JULIAN RHODES' DREAM ORGANS
This glossary includes definitions of the uncommon stop-names in the Liber Organum, except those already explained in the level-by-level introductions incorporated within the stoplist.These definitions reflect my own intentions for the various registers. They do not necessarily follow established usage. Locations given in brackets are of organs which contain a stop so labelled; in many cases they refer to ranks constructed differently and sounding differently from my definitions.
KALLIOPE (Celestial: Ethereal) A large-scale woodwind reed, like a very broad and gentle toned muted bassetto or saxophone. The name is that of the Greek muse of epic poetry, and also an instrument in which a set of steam whistles is played from a keyboard.
(A flue: St. George, Hanover Square, London: Hope-Jones 1895)KALOPHON (Resonance: Euphonic Pedal) A gentle string rather like the Keraulophon but broader in tone. Named after Byzantine Kalophonic chant. (New)
KALOPHONE (Corona: Accord Left) A free-reed with a mellow, treble intonation.
(Downside Abbey: Compton 1930)KARNIFERA (Median: Solo Centre) A ruddy toned brass-reed. From the Greek name for the constellation Hercules. (New)
KERAULOS (Median: Piano Left) A mild, slightly stringy woodwind-reed. The name is from Greek words for 'horn' and 'pipe'. (New)
KHAMSHISH (Belvedere: Positive Centre) A glittering chorus mixture. The name means 'scimitar' in Sogdian. (New)
KHOISON (Atrium: Positive Reed Chests) A quarter-length reed with a glottal click on commencement of speech, and a muted tone thereafter. The name is that of the African 'click-speak' language. (New)
KINHORN (Corona: Accord Centre) A mezzo-piano thin toned horn. (New)
KINURA (Belvedere: Recit) A strong, thin and bright toned oboe. The name is of unknown derivation, possibly from the Hebrew harp, the 'kinnor'.
(St. George, Hanover Square, London: Hope-Jones 1895)KNOB REGAL (Corona: Barocco) The German Knopfregal, with resonators shaped "as a Gothic bishop's mitre" (Wedgwood 1905).
(Congress Hall, Nuremburg: Walcker 1936)KORNETTIN (Resonance: Euphonic Left) A brass-reed with wooden resonators and a mellow, singing timbre.
(Cornettin: Janskerk, Gouda: Moreau 1736 - according to Hopkins & Rimbault 1877)KORNONE (Atrium: Positive Pedal) A brass-reed of strong Kornett timbre, for which stop this name is a synonym. (New)
KRUMET (Belvedere: Soave Left) An earthy, bucolic clarinet. This stop name is common in cinema organs.
KRUMPHONE (Atrium: Choir Pedal) A bass KRUMET (q.v.) (New)
KUNSTZIMBEL (Corona: Barocco) A high-pitched harmonic colouring mixture. 'Kunst' means 'art' in German.
(Erwin Chapel, South Congregational Church, Scarborough, Maine, USA: Gress-Miles 1980)KURTALL (Belvedere: Positive Chamada Left) A woodwind reed voiced in evocation of the eponymous renaissance instrument, the ancestor of the bassoon, with a hollow, woody tone. The GEIGEN KURTALL has a softer, stringier timbre, and the WOOD KURTALL a pungent timbre and wooden resonators. Stops named similarly to this were used by Thomas Casson.
KUTHAST (Corona: Barocco) A muted KURTALL (q.v.) (New)
KUTZIAL FLUTE (Median: Solo Left) A broad-toned koppel flute. The name is derived from Slavic roots meaning 'conical'.
(Prague Cathedral/ Castle Church: 1560 Pfanmüller, 1588 Rudner)LABIAL NASON (Atrium: Positive Organetto) A wooden nason flute with a pronounced labial chiff. (New)
LAMENTO (Atrium: Choir Forte Left) A liquid, smooth toned voce umana.
(St. Martin, Bad Godesburg-Muffendorf: Klais 1967)LEAD FLUTE (Median: Great Right) An opaque toned open metal flute; the pipes have a high lead content. (New)
LIEBESGEIGEN (Belvedere: Recit) A delicate, veiled Geigen. The name is a German version of 'viola d'amore'.
(St. Michael, Hamburg: Walcker 1912)LIRONE (Atrium: Organetto Pedal) A sonorous, smooth toned viol, named after the eponymous renaissance gamba with from nine to fourteen bowed strings and two drone strings. (New)
LITUUS (Atrium: Organetto Pedal) A brassy, fundamental toned baroque style brass reed. Named after the roman cavalry trumpet, which had resonators curved at the top in the form of an inverted letter J. (New)
LUDWIGTONE (Corona: Great & Main Pedal) An open wood flute. The body of the pipe is partitioned into two, each fed by an independent flue. One side of the pipe is tuned sharp, the other flat. "In addition to the beat caused by the difference in pitch, there is an undulation in the tone. This undulation is much slower than the pitch beat and hence you have a beat within an undulation. It is this compound tone curve which gives the tone its peculiar charm." (William H. Barnes, 'The Contemporary American Organ', 6th edition, New York 1959). This stop was perfected by H.H. Holtkamp and A.G. Sparling.
LUMREGALS (Belvedere: Positive Centre Pedal) A two-rank regal of pungent, buzzy tone. (New)
LYRA (Belvedere: Soave Right) A narrow-scale string with a gentle, transparent tone. The name means 'lyre' in Latin. (New)
LYRIA (Belvedere: Soave Right) A Quartane comprising Lyra ranks. (New)
MAERA (Belvedere: Positive Right) An eight-rank chorus mixture voiced relatively gently to give a shimmer of sound. The name means 'the strong one' in Latin. (New)
MAGHA (Median: Solo Centre) A full-toned, climactic tuba. The name means 'the mighty one' in Hindi. (New)
MAGIC FLUTE (Belvedere: Positive Right) A harmonic stopped metal flute of limpid, bright tone.
