156.65 S-i; - ~ ** *4 . A*. A* . AA . A A A * . Debicateb, b\' permission, to tl;e College of ©rganists. O 1ST TUNING THE ORGAN BY r m A. HEMSTOCK (ORGANIST, DISS). Ent. St a. Hall. 2s. 6d. nett. Sfonban t WEEKES & Co., 16, HANOVER STREET, REGENT STREET, W. (A U THOR'S PROPER TY. ) ‘. T T •W W 'W'W ' W* - W WW ’W - V s r X)ebicciteb, by permission, to the College of ©rgcmists. ' O 1ST TUNING THE ORGAN, BY A. HEMSTOCK (ORGANIST, DISS). Ent. Sta. Hall. 2s. 6d. nett. ^onimu : WEEKES & Co., 16, HANOVER STREET, REGENT STREET, W. (A mHOR'S PR OPER T Y. ) PREFACE In the following pages I have endeavoured to explain, in as concise and clear a manner as possible, the method of tuning the organ, from the starting-point, throughout the whole instrument, avoiding mathematical problems and figures as much as possible, and keeping the practical part in view ; for, of course, all scientific demonstrations are well to be known, but, in actual tuning, figures are of no practical value. Only just sufficient illustration will be given as will be found absolutely necessary to complete the task. A. H. February , 1876 . CONTENTS, Paragraph. 1 The intervals used in tuning, &c. 2 The ear, waves, beats, &c. 3 The systems of laying the bearings. Difference of the two systems. 4 Explanation of pure tuning. Major thirds not giving satisfactory results. Experiments. 5 Minor thirds not satisfactory. Pure octaves and fifths giving an unbearable third, &c. 6 Instruments with the octave divided into twelve semitones. Reference to Hopkins and Rimbault’s treatise. 7 On intervals being tempered, with the notes to form the guide for whole of the instrument. 8 Showing the proofs of the tuning as it is being done. 9 The stop on which the bearings are laid. Reference to Seidel’s work on the organ. Size and pitch of the different registers or stops. 10 Instruments used in tuning metal pipes, &c. 11 How to proceed after the principal is tuned. Difference between metal, wood, open and stopped pipes, scale of pipes, &c. 12 On grooving one stop into another. Flute stop, &c. 13 Twelfth, how to tune. Why it is a separate stop. Suggestion of mixtures. Harmonics from a given note. 14 Fifteenth stop difficult in the top octave. 15 Mixtures, how to tune. Instruments used while tuning them. 16 Other stops. Peculiarity of the Keraulophon. 17 The tuning influenced by heat of the hand, &c. 18 Stops on other manuals tuned to Great principal. 19 On tuning the pedal stops. 20 Reeds to be tuned last, &c. Difference of flue and reed pipes. The tuning influenced by heat or cold in general. 21 System of unequal temperament. 22 On altering an organ from unequal to equal temperament. APPENDIX. Various faults that occur in the organ, with their remedies. ON TUNING THE ORGAN. 1. Before the student attempts to tune, it is assumed he is acquainted with what is called an interval, that is, the distance from one sound to another, thus, C to C an octave, C to E a major third, C to Efe a minor third (a major third consists of four semitones, and a minor of three semitones), C to G a fifth, and so on. In the practical part of tuning, the intervals to be dealt with are the octave, the third, and the fifth, and, perhaps, the fourth and sixth. All these intervals, when perfectly in tune, have neither beat nor wave. In the following pages it will be found that, in practice, each of these intervals (except the octave, which must always be perfect), must be somewhat sharper or flatter than the pure interval, in order to get a satisfactory whole. 2. The unison, or identical sound, is when two pipes or strings produce the same number of vibrations in a given time ; and, until the two pipes blend into one steady, undivided sound, they will not be in tune. As the pipes or strings gradually approach the pitch of each other, the waves or beats get slower and slower, until perfect unison is reached ; and, by practising tuning the unison, the ear will, as it were, get educated to its duty, for the ear must divide all propor- tions ; so in order to tune well, it requires a fine ear, so as to be able to detect the least variation from perfection. After the student is able to tune the unison, the octave may be 6 tried, which will show, in a similar manner, waves or beats as it approaches purity. Then the fifth may be practised, which will be the interval that will require the most attention, for it will be seen that it is not left in a pure state. 3. Before beginning to explain the method of tuning, it will be best to mention that there are two systems, viz., what are called the unequal and the equal temperament , and it is the latter of which I am going to explain, in the most concise way possible to be understood, for the unequal or old method is fast going out of use ; but there are some of our leading musicians still advocate it for church organs, and the equal for concert organs, &c. Now the great difference between the two systems is this : the unequal makes certain keys more pure, and leaves the remote ones very badly out of tune, so as to be hardly fit for use ; but then, the argument is, why spoil all keys — as some say — by the equal method, and not have any pure, for it is not possible to have all pure, as will be seen further on. The keys that are bad on the unequal tempera- ment are these : Afe (the worst), B major, Dk or CJ, Gfe or F# It might be that these keys were pure and the ordinary ones very bad ; but, of course, it is best to have those that are not so much used left bad — the rest are very pure ; in fact, so pure, that when by .modulation one of the above chords are passed through, it makes them quite unfit for harmony, and offends a delicate ear very much until they are left, &c. 4. A very short and clear explanation