is then soldered -to the foot, care being taken to adjust the -mouth exactly opposite to the windway.</p> - -<p>The larger pipes have ears, namely, rectangular -pieces of metal soldered on each side of the -mouth.</p> - -<p>Thus completed and cleaned over, the pipes are -handed to the voicer.</p> - -<p>It will be remembered that we left a wooden -pipe, similarly put together but unvoiced, in an -earlier portion of this book. We have now to -explain that both classes of pipes pass through a -similar or analogous course of treatment at the -hands of the voicer.</p> - -<p>With small metal tools, called notchers, of which -he has four or five, he cuts a row of nicks in the -straight edge of the languid, causing it to resemble -somewhat the edge of a saw. These nicks or -notches, coarse or fine, close together or at rarer -intervals, as the case may be, conduct the sheet of -wind from the foot-hole against the upper lip of -the mouth, and influence to a most important -extent the character of the tone.</p> - -<div class="figlefta"> -<img src="images/fig46.jpg" alt="" /> -<p class="caption center little">Fig. 44.</p> -</div> - -<p>In a similar way, and using a file ground to a -saw-like edge, the operator on a wooden pipe cuts<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> -nicks in the slightly bevelled upper edge of the block, -and continues or prolongs these notches obliquely -across the front of the block, letting -them die away or come to nothing at -their extremity. Fig. 44 shows the -front of a block thus treated.</p> - -<p>The art of the voicer, however, is by -no means expended upon this notching -of the languids and blocks. It extends -to the accurate and nice adjustment of -the height of the mouth, the aperture of -the foot-hole, and the width of the windway. All -these will bear strict proportion to the scale or -size of the body of the pipe, and to the weight or -pressure of the wind.</p> - -<p>It will be seen, therefore, that the tone, quality, -or <i>timbre</i> of an organ-pipe, and therefore of a -"stop" or set of organ-pipes, depends upon skilled -attention to at least six distinct considerations, -viz.:—</p> - - -<ul><li><i>a</i>. Scale of pipe.</li> -<li><i>b</i>. Height of mouth.</li> -<li><i>c</i>. Diameter of foot-hole.</li> -<li><i>d</i>. Width of windway.</li> -<li><i>e</i>. Character of notching.</li> -<li><i>f</i>. Weight of wind.</li></ul> - - - -<p>It is the thorough mastery of the art of manipulating -pipes, with all these essential points kept -in view, which enables the voicer to produce the -exquisite contrasts of tone heard in good organs -between the tranquil Dulciana and the delicate -Salcional; between the Violin Diapason and the<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> -Gamba; between the Keraulophon and the Viola, -as variously constructed; between the fluty-toned -stops, of wood or of metal, to which various names -have been given: and the full chorus or combined -power of a large instrument will be majestic, imposing, -and dignified, or, on the other hand, shrill, -harsh, and unpleasing (quality of materials being -assumed to be similar), in proportion to the skill, -taste, and judgment with which it is finally voiced -and regulated.</p> - -<p>We have said enough, perhaps, to justify our -advice that metal pipes be procured in a finished -condition from competent makers.</p> - -<p>Our little organ contains two metal stops, viz. a -Dulciana (or a small Open Diapason) from Tenor C -to f in alt, and a Principal of 4 feet throughout. -Each of these, made of good metal, should cost -£6 or £7. Cheap pipes mean inferior metal, and -this we cannot recommend in any organ, great or -small. The nearer the approach made to pure tin -the better (other essential points being assumed) -will be the quality of the tone.</p> - -<p>In ordering the pipes, the weight or pressure of -wind on which they are to speak must be carefully -specified. This may be easily ascertained by using -a wind-gauge, a little instrument which we sketch -in its simplest form in Fig. 45. It consists of a -glass tube, bent as shown in the figure (this can -be done at any glass-blower's or optician's), and -having its lower end inserted in a wooden pipe-foot. -Planting the gauge on any hole of full size<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> -in any part of the sound-board, we pour a little -water into the bent part or dip of the gauge. On -blowing the bellows steadily, and depressing -the key on the manual corresponding -to the groove on which the gauge is placed, -the water will be depressed in the inner -column, and will rise in the outer. By -adjusting the weights on the bellows we -may make this difference in the levels of -the two columns greater or less as we -please. In our organ we shall have a -"2-inch wind;" that is to say, we shall -load the bellows so that the gauge may -indicate a difference of 2 inches between -the two columns.</p> - -<div class="figlefta"> -<img src="images/fig47.jpg" alt="" /> -<p class="caption center little">Fig. 45.</p> -</div> - -<p>We may note here that about 7 lbs. per square -foot of surface of top-board will be required to give -this pressure. Pieces of old cast iron about an -inch thick may be procured at any foundry, and -form the most suitable material for weights.</p> - -<p>The voicer having worked to a 2-inch wind, it -is probable that when the new metal pipes are -planted in their places they will speak with -charming evenness and truth. If some or any of -them, however, betray some defects, it will be well -not to meddle with them until we have satisfied -ourselves that the fault does not belong to our own -mechanism. If, for instance, one pipe should be -softer or less prompt and clear than the others, let -us be sure that the flow of wind to that pipe is not -interrupted or throttled by a chip in the wind-hole<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> -or (if there is conveyancing) in the channel. This -will be ascertained by planting the pipe for the -moment on some other groove than its own. If the -holes and channels are all clear, and the pallet is -opened freely by the key, the fault must be in the -pipe. This may have suffered some little injury in -the packing case, <i>e.g.</i> the lower lip may have -been nipped too close to the edge of the languid, -thus reducing the width of the windway. This -may be carefully rectified with the flat blade of a -common table-knife, or similar object. Or the -languid itself may have been bent or depressed by -the weight of another pipe, packed within it to save -room in the case. If this is so, the languid must -be carefully pushed back to the level by a stout -wire or rod inserted through the foot-hole. If the -<i>upper</i> lip has been pressed inwards, we must -counsel the utmost care in bringing it back to its -position. The pipe should be sent back to the -maker if the distortion is serious or considerable. -If it is slight we may rectify it by passing a slip of -iron bent into the shape of the letter <span class="sym">L</span> through the -mouth, and thus pulling forward the whole of the -lower par of the "leaf," preserving its regular -slope as before. If the mouth, lips, and languid -are all right, it is possible that by some accident -the size of the foot-hole has been reduced. It may -be cautiously enlarged with a penknife or with a -broach; and if under other circumstances the foot-hole -requires reduction, this maybe done by gently -rapping or hammering the metal round the aperture<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span> -with the flat side of a chisel. The builders have a -heavy brass cone for effecting this reduction called -a "knocking-up cup." Similar brass cones, we may -here add, are used in tuning. They are expensive, -however.</p> - -<p>All that we have said of possible defects in metal -pipes applies, <i>mutatis mutandis</i>, to wooden pipes; -and as we make these ourselves we may deal more -boldly with them.</p> - -<p>An unvoiced wooden pipe will generally emit a -chirp or whistle before its note. The nicking of -the block will remove this, but if we overdo this -nicking we shall hear a huskiness or buzzing -equally or more disagreeable. This husky quality -may also be due to a too wide windway; in this -case, remove the cap and rub the inside face of it on -a sheet of glass-paper pinned down upon a board, -or plane off the inside face and file the windway -anew. If the mouth has been cut too high, there -may be nothing for it but to take off the front board -and remake the pipe. If the pipe, in other respects -good, is too loud, plug the foot-hole with neat flat -plugs. If it is too soft, the pipe-foot may have -been imperfectly bored, or may be defective in -some way, or chips may have been left in the throat -of the pipe. Ill-fitting stoppers are a fruitful source -of defects in wooden stopped pipes. Refit them in -every case of doubt, and leave no room for misgivings -as to the soundness of the joints of the pipe -near the top.</p> - -<p>We must point out to our readers that strength,<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> -sonority, or power must on no account be expected -from wooden pipes. A tone utterly harsh and -intolerable will be the result of over-blowing the -Stopped Diapason or Flute, stops of which the -characteristic quality should only be tranquil sweetness -and softness. The flute of 4-feet tone, especially, -cannot be too delicate, and in its upper -octave great patience will be requisite in the adjustment -of the tiny mouths and windways to -prevent shrillness.</p> - -<p>These remarks apply also to our fifth stop, which -we have been content hitherto to call simply -"Fifteenth" 2-feet. The Fifteenth proper is a -metal stop of strong shrill quality, having its value -in large instruments, where it is balanced by other -stops in affinity with it. Such a stop would be -quite unsuitable to our little organ. If we are to -have a 2-feet stop at all, it should be a "Flageolet" -or "Flautina," an echo, in fact, of the 4-feet Flute. -This may be successfully made by diligent operators -in wood, the lower part stopped, the upper -part open. The professional voicers produce the -fluty quality from ordinary metal Fifteenths by -peculiar treatment of the mouth. In foreign organs -such stops are generally or often of conical form, -the narrow aperture at the top. These stops (which -may also be of 4-feet or 8-feet pitch) usually bear -the names "Gems-horn" or "Spitz-flute."</p> - -<p>We may dismiss the subject of Tuning with a -very few remarks. The general principles of Temperament—that -is to say, of the compromise or<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> -adaptation requisite in the modern scale of an -octave containing twelve semitones—are not peculiar -to organs, and may be studied in any treatise. -Mr. Hopkins exhausts the subject in a very interesting -chapter of his great work. Our useful little -tract on voicing gives all needful information. A -sensible and practical pamphlet on the same subject -has been published by Mr. Hemstock, organist -of Diss.</p> - -<p>You will begin with Regulation, that is, with -equalising the power or strength of the pipes composing -each stop. Bestow every care on this, -especially in the upper ranges of the small wooden -pipes. The pleasing effect of the organ will -greatly depend upon success in this operation.</p> - -<p>When satisfied on this point, tune your wooden -pipes to the metal Principal, which has been sent -from the maker's ready tuned and voiced. After -this rough approximation to absolute correctness, -go over the whole organ with great deliberation -and care, following the rules given in the works -which we have cited, or in any one of them. A -second or third tuning may be requisite before a -sensitive ear is quite satisfied.</p> - -<p>Cones and cups of boxwood, or made of sheet -copper with brazed seams, may be used in the -absence of the expensive cast-brass articles.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span></p> - -<div class="chapter"> -<h2 id="c10">CHAPTER X.</h2> -</div> - -<p class="c"><i>THE DRAW-STOPS.</i></p> - - -<p><span class="smcap">We</span> have provided no means as yet for bringing -the sliders under the control of the player. The -mechanism by which this will be effected must -depend upon our plans for the case and book-board.</p> - -<p><i>Method 1.</i>—As we have only five stops we may -have resolved to arrange the knobs in a horizontal -row above the key-board, and below the edge of -the book. We shall soon see that this arrangement -will result in much convenience and simplicity.