(Holy Communion, South Orange, NJ: Moller c1920)MAGNAPHONE (Median: Great Bombard) A large scale, full toned open wood diapason. The Mezzophone and Minorphone are of lesser scale and power respectively. (New)
MANDOLINE (resonance: Euphonic Pedal) A thin and stringy toned free-reed. The name comes from "An outline of the structure of the pipe organ, designed for the general information of organists, church committees, and musical students" by William Horatio Clarke (Boston 1877).
MAQRUN (Aerial: Great) A reed with a thin, woody timbre evoking the Naqrun, the Maghrebi double-reed pipes. (New)
MARINO (Corona: Barocco) An unassertive free-reed of blandly stringy timbre, named after the renaissance bowed monochord. (New)
MASCHIOTTI (Median: Great Bombard Pedal) A large chorus mixture including tierce and septieme harmonics. The name comes from Italian roots meaning 'male' and 'virile'.
(As an 8ft. reed: St. Florian Abbey, Austria: Chrissman 1774)MELODEON (Corona: Harlequin Right) A free-reed of rich, keen tone, evoking the eponymous 19th-century ancestor of the accordion. (New)
MELODICA (Belvedere: Soave Left) A woodwind reed of warm, caressing timbre.
(As a flue: Riga Dom: Walcker 1883)MELODIC STRING (Corona: Harlequin Left & Right) A romantic solo string register of round, refined timbre comprising two ranks of slightly tapered viola pipes. (New)
MELOPHONE (Corona: Accord Left) A bras-reed of warm, muted timbre, after the eponymous brass instrument. The name comes from Greek roots meaning 'song' and 'voice'.
(As a flue: Averbode Abbey, Belgium: Loret 1858)MENSCHENSTIMME (Resonance: Eclat Left) A loud, piquant vox humana.
(St. Mark, Mount Kisco, NY: Aeolian-Skinner 1953)MESSING REGAL (Atrium: Positive Reed Chests) A regal with resonators of brass ('messing' in German) and a forthright, rather trumpety tone.
(Martinikirche, Kassel: Scherer 1610)MEZZOPHONE: see MAGNAPHONE
MINIMAPIPE (Belvedere: Positive Left & Right) A regal with extremely short resonators and a weak, buzzy timbre. The stops on each division form a pair, in the manner of the Spanish Vieja/Viejos. (New)
MINORPHONE: see MAGNAPHONE
MIRILITON (Corona: Barocco) A free-reed of gentle, buzzy timbre evoking the eponymous 17th-century kazoo. (New)
MISABON (Corona: Barocco) A piquant Dulzian. (New)
MISCHUNG (Belvedere: Positive Pedal) A bright-toned chorus mixture. The name means 'mixture' in German.
MIZMAR (Median: Swell Centre) An incisive purple-toned chorus reed, named after the Arabian conical oboe. (New)
MOLLTERZ (Belvedere: Positive Left & Right) A two-rank compound stop containing tierce and septieme harmonics. The name is derived from the German for 'minor third'.
(St. Peter, Sinzig am Rhein: Walcker 1972)MONOCHORDON (Atrium: Positive Left) A thin toned baroque string with an alkaline, clavichord-like timbre. Named after the medieval ancestor of the clavichord. (New)
MONOCHORDON À ROUE (Belvedere: Positive Right) Like the MONOCHORDON (q.v.) but with a broader tone. Named after the medieval hurdy-gurdy. (New)
MOON FLUTE (Celestial: Ethereal) A harmonic open metal flute of narrow scale and silvery, pure sound. (New)
MULIKA (Corona: Main Pedal) A neutral toned Fagotto, named after the Sumerian shepherds' pipe. (New)
MURZIM (Atrium: Positive Right) A bright, fizzy toned chamade reed. The name means 'roarer' in Arabic. (New)
MUSE FLUTE (Atrium: Positive Left) A cantabile stopped wood flute. (New)
MUSHTAK (Aerial: Sonance) A two-rank free-reed of rich, nasal tone, evoking the eponymous Arabic mouth-organ with pipes. (New)
MUSTEL (Corona: Harlequin Left) A free-reed register complementing the HARMONIUM (q.v.) and with the characteristic timbre of the eponymous French instrument. (New)
MUSTEL CELESTE (Corona: Harlequin Right) A free-reed, each stop having two ranks, tuned sharp and natural, with a warm, delicate MUSTEL (q.v.) timbre. There is no connexion with the eponymous percussion effect on Mustel reed organs.
MUTATION (Median: Great Bombard and Corona: Main Pedal) A full-toned chorus mixture. (Wanamaker organ)
NABALOU (Aerial: Aire) A reed of thin, plaintive tone, like a muted Orchestral Oboe. The name is that of a Phoenician harp. (New)
NACHTPIPE (Belvedere: Positive Right) A narrow scaled, characterful stopped metal flute inclining towards Quintaten tone. (New)
NAIL VIOLIN (Atrium: Positive Left) A thin toned baroque string with a quinty timbre. The name is that of a 19th-century Sanza fitted with sympathetic strings. (New)
NARROW QUINTONE: see QUINTONE
NAZARD GAMBA (Corona: String Left) A solo compound stop composed of a unison gamba and a flute twelfth.