will here show the reason why certain keys are so out of tune. In the first place, three major thirds on the keys look like a perfect octave ; 7 suppose the following three to be tuned as pure as the ear can possibly do them, viz. : — 1 2 3 Fig. 1. which look on the keys of the organ or pianoforte to be an octave ; tune the E a pure major third to the C (1), then the Gjf a pure major third to the E (2), then the B # a pure major third to the G# (3) ; now as the B# is played on the same key as the Cfl, a perfect octave is expected, but as Bfl in theory is not CjJ, that is the point ; the true major third to G# is Bfl, but the true major third to At is C ; the Cfl or Bjf will be found, on testing the accuracy of the tuning, to be much too flat to form a perfect octave to the lower C or starting-point. Now it is clear that if the C to E must be perfect, and the E to Gjf must be perfect, and the ear will not tolerate any imper- fection in the octave, it follows that the third from Gfl to Bjf, or, which is the same thing, on the organ keys At to C, must be so sharp as to be quite unfit for harmony, which is the manner of tuning by the unequal temperament , as it is called. It will be seen from the following division of a string that it is not reduced to its half. Let Fig. 2 represent the length of a length of string o * • for C ^ i | f of length for E i ■ ‘ 1 5 1 £ of E, length for G|l a I * . 5 1 4 of G|j, length for B § \ 8 8 length for octave C n 8 string to produce C. Now half the length will produce its octave, and four fifths of its length will produce the major third, or, which is the same thing, reduce the string 5 ; now as a string reduced l gives its major third, it follows that the remainder reduced l will give its major third, which will be the Gjf, now reduce the remainder \ again, which will give the Bjf ; now the length which gives the B# is longer than the half of the original string, consequently the B# is too flat to form the correct octave to the lower C. 5. Again, if the following four minor thirds (Fig. 3) be 12 3 4 . II 11 || \Lf\J 1 S * H #— tSgr^ilte " 11 “ H tuned perfectly pure from the lower C to Efc, then Et 2 or Djf to F#, F# to A, and A to C, the last C obtained will be found to be sharper than the C to form the correct octave to the lower one. Once more, let the following notes in Fig. 4 be tuned absolutely pure, in fact, all perfect fifths and octaves from the After the above series of octaves and fifths have been tuned, try the last E obtained from the last fifth (A. E.), with the 0 below it, which has been already tuned ; it will be found that it is so sharp as to be quite unbearable and quite unfit for harmony, and the third is such a pleasing interval, either 9 \ perfect or properly tempered. The above experiments had better be tried on the piano, should the student wish to test the results. 6. From what has been said it will be seen that tuning quite pure and correctly will not do on any instrument with the octave divided into twelve fixed semitones, for, as each key has to answer the purpose of two or three sounds, viz., the B!2 has also to be played for the A#, and C double sharp D and E double flat are played on the same key on the organ, harmonium, or pianoforte ; and without going further into details (for to examine deeply into the reasons and working out different problems, &c., would be beyond the intention of this work), should' the student wish for further explanation, he is referred to the great treatise on the construction of the organ by Hopkins and Rimbault, and other works on the subject. The present little work is only to deal with the tuning in a practical form, not only to show how the difficulty is overcome, hut to show how the tuning is carried throughout the instrument. In the above work which I have quoted there is a chapter on the tuning, in addition to the one given on the subject of temperament. The one on temperament occupies twenty-three pages, including musical examples, while the chapter on actual tuning only has four pages. 7. The next point is how to deal with the interval of the third in Fig. 4, so as not to have it so very badly out of tune as the one obtained by pure tuning, and the most approved and simple method will be illustrated in Fig. 5 ; and instead of tuning each fifth perfect, as before, they must be left some- 10 what flat, but not to be offensive to the ear ; for it is so little, that only about two slow waves can be heard by attentively listening while the two notes are sounding. Great care and practice will be required before the exact degree of flatness is obtained ; for by adjusting each fifth in that way, and each octave quite perfect, the third obtained from the last fifth in Fig. 4 (A. E.) will be found to be somewhat sharp, but still agreeable, and fit to form part of the harmony of the common chord of C. When any interval is thus altered from pure tuning, it is called being tempered. The following figure will give all the notes required in tempering, or laying the bearings, as it is called, which is an extension of Fig. 4, only fifths and octaves being used, thus : — Proofs. Proofs. Proofs. n f 1 I! T ]—=:[]—— - g= |j U__^ 1 11 8. The figures show every place where the proof of the tuning can be tested. No. 1, the E, must be tried with C below, and, if found agreeably sharp, the tuning can proceed. No. 2, the B, must be tried with G below. No. 8, the % must be compared with D below, another major third, and so on ; No. 4, the Cjf, with the A below ; No. 5, the Gjf, with the E below. No. 6, the At, must be compared with C above, and this third is almost sure to show if any mistake has been made, for if it is found to be too sharp, the temperament must be looked