</p> - -<p>The ends of the sliders project at each end 2 or -3 inches beyond the margin of the sound-board. -To the cheek of the wind-chest, below these projecting -ends, will be screwed a stout balk of oak -or mahogany (say 2½ inches square), constituting -a bridge, and having stout levers, after the manner -of backfalls, working in notches. These levers -should be of oak, birch, or other hard wood, at -least ½ or ⅝ inch in thickness, and not less than -2 inches wide; and the pins on which they -work should be very stout, say ¼ inch in dia<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span>meter, -and should be held down in their places by -slips of hard wood firmly screwed down to the -bridge. All this is -sufficiently shown -in Fig. 46, and it -will be quite plain -to the comprehension -of every reader -that these levers -(like backfalls) -may be askew to the straight line of the bridge, so -that while their upper ends spread out to reach the -sliders, their lower extremities may be brought -into any position convenient of access.</p> - -<div class="figlefta"> -<img src="images/fig48.jpg" alt="" /> -<p class="caption center little">Fig. 46.</p> -</div> - -<p>The arms of these levers will of course be of -unequal lengths. About 2 inches, or a trifle more, -will be found a sufficient and agreeable play for -the draw-stops. If the sliders have a play of 1 -inch only, it is clear that the lower arm of the -levers must be twice the length of the upper arm. -At any rate the adjustment of the play of the -draw-stops to that of the sliders should be made in -fitting these levers, and not in any other part of -the mechanism. The upper end of the lever, -shaped into a tenon or tongue, will enter a square -aperture in the end of the slider, and the edges of -this aperture should be bevelled, in order that the -lever may bear equally upon it in all positions. -Rub the end of the lever with blacklead, and use -this wherever there is friction of wood against -wood.</p> - -<p><span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span></p> - -<p>The levers being fitted, three at one end and two -at the other, or all the five at the same end, as may -best suit the position of the wind-trunk, the form -of the frame, and other considerations, it will be -easy to connect them with the draw-stops by means -of squares or bell-cranks.</p> - -<div class="figcenter"> -<img src="images/fig49.jpg" alt="" /> -<p class="caption center little">Fig. 47.</p> -</div> - -<p>Fig. 47 shows these squares or bell-cranks arranged -upon a board which is screwed upon the -key-frame. They may be cut out of sheet iron or -may be made of oak, the arms halved together or -joined by tenon and mortice. They should work -upon a strong pin of iron or brass, and a small -block underneath each square lifts it above the -level of the board. A trace, or light rod of pine, -1 inch or ⅞ square, notched at one end to receive -the arm of the crank, and at the other to catch -the end of the lever, is connected with each by -a pin of iron or brass, and blacklead is used as -before.</p> - -<p>The draw-stops are generally turned and polished -for a few inches at the end which appears in sight, -and which carries the knob, and it is usual to line -the holes through which this turned and polished -part protrudes with scarlet or other cloth. The<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> -tails of these draw-bars, left square, should work in -guides cut in a vertical piece at the back, or otherwise -arranged to ensure parallel movement. A -short slip of hard wood or of metal connects each -draw-bar with its bell-crank. The action of this -mechanism must not be considered satisfactory -unless each stop operates with ease and exactness, -and without any sense of elasticity or unequal -resistance.</p> - -<p>The knobs will be easily fashioned, from a good -pattern, by any turner possessing a light lathe; -nor is it difficult to engrave the names on the ivory -faces. A convenient tool for this latter purpose -may be made by grinding down the end of a small -triangular file. But the engraver's "burin" may -be bought at the tool-shops. The knobs will not -be glued into the ends of the draw-bars until all is -complete, that the engraved titles may be rightly -adjusted at a true level.</p> - -<p><i>Method 2.</i>—If it is preferred to place the draw-stops -to the right and left of the player, as in large -organs, we shall have the bridges and levers as -before. The draw-bars will run through guides at -the back, fixed to some part of the frame, and their -polished ends will be brought through lined holes -in the cheeks of the case, fitted according to taste. -The connection of these horizontal draw-bars with -the vertical levers will be effected by squares or -bell-cranks of a form known as "trundles." We -give a representation of one of these in Fig. 48, -where <i>a</i> is the slider, <i>b</i> the lever acting upon it,<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> -<i>c</i> the trace connecting it with <i>d</i>, an arm of the -trundle <i>e f</i>. This trundle should be of oak, birch, -or other hard wood; it has -pins at each end, which are -received into holes bored in -bearers arranged accordingly, -and not shown in the figure, -or in the frame itself of the -organ. (It is well to char -these holes.) The trundles -are of course placed parallel -to each other in a row, and -the second arm of each -trundle will be inserted at the -level answering to the position -of the draw-bar. In -the cut <i>g h</i> is this second arm and draw-bar.</p> - -<div class="figright"> -<img src="images/fig50.jpg" alt="" /> -<p class="caption center little">Fig. 48.</p> -</div> - -<p>The trundles are easily made of iron, and with -manifest increase of strength and neatness. We -have used gas-pipe for this purpose, ½ inch in -external diameter. The arms made from iron slips, -½ inch wide and ¼ thick, were brought to a round -pin at one end in the lathe. This round pin passes -through a hole drilled through the trundle (whether -tubular or solid), fitting it tightly, and the projecting -end is spread out with a riveting hammer. -All this may be done cold, but still more effectually -with the aid of a forge. The ends of the trundle -will be received in charred holes in bearers as -before, using tallow as a lubricator; or if tube is -adopted, brass or iron pins may be jammed into<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> -the ends of the tube, and trued up in the lathe. -All such iron-work, introduced here or elsewhere -in the organ, may be painted over with the composition -known as "Brunswick black varnish," -which will prevent rust. The holes in the arms, to -receive the pins of the traces and draw-bars, will be -drilled with ease in the ever-handy lathe, or with a -bow and breast-plate, or by any blacksmith.</p> - -<div class="figleft"> -<img src="images/fig51.jpg" alt="" /> -<p class="caption center little">Fig. 49.</p> -</div> - -<p><i>Method 3.</i>—In small organs, with short sound-boards, -the iron trundles may be made to act at -once upon the sliders, without the intervention of -the levers and bridge. -When this is done -the upper arm of the -trundle will be quite -at its top, and will be -sloped or bent upwards -as shown in Fig. 49. -Near its end will be a -short and strong pin, which will enter a little slot -or oblong hole in the slider. The trundle will -revolve in a wooden collar screwed to the cheek of -the wind-chest, and at its base in a hole in a bearer -or in the organ-frame as before. The draw-bar will -act directly upon the lower arm of the trundle, and -the lengths of the two arms must be proportioned -to each other, so as to compensate for the difference -between the play of the slider and that of the -draw-stop.</p> - -<p>Cases of peculiar construction may be easily -imagined, in which two sets of trundles may be<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>come -necessary, communicating with each other -by long traces. In some other cases the trundles -may be horizontally placed, like a roller-frame, and -common squares may act upon the sliders; with -upright traces connecting them with the arms of -the horizontal trundles; while combinations of -these various plans will suggest themselves to the -inventive reader to meet possible exigencies of -position or arrangement.</p> - -<p><i>Method 4.</i>—We may still further explain that -trundles may be discarded by fixing common -squares or bell-cranks upon steps or stages cut on -the edge of a piece of thick plank, screwed to the -organ-frame, the steps or stages corresponding to -the levels of the draw-stops as arranged in the -cheeks or jambs of the organ. The draw-bars will -act directly on these squares, which will transmit -the movement to the levers by traces; but in this -case it is plain that the levers will be of varying -lengths, and must be provided with separate -bridges, in order that the proper relation may be -maintained between the play of the several parts. -This plan has much to recommend it.</p> - -<p>We have entered at some length into the subject -of the draw-stop action, because much of the comfort -of the player depends upon its efficiency. The -arrangement to be adopted should be well considered, -and the plans for it matured at an early -stage of the work. All the pins used should fit -accurately, and it is well that means should be -taken to prevent the dropping or working out of<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> -these pins. A very neat way of guarding against -this common accident is to reduce a small portion -of the end of the pin with a file or in the lathe, and -to cut a screw-thread upon this reduced portion; a -leather button will then render failure impossible. -The other end of the pin is usually bent down at -a right angle.</p> - -<p>Composition pedals, for drawing and shutting off -the stops in groups by the foot, are not wanted in -so small an organ as ours, and we need not describe -them.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> - -<div class="chapter"> -<h2 id="c11">CHAPTER XI.</h2> -</div> - -<p class="c"><i>PEDALS.</i></p> - - -<p><span class="smcap">We</span> have hitherto said nothing of pedals. What -we shall now say will not occupy much of our -remaining space.</p> - -<p>We have to fit our little organ with a set of -pedals pulling down the bass keys of the manual, -but commanding no separate pipes of their own.</p> - -<p>What is to be their compass? On this we have -to remark that when an organ is intended for the -practising of a student or professional musician, or -for the performance by any player whatever of -genuine organ music, the full compass of thirty -notes, C to f, is quite essential. On this point no -room must be left for misconception. But small -organs, designed for humble and unambitious -players, or for the accompaniment of voices in a -room or in a village church, may be fitted with -pedal-boards shorter by a whole octave than this -complete or full compass. A range of seventeen -notes, C to e, will certainly suffice for the ordinary -practice of the great majority of persons who are -at all likely to sit down to our little organ.</p> - -<p>Observe, however, that this curtailed pedal-board<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> -must be placed in the same position relatively to -the key-board which would be occupied by one of -full range. In other words, it must <i>not</i> be located, -for appearance sake, in the middle of the case, but -must be pushed away to the left of the player, -leaving a blank space on the floor to the right. -If this were overlooked, it is plain that a player -accustomed to the imperfect pedals would be utterly -at fault when introduced to an instrument of higher -character.</p> - -<p>An excellent rule on this subject has been laid -down by Mr. Hopkins, whose opinion in such -matters is judicial. It is this:—To place the central -C of the pedals—the thirteenth note, commencing -from the left—directly underneath the middle C of -the manual. If this rule be observed, the foot will -easily find all the notes of the lower octave, whether -the compass be complete or curtailed; and we must -leave to our readers to decide upon the range of their -pedal-board after a due consideration of circumstances. -Seventeen notes (an octave and a third) -must be taken as a minimum; twenty notes (octave -and a half) and twenty-five notes (two octaves) are -alternatives still falling short of the full compass -of thirty notes necessary for the practice of the -preludes and fugues of Bach and other great -masters.