(Wanamaker organ)NIAU (Median: Swell Pleno) A short length reed with a soft, warbling tone. The name means 'bird' in Arabic. (New)
NIGHT DIAPASON (Corona: Great) An open diapason of dark velvet tone. (New)
NIMPHALE (Median: Piano Right) A short-length, thin-toned reed evocative of medieval reed instruments. The name was a term for the portative organ. (New)
NONA FLUTE (Atrium: Positive Chamois Right) A compound solo flute register including the 1 7/9ft. (New)
NONAPIPE (Belvedere: Positive Left) A thin toned woodwind reed with the ninth prominent in the timbre. (New)
NONTAN (Median: Great Right) An harmonic colouring mixture with narrow-scaled pipes including the 8/9ft. (New)
OBELISK BOURDON/OBELISK FLUTE (Atrium: Choir Piano Right) Tapered metal flutes, stopped and open respectively, with a pure, rather veiled timbre. (New)
OBOE CLAUSA (Atrium: Choir Forte Right) A romantic oboe with capped resonators giving a muted, sweet tone.
(Capped Oboe: Wanamaker organ)OBOTON (Median: Swell Right) A harmonic colouring mixture voiced to enhance the woodwind chorus. (New)
OCARINA (Median: Solo Right) An open wood flute of hollow tone evoking the sound of the eponymous earthenware instrument.
(St. Mary R.C., Bradford, Yorkshire: Anneessens 1888)OISEAU DU PARADIS (Corona: Accord Centre) A soloistic harmonic flute of fantastical tone.
(New; but the 1791 J.A. Schulze organ at Quittelsdorf had a 1ft. Vogelflöte)ONDAMAR (Belvedere: Soave Left) A harmonic colouring mixture for the Unda Maris chorus.
(Principal Undermar: St. Wenzel, Naumburg; as rebuilt 1810)ONDINA (Resonance: Euphonic Left) A register like an Unda Maris, giving a pure, clean, almost bubbly sound. The name is derived from the mythological water-nymphs, the Ondines or Undines. (New)
ONZAFLUTE (Atrium: Positive Chamois Right) A compound solo flute register including the 2 10/11ft. (New)
OPHICULUS MONSTRE (Median: Great Bombard Pedal) A large scale, forthright chorus reed, named after the bass ophicleide, the 'Ophicleide Monstre'. (New)
ORPHARION (Atrium: Organetto) A string piffaro evoking the eponymous renaissance plucked string instrument. (New)
ORPHEON (Atrium: Choir Forte Left) A free-reed of slightly stringy, oboe-like quality. (New)
PAKHIZA (Resonance: Euphonic Left) A dulciana piffaro of veiled, shimmering tone. The name means 'virgin' in Turkoman. (New)
PANDEAN FLUTE (Median: Piano Left) A wide scale stopped wood flute of pure tone. The name is derived from the Pan Flute. (Mentioned in Wedgwood)
PAPILLA (Aerial: Sonance) A small scale open flute forming a chorus with the PISHA (q.v.) and the SAFFARA (q.v.). (New)
PARDESSUS DE VIOL (Atrium: Positive Organetto) A baroque string with a rich treble timbre, named after the renaissance treble viol. (New)
PARTHENIA (Median: Solo Centre) A register comprising four ranks of gentle, unforced free-reeds. The name means 'maidenhood' in Greek, and was the title of the first published collection of keyboard music in Britain (1611). (New)
PASTORAL REED (Belvedere: Great Right) A thin-toned member of the oboe family, evoking the sound of pastoral reed pipes. (New)
PASTORITA (flue) (Resonance: Euphonic Right) A narrow-scale stopped metal flute of thin, piping tone. The name derives from the Latin 'pastor', meaning 'shepherd'.
(Mentioned in Wedgwood)PASTORITA (reed) (Corona: Barocco Reed Chests) A half-length fagotto inclining towards a thin, musette-like tone. (New)
PATAR (Belvedere: Main Pedal) A keen toned chorus reed with rich harmonic development. (New)
PAVILLION PIPE (Belvedere: Great Right) A wide scale, rich toned diapason/flute hybrid with the pipes surmounted by flared bells (pavillons). (New)
PENTACHORDON (Atrium: Positive Left) A five-rank MONOCHORDON (q.v.). (New)
PHILOMEL (Median: Solo Right) A wooden harmonic flute of full, round tone. The name comes from that of the mythological god who was metamorphosed into a nightingale.
(Many examples of the stop name 'Philomela'.)PHONEUMA (Resonance: Euphonic Pedal) A wide scale stopped metal flute with a velvety tone. The name is from Greek words meaning 'voice' and 'breath'.
(Melbourne Town Hall, Australia: Ingram 1906)PHOTINX (Belvedere: Positive Left & Positive Pedal) An ultra-smooth woodwind reed of mellow, almost fluty tone. The name was the ancient Greek term for an Egyptian flute or reed-pipe. (New)
PHYSHARMONIKA (Belvedere: Recit) A free-reed with small zinc resonators and a gentle, mellow, stringy sound.
(Halberstadt Dom: J.F. Schulze 1838)PIANISSIMO (Median: Great Right) A quiet, silvery toned narrow scale diapason.
(Portland Chapel, Nottingham University: Willis 1957)PIANO (Median: Piano Right) A soft, mellow diapason. (New)
PIQUANT FLUTE (Corona: harlequin Right) A conical quintaten with a bright, piquant timbre.
(West Point organ)PISCES (Corona: Accord Centre) A slightly keen-toned but gentle piffaro rustling, stringy timbre. (New)
PISHA (Aerial: Sonance) An open metal flute of small round soloistic tone, after the eponymous Persian flute. (New)
PIVA (Atrium: Positive Organetto) A regal with short wooden resonators giving a small, melodious sound. The name, alternatively 'Pivetta', is an old Italian term for a regal stop.