over again, so as to make the last-named as good as the rest ; and, if satisfactory, proceed to tune the Et2 above, and compare it with the G above, No. 7 ; also the Et or DJf, as it must be called, must form a good third to the Bfl below, and, if satisfactory, proceed to upper Bfe from the E t, then octave B!2, then prove the Btwith D, the third above (8), and also F# below, calling the Bt A}, then tune the last fifth Bfe to F, which must form a third to the A above, and also Dfe below (9). It will be a good plan to try the F just tuned with the C, the note we started from, which ought to be a shade flat, the same depression as the rest of the fifths. Other methods of laying the bearings are used. Some prefer not to tune the octaves until the bearings are laid, so they tune by fourths and fifths only — a very good plan, for there are no octaves to lead the tuner astray. The following method might be useful, but the student will find Fig. 5 better at first. Pitch. Proof. Proof. Proof. No. 1. 12 Proofs. Prcof. Pi oof. Proofs. g=^ ZEl|j Proof. Proof. No. 2. ii The black note in each case is to be tuned , and every interval to be slightly flatter than perfect to the note it is tuned with, without any disagreeable wave. Although the fourths appear to be tuned flat , as well as the fifths, if tuned upwards they would be sharp ; for instance, if D is assumed to be correct, the G above will be sharper than perfect. The fifths are less than perfect, and the fourths more than perfect. Be sure to test the thirds, as shown in example No. 2, when tuning the octaves downwards, which should be done first , to make sure the temperament is satisfactory, then take the octaves upwards. 9. The stop selected for laying the bearings is the principal, a four feet stop of metal. It will be found that after going through Fig. 5, all the notes between the following compass have been tuned. After the temperament has been finished, it will be well to look through it a second time ; the rest of the notes above and below may be tuned in octaves. It is very important that the principal should be well adjusted, for the whole of the organ depends on it. In Seidel’s work on the organ he mentions that the organ is left a week after the temperament has been done, and looked at every day before Fig. 6. (i 1 H ii 13 the rest of the instrument is tuned. The reason the principal is selected for laying the bearings is because it is a medium pitch between the low stops and the high ones. It may here be mentioned that all four feet stops are an octave higher than the notes written, and that all eight feet stops are in unison with the voice, and sound the notes as written. The sixteen feet are an octave lower than the written ones ; tw T o feet, an octave higher than the principal, &c. The following figure illustrates the pitch and feet of the different stops found in most organs : — The open pipe is about 8 ft. long- 1 > produce this note. All the sounds in Fig. 7 are produced from the bottom C, called double C on the keyboards, or manuals. The thirty- two feet in large organs is an octave lower than the sixteen feet The measurement of the stops is taken from the CC. 10. The instrument used for the tuning of metal pipes is called a cone, which is made of brass or very hard wood, brass 14 being the best. They are the following shape, one end which is solid, and the other hollow. The solid end inserted in the top of the pipes ex- pands them, and thus the pitch of the pipe is made sharper; and the hollow end pressed or tapped gently on the top of a pipe flattens the pitch. There are different sizes of cones ; very small and long ones are used for the stops that have several pipes to each key — I mean the mixtures wdiich have from two to four, five, or even more pipes or ranks in large instruments, and are always in relation of thirds, fifths, or octaves to some foundation note. Some metal pipes have shades, ears, plugs, or stoppers by which they are tuned. Stopped wood pipes are tuned by the stopper, which, being pushed further in the pipes, makes the pitch sharper, and, of course, drawn out, flatter. Now with- out going into details respecting what stops an organ ought to possess, that would be beyond the province of this work : it is merely to show how to tune what there is in the organ. 11. Now suppose the principal is finished and ready to go on with the rest of the instrument, the chief difficulty is over ; suppose we take the open diapason, which is an octave lower than the principal, we shall be tuning in octaves every note throughout the stop. To ascertain whether an open pipe requires flattening or sharpening, put the cone or the hand in shade of the top, and if the pipe appears to get better in tune by that means, it requires to be flattened, but if it becomes 15 worse, then it requires to be sharpened ; of course, this proof must be done gradually. In some organs it will be found more convenient to tune every other note, for as they are played, one is on one side and the next on the other, some distance from the first — for instance, the bottom C is on one side of the organ and CJf, the next semitone, several feet on the other side, if the tuning is all on one side first, it will not only save a great deal of walking from side to side, but it will avoid confusion in getting to the wrong pipe. Other stops can be tuned in the same way, especially the reeds in the swell, &c. Of course, it is necessary to have each pipe plainly marked, especially the stopped wood pipes. The reeds can be marked on the foot-board, the board the pipes go through, called the rack- board. The tuning on the C side will be the following notes : C, D, E, FJf, Gfl, Afl, C, etc. On the other side, called the