</p> - -<p>The pedals should be made of oak, and should -be from 18 to 20 inches in length, 1 inch wide or -thick, and at least 1½ or 2 inches in depth. The -sharps, or short keys, should be about 5 inches in<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> -length, but they are glued or otherwise fastened -upon strips of oak as long as the other pedals. -The front or near end of the sharps should stand -up about 1 inch above the level of the naturals; -from this point they may slope up to 1⅜ inch. The -long tails or bearers of the sharps must be sunk -about 1 inch below the level of the naturals, in -order that they may not be touched by the foot. -The fore-end of the sharps will be well rounded -off, and the upper edge of all the pedal keys will -be made slightly convex. Lastly, the distance -between the centres of any two adjoining naturals -may be 2½ inches precisely. Of course an empty -space or gap will appear between E and F and -between B and C in each octave, as those intervals -have no intervening short key.</p> - -<p>We have found the following arrangements convenient -and satisfactory. Make the pedal-frame -of stout oak; the back bar, behind the heels of the -player, a balk 3 inches or more by 2 inches. The -fore end of the frame under the organ-panel is -formed by an upper and a lower bar, between -which strong round pins of oak are placed, making -a rack through which the ends of the pedals protrude -an inch or two. These protruding ends, -where they pass through the rack, are muffled with -cloth to prevent rattling, and each pedal descends -upon a small pad of vulcanised india-rubber, and is -met by a similar pad under the upper bar when it -recovers its position. If this is properly managed -the movement will be quite noiseless.</p> - -<p><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span></p> - -<p>The builders commonly use a spring, screwed at -one end to the under part of each pedal, and pressing -at the other extremity upon a board or bar; or, -on the other hand, the springs are screwed to this -board or bar and press against the under sides of -the pedals. In this case the tail of the pedal key, -out of sight under the back bar of the frame, works -upon a pin passing into a mortice.</p> - -<p>We ourselves, however, have long used a spring -which serves both for spring and for hinge. It is a -simple slip of steel, 5½ inches long, ⅝ inch wide, and -1⁄16 inch thick, having two holes near the one end, -and one hole near the other. This latter is screwed -firmly down to the back bar of the frame, which, -as we have already explained, is a balk 3 inches -by 2. The fore end of the spring is screwed by its -two holes to the under side of the tails of the -natural keys (cut away to receive it), and to the -upper side of the tails of the sharp keys. Or, the -spring may be quite concealed from view by being -let into a saw-cut in the tails of all the pedals. We -have found this plan perfectly effectual, and we -strongly recommend it to our readers. The springs -can be made by any smith for twopence or threepence -each. Their strength or resistance can be -easily regulated by screwing them, not to the plane -surface of the back balk, but within grooves cut -in it, 1/2 inch deep at the back, diminishing to -nothing in front. A few turns of the screw (which -should be well greased with tallow), by lowering -the tail of the spring, will bring on it a strain or<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> -tension which enables us to adjust with accuracy -the resistance of each pedal to the pressure of -the foot.</p> - -<p>The pedal-board should be laid upon the floor so -that the distance between the upper surface of the -pedal natural keys and the upper surface of the -manual natural keys may be 28 inches.</p> - -<p>The manual should overhang the pedal-board so -that the front of its sharps may be just over the -front of the pedal-sharps.</p> - -<p>The seat of the player, to correspond with these -arrangements, should be 22 inches above the -pedals. The dip, or fall, of the pedals, under the -foot of the player, need not exceed ⅝ inch, or at -most ¾ inch, where they pass through the rack.</p> - -<p>The connection between the pedals and keys -will be by backfalls, working in a strong bridge -secured to the frame below the key-board. These -may be parallel, in which case a roller-board will -be requisite, or disposed as a fan-frame. The -hinder end of each backfall has a tapped wire -passing through a hole in it, and carrying a button -on its top, muffled with a disc of cloth or baize. -The lower end of the wire underneath the backfall -is bent into a ring, so as to be easily turned round -by the finger and thumb. These adjustable buttons -push up the tails of the keys when the fore -ends of the backfalls are drawn down by trackers -connecting them with the pedals. The eyes or -rings on the pedals, to which these trackers are -hooked, should be bushed, and great care should<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span> -be taken to secure noiseless action in every -part.</p> - -<p>The pedal-board is usually secured to the floor -by a couple of screws passing through the side -cheeks. But it is sometimes convenient, especially -in small rooms, to make it removable at -pleasure. This can be easily done by fitting a set -of false or dwarf pedals, about 6 inches in length, -in a bridge spaced to correspond with the keys of -the pedal-board, and screwed to the floor under -the organ. These false pedals are practically short -backfalls, turning on a wire near their hinder end, -and having the trackers hooked to them an inch or -two from their fore end; and some simple form of -spring should be placed under each. Then we -have only to adjust matters so that the protruding -ends of the organ-pedals may rest upon the fore -ends of these false pedals, either or both of them -being leathered or otherwise muffled at the point -of contact, and it is plain that the pressure of the -foot on any pedal will pull down the manual key -as before. Two iron pins should be fitted to the -pedal frame, going into holes in brass or iron -plates screwed to the floor. These guide-pins will -insure instantaneous fitting of the pedal-board at -any time.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span></p> - -<div class="chapter"> -<h2 id="c12">CHAPTER XII.</h2> -</div> - -<p class="c"><i>TWO-MANUAL ORGANS.</i></p> - - -<p><span class="smcap">This</span> treatise must not close without some reference -to organ work of a more advanced kind than that -which we have taken as the groundwork or medium -of our hints on this subject.</p> - -<p>Some of our readers may very naturally wish to -understand the construction of an organ with two -or more manuals and a pedal with separate pipes; -and this implies a description of coupling movements -and of the swell-box and its appliances.</p> - -<p>In the first place, let us remark that as the swell-organ -is a modern invention, innumerable examples -of organs with more than one manual and with -numerous stops, but entirely without the swell, -were in existence in England up to a recent period, -and are still to be found in every part of the continent -of Europe. A great number of the most -renowned organs of Germany and of Holland, -organs furnished with four manuals and an -immense aggregate of pipes, are without the swell -to this day.</p> - -<p>This is not the place to discuss the question -whether the introduction of the swell, as the second<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> -division of an organ with only two manuals, has -been an unmixed advantage, and whether it has or -has not tended to raise the standard of organ music -and organ-playing in England. But some few -musicians may agree with the present writer that -it is quite possible to sacrifice sound principles of -organ-building to the prevailing worship of the -pretty and fanciful effects of the swell, and may -even go so far as to regret, with him, the supersession -of the old "choir organ," with its sweet tranquil -tone and quiet cheerful brightness. We ourselves -make no secret of our wish that in the design -and erection of organs with only two manuals, the -second manual should act upon a choir organ, -while the swell should be reserved for those instruments -in which a third manual is introduced. -But we are quite aware that these views will be -received with derision by a great majority of -persons, who have become accustomed to the constant -use of the swell and of the pedal Bourdons -which characterizes the playing of many English -organists on modern English organs.</p> - -<p>Quite apart, however, from these views, which -must be taken for what they are worth, there are -reasons why any reader, resolving from the first -to construct a small organ with two manuals for -chamber use, will do well to resist the temptation -to introduce the swell. These reasons will become -apparent if we sketch out one or two plans for such -chamber organs, and we should only occupy space -needlessly by stating them in advance.</p> - -<p><span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span></p> - -<p>Resolving, then, to indulge ourselves with two -manuals, but compelled to be economical of space -and of pecuniary outlay, we decide at once to plant -all the pipes, belonging to both manuals alike, -upon a single sound-board, and by the system of -borrowing to avoid the reduplication of large pipes -in the bass octave.</p> - -<p>To our original design of five stops on a single -manual, let us suppose that we have added three, -played by a second key-board. We must assume -that the five stops belonging to the first manual (the -lower), will be all throughout, and may be something -like this, viz.: an open Diapason with wood -bass octave; a Clarabella, with stopped bass octave; -a Principal, Flute, and 2-feet stop as before. Then -the second or upper manual should have some such -stops as these: Stopped Diapason, the bass octave -borrowed from that of the Clarabella; Dulciana to -Tenor C; Gems-horn, or some other light 4-feet -stop, the bass octave borrowed from that of the -Flute or Principal.</p> - -<p>As the sound-board will have two grooves for -each note throughout its whole extent, namely -108 grooves if the manuals are of the usual compass, -its length might be unwieldy and inconvenient, -ill adapted to the size of ordinary rooms. -We must strongly recommend, therefore, that the -arrangement shown in Fig. 39 <a href="#Page_112">(see p. 112)</a> be -adopted. On the front portion, <i>b c</i>, containing -eighty-four grooves, and carrying eight sliders, all -the stops from Tenor C to top F may be planted.<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> -On the back portion, <i>a b</i>, which will have twenty-four -grooves only, all the bass pipes will be placed, -unless, indeed, we assume that the large open -8-feet pipes are conveyanced off. This back portion -will carry one slider for this open bass, one for -each of the 4-feet and 2-feet stops, and two pairs of -twin sliders, placed close together, for the borrowed -stopped bass and borrowed 4-feet bass.</p> - -<p>Our readers may feel confidence in the directions -now given if we say that we are describing -an organ built by ourselves and now in our possession.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> -The sound-board, admitting of eighty-four -grooves in its front division, is 5 feet 3 inches -long, and its seven sliders (we have no stopped -Flute), with the bearers, occupy a width of -16 inches; but the 4-feet octave of the Open Diapason, -and six pipes of the Dulciana, are brought -into sight as a "speaking front," and therefore fill -no space on the board itself. The back part of the -board, with four sliders (two of them twin), has -also a width of about 16 inches, our large open -wood bass being on a board at a lower level, as -in Fig. 10. Thus the whole board, carrying practically -eight stops (one of our stops is of two ranks, -viz. a Twelfth and Fifteenth) throughout, is 5 feet -3 inches long and 32 inches wide.</p> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> This organ is sketched in the frontispiece.</p></div> - -<p>We hope we have said quite enough in former -pages of roller boards and backfalls to enable any -intelligent reader to devise for himself the double -action of such an organ. An inspection of Figs.