PLENO (Belvedere: Recit) These two-rank stops contain diapasons giving a bright, full tone. The name, which means 'full' in Italian, refers to their chorus-building function.
POMMER SHAWM (Atrium: Positive Pedal & Resonance: Eclat Right) A quarter-length shalmey with a piquant, 'quinty' intonation. The Resonance stop is louder and harmonically richer than those on Atrium. The name comes from the eponymous renaissance family of instruments. (New)
PORTUNAL (Resonance: Euphonic Left) A stopped wood flute with a beaky, slightly reedy timbre. The name, derived from 'bourdon', was used in 17th to 19th-century German instruments to label a variety of flutes.
PUNGI (Corona: Barocco Pedal) A pungent krummhorn, evoking the sound of the eponymous south-Indian double-clarinet. (New)
PYRAMID BOURDON/PYRAMID FLUTE (Atrium: Choir Piano Left) Wide scale wooden flutes with a sharp taper, stopped and open respectively. The tone is gently rich and nocturnal.
(Flûte Pyramidale: Averbode Abbey, Belgium: Loret 1858)QASABA (Corona: Main Pedal) A hollow toned, full bodied open wood flute; a solo register. Named after the eponymous Arabian double-flute. (New)
QUIETOSO (Median: Great Left) A wide-scale neutral toned Dolce. (New)
QUINTANTE (Belvedere: Soave Right) A narrow-scale, perky quintadena.
(La Paz Cathedral, Bolivia: Balbianai 1932)QUINTGAMBA (Median: String Right) A rather keen-toned gamba with a trace of the fifth in the tone, hence the name.
(Quintviola: Kath. Pfarrkirche, Petersburg bei Fulda, Germany: Späth 1964)QUINTON (Belvedere: Positive Right) A keen toned viol, named after the eponymous renaissance instrument. (New)
QUINTONE (Resonance: Vox & Corona: Great) A stopped flute with a discernible twelfth in the tone. The Resonance stop is voiced the blend with the vox humana ranks. The Corona examples are of broad and narrow scales, resulting in contrasted plummy and piquant timbres.
(St. Patrick's Cathedral, New York City: Kilgen 1927)QUINTPIPE (Belvedere: Positive Left) A thin toned reed with a discernible twelfth in the timbre. (New)
RANKITT (Aerial: Great) A rankett with very small square wooden resonators giving a quiet, gently buzzing timbre. (New)
RAUSCHPIPES (Atrium: Positive Reed Chests) A quarter-length reed of thin nasal tone creating a 'wailing' effect.
(Rauschwerk - a reed stop - Schlick 1511)RAUSCHSORDONE (Median: Piano Right) A sordun with eighth-length resonators an a thin, rustling ('rauschend') timbre. (New)
RAUSCHVIOL (Median: String Left) A thin-toned and gentle viol with an almost sibilant rustle ('rausch') in its tone. (New)
REBAB (Atrium: Positive Left) A string evoking the gutsy, nasal sound of the medieval rebec. 'Rebab' is the Arabic name for this instrument. (New)
REGULA (Belvedere: Positive Right) An open wood diapason. The name is Latin and literally means a measuring rod or ruler; thus the unison diapason is the 'measure' of all the other stops.
(St. John, Torquay: Hill 1873)RIEM (Resonance: Eclat Left) A mezzo-forte free-reed with a gentle basson-like timbre. The derivation of the name is obscure.
(St. John, Glastonbury: Rest Cartwright 1915)ROHROBOE (Median: Swell Right) A full and pungent toned oboe. (New)
ROHRQUINTEN (Median: Solo Left) A chimneyed quintadena with wooden pipes and a lively, beaky timbre.
(Rohrquintade: Laurentiuskirche, Desslingen: Reiser 1963)RORBASS (Median: Main Pedal) A piquant toned shawm with wooden resonators; a bass to the woodwind registers on the Great Right division. 'Ror' is old German for 'reed'. (New)
ROTTA (Atrium: Positive Right) A string evoking the thin, gutsy sound of the eponymous medieval instrument. (New)
RUSSHORN (Corona: Accord Centre) An open wood diapason of horny, quiet timbre.
(Hannover Stadthalle: Furtwängler & Hammer 1914)SACKBUT (Median: Swell Centre) A romantic chorus reed of full, rich tone. The name is that of the precursor of the trombone.
(York Minster: Hill 1833)SACKPIPE (Atrium: Choir Piano Left) A musette with a thin, gentle tone. The name is derived from the 'sack' or bladder of a bagpipe. (New)
SAFFARA (Aerial: Sonance) A circular-plan open wood flute with a thin, soloistic tone. Named after the eponymous Arabian recorder. (New)
SALAMINE (Median: Main Pedal) A gentle, light toned string of the salicional family, bass to the soft string registers of Swell Centre. The name is said to have evoked the sound of waves on the coast of Salamis.
(St. John, Hannover: Meyer n.d., according to Hopkins & Rimbault)SALICIS (Median: Great Centre & Main Pedal) A mild-toned string, rather like an 18th-century German salicional. The name is from 'salix', meaning 'willow' in Latin. (New)
SALIX (Corona: String Right) A rich-toned salicional. The name means 'willow' in Latin. (New)
SANFT FLUTE (Atrium: Dolce Right) An oblong-plan open wood flute of gentle, veiled tone. 'Sanft' means 'soft' in German; the name is fairly common.
