variety of the most beautiful effects is obtainable, and I agree with Domcapellmeister Greulich, of Breslau, in most warmly recommending beginners to study all the variations and shades of tone that can possibly be produced on their organ. (See Combinations of Stops.)

Coupler is (2) the antiquated name for an actual stop, and an abbreviation of the word Coupling-Flute, so named on account of its fitness for blending with every other voice. It is usually stopped, and occurs as 16-ft., 8-ft., and 4-ft. tone. The name Coupler for an actual stop is now obsolete, having been very rightly superseded by Bourdon, or Gedackt. (See Bourdon.)

Coupling. See Couplers.

Crescendo is the well-known pedal (usually placed low on the right-hand side) by means of which the shutters of the Swell are opened and closed. As a rule, the pipes of one manual only are placed in the Swell. This is a disadvantage in German and Swiss Swell Organs, as compared with the English and French ones, that they often have only a comparatively weak, even feeble, manual-on which there is practically nothing to increase or diminish-inside their Swell Box. I therefore mention the fact-so strongly dwelt upon by Otto Dienel in his lectures to the Society of Organists in Berlin-that the English, in particular, generally have more and louder pipes on the Swell than on the Great Organ, by which means they produce correspondingly brilliant effects in light and shade.

But to return to German instruments. The organ of the Vienna Musikverein (by Ladegast) has a pneumatic (see Pneumatic Action and Pneumatic Combination Pistons) Crescendo and Decrescendo, adjustable to any degree of power for the whole system of couplers, as well as for each

individual manual and pedal, with an Indicator and an Echo. (Compare the arrangement of the St. Peter's organ at St. Petersburg.)

Another kind of Crescendo, called Composition- or Pedal-Swell (also Roller Swell), rarely met with owing to its complicated mechanism, is found, amongst other places, in the cathedral of Ulm and the convent church at Engelberg. By means of a roller worked by the foot, all the stops, one by one, from Æolina up to Great Organ, can be brought into play, and thrust in again for the Decrescendo by a backward rotation of the roller. If the stops follow and join in happily chosen succession, if the transition to the tone of the mixtures is cleverly graduated, and if, lastly, the mechanical part of the arrangement is perfect, this kind of roller swell is of exceptional advantage to every larger organ. The most perfect system for a Crescendo on the whole organ is that of the pneumatic action, by means of two power-bellows, one of which works the Crescendo, the other the Decrescendo. The organist need only couple the roller to the pneumatic action by a movement of the foot, and the apparatus is at once set in motion. The backward action is started by a special draw stop. By means of a lever, both Crescendo and Decrescendo can be at once disengaged. The contrivance suggested by Dr. Faisst, and already employed in several larger organs (for example, in the church of St. John am Feuersee, Stuttgart), is a very welcome one. An Indicator is connected with the Crescendo in such a manner that, according to the pressure on the pedal key, the movable disc indicates the number of stops brought into action; so that in every position of the pedal key the organist may know at once what power of tone he commands at the moment.

Cymbal is a mixture stop of narrow scale, which, on account of its small pipes, is the acutest of all the mixtures; it is consequently the last stop to be drawn for the Great Organ. It occurs as a 4-rank Cymbal on the new Sydney organ (126 stops).

D.

Diapason. This name denotes not only a tuning-fork, but in organ-building applies also to the stops, Principal, Octave, and Gedackt; but chiefly in English organs, where (for example, Westminster Abbey and Town Hall, Sydney, etc.) it frequently occurs on all four manuals as principal bass, under the name of 16-ft. Diapason, 8-ft. Open Diapason, 8-ft. Stopped Diapason, and on the pedals as 32-ft. Open Diapason (the 4-ft. Octave so important for the temperament [q.v.] is labelled 4-ft. Principal). (See also Principal and Octave.) Seidel, in his work, adopts the term Disdiapason for the Super-Octave. Violin-Diapason is a name for the 8-ft. Geigenprincipal on nearly every English and American organ.