<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> -37, 38, and 39 may suggest ideas to him. An -essential point is that everything should be within -reach if defects should require attention; and access -to the back as well as to the front of such an organ -is indispensable.</p> - -<p>A word about the borrowing. It is plainly not -enough to groove the two channels of each note together -in the bass, as in the case of a single manual. -If this were done the wind would fill the <i>whole</i> of -the two channels upon lowering a key in the bass -octave of either manual, and <i>all the stops</i> of which -the sliders happened to be drawn at the time would -speak together. Thus our purpose of borrowing -one particular stop would be defeated. We must -effect it thus: the twin sliders will be closely contiguous, -and will only be separated by short pins -of brass or iron let into the table, to prevent the -friction of actual contact. Thus the two holes -which are to be brought into connection are near -to each other, and the communicating groove will -be short. If this is cut in the upper board itself it -must be neatly executed, and the bottom of the -groove must be level and smooth. Over each of -the two holes within the groove so cut must -be placed a valve, consisting of a small piece -of pallet leather covering the hole completely, -and rising with complete freedom by a hinge -along its edge, like the clacks of the bellows. -Each pair of holes being furnished with these -valves the grooves are roofed in and the pipes -planted, as described in earlier pages of this book.<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> -On lowering one of the keys the wind will affect the -borrowed pipe only, since the little valve will stop -the twin hole and prevent the flow of air through -it into the channel. If the key corresponding to -the same note be pressed down on both manuals, -then both the little valves will be blown open by the -wind; but if all the channels, grooves, and holes -be of ample size, so that there is no throttling of the -wind, the speech of the pipe will be entirely unaltered, -since it will only receive a given <i>quantity</i> -of wind through the perforation in its foot, and this -wind will be of the same <i>weight</i> or <i>pressure</i> as -before.</p> - -<p>The borrowing grooves may be cut in the under -surface of a separate board, which will then form -a roof or cover to the several pairs of valves -arranged over the holes on the upper surface of -the sound-board itself. Or this borrowing-board -may be put together with bars, cheeks, and an -upper table like a light sound-board. The essential -point is that all the openings be of ample size, -and that the valves fly open widely at the slightest -breath of wind, and close the holes as promptly -when the wind is withdrawn. If due attention is -given to all this no failure need be anticipated -with the borrowed basses.</p> - -<p>We have proposed the lower key-board as -"Manual I.," in accordance with the German usage, -and because that arrangement will facilitate some -of our mechanism, for instance, the pulling down -by the pedals of the bass notes. But lovers of<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span> -old English organs, among whom we must reckon -ourselves, may prefer to make Manual I. the upper -manual of the two. A beautiful instrument of this -class, built by the late J. C. Bishop, stands in the -chapel of Jesus College, Cambridge, and was the -gift of an accomplished amateur, whose performances -on it are still remembered.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> The same -gentleman was the possessor of a chamber organ -of exquisite tone by Bernhard Schmidt, of such -remarkable composition that it merits description -here. The lower manual, or Choir, had three stops, -an Open Diapason, a Stopped Diapason, and a -Principal, all made of oak, and of extreme delicacy -and beauty. The upper manual, or Great, had -likewise three stops, all metal, namely, Stopped -Flute, Fifteenth, and Mixture of two ranks (19th -and 22nd in the bass, 12th and 17th in the treble). -The Stopped Diapason could also be played upon -this manual by borrowing. A coupler united the -lower to the upper at pleasure, and then the "Full -Organ" was produced upon the upper manual -with an astonishing effect of sprightliness and -brightness. Such an organ as this, with some -changes (its key-boards were very antiquated, and -so high from the ground that the player was -perforce erect), might afford an admirable model -for imitation.</p> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> The late Sir John Sutton, Bart., author of "A Short Account of -Organs built in England from the Reign of King Charles II. to the -Present Time." Masters, 1847.</p></div> - -<p>Let us add that if pedal notes of 16-feet tone are<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> -added to an organ of this class, namely of two -manuals, Great and Choir, only twelve large pipes -will be necessary, even though the compass of the -pedal-board be of thirty notes complete. This -great economy of space and outlay will be secured -thus: 1st, by making the pedals pull down on the -chief manual throughout their whole extent as -before; 2nd, by adapting the twelve deep pipes to -the lower octave of the pedals, and by making -their upper octave and a half pull down upon the -lowest keys of the second manual. A moment's -reflection will show that the 16-feet tone is thus -obtained throughout the whole compass, and no -inconvenience whatever will ensue to the player.</p> - -<p>The mode of introducing the large bass pipes, -and of pulling down as above, will be described -before we conclude this work.</p> - -<p>Still desiring to erect a <i>chamber</i> organ, and, -therefore, to be chary of space and cost, we must -now show how the swell-box may be included in -our design.</p> - -<p>We shall suppose that the organ has been -completed so far as the lower manual is concerned, -with all that pertains to it, according to the rules -which have now been given at length and in -detail. In laying it out we must assume that care -has been taken to give increased size to the -bellows, and to arrange the frame for the reception -of a second sound-board.</p> - -<p>We feel it due as well to our readers as to ourselves -to explain that we confine ourselves in all<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span> -that follows to a description of work done by ourselves -in our own workshop.</p> - -<p>We shall place only three stops in our swell, -which will have a compass of forty-two notes, from -Tenor C to top f. The stops will be a Diapason in -wood, partly stopped, and the rest open; a Flute -of 4-feet tone in wood, open throughout; and a -Gamba of reedy quality, in metal, of 8-feet -pitch, but only descending to Fid. G., 3 feet, the -remaining notes being grooved to No. 1. This -curtailment is greatly to be regretted, but such -imperfections are among the objections to the -swell-box, which would assume dimensions inconsistent -with a <i>chamber</i> organ if an attempt were -made to give full compass to its 8-feet stops.</p> - -<p>The sound-board for these three stops will be -only 2 feet 9 inches in length, and 1 foot in width; -but the upper boards must have an ample margin -or surplus in both directions to afford support for -the box which will rest upon them.</p> - -<p>This box must be made of thick stuff, say 1½ inch -deal; it will therefore be very heavy, and care -must be taken to provide for its weight in planning -the frame. It should be put together with screws, -so that it can easily be taken to pieces for transit, -and it is usual to line the whole of its interior with -sheets of thick brown paper, applied with glue. -It will be very convenient, if access can be had to -the back of the organ, to fit the back of the box -with hinged doors, or to make the back removable -like a shutter; in this case the pipes should be<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span> -planted so as to present themselves readily to the -tuner. If access to the back cannot be had, then -a space is inevitable in the middle of the organ -for a passage-board, on which the tuner may -stand, or at least place his foot, while he removes -the front shades in order to reach the pipes -planted accordingly. In the swell-boxes of church -organs the sides of the box are generally fitted as -doors; then, the pipes being planted with the -tallest in the centre, diminishing in height to each -end, half of them can be tuned at one operation. -When the pipes are thus planted, the top of the -box will slope towards each side from a central -ridge, like the roof of a house.</p> - -<div class="figcenter"> -<img src="images/fig52.jpg" alt="" /> -<p class="caption center little">Fig. 50.</p> -</div> - -<p>We cannot doubt that many of our readers have<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> -had, or may have, opportunities of examining the -construction of the shutters or shades of a swell-box. -We have sketched it, however, in Fig. 50. -The shades are 6 inches in breadth, and of the -same thickness as the rest of the box, and each -shade turns on pins let into the ends of it at a -distance of 2 inches from its upper edge. These -pins work in notches cut in the cheeks of the box, -so formed that any shade may be easily lifted -out and replaced. The edges of the shades are -bevelled to half a right angle so that they -overlap when closed, and the bevelled surfaces -are faced with leather or cloth to -shut in the sound more effectually.</p> - -<div class="figright"> -<img src="images/fig53.jpg" alt="" /> -<p class="caption center little">Fig. 51.</p> -</div> - -<p>The mode of opening the shades, and -so producing a <i>crescendo</i>, is shown in Fig. -51. <i>a</i>, <i>b</i>, <i>c</i> are arms of oak, morticed into -the shades at the level of the pins, viz. -2 inches from the upper line; <i>d e</i> is a long -rod or tringle of wood, connecting all these -arms by pins passing through them and -itself. It is evident that by drawing up -this rod at its top, or by pushing it up -from below, we shall open all the shades -at once, and as they are hung on axes -placed at one-third of their breadth, they -will close by their own weight when released. -The leverage by which this movement is brought -under the control of the player may be safely left -to the inventive powers of the reader. It is usual -to give promptness to the return of the swell-pedal,<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> -and therefore to the closing of the shades, by attaching -a strong spiral spring to the pedal, and to -some firm point in the frame.</p> - -<p>As the swell-box is at the back of the instrument, -its key-action will have to pass or cross that -of the Great organ. The way in which this will be -effected must depend a little upon circumstances—for -instance, upon the length of the key-tails in the -two manuals. If the swell manual acts by squares -and trackers, while the Great has backfalls and -stickers, the small trackers, being thin ribands of -wood, can be easily made to pass between the -Great stickers. Or if the swell-keys act on backfalls, -these backfalls may be thinned down behind -the line of key-tails, so as to allow the stickers of -the lower manual to pass between them. This -may be understood from Fig. 52, though that figure -refers to another subject. The worst plan of all is -to make the lower stickers pass through holes or -mortices in the upper key-tails, since this prevents<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> -the removal of the upper key-board without a disturbance -of the whole action.</p> - -<div class="figcenter"> -<img src="images/fig54.jpg" alt="" /> -<p class="caption center little">Fig. 52.</p> -</div> - -<p>We believe that these constructive details contain -in themselves the grounds on which we based -our advice to hesitate before including a swell-box -in the design for a small chamber organ. It has -been made apparent that it brings with it a considerable -increase of bulk, weight, and complication, -and that it cannot possess the full compass. -We must add that if the bellows are worked by the -foot, the use of the swell-pedal at the same time is -of course impossible.</p> - -<p>The large swells of church organs owe their -grandeur of effect to their reed-stops; the -trumpet, of which the oboe is a soft echo and our -little gamba a faint and humble imitation, the -horn or cornopean, and the double trumpet or -bassoon, a stop of 16-feet pitch. All reed-stops -are quite beyond the range of amateur construction, -and each of the above will cost about £25 if -purchased from a good maker and made of first-class -material. Beautiful as such stops are when -made and voiced by highly-skilled workmen, they -may easily be unpleasing and even offensive.