SAROQUE (Belvedere: Positive Pedal) A fagotto of thin, colourful tone. The Israeli 'sarak' is a shepherds' pipe. (New)
SARRUSOPHONE (Corona: Harlequin Right) A very loud, rich toned brass horn, after the eponymous 19th-century instrument.
(Branch Street Tabernacle, Lowell, Miss.: Emory Lane 1906)SAXHORN (Atrium: Choir Piano Left) A mellow horn-like saxophone, after the eponymous 19th-century instrument. (New)
SCIALUMO (Belvedere: Great Left) A very thin toned shalmey, for which name this is an Italian term.
(Divinity School, Philadelphia, PA: Allen 1970)SCRIARI (Belvedere: Recit) An extremely thin toned, biting chorus reed. The name comes from that of the folk oboe, the Schryari.
(As a mixture: Franz Liszt Music School, Budapest: Walcker 1967)SENSUS (Corona: Barocco Pedal) A thin, neutral-toned Kurtal. 'Sensus' is Latin and was the name of a reed-pipe. (New)
SEPTAFLUTE (Atrium: Positive Chamois Right) A compound solo flute stop including the 1 1/7ft. (New)
SEPTAPIPE (Belvedere: Positive Left) A thin and sour toned woodwind reed with the flat 7th prominent in its timbre. (New)
SEPTIMAGAMBA (Corona: String Right) A compound solo gamba stop including the 2 2/7ft. (New)
SEPTON (Median: Great Left) A harmonic colouring mixture including the flat 7th. (New)
SERAFINO (Atrium: String Left) A free-reed of gentle, well blending tone. Named after the early harmonium. (New)
SERPENTONE (Resonance: Euphonic Left) A woodwind reed; a muted serpent.
(S. Maria Maggiore, Trent: Serassi 1827)SEXTADE (Atrium: Positive Pedal) A wooden quintadena with the tierce as well as the quint prominent in its timbre. The name is derived from 'sext', an alternative label for the 12.17 sesquialtera. 'Sesqui' refers to the ratio 3:2, the relative proportion of the height of the pipes of the two ranks.
(Nikolaikirche, Hamburg: Peter 1965)SHAIPUR (Atrium: Positive Left) A bright, free toned chamade reed, after the eponymous Arabian brass instrument. (New)
SHASHTAR (Median: Swell Pleno Pedal) A forceful, biting chorus reed. The name is that of an Arabian lute. (New)
SHOFAR (Median: Swell Pleno) An earthy, rich toned chorus horn, after the eponymous Israeli temple horn.
(Temple Emanu-El, San Francisco: Swain & Keates c.1980)SICILIENNE (Median: Piano Left) A small-scale oboe of piping timbre. The name, suggested by Wm. H. Clarke, is derived from that of a Sicilian pastoral reed-pipe.
SIFFLET (Celestial: Astral) A two-rank open wood flute with the pipes voiced almost off-speech, to produce merely a breathy, whispery hint of the correct timbre. The name is used in French organs to label a 1ft. flute, and comes from the verb 'siffler', to whistle.
SILVER FLUTE (Aerial: Sonance) An extremely smooth toned harmonic metal flute of oily, soloistic quality.
(Claremont Colleges, Claremont, CA: Estey 1931)SKY FLUTE (Celestial: Astral) A breathy-toned open harmonic wood flute. (New)
SORDINO (Atrium: Choir Forte Right) A quiet, neutral toned open metal flute. (New)
SORDOPIPE (Corona: Accord Right) A sordun with short conical resonators and a smooth, gentle tone. (New)
SORDOSORDONE (Median: Piano Right) A sordun with short capped resonators and a round, muted tone. (New)
SPECTRUM (Median: Swell Pleno Pedal) A chorus mixture including unison, quint and tierce harmonics. (New)
SPHEROPHONE (Celestial: Ethereal) A very wide-scale metal chimney flute with a tone like a fat, velvety Cor de Nuit. Named after the 20th-century electronic instrument. (New)
SPINDLE FLUTE (Belvedere: Great Right) A metal flute of fairly narrow scale with a cylindrical body surmounted by a cone. The tone is sweet and gentle with a hint of reediness. The name is an Anglicisation of the German 'Spindelflöte'.
(Memorial Church, Harvard University, Cambridge, Mass.: Fisk 1967)SPIRE FLUTE (Median: Chorus Centre) A sweet-toned tapered flute, for which sort of stop this is a common American name.
SPIRIT FLUTE (Aerial: Aire) An open flute of turned wood with a sweet, round timbre. (New)
STENTHORN (Corona: Harlequin Right) A brass-reed with a timbre between horn and tromba, of fairly close but not muffled tone. The name was used to label flue stops in American romantic organs.
STENTOR CELESTE (Median: Solo Centre) A very rich and full toned gamba celeste.
(Old South Church, Boston: Barden 1990)STIR (Belvedere: Positive Left & Right) An harmonic colouring mixture. (New)
STRING FLUTE (Corona: Accord Centre) A two-rank stop combining a fairly keen-toned string with a gentle metal open flute. This practice occurred in 18th-century instruments such as Weingarten.