C# side, the notes, of course, will be Cff, Dff, F, G, A, B, etc. Of course, different organs have a different arrangement of pipes, but that will be seen as soon as the organ is opened. In tuning the large pipes of the open diapason, which form the front pipes in general, there are several square holes cut out of the back of them — the tuning is done by the shades or the side pieces of metal which are fixed on below the square holes ; the pipes are made the extra length to fill up a certain distance in the case or recess where the instrument is placed, so as not to spoil the designs, etc. Now we will turn our attention to tuning the stopped diapason, which is a wood stop, each pipe having a stopper or plug in the top, by which it is tuned, as was seen in paragraph 10. This stop is in 16 unison with the open diapason ; it is called eight feet tone , hut the pipes are only half the length. A pipe having a stopper in the end produces the octave lower, or nearly so, than the same pipe open, for the wind has the same distance to travel as it would in an open pipe as long again ; thus the double C of the stopped diapason is four feet, or about, and the double C of the open diapason is eight feet ; for if the plug is taken out, the result will be seen, although the exact octave will not be produced, for the difference of shape, with several other matters connected with the voicing, as it is called, would he different in an open wood pipe — a different shaped mouth and a different width. The width of a pipe is called the scale : thus a stop is spoken of as a large , medium , or narrow scale . Compare the size of a pipe of the open diapason, say the two feet C, with the same note of the dulciana, both metal, the width or scale will at once be seen ; the narrow one will be much softer in tone, and the length will also he different ; for the narrow scale the pipes have to be a little longer to produce the same pitch, etc. Now to proceed with the tuning of the stopped diapason, which must he tuned to the principal, as must all the other stops, except the sixteen feet and pedal stops of the same pitch, which will be more convenient to be tuned to the open diapason, and then, in some cases, the prin- cipal might he drawn also. The notes of the top octave in the stopped diapason sometimes are best tuned to the octaves below of itself, because the greater strength of the principal will sometimes draw the stopped diapason notes in tune with it, and yet, if tried alone with its own octaves, would not be 17 in tune. The top octave of other soft flue stops can be tuned in like manner, should it be necessary. The Tierce (a major third above the fifteenth) may perhaps be more convenient to tune to the fifteenth stop, should it be a separate stop, as in old organs. 12. The Clarabella, or Clarabell, is an open wood stop, tuned by the metal shade which is fixed in the top The pipe is made sharper by lifting it slightly up, and flatter by pushing it more over the top of the pipe. This stop very often extends from the top to tenor C, or perhaps not quite so far ; then it is followed by the stopped diapason to the bottom, and, in some cases, the stopped diapason and clarabella are made to speak from thq same pipes in the lower part, some four or five notes, which is called being grooved into stopped diapason ; so the pipes of stopped diapason speak even if the stop-knob is not drawn. This is a bad plan, but in some cases it cannot be avoided, especially in small swells, for want of room. In this case, it is best to have both stops drawn, so both currents of wind are on, and the tuning will be found more satisfactory in that way ; for, if tuned by the single current of wind, it will be out of tune when the other is drawn, and vice versa. The Flute, a wood stop, generally is tuned in the same way as the stopped diapason, viz , with the plug ; but this stop being a four feet tone, of course it is in unison with the principal, although the pipes are only half the length, the same as the stopped diapason is to the open diapason. Great care and patience will be required in the top notes, for the pipes being small for stopped ones, the stopper must be moved in very 18 small degrees, or the pipes will be throwm right away from the note required, but experience will soon show the little required. 13. Now the Twelfth may be tuned. This stop is a three feet stop of metal, as it is called, but it is really 23 feet, and sounds a twelfth above the diapasons, or a fifth above the principal. Each pipe must be tuned a perfect fifth to the principal, and not tempered, as in laying the bearings, which will not be the trouble as at first might be expected, for each note must be tuned so as no wave or beat is heard when the two notes are sounded together. Now the cones will he especially required, great care must be exercised when tuning the highest octave, for the pipes get rather small. This stop is very often omitted in the list of stops, on account of it giving a fifth to every key ; but in instruments of any import- ance, I think, the octave between the principal four feet, and fifteenth two feet, is better broken, for very often the twelfth is one of the ranks in a mixture or the octave of it, and another reason is that it forms a note of the harmonic series of sounds given out from a deep string or pipe, called by some, by tones , over tones, or harmonics. Now these harmonics, or over tones, are sounds given after the real tone of a string or pipe ; first, the pitch or fundamental note is heard, then follows quickly the octave, twelfth, fifteenth, seventeenth, &c. Strike the double C on the piano, and besides the bottom note will be heard, in quick succession, several others, and the interval of the seventeenth, which in some pianos will he very prominent, viz., this note being played (Fig. 9), the following E will be 19 very clear (the seventeenth) a short time after the C is struck. 