</p> - -<p>Let us add that the twelve notes of the swell -manual, below Tenor C, may be made to act on -the lower manual by a "choir coupler" (see next -section, and Fig. 52); or, if there is a complete -pedal Sub-bass or Bourdon of twenty-five or more -notes, the silent keys of the swell manual may -borrow the pedal notes from CC, 8-feet tone<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> -upwards. An easy mechanical movement of -squares and trackers will effect this.</p> - -<p>Two manuals imply couplers, though we greatly -regret the incessant use of these contrivances by -modern organists.</p> - -<div class="figcenter"> -<img src="images/fig55.jpg" alt="" /> -<p class="caption center little">Fig. 53.</p> -</div> - -<p>We shall treat, very briefly, of couplers under -three heads, viz. the coupling of—</p> - - -<ul><li>(<i>a</i>) Upper Manual to Lower Manual.</li> - -<li>(<i>b</i>) Lower Manual to Upper Manual.</li> - -<li>(<i>c</i>) Manuals to Pedals.</li></ul> - - - -<p>(<i>a</i>) The common Tumbler coupler is represented -in Fig. 53. <i>a</i> is a slender bridge, having as many -notches as keys in the manual, and fitted with -short stickers called tumblers. These tumblers, or -stickers, are generally rectangular in section, and -they must fit the notches neatly but with freedom -of motion; the notches are closed in by a -tringle of wood glued over them, thus forming a -series of mortices; and each sticker has a little pin, -or a pair of pins, to prevent it from falling out of -its notch or mortice. Or, the tumblers may be -made from round rods, and may pass through -round holes in the bridge. They are well black<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>leaded -in either case. Now if this bridge, with its -tumblers, is placed between the manuals near -their hinder extremities, if the length of the -tumblers is equal to the interval between the upper -and lower key-tails, it is evident that on pressing -down a key of the lower manual the tumbler will -push up the tail of the corresponding key on the -upper manual, and so on throughout the full compass -of both. To reverse this, and to leave the -manuals separate and independent as before, the -bridge is made to take a quarter of a revolution in -sockets fitted to carry its ends, which are rounded -or turned in the lathe; the tumblers, by this -partial revolution, are then no longer perpendicular, -but parallel to the key-tails, as shown by the -dotted lines in the figure, and cease to be touched -by them. On the whole, this is the simplest form -of swell-coupler.</p> - -<div class="figcenter"> -<img src="images/fig56.jpg" alt="" /> -<p class="caption center little">Fig. 54.</p> -</div> - -<p>The tumblers may also be placed on or off by -causing the bridge to slide between guides for a -distance of 1 inch or 2 inches. When the bridge -is pushed back by drawing a stop-handle (which -acts upon a horizontal trundle with arms and traces<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> -to give the sliding motion), the tumblers act on the -key-tails; when it is drawn forward by thrusting -in the stop, they fall into a hollow cut in the key-tails, -and are too short to be of use. The hollow -in the key-tails is bevelled, and the inclined plane -so formed is leathered and blackleaded (see -Fig. 54).</p> - -<div class="figcenter"> -<img src="images/fig57.jpg" alt="" /> -<p class="caption center little">Fig. 55.</p> -</div> - -<p>The ram coupler, Fig. 55, acts in a way closely -resembling the last. Instead of tumblers, the -bridge carries a set of short backfalls, turning on a -wire as usual, and cut at the free end into a circular -form. The sliding of the bridge brings these -circular ends into contact with the key-tails of both -manuals, or places them in a hollow cut in the -keys, bevelled, leathered, and blackleaded as -before. The ram-coupler can be used between -manuals arranged too closely to admit of tumblers.</p> - -<p>(<i>b</i>) It will facilitate our description of the choir-coupler -and pedal-couplers if we here point out -that if a bridge with backfalls (or squares) be made -to rise or fall ½ inch or more at pleasure, the action -connected with it will be thrown into or out of -gear at the will of the player. If, in Fig. 32, for -instance, the bridge <i>g</i> be made to rise ½ inch by<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span> -drawing a stop-handle, the stickers <i>e</i> will then be -too short by ½ inch, or the pull-downs <i>h</i> will be too -long in an equal degree, and the manual will be -silenced.</p> - -<div class="figcenter"> -<img src="images/fig58.jpg" alt="" /> -<p class="caption center little">Fig. 56.</p> -</div> - -<p>An easy way of making such a bridge rise and -fall is shown in Fig. 56. The bridge <i>a</i>, which -cannot be too solid and heavy, is held between -guides, <i>c d</i>, which are blackleaded and accurately -adjusted. At each end of the bridge is fitted a -little roller or wheel of box-wood, turning freely on -a pin. To the frame below is fitted another such -roller, or two, as in the figure. Between these two -or three rollers, at each end of the bridge, an -inclined plane of wood, <i>e</i>, is made to traverse by -means of a horizontal trundle and arms. It will be -seen at a glance that when the inclined plane is -pushed between the rollers by drawing or thrusting -in a stop-handle, it lifts the bridge between the -guides and dislocates the action; when it is withdrawn, -the bridge resumes its place by its own -weight, and the action is again in order.</p> - -<p>It is now easy to understand the construction of -the remaining couplers. The choir-coupler (Fig.<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span> -52, p. 152), has two bridges, <i>x</i>, <i>y</i>, with two sets of -short backfalls and communicating stickers. If the -bridges are fixed, then on depressing any key on -the upper manual its tail raises the backfall, which -presses down the lower backfall, which in its turn -pushes up the tail of the lower key and causes the -note to be heard. If the upper bridge be made to -rise or the lower to fall ½ inch, then the keys are -at once disconnected.</p> - -<p>(<i>c</i>) The coupling of manuals to pedals is generally -effected by rising and falling bridges, carrying -backfalls which push up the tails of the keys. -These bridges are arranged one above the other -beneath the keyboards in large organs with three -or four manuals, each bridge bringing its own -manual into connection with the pedals by the -movement already described. One roller-board -(the rollers are often of iron for the sake of compactness) -suffices for all the sets of backfalls, and -the stickers (in this case generally flat strips of -wood) pass through mortices cut in the tails of -the lower keys to act upon the tails of the keys to -which they belong.</p> - -<p>The reader will easily perceive from these hints -how the pedals may be made to act through their -whole extent upon one of our manuals, and through -only a part of their extent upon the other manual, -as we have hinted at page 148. There will be two -bridges, one over the other, and a very little -ingenuity will be required to plan the roller-board -so that the central C of the pedals shall pull down<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> -the lowest C of the second manual (be it upper -or lower), and thus give the octave below (or 16-feet -pitch) without additional pipes from that note -upwards. But this, perhaps, belongs to the subject -of the pedal organ, which we reserve for the conclusion -of this book.</p> - -<p>It is right to add here that in old-fashioned -organs, both in England and on the Continent -(where many such instruments remain unaltered), -the manuals were made to couple by being drawn -out or pushed in about ½ inch. A spur or protuberance -of wood was glued to the upper part -of the tail of each key, and a similar spur to the -under part of the tail of the key in the manual -above. These spurs had rounded ends covered -with leather. On shifting one of the key-boards -backwards or forwards the spurs met each other, -and the coupling was effected. Or the spurs were -glued under the front of each key, immediately -behind the beading of the key-frame, and upon -the upper surface of each key in the manual -beneath it, and a similar shifting brought about -a like result. We see no objection to this very -simple old-fashioned arrangement strong enough -to induce us to discard it from consideration.</p> - -<p>The common type of small church organ with -Great and Swell (throughout) would be vastly -improved by the introduction of a manual between -the other two, having no stops of its own, but -coupled to both by such spurs. Instead of two -qualities of sound, namely Swell alone and Great<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span> -and Swell combined (the incessant use of the -coupler being the inveterate habit of most players), -we should have three: Great alone, Swell alone, -and combination of Great and Swell. This obvious -improvement could be introduced into new organs -or added to existing instruments at a very small -cost. There should be a coupler to connect this -Combination Manual with the pedals.</p> - -<p>It is undeniable that the addition of a pedal -organ with a Sub-bass or Bourdon of 16-feet tone -is a very important and valuable improvement -to any organ, large or small. It gives a dignified -cathedral-like solemnity and grandeur which every -ear can appreciate. We shall bring our treatise -to a close by a few remarks upon it.</p> - -<p>1. The pipes will be made precisely like those of -the Stopped Diapason, of which they may be -regarded as a continuation, and they should be of -stout material, the last four or five of inch stuff, -then three-quarters to the twelfth or thirteenth -note above.</p> - -<p>On the question of scale the most diverse -opinions have found favour of late years. A -writer whose <i>dicta</i> are entitled to respect<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> urges -that the lowest pipe (CCC, 16-feet tone) should -have the enormous if not preposterous scale of 11½ -by 13 inches inside measurement, and that the -next six pipes above it should be in proportion. -After that, he says, a smaller scale may suffice.<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> -It is clear that if this ruling be correct we may -dismiss the idea of introducing a Sub-bass into our -chamber organ. Mr. Hopkins, on the other hand, -prints two scales for 16-feet toned Bourdons, the -larger of which gives 6⅛ inches by 4⅝ as the inside -measurement of the CCC pipe; while the smaller -gives 5 inches by 3⅜ for the same pipe. We may -safely adopt this larger scale of Mr. Hopkins; and -we will only say further that with our light 2-inch -wind the mouths should be cut up one-third of the -width, or rather less, and the foot-holes should be -of ample size.</p> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Rev. F. G. Hayne, Mus. Doc., "Hints on the Purchase of an -Organ." Novello, 1867.</p></div> - -<p>2. Their location in the organ must depend very -much on special circumstances. When they can -be placed in a row at the back of the instrument, -their connection with the pedals becomes very -simple, two sets of squares with trackers running -under the bellows being all that will be necessary. -If the room has abundance of height, the back set -of squares may act on a roller-board, and then the -pipes can be disposed symmetrically, the largest -at each end.</p> - -<p>3. The board on which they stand will not -require a slider. It will be, in fact, a wind-chest -only, a long box of stout pine or deal, having holes -in its top countersunk to receive the pipe-feet. -Under each hole is placed a pallet or valve, held -up by a strong spring, and having a pull-down -wire passed through a brass plate in the usual way.