(Wanamaker organ)SUDROPHONE (Resonance: Main Pedal) A full toned brass-reed like a foundational Ophicleide. Named after the 19th-century instrument, a hybrid Ophicleide/Saxhorn. (New)
SUGHOSA (Atrium: Choir Piano Left) A gentle toned harmonic wooden tibia with a round, glowing timbre. The name means 'melodious' in Hindi. (New)
SULTANA (Atrium: Positive Chamois Right) An exotic string piffaro including tierce and none harmonics, evoking the sound of the eponymous 18th-century double-strung bowed guitar. (New)
SUMPHONYAH (Aerial: Sonance) A free-reed with a thin, bagpipe-like timbre, evoking the sound of the eponymous Jewish drone instrument. (New)
SUPA (Atrium: Positive Pedal) A brassy chamade trumpet, bass to the chamade ranks on Positive Right. The name means 'lustrous' in Akkadian. (New)
SWEGEL (Atrium: Positive Pedal & Median: Solo Left) A wide scale open metal flute with pipes having a slight outward taper. The name is common in German instruments, and is derived from the High German 'swegla', meaning a flute.
SWEGELPRINCIPAL (Resonance: Euphonic Left) A gentle, rather fluty, clear toned diapason. For the derivation of the name, see SWEGEL.
(Schwegelprincipal: Ulm Minster: Walcker 1969)SWISS FLUTE (Belvedere: Great Left) A bright toned harmonic flute of turned wood pipes. The name 'Schweizerflöte' is familiar in German organs.
SYLVANA (Median: Piano Right) A silky, gentle Sylvestrina, from which stop the name is derived. (New)
SYLVESTRA (Aerial: Sonance) A veiled, mild Sylvestrina, from which stop the name is derived. (New)
SYMPHONY (Atrium: Positive Left) A thin-toned string evoking the eponymous medieval hurdy-gurdy. (New)
SYRINX (Corona: Harlequin Right) A Pan Flute,, of rounder, hollower tone than the register so named on Harlequin Left. 'Syrinx' is the original Greek name for this instrument.
TAPADA (Corona: Barocco Pedal) A conical narrow-scale stopped flute. The name is a Spanish term for a stopped register.
(Tapado: Potosi Cathedral, Bolivia: Walcker 1938)TAROGOLO (Atrium: Positive Pedal) A chorus reed of firm Fagotto tone, after the eponymous wide-bore oboe/saxophone from Hungary c.1900. (New)
TENOR OBOE (Belvedere: Soave Left) An oboe with a resonant, tenor-ish timbre. (New)
TERPODIAN (Aerial: Great) A free-reed of gentle, mellow tone. The name, from Greek words meaning 'a song' and 'to delight', was used in 19th-century Germany to label both flue and reed registers.
TERPOMELE (Corona: Main Pedal) A free-reed of full, melodious timbre. The name has the same roots as TERPODIAN (q.v.)
(Beauvais Cathedral: 1827-9)TERZAFLUTE (Atrium: Positive Chamois Right) A compound solo flute stop including the 1 3/5ft. (New)
TERZPIPE (Belvedere: Positive Left) A thin toned reed with the tierce prominent in the timbre. (New)
TETRACHORDON (Atrium: Positive Left) A four-rank MONOCHORDON (q.v.) (New)
THEORBE (Atrium: Positive Chamois Left & Right) A piffaro made up of string and large scale stopped flute ranks, evoking the plummy tone of the eponymous renaissance lute.
(Marienkirche, Danzig - choir organ: Steinmeyer 1938)THROAT PIPE (Atrium: Positive Pedal) A half-length reed with large-scale resonators giving a round, throaty timbre. (New)
TIBIA - A flute. The name is Latin, and originally meant 'leg' or 'shinbone'. "It is supposed that originally the flute was made from the legs of cranes, or other birds " (Pliny, Ep. 16, 36 sev 66, as quoted in Wedgwood). In late Latin the name meant 'a pipe'. The various suffixes include:
ARMONICO (Resonance: Eclat Left) Harmonic wood pipes with a full, soloistic timbre. (New)TIERCINA (Atrium: Choir Piano Right) An harmonic metal quintadena with the tierce prominent in the tone.
CUSPIDA (Resonance: Eclat Left) Conical wooden pipes. The name means 'conical' in Latin, and was used to label 18th-century stops.
DURA (Median: Swell Right) A hard, horny timbre. 'Durus' means 'hard' in Latin.
(Melbourne Town Hall, Australia: Ingram 1906)
FISTULATA (Median: Swell Right) An open pipe. 'Fistula' means a pipe or tube in Latin.
(St. John, Torquay: Hill 1873)
MOLLIS (Resonance: Eclat Left) A stopped harmonic wooden pipe. The name means 'gentle' in Latin.
(Melbourne Town Hall, Australia: Hill, Norman & Beard 1929)
PLENA (Resonance: Eclat Left) An open metal pipe of wide scale and broad tone. The name means 'full' in Latin.
(Worcester Cathedral: Hope-Jones 1896)
SERRANAE (Atrium: Choir Chorus Right) Narrow scale harmonic metal pipes, evoking the eponymous Phoenician double-pipes. (New)
(Worcester Cathedral: Hope-Jones 1896)TOLKAAN (Corona: Accord Left) A wide-scale Dolcan of almost fluty tone. The name is the Dutch form of 'Dolcan.
(St. Jan, s'Hertogenbosch: 1952 rebuild)TOLOSANA (Belvedere: Positive Centre) A Spanish cornet of transparent melodic tone. The name refers to the town of Toulouse, and suggests a French origin for this Spanish register.
(Corneta Tolosana: Toledo Cathedral, Epistle organ: Verdalonga 1797)TONUS FABRI (Corona: Great) A harmonic-colouring mixture including ranks at the 3rd and 6th. The name comes from Latin words meaning 'sound' and 'metalworker', referring to the bell-like tonal effect.
