An organ stop can be one of three things:
36-458: Organ stops are sorted into four major types: principal , string , reed , and flute . This is a sortable list of names that may be found associated with electronic and pipe organ stops. Countless stops have been designed over the centuries, and individual organs may have stops, or names of stops, used nowhere else. This non-comprehensive list deals mainly with names of stops found on numerous Baroque , classical and romantic organs. Here are
72-427: A labial pipe ) is an organ pipe that produces sound through the vibration of air molecules, in the same manner as a recorder or a whistle , in a pipe organ . Air under pressure (called wind ) is driven through a flue and against a sharp lip called a labium , causing the column of air in the pipe to resonate at a frequency determined by the pipe length (see wind instrument ). Thus, there are no moving parts in
108-686: A Camino (Italian) Rohr Flute (German/English) Rorflojte (Danish) Salicet (???) Salicis Fistula (Latin) Schalmey (German) Chalumeau (French) Schallmey (German?) Sharp (English) Sharp Mixture (English) Akuta (German) Acuta (Latin) Vox Acuta (Latin) Spire Flute (English) Fifteenth (English) Quincena (Spanish) Quintadecima (Italian) Quinzième (French) Superoctav (German) Superoctaaf (Dutch) Regula Minima (Latin) Septadecima (Latin) Terz (German) Terts (Dutch) Bazuin (Dutch) Basun (Danish/Norwegian/Swedish) Military Trumpet (English) Trompette (French) Trompet (Dutch) Trompeta (Spanish) Tromba (Italian) Principal pipe A flue pipe (also referred to as
144-763: A bright sound that is low in fundamentals and rich in upper partials. String stops are generally named after bowed string instruments such as the Violoncelle , the Gamba , the Geigen (from the German Geige , for violin ), and the Viol . One of the most famous organs with a String Division is the Wanamaker Organ . Often, an organ will feature two similarly-voiced stops, one tuned slightly sharp or flat of
180-2160: A few of the most common ones: Eolina (Italian) Echo Salicional (English) Baritono (Italian) Varitono (Spanish) Blokfløjte (Danish) Blokfluit (Dutch) Blockpfeife (German) Bombardon (English) Bombardone (Italian) Bordone (Italian) Bordón (Spanish) Bardone (Italian) Violoncello (English) Violoncello (Italian) Roerfluit (Dutch) Flauto Camino (Italian) Flûte à Cheminée (French) Clarabel Flute (English) Claribel Flute (English) Melodia (American english) Clarinetto (Italian) Klarinett(e) (German) Clarino (Italian) Clarín (Spanish) Clarone (Italian) Klaroen (Dutch) Englisch Horn (German) Angle Horn (English) Corneta (Spanish) Kromhoorn (Dutch) Cremona (English) Cormorne (French) Montre (French) Principale (Italian) Principal (English) Prinzipal (German) Principaal (Dutch) Prestant (Dutch) Praestant (Latin) Tenori (Italian) Dulciane (French) Dulceon (Czech) Dolcian (German) Tolkaan (Dutch) Fagott (German) Bassoon (English) Basson (French) Flautim (Spanish) Fistula Minima (Latin) Viola di Gamba (Italian) Viole de Gambe (French) Gambe (French) Gedakt (Danish) Pileata (Latin) Stopped Diapason (English) Cor de Chamois (French) Bachflöte (German) Acoustic Bass (English) Basse acoustique (French) Flauta Armónica (Spanish) Harmonieflöte (German) Hohlpfeife (German) Holpijp (Dutch) Flûte Creuse (French) Petit Nasard (French) Diezmonovena (Spanish) Mixtura (Spanish) Mixtuur (Dutch) Hintersatz (German) Fourniture (French) Ripieno (Italian) Plein Jeu (French) Lleno (Spanish) Nachthoorn (Dutch) Cor de Nuit (French) Corno de Nacht (???) Pastorita (Italian) Nasardo (Italian/Spanish) Nazard (French?) Nason (English) Twenty-Third (English) Hautboy (English) Hoboe (???) Octaaf (Dutch) Octava (Spanish) Ottava (Italian) Prestant (Dutch) Praestant (Latin) Principal (English) Officleide (Italian) Ophicleïd (German) Ophikleid (???) Hautbois d'Orchestre (French) Quarte de Nazard (French) Quinta (Latin/Italian) Gros Nasard (French) Fifth (English) Double Twelfth (English) Quintatön (German) Regale (Italian) Regaal (Dutch) Flauto
216-560: A flue pipe. This is in contrast to reed pipes , whose sound is driven by beating reeds , as in a clarinet . Flue pipes include all stops of the Principal, Flute, and String classes, and some stops from the Hybrid class. Flue pipes may be metallic or wooden. Metal pipes are usually circular in cross section; wooden pipes are usually square or rectangular, though triangular and round wooden pipes do exist. A flue pipe has two major parts,