</p> - -<p>The aperture of the wind-trunk is in the lower -board of this chest, and over it, before the board is<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> -in place, is fitted a valve, faced with leather, and -made to slide to and fro between guides. An iron -spindle, turned to fit accurately in a brass collar, -carries an arm jointed to the valve by a connecting -rod or trace; and outside the chest it carries -another arm, at right angles to this, jointed to the -draw-stop handle or its trace. We have, in fact, a -trundle passing air-tight through a collar, and by -this simple contrivance we can shut off the wind -at pleasure from the chest. Other methods of -effecting this are in use, and may easily be -devised. The pipes are very frequently placed on -both sides of the organ, to the right and left. In -this case the two chests will be at right angles -to the manual chest or chests, and the action will -be less direct. But it will be readily arranged as -follows:—The pedal roller board will be long -enough to act upon sets of squares, carried on the -organ-frame to the right and left of the player, and -at any convenient height. The other arms of -these squares act by trackers on roller-frames -placed under the chests.</p> - -<p>There are cases in which this roller-board will -be better placed at the back of the organ, the connection -between it and the pedals being by squares -and trackers; and there are also cases in which -a large roller-frame lying upon the ground under -the bellows may be made to answer every purpose. -Bell-cranks, or horizontal squares, may also transmit -the pressure of the foot on the pedal by other -squares and trackers to the pedal pallets in a<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span> -manner analogous to that of the draw-stop action, -Fig. 49. There is abundant room for ingenuity -and contrivance in all these details; the essential -points are strength, quietness, and accessibility -for repair or adjustment.</p> - -<p>Some of our readers may be able to indulge in -the luxury of a second pedal stop. This should be -a Violoncello in metal, of 8-feet tone and length. -In this case the pedal chest or chests will be regular -sound-boards, with sliders; or the Sub-bass may be -on a chest as already described, while the Violoncello -may be on another, with two actions.</p> - -<p>We have only to add, that the power and effectiveness -of small organs may be increased by the -contrivance called a "Terzo Mano" (Third Hand), -or octave coupler. Let us suppose that an ordinary -action has been fitted with backfalls in the usual -positions. Then a second bridge, rising and falling -by a draw-stop, is introduced, carrying skew backfalls -which act on the pull-downs an octave higher -than the first set. Thus the key CC will take down -the Tenor C note, and so on throughout the scale. -It is evident that the effect on the ear will be nearly, -though not quite, the same as if each 8-feet stop -had its corresponding 4-feet stop drawn with it. -An Open Diapason will sound like an Open Diapason -and Principal; a Stopped Diapason, like a -Stopped Diapason and Stopped Flute, &c. To -render the illusion complete, the pipes should be -carried up twelve notes higher than the apparent -compass of the key-board, that is to say, if the key-<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span>board -has fifty-four notes the sound-board should -have sixty-six grooves.</p> - -<p>In a similar way the pedal Sub-bass may be made -to play in octaves, producing the effect of a Sub-bass, -16-feet tone, with a Flute-bass of 8-feet tone -added to it.</p> - -<p>Of all such mechanical devices it must be said, -finally, that neatness, accuracy, and noiseless precision -of action are the conditions necessary to -complete success.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span></p> - -<div class="chapter"> -<h2 id="c13">CHAPTER XIII.</h2> -</div> - -<p class="c"><i>VILLAGE CHURCH ORGANS.</i></p> - - -<p><span class="smcap">Our</span> labours have hitherto been exclusively directed -towards the production, in private workshops and -by young workmen, of small organs adapted for -domestic use. That such organs should be of -varied character, and that they should represent -the differing musical tastes and unequal mechanical -ingenuity and adroitness of their unprofessional or -self-taught constructors, is the legitimate outcome -of the circumstances assumed.</p> - -<p>The case of organs for churches must be regarded -from a different stand-point. Designed for -public use, and consecrated to lofty purposes, they -should reflect no private fancies or peculiar tastes; -should admit of no experiments or eccentricities; -should be distinguished by excellence of material, -finished perfection of workmanship, and solid stability -of structure. We cannot, therefore, recommend -the construction of any church-organ in a -private workshop. The aim and object of this -volume would be entirely misconceived by any -reader who should imagine that we encourage -such an ambitious attempt. However humble as<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span> -to style of architecture the church may be, however -unpretending the scheme for the organ may -be, we must strenuously advocate the placing the -order for its erection in the hands of a well-established -firm of professional builders.</p> - -<p>Guarding ourselves thus, we trust, against all -possibility of misconception, we shall endeavour in -the following pages to offer some suggestions on -the subject of village organs, which may tend to -smooth away perplexities from the path of those -who, without any previous acquaintance with such -matters, find themselves called upon to exercise -discretion, and pronounce decisive judgment on -estimates and specifications submitted to them by -builders and by musicians.</p> - -<p>In using the term "Village," we refer less to -locality than to condition. We desire to be of -service to the promoters of the erection of an organ -in those very numerous cases in which no skilled -player is resident in the place, and in which the -new instrument will inevitably be left to the modest -efforts of a schoolmistress or of a young beginner, -on whose ability, moreover, no greater demand -will be made than that which is involved in the -accompaniment of simple chanting and psalmody. -It is to the dwellers in such quiet corners of -the country that we would offer a few rules or -maxims, based, we hope, on principles, the soundness -of which will commend itself to their good -sense.</p> - -<p>Let us bring together, in a compressed form, a<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span> -few of these maxims, afterwards examining them -in detail.</p> - -<p>A village organ should be of simple construction, -containing no mechanism liable to sudden derangement. -It should stand well in tune, without -attention, even though placed in a building exposed -to alternations of temperature and perhaps not free -from dampness. Its musical effects should be -readily and obviously producible by any person -sitting down to it for the first time, and guided -only by experience gained at the harmonium or -pianoforte. It should present no facilities for -ambitious attempts at executive display by thoughtless -aspirants. Its power, or volume, should be -sufficient to assert itself unmistakably in a full -congregational chorus; and its tone, or quality, -should be that which long experience has shown to -be impressive and pleasing to the vast majority of -listeners. Hence, it will be capable of emitting no -sounds which might be described by any uneducated -hearer as odd or curious. Lastly, let us add -that its case should be shapely, even if destitute of -ornamentation.</p> - -<p>Whole pages of disquisition may be saved if we -proceed at once to apply these maxims to the -specification of the smallest and least costly organ -which we shall recommend for a village church: -an organ, namely, with four stops only.</p> - -<p>1. Organ No. 1. The manual will be from CC to -E in alt, 53 notes.</p> - -<p><i>Remark.</i>—The key-board is more sightly when<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span> -its two extremities are rendered similar by this -omission of the top F. But the further omission of -the four upper notes would still leave a compass of -49 notes, amply sufficient for the accompaniment of -voices.</p> - -<p>2. Its stops will be these:—</p> - -<p>(<i>a</i>) Open Diapason, metal throughout, or of metal -from Gamut G, with seven pipes of open wood -below.</p> - -<p><i>Remark.</i>—These open wood pipes, when properly -scaled and voiced, have some advantages over -metal for our present purpose, and may be placed -so as to close in the back of the case instead of -panelling.</p> - -<p>(<i>b</i>) Principal of metal throughout, being the octave -of the Open Diapason, to which it will therefore -be made to conform as regards scale and voicing.</p> - -<p><i>Remark.</i>—The two stops, (<i>a</i>) and (<i>b</i>), when played -together, will furnish the element of power, or loudness, -to the organ.</p> - -<p>(<i>c</i>) Stopped Diapason of wood throughout, or of -metal with chimneys from middle C to top; but not -with a Clarabella of open wood as its upper part.</p> - -<p><i>Remark.</i>—The metal Stopped Diapasons which -have come down to us from the days of Harris, and -other old builders, are often of exquisite beauty of -tone. Modern builders are apt to neglect the stop, -and to treat it as a mere "Coppel," or vehicle for -exhibiting the qualities of imitative stops. We -should be glad to persuade them to make the upper -octaves of oak, after the example of Schmidt.</p> - -<p><span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span></p> - -<p>(<i>d</i>) Stopped Flute of wood throughout, or of metal -with chimneys as to its three upper octaves. This -stop pretends to no imitation whatever of the well-known -musical instrument, the Flute, but is simply -the octave of the Stopped Diapason, of which it -should follow the scale and voicing.</p> - -<p><i>Remark.</i>—The two stops, (<i>c</i>) and (<i>d</i>), when played -together, supply to the organ the important element -of softness and tranquil clearness; and when added -to (<i>a</i>) and (<i>b</i>), they enhance the fullness and volume -of those stops, while correcting a certain crudeness -or tendency towards harshness. The Stopped Flute -fulfils a further most important office. When added -to the two Diapasons (without the Principal), it -imparts not only a most pleasing silvery sweetness -to the tone, but gives a definiteness of pitch which -will correct the tendency of school-children to sing -out of tune. This stop should, therefore, on no -account be omitted, or cancelled in favour of more -showy or conspicuous qualities of tone.</p> - -<p>3. Be it carefully observed that the stops (<i>a</i>) and -(<i>b</i>) can be made to produce sounds of several gradations -of loudness according to the scale of the -pipes, the pressure or weight of the wind, and the -character of the voicing. Their tone will be further -affected by the substance and quality of the pipe-metal. -Let us confidently assume that the order -for the new organ will be given to no builder who -does not hold his art in such esteem as to be incapable -of using inferior and perishable materials. -The metal should be tin and lead only, in at least<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span> -equal proportions; still better if the tin be three-fourths, -four-fifths, or seven-eighths of the whole -alloy. The wind-pressure should be light, as we -desire that the feeder should be easily worked by -the foot of the player. The scaling and voicing -must be left to the judgment of a trustworthy -builder, as they will vary with the capacity of the -church and the requirements of the singing. -Enough if we advise that, even in the case -of the smallest church, the two metal stops be -of bold, out-speaking character, asserting themselves -distinctly, and having no tinge of the -muffled or subdued quality proper to chamber-organs.</p> - -<p>4. The case of the organ, even if carving be entirely -absent, may be of graceful and pleasing outline -by making the upper part, above the level of -the keys, overhang the lower part, or base, which -encloses the bellows.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> This lower part need not -be much wider than the key-board itself, and about -three feet in depth, from front to back. If the upper -part be five feet in width, it will overhang the base -one foot or a little less on each side, obtaining -apparent support from a pair of brackets. The total -height, if the open bass pipes be set down at the -back, will not exceed nine feet; but the speaking -front may be well thrown up by the usual expedients -if the church be lofty. We strongly advise<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span> -that these speaking front pipes be left of their -natural silver colour, which they will not lose if -tin predominates largely over lead in the alloy. -For our own part, we are no admirers of the chocolates, -dark blues, and sage greens smeared upon -front pipes by way of decorating them. Too often, -we fear, such diapers are a cloak for very inferior -metal, which would soon betray the presence of -antimony and other deleterious ingredients by -turning black if left unpainted.