17 th. By referring to Fig. 7 it will Fig. 9. ^IP be seen that the different notes that are produced from the double C, in actual sounds from the stops, according to their respective measurement, so those very sounds actually exist in nature, viz., the harmonics, or over tones, which follow the low string or pipe . That is the very thing that suggested the mixtures in organ stops, to have actual pipes to each note, according to the intervals given from the ground tone ; thus the three rank mixture, called Sesquialtera, is the last chord of Fig. 7, although all three rank mixtures do not have the same chord, for there are other notes given, beyond those I have mentioned, to the double C, hut those are sufficient for our purpose here. It is found by experiment that all eight feet stops would not be at all satisfactory for an organ, even if they were voiced to different degrees of power and quality, although the eight feet stops ought to be most in number, and of course the most prominent, because the pitch of the human voice, then the sixteen feet, and after them smaller pipes and mixtures, give that brightness and weight so characteristic of organ tone. But to return to our tuning, or I shall get beyond the scope of this book. 14. The Fifteenth can now he tuned, which, being a two feet stop, is an octave above the principal. The upper octave will require very great care and very slight pressure of the cone to alter them, and above all a correct ear, for some people have very correct ears in tuning the middle notes and the 20 extremes, either very high or very low— they cannot tell when they are right. I have had it said to me, “ I cannot think how you manage to tune the very low notes of the pedals, for I cannot tell when they are right, not one from another hardly .” Now this is a proof that some ears are pretty true up to a certain point ; then there are some who cannot distinguish notes above the top E on the piano, etc. But I think practice has something to do with it. 15. The Mixtures may now be tuned, under whatever name they may be called. The following are some of the most common, viz., two, three, four, or more rank mixtures, Sesquial- tera, cornet, furniture, doublette, echo cornet, etc., etc. As these stops have several pipes to each note (all, of course, sound at once), it will be necessary to stop the sound of those that are not being tuned. A mop is used for this purpose, which is thrust into each pipe except the one about to be tuned (Fig. 10). But in some organs each rank has a separate slide, which can be detached from the others, so that one slide can be drawn at once, and the whole rank tuned the same as the rest of the stops ; then tune the other ranks in the same way, of course fixing the whole of the slides together again after they are tuned, so that the stop-knob draws the whole at the same time, as before, whatever the interval in the rank that is to be tuned must he perfect, the same as when tuning the twelfth, &c. It is best to be very particular with the mixtures, for they add such a brightness to the full organ when they are well in tune. In some cases I have met with Fix. 10. 21 the mixtures left rather carelessly, thinking, perhaps, that it does not matter if they make a noise, but that is just the point, for it makes all the difference. The top part of the mixtures will be found to repeat, that is, instead of continuing on throughout the whole stop, which would make the pipes so small as not to be of use either in tuning or effect, so the large ones begin again, the break, as it is called, taking place at different places in different organs, in some cases, perhaps, the lower part is three ranks, then four ranks from the middle to the top, and several other arrangements. 16. Such stops as the following will be easily understood from what has been said above : dulciana, piccolo, gamba, etc. The keraulophon tuned by the sliding piece of metal fixed on the outside of the other part ; the round hole near the top is the cause of the peculiar reedy quality of tone, which was found out by accident, a pipe having accidently had a hole cut through it. It is said to be first used by Messrs. Gray and Davison. 17. After the whole of the stops on the great manual i except the reeds) have been tuned, the others may be tuned. Some recommend that a stop or two in the great organ, then one or two on another manual may be done, say in the swell or choir, if there are three manuals, on account of the heat of the person standing in one place too long ; but I have never found the heat to be sufficient unless pipes are taken out and handled, which, of course, makes them sharp. For instance, to prove this, take out a small pipe that is perfectly in tune, and keep it in the hand a short time, then, on replacing, it will be found much too sharp, and as the cold air blows into it, by holding 22 the key down and letting the pipe continue to sound, it will gradually come in tune again. On this account, handling the pipes must be avoided as much as possible. If one is obliged to be taken out, it must be left until cold before tuning it. 18. The stops on the other manuals must be tuned to the principal in the great organ , which must be the copy for the whole organ, although a principal is generally on each manual ; for suppose a stop is tuned to another, then keep on tuning to the last one, and so on, little errors creep in, and a little fault soon becomes of importance ; for suppose the principal in the swell is tuned to the great principal, a little