(Kreuzkirche, Dresden: Jemlich 1962)TOY TRUMPET (Aerial: Sonance) A trumpet with half-length brass resonators and an unrefined sound evocative of children's games with wooden soldiers. (New)
TRAVERS (Atrium: Positive Right) A gentle and breathy toned conical harmonic wood flute. Named after the 18th-century traverse flute. (New)
TRICHORDON (Atrium: Positive Left) A three-rank MONOCHORDON (q.v.) (New)
TRIUNA (Atrium: Choir Chorus Centre) A small three-rank cornet.
(As a 4ft. flute: St. Florian Abbey, Austria: Chrissman 1774)TROMBA DI CACCIA (Corona: Barocco) A small-scale rustic tromba. 'Caccia' means 'chase' or 'hunt'.
(Como Cathedral: Herman 1650, according to Hopkins &' Rimbault)TROMBINI (Corona: Barocco) A two-rank regal with small wooden resonators; a wooden Messingregal.
(Tromboncini: Davies Symphony Hall, San Francisco: Ruffatti 1990)TROMBITA (Corona: Barocco) An octave to the Tromba di Caccia (q.v.); a small-scale rustic trumpet.
(Trombeta: Evora Cathedral, Portugal: Oldovini 1758)TROMBOTONAR (Atrium: Positive Reed Chests) A wooden tromba with a full, pervasive tone. (New)
TROMPAS (Atrium: Positive Reed Chests) A low-pressure trumpet with flared brass resonators and a resonant, free tone. (New)
TROMPETA RESPALDA (Belvedere: Positive Left) A brass-reed with a splashy, unforced tone. 'Respalda' means the 'back'; i.e. inside the organ, not chamade.
(Sevilla Cathedral: Amezua 1902)TUBALBORDUN (Median: Great Bombard Pedal) A large-scale stopped metal flute. The name is that of Tubal Cain (Genesis 4:22) the metalworker. (New)
UNDINA (Resonance: Euphonic Right) An Unda Maris with a cantabile, gently yielding quality. The name is derived from the Undines, or Ondines, mythological water-nymphs. (New)
UNRUH (Belvedere: Soave Right) A harmonic-colouring mixture with a gently rustling tone. The name means 'disquiet' in German.
(St. Martin, Kassel: Bosch 1964)UNTERPIPE (Belvedere: Positive Pedal) A fractional-length woodwind reed of thin Dulzian timbre. (New)
VALENCIA FLUTE (Belvedere: Great Left) An open wood flute with a tapered triangular plan. (New)
VANGAST (Corona: Barocco Pedal) A brassy toned chamade trumpet with a tapered spiralling resonator. (New)
VENICE FLUTE (Belvedere: Great Left) An open wood flute with a tapering oblong plan.
(Flauto Veneziano: St. Paul's Lutheran, Orlando, Florida: Ruffatti 1980)VICACKHA (Belvedere: Positive Centre) A very thin tone, splashy chamade trumpet. The name means 'bifurcated' in Arabic. (New)
VIELLE (Atrium: Positive Right) A thin, nasal toned string evoking the eponymous medieval fiddle. (New)
VIENNA FLUTE (Belvedere: Great Left) An open wood flute with a tapered square plan.
(London Organ School: Casson n.d.)VIOLA ANGELICA (Atrium: String Left) A viola of refined, rather breathy tone.
(Branch Street Tabernacle, Lowell, Mass.: Emory Lane 1906)VIOLA DA BORDONE (Atrium: Positive Right) A string piffaro evoking the eponymous renaissance viol with its many sympathetic strings. (New)
VIOLA DA MORE (Atrium: Positive Left) A string piffaro evoking the eponymous renaissance 'Moorish' viol, with its gently astringent sympathetic strings. (New)
VIOLAEOLE (Median: Swell Right) A keen toned string stop.
(Aeolscharfe: Salzburg Cathedral: Mauracher junior 1914)VIOLE À ROUE (Belvedere: Positive Centre Pedal) A thin toned baroque string of two ranks. The name is a French term for the hurdy-gurdy. (New)
VIOLETAS (Corona: Barocco) A regal with tapering wooden pipes and a mild, stringy timbre. The name is common in baroque Spanish instruments.
VIOLON DOUCE (Corona: String Right) A foundational, mild-toned string in the 18th-century German manner.
(Weingarten Abbey: Gabler 1750)VIRGINIA FLUTE (Belvedere: Great Left) An open wood flute with a tapered circular plan. (New)
VIRGIN REGAL (Atrium: Positive Left & Right) The German Jungfernregal. Perhaps that on Positive Left is the daughter of the 8ft. calf, Hathor.
(Jungfrauenregal: Memorial Church, Stanford University: Fisk 1984)VOCE ACUTA (Belvedere: Main Pedal) A keen toned chorus reed. (New)
VOCE CORALE (Celestial: Ethereal) A flue piffaro of open wood and harmonic metal pipes giving a choral, vocal timbre. This stop-name is common as an undulant in 20th-century Italian organs.
VOCE DIVINARE (Resonance: Euphonic Pedal) A mild toned Vox Humana. The Italian 'divinare' means to prophesy or divine. (New)
VOCE DURA (Belvedere: Main Pedal) A fundamental, hard-toned chorus reed. 'Durus' means 'hard' in Latin. (New)
VOCE ETHERIA (Aerial: Great) A harmonic open metal flute of pure, blending quality.
(Voce Eteria: Pompeii Sanctuary: Inzoli 1890)VOCE JUBILARE (Belvedere: Great Left) A loud, mellow toned chorus reed. The name is bastard Italian.
(Vox Jubilaire: Hammond Museum, Gloucester, Mass.: various builders)VOCE LANGUENTE (Belvedere: Great Left &' Right) A mournful, mellow toned trumpet. 'Languente' means 'languishing' in Italian.