</p> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> See the frontispiece of this book. Some charming but elaborate -designs will be found in the Rev. F. H. Sutton's "Church Organs," -published by Rivingtons. Folio. 1872.</p></div> - -<p>The draw-stops will be most conveniently -handled if arranged above the keys, under the ledge -of the book-board, as in the harmonium. It will -be well to place the Stopped Diapason and Flute -on the left, and the Open Diapason and Principal -(which will be more frequently drawn and shut off) -on the right, leaving an interval of a foot or so -between the two pairs.</p> - -<p>The cost of this four-stop organ, made of first-class -materials, in a case of stained deal or pitch-pine, -should not exceed £80. A provincial builder, -who works with his own hands, might undertake -it for a smaller sum, but we cannot counsel a -diminution of cost by a lowering of the standard -of the pipe-metal or by a resort to inferior -woods.</p> - -<p>A hasty <i>résumé</i> of our design will show a close -correspondence with our initial maxims.</p> - -<p>The organ is:—</p> - -<p>1. Of simple construction, containing no mechanism -liable to sudden derangement.</p> - -<p><span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span></p> - -<p>2. It will stand well in tune, without attention, -even for years, especially if the smaller stopped -pipes be of metal with chimneys.</p> - -<p>3. A new player will be met by no special -difficulty whatever.</p> - -<p>4. As there is no "swell," there can be no exhibition, -on the part of the player, of the peculiar forms -of bad taste to which that invention lends fatal -facility; and as there are no pedals, there will be -no lumbering and blundering attempts to play -grand compositions never meant for village -churches.</p> - -<p>5. Its power, or volume, will be ample for the -accompaniment of the ordinary congregational -singing of two or three hundred persons, and more -than abundantly sufficient for the support of a -rustic choir; and it emits no sounds which can -provoke criticism by singularity of intonation, and -which have not been found, by long years of experience, -to be invariably agreeable to all musical -ears.</p> - -<p>Organ No. 2. To the four-stop instrument just -described, a "Dulciana" might be added, at a -further cost of about £10, less or more, according -to quality of pipe-metal, &c. Its compass will be -from Tenor C to top, or, still better, from B flat or -a lower note, the remaining sounds being obtained -by grooving to the Stopped Diapason. The Dulciana -is of beautifully delicate tone, slightly nasal; -when played with the Stopped Diapason it gives a -charming clearness and sonority to that soft stop.<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span> -When the Flute is added, we have a true choir-organ -quality, most useful in the accompaniment -of low and solemn music.</p> - -<p><i>Remark.</i>—Some builders or organists may recommend -a "Salicional," or "Viola di Gamba," -or "Keraulophon," in place of the Dulciana. All -these stops, when properly made, are of beautiful -tone, but their beauty is of a kind which soon -satisfies, and then is apt to weary the listener. -They are therefore excluded from our village organ -by one of our maxims. The same sentence of -exclusion must be passed upon the class of stops -known as "Lieblich Gedact," and rightly introduced -in large organs as alternatives for the -Stopped Diapason and Stopped Flute. "Their -tone in the treble," says Mr. Hayne,<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> "is so peculiar -as to become wearisome, and a little of them -goes a very long way." The imitative Flutes, -which have many different names, as "Flauto -Traverso," "Concert Flute," "Oboe Flute," and -the like, find their place in organs of much -larger dimensions than our village organ; and -Harmonic stops, of every pitch and quality, are -shut out by their costliness, if not by the character -of their tone, which is unacceptable to some -ears.</p> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> "Hints, &c.," p. 14.</p></div> - -<p>Organ No. 3. Perhaps greater loudness may be -reasonably desired when the village church is -large and the singers numerous. This accession of -power will be gained by adding two more complete<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span> -ranks of pipes, namely, a Twelfth of three feet -(nominal) and a Fifteenth of two feet, both in -metal. We cannot enter into controversy with -modern purists who object to the Twelfth. Enough -that its effect, when duly balanced, has been accepted -as dignified and elevating for centuries -past. As it is never used without the Fifteenth, -the pipes of both may be governed by one slider, -and in this case the stop may be called "Mixture, -ii. ranks."</p> - -<p>The additional cost of the Twelfth and Fifteenth, -with the necessary enlargement of the sound-board -and bellows, may be £20 or £25.</p> - -<p>Organ No. 4. The stops which have been enumerated, -with one or two additions, might be -distributed between two manuals, with great advantage -to the player, and without a violation of -any of our self-imposed conditions. Instead of -suggesting the list of stops ourselves, we give the -names and distribution of those in the beautiful -little organ in the choir of Jesus College Chapel, -Cambridge, designed by the late Sir J. Sutton, -Bart., and built by the late J. C. Bishop, some old -wooden pipes by Schmidt being worked in.</p> - - -<p class="c bit"><i>Upper Manual, or Great Organ.</i></p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> - -<tr><td class="tdl">1. Open Diapason</td> - <td class="tdl">8</td> - <td class="tdc">feet.</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">2. Stopped Diapason </td> - <td class="tdl">8</td> - <td class="tdc">"</td> - <td class="tdc">tone</td></tr> - -<tr><td class="tdl">3. Principal</td> - <td class="tdl">4</td> - <td class="tdc">"</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">4. Twelfth</td> - <td class="tdl">3</td> - <td class="tdc">"</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">5. Fifteenth</td> - <td class="tdl">2</td> - <td class="tdc">"</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">6. Tierce</td> - <td class="tdl">1⅗</td> - <td class="tdc">"</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">7. Mixture</td> - <td class="tdl">iii.</td> - <td class="tdc"> ranks.</td> - <td class="tdc"></td></tr> -</table> - -<p><span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span></p> - -<p class="c bit"><i>Lower Manual, or Choir Organ.</i></p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> - -<tr><td class="tdl">1. Open Diapason,</td> - <td class="tdc">wood</td> - <td class="tdl"> 8</td> - <td class="tdc"> feet.</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">2. Stopped Diapason</td> - <td class="tdc">"</td> - <td class="tdl"> 8</td> - <td class="tdc"> "</td> - <td class="tdc">tone.</td></tr> - -<tr><td class="tdl">3. Open Flute</td> - <td class="tdc">"</td> - <td class="tdl"> 4</td> - <td class="tdc"> "</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">4. Stopped Flute</td> - <td class="tdc">"</td> - <td class="tdl"> 4</td> - <td class="tdc"> "</td> - <td class="tdc">tone.</td></tr> -</table> - -<p>Such an organ could not be costly, as there is -no swell-box, and as large Bourdons or 16-feet -Open Diapasons are absent, together with couplers -and all other complications. But perhaps it is -luxuriously large for a village church of average -size. It might be somewhat lessened thus:—</p> - -<p>Organ No. 5.</p> - -<p class="c bit"><i>Great Organ (Upper or Lower, as preferred).</i></p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> - -<tr><td class="tdl">1. Open Diapason</td> - <td class="tdl">8</td> - <td class="tdc">feet.</td></tr> - -<tr><td class="tdl">2. Hohl-flöte, wood </td> - <td class="tdl">8</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">3. Principal</td> - <td class="tdl">4</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">4. Stopped Flute</td> - <td class="tdl">4</td> - <td class="tdc">"</td></tr> - -<tr><td class="tdl">5. Mixture</td> - <td class="tdl">iii.</td> - <td class="tdc"> ranks.</td></tr> -</table> - -<p class="c bit"><i>Choir Organ (Lower or Upper).</i></p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> - -<tr><td class="tdl">1. Stopped Diapason</td> - <td class="tdl">8</td> - <td class="tdc"> feet</td> - <td class="tdc"> tone</td></tr> - -<tr><td class="tdl">2. Dulciana</td> - <td class="tdl">8</td> - <td class="tdc"> "</td> - <td class="tdc"></td></tr> - -<tr><td class="tdl">3. Gemshorn, <i>a light Principal</i> </td> - <td class="tdl">4</td> - <td class="tdc"> "</td> - <td class="tdc"> "</td></tr> -</table> - -<p><i>Remark.</i>—The Mixture, No. 5, will be 15th, 19th -and 22nd from CC to middle B, and 8th, 12th -and 15th onwards to the top.</p> - -<hr class="tb" /> - -<p>Perhaps we should not conclude without noticing -one or two objections to our plans.</p> - -<p>First. "Organs cannot be properly played -without pedals."</p> - -<p>Most unquestionably true classical organ music -cannot be played on instruments with manuals -only. But it was on such instruments that the -illustrious <span class="smcap">Handel</span>, with his contemporaries and<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span> -predecessors, Croft, Boyce, Worgan, the blind -Stanley, and a host of others, delighted their -audiences by their masterly performance. Pedals -were not added to English organs until the latest -years of the eighteenth century. The nineteenth -was far advanced before the pedal-board, of full -compass, had come to be considered an essential -part of every organ.</p> - -<p>Why should the effective management of organs -without pedals be among the lost arts? Why -should not the clever manipulation of such organs -be practised by ladies, and by the modest players -in villages, to whom the preludes and fugues which -echo through the aisles of the cathedral must ever -be a dead language? Why should the cathedral -player himself, fresh from his pedal fugues, deem it -beneath his dignity to draw sweet music, in a -totally different style, from an instrument on which -Handel would have willingly displayed his powers?</p> - -<p>We were present on a certain occasion, many -years ago, when the late Professor Walmisley, of -Cambridge, was asked to play on a small and old-fashioned -organ without pedals. The distinguished -pedallist and renowned interpreter of Bach's compositions -did not turn away with contempt. He -seated himself, and charmed all who were present -by his ingenious extemporisation. The skill, and -learning, and resource of the true musician were -never more conspicuously displayed.</p> - -<p>We see no reason whatever why such a bright -example should not be followed; and, while we<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> -yield to no one in appreciation of the pedal-organ, -and of the music proper for it, we hold that the -typical organ of the village church has no concern -with these, and that no greater demand should be -made upon the executive powers of its player than -that which is made in the acquirement of a pure -<i>legato</i> style at the pianoforte or harmonium.</p> - -<p>Second. "Why omit the Swell, the greatest -improvement of modern organs?"</p> - -<p>The Swell-organ proper owes its effectiveness to -its reed stops, and these are one and all excluded -from our village organ by the fact that they require -the frequent attention of a tuner. We grant, however, -that reedy stops of the Gamba class might -take their place in small organs; and we admit -that our organs, Nos. 1, 2, and 3, might be very -easily enclosed in swell boxes, while a "Swell" -might take the place of a "Choir" in No. 5. Such -alterations would have many advocates, both professional -and amateur.</p> - -<p>In adhering resolutely to our plans, we must -express the opinion that the judicious management -of the Swell is a gift rather than an art. It -is but occasionally, we think, that refined taste is -made evident by a sparing use of the tempting -contrivance. Too frequently, even in churches of -high class and pretension, the tone of the swell-organ, -with its mechanical rise and fall, prevails -from the beginning to the end of the performance, -until the ear longs for relief. If the abuse of the -Swell be thus common even in town churches,<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span> -is it well to trust an apparatus which may be so -easily misunderstood to the discretion of players -in village churches?