wave or two overlooked, the same, of course, is carried on through several stops, so it is always best to keep one copy — not like the school-boy, who, not looking at the top line in his copy- book, and having made an error in the second line, continues the mistake all down the page, etc. 19. The pedal stops may be tuned after the manuals are finished. If only one stop on the pedals, it is generally a bourdon, which is a stopped pipe of sixteen feet tone, and this must be tuned before the reeds, on account of the plugs requiring a mallet, in many cases, to knock them into tune, for it is necessary that the plug should fit firmly, for that has a great influence on the solidity of tone, and the knocking might shake the reeds if they were tuned before. Some prefer tuning the sixteen feet stops at night, for everything being still and quiet, every wave can be detected more easily. The open diapason sixteen feet will not get very far out, but when it requires to be made flatter, a board is nailed partly 23 over the end, and sharper by sawing a piece off, unless in some cases there is a piece of wood to slide up and down, similar to the piece of metal on the top of the keraulophon stop, only, of course, made of wood, and fitted either inside or outside, the tuning, of course, the same. In large organs, several stops are in the pedal organ which, in addition to the sixteen feet stops, would he an eight feet, and perhaps four feet, etc. ; and what has been said respecting the other eight feet and four feet stops need not be repeated here, for the same method of tuning will be required in these. 20. The reed stops, such as the following : trumpet, eight feet or sixteen feet ; horn, eight feet ; hautboy, eight feet ; clarion, four feet, and several others, named according to the instruments they are intended to imitate, etc., are left until last, so they can be tuned, and not have any hammering or shaking after they are done, which would he likely to put them out of tune. It does not matter which are tuned first, but generally the stops, particularly in the swell, which are farthest away front the front, so that they do not get touched by tuning others. Suppose in a swell with two reed stops, perhaps a horn and oboe (or hautboy), the oboe would be next to the shutters, which must he taken out in process of tuning, at least some of them. If the sw T ell requires going all through, as we have been supposing an organ requires tuning from the beginning, the horn is tuned first, then the oboe, both to the principal in the great organ, as before. The trumpet, possibly, might be in the great organ ; the clarion, which is a four feet reed, is in unison to the principal. The great difference 24 between the reeds and the other stops is this : in the fine stops, as they are called, the wind passes in a sheet, and striking the thin edge of the upper part of the pipe, called the lip or height , the reeds have no opening for any of the wind to come out ; the wind, on passing from the wind-chest into the foot of the reed pipe, is checked in its progress by the part called the reed, which is a piece or tongue of brass fixed in the cast end of metal, and, on being struck with the pressure of wind from the wind-chest, causes it to vibrate, and then the long tube being placed on the top gives the body and pitch to the tone, etc. A wire or crook is fixed to each pipe, by which it is tuned, which being tapped down- wards with a reed knife, as it is called (a screw-driver or flat piece of iron will do), shortens the vibrating portion of the reed, and consequently raises the pitch, and tapping the other way lowers the pitch. The shape of the reed pipes is some- thing like the following (Fig. 11) : — A is the tube which gives the body of tone and pitch to the pipe ; B, the foot which will come apart from the tube, thus giving a view to the reed, and one taken off wfill show the construction of the reed better than a drawing, unless each part is shown separately ; C is the wire or crook which is turned at the top to form a small hook, to allow of the tuning to be conveni- ently done with the reed knife, while the pipe may be some distance through others ; D, the reed or vibrating part. Care must be taken not to alter any of the parts inside, if the foot is taken 25 off, to see if any dust or dirt has fixed on the reed, for a very small particle will often stop the smaller ones from speaking at all. A piece of writing paper drawn between the tongue and the frame of the reed will often set it right, and very often tapping the note very flat and back again will remedy it. Some practice is necessary to rectify the reeds. In some cases the reed has to be taken out, rubbed, and replaced before it will speak. The oboe, as well as some other reed stops, has shades fixed on the top to keep out the dust, etc. It is a well-known fact that heat raises the pitch of the general organ, except the reeds, and they are said to be flat. Now the real fact is, that the rest of the instrument has risen, as it were, away from them, for the reeds are not so bad, if tried alone, in many cases. It is noticed at concerts, etc , after the building is well warmed with gas and the number of people, at the end of the concert the reeds will be very bad. Some tune them a little sharp to meet the emergency. 21. Before concluding the part about tuning, it will be necessary to mention, that the following method is how to adjust the principal for the unequal temperament, thus : — Fig. 12. ~QZ Perfect, |l Perfect. Perfect. Perfect. 1 * — W~ ife if Perfect. Perfect. ta 4-4 - 1 * '* * Perfect. Perfect. 