252-411: A foot and a resonator. The foot is the bottom portion of the pipe, usually conical. At its base is the toe hole , through which wind enters it. The length of the foot does not affect the pipe's pitch, so organ builders vary the foot lengths of their flue pipes depending on other factors, including the desired shape of the pipes in the façade, the height of the rackboard in which the pipes are seated, and
288-413: A horizontal opening at the juncture of the resonator with the foot. The voicing, the length of the resonator, and the resonator's volume all determine the fundamental pitch of the flue pipe. The conical taper of the pipe determines the overblown pitch. If the pipe is metal, a tuning sleeve or tuning collar may be fixed at the top of the resonator and raised or lowered to vary its length, thereby adjusting
324-419: A pipe's scale increases, more fundamental will be present, and fewer partials will be present in the tone. Thus, the tone becomes richer and fuller as the pipe's diameter widens from string scale to principal scale to flute scale. The material out of which the pipe is constructed also has much to do with the pipe's final sound. While recent scientific studies have shown that the nature of the metal used in making
360-469: A single pitch and timbre. The goal of tuning a pipe organ is to adjust the pitch of each pipe so that they all sound in tune with each other. For many years, there was no pitch standard across Europe. The frequency of a ′ (the standard note for tuning musical instruments), for example, could range from a ′ =392 Hz in parts of France to a ′ =465 Hz ( Cornet-ton pitch) in parts of Germany. Organs were often tuned differently than ensembles, even within
396-407: A tone in which both the even-numbered and the odd-numbered partials are present, while a stopped pipe produces a tone with odd-numbered partials. The tone of a stopped pipe tends to be gentler and sweeter than that of an open pipe, though this is largely at the discretion of the voicer. In the system of organ flue pipe scaling , "flutes" are generally the widest flue pipes and produce the tone with
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#1732771975103432-513: Is an undulating diapason, as in the Italian "Voce Umana" (not to be confused with the Vox Humana , which is a soft reed stop with a short resonator). Some flue pipes are designed to produce the sounds of reed pipes or to imitate the sounds of orchestral instruments which are approximated by reed pipes. The sound is generally more mellow and sweet than that of a true reed pipe. Examples include
468-416: Is very common, but by no means universal. Along with the temperament goes the overall concert pitch of the instrument, often A=440 Hz in modern instruments, but this also is far from universal. The pitch of an organ cannot be significantly changed without major work, as pipes need to be shortened or lengthened. Another important preparation step is to stabilize the temperature of the building in which
504-464: The Waldflöte (German for "forest flute"), produces a rounder, open sound. The Flûte harmonique ( French for "harmonic flute"), whose use the great 19th-century French organ builder Aristide Cavaillé-Coll advocated, is a metal flute pipe of double length with a hole punched in the center, which causes the pipe to speak at its first partial with a very round, intense sound. Cavaillé-Coll used
540-451: The French term fonds ) sound of an organ is composed of varying combinations of these three tonal groups, depending upon the particular organ and the repertory being played. The end of the pipe opposite the mouth may be either open or closed (also known as Gedackt or stopped ). A closed pipe sounds an octave lower than an open pipe of the same length. Also, an open pipe produces
576-486: The 16th century on) is the separated "Ripieno". The "Ripieno" includes many Diapason stops, all separate, in contrast to the German and French style "Fourniture" and "Mixtur". The 4′ pitch is called "Ottava" and all the others are named after the harmonic they produce. They can go up to the "Quadragesima Terza" (43rd), a pipe of 1 ⁄ 8 ′ pitch. String pipes are the smallest-scaled (narrowest) flue pipes. They produce