(S. Pietro, Trapani: La Grassa 1780)VOCE ONDINA (Resonance: Euphonic Left) A hybrid vox/dulzian of mild, blending tone. (New)
VOCE TRIONFALE (Belvedere: Great Right) A bright, free toned chorus reed. (New)
VOCE UNDINA (Resonance: Euphonic Right) A vox humana of mild, stringy tone. (New)
VOIX DES ANGES (Corona: Accord Right) A piffaro of three ranks: a gentle open metal harmonic flute with two Unda Marae, tuned sharp & flat. The tone is refined, gentle and luminous.
(Glenkirk Presbyterian, Glendora, CA: Rodgers 1991)VOIX DU VENT (Celestial: Main Pedal) A vox humana with a gentle, whispery tone. (New)
VOX - The romantic vox humana is a reed stop with Clarinet or Cor Anglais resonators 1/8 to 2/3 of the normal length. Constructional details vary from stop to stop. Suffixes include:
ACUTA (Resonance: Vox) Emphasis on the upper partials. (New)VOX AMOROSA (Aerial: Sonance) A celeste of two open wood flutes with a round, caressing timbre.
AMABILE (Atrium: Vox) Smooth, sweet tone. This suffix means 'sweet' in Italian. (New)
ARMONICO (Atrium: Vox) Half-length resonators pierced halfway up; a rich, smooth tone. (New)
CAMINO (Atrium: Vox) Stopped/chimneyed pipes and a piquant tone. This suffix means 'chimney' in Italian. (New)
CANDIDA (Belvedere: Main Pedal) Normal, open tone. This suffix means 'white' in Latin. (New)
CANTABILE (Atrium: Vox) Full, melodic tone. (New)
CELESTE (Celestial: Astral) Muted, almost fluty tone. (New)
CORONA (Corona: Great) Named after its location. (New)
CUSPIDA (Atrium: Vox Pedal) Resonators surmounted by cones; a rich, reedy tone. The name means 'tapered' in Italian. (New)
MINIMA (Atrium: Vox) 1/16 length resonators and a quiet, buzzy timbre. (New)
MYSTICA (Aerial: Aire) Very gentle, smooth tone.
(Colston Hall, Bristol: Norman & Beard 1905 - intended to imitate the voice of Clara Butt, according to Wedgwood.)
NOTTURNO (Belvedere: Soave Right) Dark velvet tone. (New)
PHYSHARMONIKA (Atrium: Vox Pedal) 1/8 length wooden resonators; a gentle, stringy timbre reminiscent of the eponymous free-reed stop (q.v.). (New)
RECIT (Median: Swell Pleno) Harmonically rich. (New)
SERAPHINA (Belvedere: Soave Left) Very mild, slightly stringy tone.
(Vox Seraphique (a flue): Portland City Hall: Austin 1912)
SOAVE (Median: Swell Pleno) Sweet, rather muted tone. (New)
SORDO (Atrium: Vox) Capped resonators and a muted tone. (New)
SPIRITUS (Aerial: Sonance) A gentle, almost transparent timbre. (New)
VOCALE (Atrium: Vox Pedal) Like the Vox Cantabile on the manual divisions; a full, melodic tone. (New)
VOCALISE (Belvedere: Soave Left & Resonance: Main Pedal) The closest possible imitation of human vocalisation. (New)
(Calvary Church, Charlotte, NC: Moller 1990)VOX ELYSIAE (Celestial: Main Pedal) A gentle stringy Unda Maris. The name comes from the Greek 'Elysium', the home of the blessed departed. (New)
VOX QUINTONE See under QUINTONE.
VOX SALAMIS (Median: Swell Centre) A soft, fairly keen toned string of the salicional family. See under SALAMINE for the origin of the name. (New)
VOXTONE (Resonance: Vox) A fractional length reed with little unison tone but a marked aural spread of harmonics, adding colour to the vox humana ranks. (New)
WALD FAGOTTO (Atrium: Choir Pedal) A bassoon with wooden resonators and a mild, woody tone.
(Birmingham Town Hall: Hill/Gauntlett proposal 1843)WALDPIPE (Corona: Barocco) A quarter-length reed with wooden resonators and a mild bassoon timbre. (New)
WEYDEN PIPE (Aerial: Main Pedal) An open metal flue with a mild, neutral tone. The name comes from the German 'weiden' meaning 'willow'.
(Weidenpfeife: Heilandskirche, Berlin-Moabit: Schmid 1962)WEYDEN STRING (Corona: String Pedal) A wide-scale neutral toned string, almost inclining to gentle diapason timbre. The German 'weiden' means 'willow', and thus this name has the same import as 'Salicional', which is derived from the Latin 'salix', also meaning 'willow'. (New)
WHISPERA (Belvedere: Great Right) A delicate Aeoline with a whispery tone. (New)
WHISTLE FLUTE (Corona: Harlequin Left) A harmonic open metal flute imitating the human whistle.
(Whistle 2ft.: Wiltern Theater, Los Angeles: Kimball)WINGED KORNETT (Belvedere: Great Right) A mellow Flugelhorn. (New)
WOOD KORNETT (Atrium: Positive Left) A mild, mellow chorus reed evoking the sound of the renaissance instrument. (New)
WOOD KURTALL See under KURTAL.
WOODPIPE (Atrium: Positive Reed Chests) A half-length reed with wooden resonators and a mild, woody timbre. (New)
XIMZI (Corona: Barocco) A low-pressure chamade with a thin, cutting tone. (New)