7? =1 -| — — j then the octave £2 s above it-*- r*- and te - below t f o the £5 J notes b r# alread; * y tuned. The crotchets in Fig. 12 are the notes to be tuned , and the sharp or flat placed over or under denotes that they are sharper 26 or flatter than perfect, and the proofs are in each case where the semibreves are ; for instance, after tuning the first octave, then the F tuned rather sharper to the C, G rather flatter, A sharper, then the proof F, A, should be a perfect third, and so testing the tuning throughout. 22. Should any organ be required to be altered from unequal to equal temperament, it had better be done by the organ builder, for it is difficult to do, as so many pipes would require cutting shorter, one or two in the scale would require to be lengthened, for instance, the DJf, and, of course, all the D sharps ; unless an organ was very flat in pitch, then if the pitch was raised, the D sharps might come right length, and many other matters which it would be rather dangerous to venture with. The unequal temperament is not at all satisfactory, especially when anyone, not knowing the nature of it, is apt to find fault with a tuner even when the instrument is well in tune, according to the system by which it is done ; and, of course, they say, “ such and such a key ” (most likely A flat) “ is so out of tune , and that is my favourite key,” etc. Then, again, some organs will be found tuned neither according to the equal or unequal ; perhaps an attempt has been made to tune equal, or, at least, they call it so. I call that tempera- ment the compromise system, for perhaps some keys, such as AE, are good merely to suit the player, etc , and the key of C not at all good, and so on. Now from what has been said in these few pages, it is hoped they have been studied and thoroughly understood ; and by patience, practice, and a good ear, the desired result may be attained. APPENDIX. VARIOUS FAULTS THAT OCCUR IN THE ORGAN, WITH THEIR REMEDIES. • ^ 9 Every organist ought to be acquainted with the interior of the instrument he has the care of, as little faults continually occur, and inconveniences are caused, such as a whole manual not being able to be used The remedy in many cases is so simple, provided the organist knows where to alter it, often preventing the builder coming a great distance for perhaps a few minutes’ work when he gets to the instrument, and save great expense. Little faults ought to be done at once, and not left until greater ones occur, for in that case perhaps half the instrument would have to he taken down, etc. The following will be some of the most common, and to make them understood, a few simple drawings will enable the organist to rectify them. Ciphering , as it is called, is the sounding of any pipe when no keys are played, and is caused from the following : — Keys sticking , dirt on the pallet, pull down wire rusty, keys touching each other, pallet sticking on direction pin, pallet spring too weak, pallet warped, etc. To understand the various parts above mentioned, a simple drawing will be necessary, thus : — 28 Fig. 13, Side view of Itey , backfall , etc., to the pallet. The dotted line shows the action when the key is pressed down. The above is the ordinary movement ; there is the roller hoard movement, which is required when the action does not go direct to the pallet, as above ; for instance, if a pipe is quite at the side, some distance from the key, then the action must have the roller attached, which is the following figure : — Fig. 14. AA The roller arms. B The roller. CC The studs the roller is fixed in. varying in length from about two inches to a yard or two, according to the length required to reach the note. The 29 whole will be clearly understood on opening the organ Long trackers are used to reach the pallets of the other manuals from backfalls, etc. ; for instance, the swell, which is generally some distance above great organ pipes, and backward, then they are obliged to be the length according to the distance the swell box is. The Squares , which are the following shape, are in different parts of the organ to connect the movement ; for instance, the pedals and also to the trackers of the swell, etc. The dotted line shows the action of it : when pulled at the point A, of course draws down the point C. B is the centre the square works on, and is fixed in the frame D ; of course, there is one to each key. The parts shown and described in Fig. 13 work in the fol- lowing manner, viz. — When the key A is pressed down, work- ing on the centre I (like the piano), the end of the key rises and pushes the sticker B, which lifts the backfall C, which, working on its centre J, pulls down the wire G, which, being attached to the pallet D, in the wind-chest, opens it and lets the wind into the pipes, placed some distance above after the slides, etc., which are connected to the stops, and, of course, each stop plays according to the one drawn. Then lifting the finger off the key, it is replaced by the pallet spring, F, and the pallet is again fixed quite close, so that the wind can- not get through the space which is opened by the pallet. Fig. 15. 