Differential Tones. See Quint.

Dolce, an 8-ft. string-toned metal stop, similar to Salicional, is an extremely mellow solo stop, wider in scale than Salicional, and constructed by some builders as a cone (a little wider at the top). In Westminster Abbey it appears as 4-ft. Dulcet. In large organs it ought to be placed more frequently on the Great manual, to which, as a soft string-toned stop, it would lend more power of expression than the naturally powerfully intonated Gamba can give. By some builders (Weigle, for instance) it is

voiced soft and flute-like, viz. in no wise string-toned, like Flauto Dolce. (See Æolina for the use of wood in the construction of the lowest notes.) It combines well with 8-ft. Bourdon, 8-ft. Hohlflöte, 4-ft. Flûte d'Amour, and, if coupled, with Zartflöte or Wienerflöte 8-ft. (See Intonation.)

Double Bass (Contra-Bass). As 32-ft. stop it is acoustically combined with 16-ft. Violin and 10 Gedackt (that is to say, 5-ft. long, but producing 103-ft. tone, vide Gedackt). As an open 32-ft. and 16-ft. pipe, it is always intonated as far as string character and power are concerned-between the Violin Bass and Principal Bass (Open Diapason Bass), which latter stop, especially on French organs, it is often called upon to replace. A very successful 16-ft. Double Bass is equivalent to the orchestral instrument of the same name; and Bergner, organist at the cathedral, Riga, writes me word that his Contra-Violin, for instance, is of enchanting beauty. (See also Sub-Bass and Double-stopped Bass.) Steinmeyer, organ-builder at Oettingen, has, probably on the basis of the above-mentioned intonation, placed a 32-ft. Contra-Violon in Rothenburg an der Tauber, and in the Frauenkirche, Munich; and a difference, even for a musically trained ear, can only be found in the greater power of certain harmonics.

Double Flute. An open wood pipe, usually of 8-ft. tone, furnished with double, that is to say, two diametrically opposed lips, and also with double slits. It therefore has a brighter sound than the single-lipped Flute. English organbuilders usually place it on the Solo Organ, as has been done on the Town Hall organ, Sydney. It also occurs under the name of Duiflöte and Jubal Flute (q.v.). It is of enlivening effect in combination with an 8-ft. Gamba. A double-lipped 16-ft. Flute Bass is placed on the second

pedal (see Hohlflöte) of the Marienkirche, Lübeck, and a double-lipped Rohrflöte (q.v.) on the cathedral organ of Breslau. Under the name of Bifara, Walcker has arranged (for St. Petersburg) a 2-rank Double Flute; the first rank has stopped 8-ft. pipes, the second rank, Dolce, open 4-ft. pipes.

Double-stopped Bass (Untersatz, Majorbass) frequently occurs as a 32-ft. stopped pipe on the pedals. If space and means are limited, this stop often has to take the place of an open 32-ft. pipe. (See Sub-Bass and Double Bass.) In the large organs of Russian Libau, Riga, Paris, London, Leipsic, Ulm, Sydney, and a few others, it is often labelled 32-ft. Contra- or Grand- Bourdon.

Doublette is usually called by the French builders the 2-ft. Super-Octave; and under this French name it is still found on old German and Swiss organs.

Dulcet. See Dolce.

Dulcian. A soft-toned basson-like reed of 8-ft. and 16-ft. tone, as a rule open, but sometimes stopped. Neither to be mistaken for Dolciano, which in the Frauenkirche at Görlitz was constructed by the builder, Buckow, as an open wood flue, nor for Dulciana, which both as 4-ft. and 8-ft. stop occurs frequently in English (Westminster Abbey) and French organs with Dolce intonation and wide scale. In the new cathedral organ at Riga it is placed on the first manual amongst the flue stops.

Echo.

E.

When this word alone appears on the button, it indicates an exceedingly soft, flute-like stop, which is often