</p> - -<p>Moreover, our village organ is for the accompaniment -of singers. We believe that many musicians -will endorse our opinion that as an accompaniment -for singers the Swell-organ is misleading and unsatisfactory. -An accurate ear will often detect a -slight difference of pitch in the pipes of a small -Swell-organ when the shades are closed or suddenly -opened. We have repeatedly heard the -voices of the men and boys, even in very good -choirs, thrown out of tune by injudicious persistence -in the use of the Swell as an accompaniment. -The sense of discomfort and uncertainty -was removed at once when the player transferred -his hands to the Choir-manual, with its quiet and -cheerful brightness.</p> - -<p>It is for these reasons, and not from any want -of appreciation of the effect of the Swell in the -hands of an educated and gifted performer, that we -counsel our village friends to turn a deaf ear to the -praises of the Swell which will doubtless reach -them from many quarters, and to rest content with -genuine organ-tone produced by means which do -not lend themselves to abuse.</p> - -<p>A few words may be added for the guidance of -those who find themselves entrusted with the care -of old instruments.</p> - -<p>The eighteenth century witnessed the erection, -in the churches of many country towns, of noble<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> -organs, honestly constructed by true artists, men -who disdained the use of inferior timber or of base -metal. A great number of these costly and beautiful -instruments remained unaltered, or at least -uninjured, within the recollection of the present -writer, but demolition rather than restoration has -been at work during the last thirty or more years, -and the plea which we would put forward for the -reverent preservation of the works of old masters -may now be opportune in but few and isolated cases.</p> - -<p>Nevertheless, if it should happen to any of our -readers to discover in a village church, or in that -of some quiet market-town, an organ by <span class="smcap">Snetzler</span> -(1749), by his predecessors, or by his immediate -successors, ending with the <span class="smcap">Englands</span>, father and -son, we would earnestly counsel a respectful treatment -of the valuable contents.</p> - -<p>An old picture may have long lain hidden in a -lumber-room, with its face to the wall; when -brought into the light, and its merits recognised -by an expert, its possessor replaces the worm-eaten -stretcher and decayed frame by new wood, -but he would indeed act strangely if he permitted -the house-painter to touch the precious canvas with -his brush.</p> - -<p>Yet we have known many organs by the builders -and of the period indicated above, taken down and -carted away; their pipes (in Snetzler's case of -nearly pure tin) sold for a trifling sum or thrown -into the melting-pot; and this wanton destruction -has been justified on the ground that the time<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span> -is come for a "better instrument," that the old -organ is "screamy;" above all, that the belauded -"Swell" is wanting. Accordingly the modern -builder meets the wishes of his customers by providing -an organ of the common-place type, and -the reign of Swell-coupler and Pedal Bourdon is -duly inaugurated.</p> - -<p>Surely a wiser course would have been this:—Carefully -preserve every pipe, and round out those -which may be bruised by rolling them on mandrils; -insist on the inclusion of all these pipes -without any omission whatever in the new structure -which the ravages of the worm may have -rendered inevitable; add to these original contents -(if funds permit) some modern ranks of pipes -carefully voiced by an accomplished artist to the -same pressure of wind, and calculated to support -and balance the shrill high tones which the old -organ doubtless contains; repair the old case, and -even retain the old key-board if possible.</p> - -<p>No doubt, in towns, where a succession of skilled -players may be found, the addition of a Swell-organ -and of a pedal-organ, both most carefully -designed, scaled, and voiced, cannot justly be disapproved. -The instrument, thus reinstated, will be -a most interesting link with the past; will supply -in itself a history of the progress of the organ-builder's -art, and will possess an individuality of -tone which educated listeners will appreciate, and -which they fail to perceive in many or most of the -organs erected in the present day.</p> - -<hr class="full" /> - -<p><span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span></p> - -<p class="ph2 gesperrt">INDEX.</p> - -<div class="figcenter"> -<img src="images/fig3.jpg" alt="printers mark" /> -</div> - -<ul class="index"><li class="ifrst"> Action. (<i>See</i> KEYBOARD, PEDAL.)</li> - - -<li class="ifrst"> Backfalls, <a href="#Page_94">94</a></li> - -<li class="indx"> Bars of sound-board, <a href="#Page_36">36</a></li> - -<li class="indx"> Bearers of ditto, <a href="#Page_38">38</a></li> - -<li class="indx"> Bell-cranks, <a href="#Page_129">129</a></li> - -<li class="indx"> Bellows, construction of, <a href="#Page_73">73</a></li> - -<li class="indx"> Blacklead, <a href="#Page_57">57</a></li> - -<li class="indx"> Blowing pedal and lever, <a href="#Page_86">86</a></li> - -<li class="indx"> Boards, upper, <a href="#Page_39">39</a></li> - -<li class="indx"> Borrowing in bass octave, <a href="#Page_45">45</a>, <a href="#Page_145">145</a></li> - -<li class="indx"> Bourdon, <a href="#Page_160">160</a></li> - -<li class="indx"> Brass, its employment, <a href="#Page_63">63</a>, <a href="#Page_67">67</a></li> - -<li class="indx"> Bridge, <a href="#Page_94">94</a>, <a href="#Page_157">157</a></li> - -<li class="indx"> Building-frame, <a href="#Page_81">81</a></li> - -<li class="indx"> Buttons, leather, <a href="#Page_96">96</a></li> - - -<li class="ifrst"> Channels, <a href="#Page_29">29</a></li> - -<li class="indx"> Choir-organ, <a href="#Page_142">142</a></li> - -<li class="indx"> Clarabella, <a href="#Page_25">25</a></li> - -<li class="indx"> Cloths, <a href="#Page_96">96</a></li> - -<li class="indx"> Compass, of pedals, <a href="#Page_135">135</a></li> - -<li class="indx"> Combination-manual, <a href="#Page_159">159</a></li> - -<li class="indx"> Conducting-boards, <a href="#Page_48">48</a></li> - -<li class="indx"> Conveyances, <a href="#Page_51">51</a></li> - -<li class="indx"> Counter-balances for bellows, <a href="#Page_78">78</a></li> - -<li class="indx"> Couplers, various kinds of, <a href="#Page_152">152-157</a></li> - -<li class="indx"> Cuckoo-feeder, <a href="#Page_79">79</a></li> - -<li class="indx"> Cummins, his invention, <a href="#Page_75">75</a></li> - - -<li class="ifrst"> Diapason, open, <a href="#Page_44">44</a>, <a href="#Page_121">121</a></li> - -<li class="indx"> Diapason, stopped, <a href="#Page_10">10</a></li> - -<li class="indx"> Dip of keys and of pedals, <a href="#Page_103">103</a>, <a href="#Page_139">139</a></li> - -<li class="indx"> Drilling, <a href="#Page_67">67</a></li> - -<li class="indx"> Double sound-boards, <a href="#Page_112">112</a></li> - -<li class="indx"> Draw-stops, <a href="#Page_127">127</a></li> - -<li class="indx"> Dulciana, <a href="#Page_121">121</a></li> - - -<li class="ifrst"> Engines, hydraulic, <a href="#Page_79">79</a></li> - - -<li class="ifrst"> Fan-frame, <a href="#Page_101">101</a></li> - -<li class="indx"> Feeders, <a href="#Page_79">79</a></li> - -<li class="indx"> Fifteenth, Flageolet, Flautina, <a href="#Page_125">125</a></li> - -<li class="indx"> Flute, <a href="#Page_125">125</a></li> - -<li class="indx"> Frame, building, <a href="#Page_81">81</a></li> - - -<li class="ifrst"> Gamba, <a href="#Page_149">149</a></li> - -<li class="indx"> Gems-horn, <a href="#Page_125">125</a></li> - -<li class="indx"> Great-organ, <a href="#Page_147">147</a></li> - -<li class="indx"> Grooving, <a href="#Page_45">45</a>, <a href="#Page_145">145</a></li> - - -<li class="ifrst"> Key-boards, <a href="#Page_102">102</a></li> - -<li class="indx"> Key movements, <a href="#Page_97">97</a></li> - - -<li class="ifrst"> Lathe, <a href="#Page_5">5</a></li> - -<li class="indx"> Leather for pallets, <a href="#Page_61">61</a></li> - - -<li class="ifrst"> Manuals, <a href="#Page_146">146</a></li> - -<li class="indx"> Manual and Pedal, their relation, <a href="#Page_136">136</a>, <a href="#Page_139">139</a></li> - -<li class="indx"> Manual for combination, <a href="#Page_159">159</a></li> - -<li class="indx"> Materials for sound-board, <a href="#Page_7">7</a></li> - - -<li class="ifrst"> Names of notes in scale, <a href="#Page_10">10</a></li> - -<li class="indx"> Nicking. (<i>See</i> VOICING.)</li> - - -<li class="ifrst"> Organ, Old English, <a href="#Page_25">25</a>, <a href="#Page_147">147</a></li> - - -<li class="ifrst"> Pallets, <a href="#Page_61">61</a></li> - -<li class="indx"> Pedal-organ, <a href="#Page_136">136</a>, <a href="#Page_160">160</a></li> - -<li class="indx"> Pipes, wooden, <a href="#Page_14">14</a>, <a href="#Page_23">23</a></li> -<li class="isub2">metal, <a href="#Page_117">117</a></li> -<li class="isub2">lengths of, <a href="#Page_11">11</a>, <a href="#Page_15">15</a></li> -<li class="isub2">plantation of, <a href="#Page_30">30</a>, <a href="#Page_99">99</a></li> - -<li class="indx"> Principal, <a href="#Page_44">44</a>, <a href="#Page_121">121</a></li> - -<li class="indx"> Pull-downs, <a href="#Page_69">69</a></li> - - -<li class="ifrst"> Rack-boards, pins, <a href="#Page_42">42</a></li> - -<li class="indx"> Reed-stops, <a href="#Page_153">153</a></li> - -<li class="indx"> Regulation, <a href="#Page_126">126</a></li> - -<li class="indx"> Ribs, inverted, <a href="#Page_75">75</a></li> - -<li class="indx"> Roller-board, <a href="#Page_96">96</a></li> - -<li class="indx"> Running of wind, <a href="#Page_50">50</a>, <a href="#Page_55">55</a></li> - - -<li class="ifrst"> Scales for pipes, <a href="#Page_16">16</a></li> - -<li class="indx"> Sliders, <a href="#Page_29">29</a></li> - -<li class="indx"> Sound-board, construction of, <a href="#Page_39">39</a></li> - -<li class="indx"> Spitz-flute, <a href="#Page_125">125</a></li> - -<li class="indx"> Springs for pallets, <a href="#Page_63">63</a></li> - -<li class="indx"> Squares, <a href="#Page_95">95</a></li> - -<li class="indx"> Stickers, <a href="#Page_95">95</a></li> - -<li class="indx"> Stops, methods of drawing, <a href="#Page_127">127</a></li> - -<li class="indx"> Sub-bass, <a href="#Page_160">160</a></li> - -<li class="indx"> Swell-organ, box, <a href="#Page_141">141</a>, <a href="#Page_150">150</a></li> - - -<li class="ifrst"> Tablature, or nomenclature of notes, <a href="#Page_10">10</a></li> - -<li class="indx"> Temperament, <a href="#Page_125">125</a></li> - -<li class="indx"> Terzo Mano, <a href="#Page_163">163</a></li> - -<li class="indx"> Trackers, <a href="#Page_95">95</a></li> - -<li class="indx"> Trundles, wooden, iron, <a href="#Page_131">131</a></li> - -<li class="indx"> Tuning, <a href="#Page_126">126</a></li> - - -<li class="ifrst"> Valves of bellows, <a href="#Page_74">74</a>, <a href="#Page_77">77</a></li> - -<li class="indx"> Voicing pipes, metal and wooden, <a href="#Page_120">120</a></li> - -<li class="indx"> Village Church Organs, <a href="#Page_165">165</a></li> - - -<li class="ifrst"> Wind-chest, <a href="#Page_55">55</a></li> - -<li class="indx"> Wind-gauge, <a href="#Page_122">122</a></li> - -<li class="indx"> Wind-trunks, <a href="#Page_80">80</a></li> - -<li class="indx"> Wind-valve, or ventil, <a href="#Page_162">162</a></li> - -<li class="indx"> Workshop, <a href="#Page_2">2</a></li> -</ul> - -<p class="c">THE END.</p> - -<hr class="fulla" /> - - -<p class="c little p0">PRINTED BY J. S. VIRTUE AND CO., LIMITED, CITY ROAD, LONDON.</p> - - -<div class="transnote"> - -<p class="c">Transcriber's Notes:</p> - -<p>Illustrations have been moved out of mid-paragraph.</p> - -<p>Variations in spelling and hyphenation are retained.</p> - -<p>Punctuation has been retained as published.</p> - -<p>'Fig 29.' has been added to the illustration 'Sticker' on page 95.</p> - -</div> - - - - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Practical Organ Building, by W. E. 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