30 The next point will be to show how the various faults are rectified, beginning with the list as mentioned above. First, with a key sticking , which is caused by small bits of chip, dirt, pins, or tallow on keys from candles. This is soon remedied by rubbing it off or clearing the key. Damp will swell the keys at the centres, the parts must be carefully filed. Dirt on the Pallet . — A very frequent fault, arising from various causes, such as dust or dirt falling gradually through the pipes, or bits of chip or metal, and causing the pallet not to close up the space that it is intended to do, and thus admitting a little wind to the pipe. In this case the front board to the wind-chest must be taken off, which is sometimes a great deal of trouble, as twelve or more screws must be taken out, unless the board is divided, which is more conve- nient, then only part would be taken off. When the board is taken off, the pallet must be carefully wiped, and then it will spring firmly up into its place. This fault is known by the key not coming quite up to the level of the rest. Pull down wire rusty. — In Fig 13, the pull down G being rusty, will not allow the pallet to go quite back, and thus cause a ciphering like the dirt on it. The pallet must be pulled down, and the wire must be rubbed with sand paper, and add a little tallow, care being taken not to bend the wire. Keys touching each other . — Sometimes a key will get warped, and so bind against the next, and cause a ciphering. In this case, a little must be scraped off. To do this, the book desk must be taken out. If the key is in the lower manual, care must be taken when Mfting the other manuals up, for the 31 stickers go through them very often. Some organs are so con- structed that the whole manual can be taken out with little difficulty, which is very convenient. Pallet sticking on direction pin . — It will be noticed in the wind-chest that the pallets have one or two pins fixed between them to keep them in the proper place, and when drawn down fall back exactly in the same place. The pallet sticking is caused by the key being played too violently, and thus making the pallet descend too low and catch, so as not to be able to go hack when the key is left. The front board must be taken off to release it. Pallet spring too weak . — The spring, F, in Fig. 13, being too weak does not keep the pallet up, and so allows the wind to pass through. In this case, it had better be taken out and a new one substituted, which will be rather a difficult job to anyone that has not taken one out before. It must be done with a spring lever, as it is called, which is the following shape, Fig. 16, and is used as in Fig 17, fixed on the spring it will draw out : — Fig. 16 . When the spring is too weak the key will rise slowly, and, of course, not firmly, and thus cause the ciphering. A temporary 32 remedy is to fix a piece of coiled wire to the tracker and the frame-work, thus helping the spring ; or a small spring put inside the chest. Pallet warped . — Sudden changes in the atmosphere will sometimes warp a pallet, and the leather being damp, gets loose and allows the wind to pass. This is rather difficult to remedy, for the pallet must be taken out, new leather glued on, and adjusted altogether. Sometimes another kind of ciphering is caused by the end where the pallet is fastened being too tight, and not allowing the opposite end to close properly. This will be found in the pedal pallets sometimes. There are other little faults that cause ciphering, such as a sticker binding in the hole in which it moves, caused by damp swelling it, in which case it must be taken out, and either the hole made a little larger or reduce the sticker very little, and rub it with a little blacklead or lead pencil. Sometimes the backfall, through a violent blow on the keys, will jump off the sticker and catch on the top of the pin, and thus cause a ciphering, which, on replacing it, will stop the ciphering, care being taken not to bend the pin, but press it firmly into the drill hole, etc. If it jumps entirely off there would be no ciphering, but the key would fall down. Some- times a key is down from other causes : tapped wires, or squares broken, or a little leather button having slipped. All these little things are not much trouble to rectify. In all the above faults always make sure what it is before proceeding to the remedy. 33 If a key is below the others without causing a ciphering it can be easily made level with the others by turning the little button, which has slipped a trifle. If a key is screwed up too high it will cause the note to tremble, and in that case must be unscrewed a little. Of course, to regulate the keys, one person must be at the keys to say when they are level, etc. Sometimes a stop will draw out much further than the rest without affecting the pipes belonging to it ; in that case, the pin that connects the stop -knob with the slide has gradually worked out, on being replaced it will work all right. Other faults which are more difficult to remedy : for instance, a running , which is a continual sounding of some pipe or pipes when only a soft stop or two are drawn, and while playing a note some other disagreeable sounds accompany it, is sometimes caused by the upper board not being screwed down ; but when it is caused by the wind getting from one groove to another, then it will be difficult to do, and had better be done by the organ builder, as well as some of the greatest faults that occasionally occur ; but I hope I have shown clearly how to deal with the more common ones, and by that means avoid a great deal of inconvenience. 1 ■I . . . '■ ' , ■ . . . - . ■ COMPOSITIONS by A. HEMSTOCK, ORGANIST, DISS, NORFOLK. CHURCH MUSIC. TE DEUM in D ... JUBILATE in D Anthem— “O TARRY THOU THE' LORD’S LEISURE ” PSALM 145, with Organ Accompaniment ... ... ... s. d. o 6 o 3 o 3 2 6 FANTASIA in F FANTASIA in D ORGAN MUSIC. o post free 1 6 6 „ 10 PIANOFORTE MUSIC. TWILIGHT (Sketch) FESTIVAL MARCH BANKS OF ALLAN WATER ROMANCE in E flat SONATINA in B flat . . IMPROMPTU in F 3 o post free 1 6 30 „ 16 3 0 » 16 3 0 „ 16 50 „ 26 3 0 » 16 SONG. THE SNOWDROP ... 3 o post free 1 6 A PRACTICAL GUIDE TO ORGAN TUNING. Dedicated by permission tc the College of Organists. Illustrated — Faults in action with Remedies. Price 2 s . 6 d . net . “Every page shows that Mr. Hemstock is master of his subject .” — The Musical Standard. /