612-423: The 8′ Diapason; on German-style organs, the name Octav is used to indicate the stop an octave above the 8′ Prinzipal, and similarly for French instruments, the names Octave and Doublette for 4′ and 2′ pitches respectively are commonly used. In Italian organs, the 8′ and sometime the 16′ pitches are called "Principale" and form the foundation of the entire organ. One characteristic of the classic Italian organ (from
648-632: The Saxophone, the Muted horn, the Clarinet flute, and the Echo oboe. The diameter of a flue pipe directly affects its tone. When comparing pipes of otherwise identical shape and size, a wide pipe will tend to produce a flute tone, a medium pipe a diapason tone, and a narrow pipe a string tone. These relationships are referred to as the scale of the pipe: i.e., wide-scaled, normal-scaled, or narrow-scaled. As
684-452: The construction of the pipe: Reed pipes may be tuned in any of several ways: (1) by lengthening or shortening the vibrating length of the reed tongue by means of a wire protruding from the boot of the pipe; (2) by adjusting the effective speaking length of the resonator; (3) by adjusting the metal flap in the side of the resonator or the cap on the top of the pipe (especially with fractional length pipes). All of these methods can also affect
720-651: The façades of pipe organs, often painted and decorated. Diapasons appear throughout the entire range of the instrument, from 32′ pitch to 1′ pitch (not including mixtures ), a range of nine octaves. A stop of diapason type may or may not actually be labelled "Diapason". The "Diapason" label is most commonly used in English and American-style organs, whereas the same type of stop is known as a "Prinzipal" or "Principal" on German-style organs, and in French organs they would typically be called "Montre" (literally on "Display" - i.e.
756-461: The most fundamental and the least harmonics among flue pipes. They are so named because they sound like a flute instrument; though most flute stops are not intended to imitate a specific kind of flute, such as the modern orchestral instrument, they produce similar sounds. A stopped flute, such as the Gedackt ( German for "covered"), produces a more muffled sound, while an open flute, such as
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#1732771975103792-534: The mouth. When this low pressure area reaches a critical stage, it pulls the airstream past the edge of the mouth, filling the vacuum. This alternately pressurizes the inside and outside of the opening, pressurizing and rarefying the air in the pipe's resonator. The column of air in the resonator thus vibrates at a frequency determined by the pipe's dimensions. See Wind Instrument . Flue pipes generally belong to one of three tonal families: flutes , diapasons (or principals ), and strings . The basic "foundation" (from
828-532: The names Flûte Octaviante and Octavin for the 4-foot and 2-foot harmonic flutes, respectively. The Rohrflöte (German for "pipe flute", or more commonly "chimney flute" in English) is a stopped flute rank with a small pipe or chimney built into the cap. Diapasons or principals produce the characteristic sound of the pipe organ. They are not intended to imitate any other instrument or sound. They are medium-scaled and often feature prominently in
864-400: The organ resides. Ideally, the temperature should be the same as that at which the organ will be typically used, and the temperature should have been stable for many hours before beginning the tuning. The reason for this is that the pitch of organ pipes varies significantly with temperature, and not all pipes vary at the same rate relative to temperature. The actual tuning process begins with
900-620: The other. When these stops are played together, a unique undulating effect results due to alternating constructive and destructive interference ( beat frequency ). Examples include the Voix céleste (French for celestial voice ), typically tuned slightly sharp, and the Unda maris ( Latin for sea waves ), typically tuned slightly flat. String stops are most commonly used as undulating stops, though some builders have made undulating flute stops (notably Ernest M. Skinner 's Flute celeste). Rare outside Italy
936-547: The pipe has little or no effect on the final sound , organ builders agree that a tin/lead alloy, for example, creates a very different tone than does zinc or copper metals or spotted or frosted alloys. Pipe organ tuning ‹The template Manual is being considered for merging .› This article describes the process and techniques involved in the tuning of a pipe organ . Electronic organs typically do not require tuning. A pipe organ produces sound via hundreds or thousands of organ pipes , each of which produces
