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    Pipes of the Church Organ - A Selection of Classic Articles on Organ Design and Construction
    Pipes of the Church Organ - A Selection of Classic Articles on Organ Design and Construction
    Pipes of the Church Organ - A Selection of Classic Articles on Organ Design and Construction
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    Pipes of the Church Organ - A Selection of Classic Articles on Organ Design and Construction

    By Read Books Ltd.

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    This book contains classic material dating back to the 1900s and before. The content has been carefully selected for its interest and relevance to a modern audience. Carefully selecting the best articles from our collection we have compiled a series of historical and informative publications on the subject of church organs. The titles in this range include "The Soundboard of the Church Organ" "A Guide to the Registration of Church Organs" "A Guide to Organ Accompaniment" and many more. Each publication has been professionally curated and includes all details on the original source material. This particular instalment, "Pipes of the Church Organ" contains information on organ design and construction. It is intended to illustrate aspects of organ pipes and serves as a guide for anyone wishing to obtain a general knowledge of the subject and understand the field in its historical context. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateMay 31, 2013
    ISBN9781473390935
    Pipes of the Church Organ - A Selection of Classic Articles on Organ Design and Construction

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      Book preview

      Pipes of the Church Organ - A Selection of Classic Articles on Organ Design and Construction - Read Books Ltd.

      Broadhouse

      The Pipes of the Organ

      WHEN we listen to an organ being played it is the pipes that produce the musical sounds. Let us therefore begin our study of this wonderful instrument by examining its pipes. Although the principal varieties are illustrated in the Plates and will be described in the text of this and later chapters, it is far better for the student, if possible, to visit an organ factory or to gain access to the interior of an organ so as to obtain a first-hand knowledge of the shapes and construction of organ pipes in general. I was fortunate enough at the early age of sixteen to be able to do the latter, since I was called upon to try my hand at tuning the reeds of the large three-manual organ in the chapel of my school when circumstances rendered such an operation necessary. One may, however, see the pipes without understanding how they speak or why they should produce their particular kind of tone: so I shall try to explain the functions and characteristics of organ pipes in this chapter.

      Every pipe in an organ must belong to one of two distinct classes:—

      Class I—Those that produce their note through the setting in motion of aerial forces between a slit and an edge.

      Class II—Those that produce their note through the setting in motion of a solid vibrator.

      The above classification is the only true scientific one. To Class I belong all pipes known to organ builders as flue pipes. To Class II belong all pipes known to organ builders as (a) reeds and (b) diaphones.

      1. Class I—the flue pipe—will engage our attention first of all. Various types are shown in Plates I and II; but the reader is asked to look at Figure I, A, showing the various parts. Taking these parts in due order from bottom to top, we observe:—

      1. The foot-hole, through which the pressure-wind flows.

      2. The foot itself, in which the stream of wind develops its head, i.e. builds up to maximum pressure and capacity.

      3. The languid,* which separates the foot from the body, except for the narrow passage-way or slit shown at the right-hand side of the languid; this slit is called

      4. The flue, because the stream of wind has to pass through it, and in so doing finds itself somewhat attenuated in consequence.

      5. The mouth, which consists of the lower and upper lips.

      6. The body (or speaking length) in which the sound waves are set in motion up and down in concertina-fashion, thus producing the mature note of the pipe.

      Now notice that the pipe will not sound at all if either (a) the foot-hole is closed (b) the flue is closed (c) the flue is too wide (d) the languid is tilted up too high at its bevelled end (e) the upper lip is pushed in (to the left of the illustration) too far, or (f) a curtain is placed across the mouth. These are points every beginner who starts voicing organ pipes ought to get into his head first and foremost. From the Thou shalt not he will graduate to the Thou shalt: a very necessary and salutary experience in the art of learning. With regard to (f), organ builders may scoff and ask where has ever such an obstruction occurred. An organist, about to give a recital on a large and important instrument, discovered to his dismay that middle C on the Open Diapason of the Swell manual was silent—a note much in request during the performance of several items in the programme. As I happened to be present, he asked me if I could ascertain the cause. I expected to find the erring pipe out of its hole, but instead I found that the front of the mouth between the upper and lower lips was completely curtained by a hanging strip of leather. The leather strip had originally been glued round the edge of the upper lip (to modify the quality of tone produced by this particular stop) and it had come unstuck, falling down over the front of the mouth.

      FIG. 1 – FLUE PIPE (METAL)

      Now what was this curtain doing? It was shutting off outside air from the mouth of the pipe and, of course, the mouth of the pipe is there so as to allow outside air to get access to the pipe at this particular region. Outside air also reaches the pipe at its open top (if the top is open and not completely closed as in the case of the stopped flue pipe). But it is at the mouth that there must at all costs be arranged access for the outside air. Let us glance once more at Fig. 1. At B is shown a box, presumed to be charged with air under pressure so that wind may flow out through the slit above. As soon as the jet of air comes in contact with stagnant air outside the box little whirlpools of air are formed on either side of the jet as shown, and these whirlpools (or eddies) cause the flowing jet to twist and take the shape illustrated at B. If, however, a sharp edge (or wedge of metal or wood) is held centrally over the jet coming from the slit, the eddies grow up and gain maturity as they reach the edge, striking it and passing up beyond till they are absorbed in atmosphere. Note the alternate spacing of the succession of eddies—an important phenomenon in view of the fact that it is only every other eddy that strikes the edge. Now the rapid strokes of the eddies produce a musical note whose pitch or frequency is determined by the number of times per second the eddies hit the edge—if they hit it 520 times a second a whistling sound denoting treble C can be very clearly heard even if the listener is standing some fifty feet away from the apparatus. The frequency of the note depends on (a) the degree of pressure flowing from the windchest, i.e. the pressure of the jet, (b) the distance of the edge from the slit, assuming a central position, and (c) the degree of deviation from the central position given to the edge, i.e. if it is shifted slightly to one side so as not to be exactly in line with the slit.

      Now let us look at the flue pipe shown in Fig. I, A. The eddies—or to give them, as I shall in future, their scientific name of vortices—are to be seen curling and whirling their way between the flue and the air column of the pipe-body. There are seven vortices shown, each one at its own particular stage of the journey. The first vortex is formed just prior to the emergence of the jet of air from the flue: it forms gradually and does not attain maturity till it arrives at the upper lip. Here it makes impact, and gives birth to a child. This child is

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