972-436: The pipes at the front of the organ case) or "Prestant" ("standing in front" - Latin praestare ). Furthermore, diapasons at pitches higher than 8′ pitch (pronounced "8 foot", referring to the length of the resonator part of the longest pipe of the stop) are often labelled with other names. For example, on English-style organs, the stops called Principal and Fifteenth sound one octave and two octave pitches respectively above
1008-403: The pitch produced. Between the foot and the resonator, the side of the pipe containing the mouth is flat. A plate of metal or wood called a languid , fixed horizontally here, blocks the airway, except for a small slot called the windway alongside the mouth. This allows air to flow as a sheet of wind directed towards the pipe's mouth. Flat pieces of metal or wood called ears may be attached to
1044-402: The position of one's ears relative to the pipes. Eliminating the beats brings the pipe into tune. Humidity is a factor in maintaining wooden pipes. Many churches use humidifiers/dehumidifiers in an attempt to keep the organ loft from drying or becoming too moist. These devices must be carefully monitored and managed to avoid creating the opposite problem. In fact, controlling the climate around
1080-417: The same pitch stand close to each other on the chest, they can draw each other into tune, even though their pitches are slightly off when played individually. The pitch of very low-pitched pipes (in the 16 ft and 32 ft octaves) can be inaudible close to the pipe. Organ tuners often listen for beats between harmonics rather than the fundamentals. The audibility of these harmonics is extremely sensitive to
1116-512: The same region or town. The modern tuning standard of a ′ =440 Hz (c ′ =262 Hz) was proposed in 1939, and accepted by the International Organization for Standardization (as ISO 16 ) in 1955 and again in 1975. The first task of an organ tuner is to select a temperament . Generally speaking, the temperament of a pipe organ is part of its design, and is not lightly changed during its lifetime. Equal temperament
List of pipe organ stops - Misplaced Pages Continue
1152-418: The sides of the mouth for tuning purposes, and a horizontal dowel called a roller or beard may be affixed at the pipe to ensure prompt pipe speech. When wind is driven into the foot of the pipe, a sheet of wind is focused by the windway across the mouth to strike just above the edge of the upper lip. This creates a Bernoulli effect , or "siphon effect", causing a low pressure area to be created just below
1188-430: The tonal regulation of the pipe, so tuning reed pipes is trickier than tuning flue pipes. Organ pipes are so sensitive to temperature that the body heat of the organ tuner can affect the tuning. If one holds a small metal flue pipe briefly in one's hand and then returns it to the chest ( windchest ), its pitch (relative to a tuning reference) can be heard to change as the pipe returns to room temperature. If two pipes of
1224-438: The tuning of the "tuning stop", the stop to which most or all other stops will be tuned in turn. The tuning stop is usually the 4 ft Octave or Principal ( Diapason ) in each division. The middle octave is usually tuned first, either by ear, or using some sort of electronic tuning device. The rest of the tuning stop is tuned to itself, in octaves . That is, tenor C is tuned to middle C, tenor D to middle D, and so forth. Once
1260-434: The tuning stop is fully in tune with itself, the rest of the stops are tuned. Most stops are tuned to the tuning stop, though some stops are more easily tuned to stops other than a 4 ft Principal. The most common tuning tool is called a "tuning knife". It is a piece of metal used to tap gently on the tuning mechanism of a pipe, so as to avoid touching the pipe with the hands. The techniques for tuning flue pipes vary with
1296-399: The weight of the completed pipe. Voicing of a pipe organ is the art of achieving the required tonal quality from each pipe, as distinct from tuning (setting its pitch or frequency). The term only applies to flue pipes, not to reeds , and is practised by a specialist voicer, who may also be the tuner. The resonator supports the oscillations of air generated at the mouth of the pipe,
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