Æolina), as a reed on the second manual, and the above described 8-ft. Æolina as a flue on the fourth manual. T. F. Witte, of Utrecht, has also arranged a very successful 16-ft. Æolina as reed stop on the third manual of the new organ at the Hague, Holland. Æolina combines well with Voix Céleste (q.v.), which is tuned slightly sharper, as well as with Wienerflöte and Lieblich-Gedackt. This latter

combination may be improved by introducing the brighter character of the Flauto Traverso or Flûte d'Amour. (See Combinations of Stops.) For the physical generation of tone in flues, see Flue Stops.

Amoroso. See Flûte d'Amour.

Arrangement, or Disposition, from the Latin disponere, to dispose, implying arrangement (also proper subdivision), is briefly the plan and arrangement of the whole plant of an organ, according to its size, power, disposition of stops, and material. The whole success of this work of art depends upon the carefully considered "arrangement," which should be in accordance with all the rules of acoustics, and adapted to the proportions of the building destined to receive the organ.

B.

Baritone. See Tuba Mirabilis.

Bassethorn. See Serpent.

Bass Flute, or Flute Bass. See Flute.

Basson is more particularly a French striking reed, with so-called anches à larmes, similar in intonation to a soft trumpet. It occurs as a 16-ft. stop on the first manual of Walcker's organ at Glarus. According to Faisst, Basson

coincides with the French name for the Bassoon, both as orchestral instrument and as organ stop.

3 Bassoon is a small scale stop, usually constructed as a free reed, which occurs, if of 16-ft. tone, on the manuals as well as on the pedals (frequently labelled Double Bassoon). If of 8-ft. tone, this stop occurs only in the two lower octaves, Clarionet and Oboe succeeding it in the higher octaves. (See also Dulcian.)

Bells. See Carillon.

Bifara, Tibia bifaris. See Double Flute.

Blower's Signal. A draw stop applied to many organs, serving to call the blower's attention to the bellows. I may here mention that I have now and then seen people engaged as blowers, who, being the reverse of intelligent, had for that reason been chosen for this apparently inferior post. Through their violent pulling, sudden releasing, and generally incompetent treatment of the blowing apparatus, great expense has been incurred, which would have paid a thoroughly trained, conscientious blower for years. At the present date water and gas engines are frequently used for this purpose with large organs, an arrangement which offers many advantages to the organist, particularly for practising purposes at odd moments, as it makes him. independent of the blower (Calcant).

Bombard appears as a 16-ft. and 32-ft. striking reed on the pedals. With regard to power it stands between Trombone and Bassoon. (See Trombone.) It is seldom found on the manuals. There are, however, organs in France, on which the third and fourth manuals form together a so-called Bombard-manual based on the 16-ft. tone; for instance, St. Sulpice, St. Eustache, the Madeleine, and St. Denis (see Töpfer, vol. i. § 1265). Like the Trombone, the

Bombard requires correspondingly powerful reeds as a covering. (See Reed Stops for the physical generation of tone in reed pipes.)

Bordun. See Bourdon.

Bourdon. A covered wood stop, never wanting even on the oldest organs, and which, by its massive full sound, is able to lend to the manual extreme dignity and an ecclesiastical solemnity of tone. The usefulness of this stop (also as a solo of 8-ft. tone, particularly in the upper registers), if well intonated, has latterly been more and more fully recognized. (See also Rohrflöte.) A 16-ft. Bourdon on the manuals, if neither size nor material have been spared, gives depth and fullness even to the smallest organ. (See Double-stopped Bass for the application of a 32-ft. Contra-Bourdon to manuals and pedals (by William Hill, of London).) The Bourdon stops are subdivided into Bourdon, Gedackt, and Lieblich-Gedackt, and are sized in this order. In England the 16-ft. Bourdon often stands for 16-ft. Sub-Bass. (See Gedackt.) Bourdon is a stop available for any combination. I found it had a peculiarly beautiful effect in conjunction with a soft, well-tuned Trumpet, or if coupled to a well-tuned solo reed on one of the upper manuals. Bourdon, in fact, has the special quality which enables it to be combined most conveniently with any other stop; hence the old name of Coupling-Flute, or, more shortly, Coupler. (See also Combinations of

Stops.)

Bourdonecho. See Echo.

C.

Carillon (Bells) is an arrangement now and then met with in large organs. I found it surprisingly effective for secular music, as for instance in the new concert organ of the Trocadero Palace, Paris. In the organ of Merseburg Cathedral (C. F. Becker), there is a Carillon from C to C"", composed of thirty-seven polished steel rods. For church Carillons, principally found in Dutch churches, I refer the reader to Radaus' "Lehre vom Schall," p. 272. One example of these is found in Amsterdam, comprising fortytwo bells, with a compass of three and a half octaves. several occasions I found, on Italian organs, Carillon as a special stop, beginning with c'. In the large organ being built by Hill and Son for Sydney, there is a Carillon of four ranks on the Echo Organ; and in Witte's organ at the Hague there is one on the third manual.

Celestina. See Voix Céleste.

Chalumeau. See Schalmei.

On

Clairon (small trumpet), sometimes labelled Clarino or Clarion, is a reed of rather narrower scale than the Trumpet, and with a brighter sound; it chiefly occurs as a 4-ft. (more rarely 2-ft.) pedal stop. For particulars, see Trumpet.

Claribella (Clarabella), from the Latin clarus, bright, and the English bell, meaning therefore "the bright sounding (voice)," is an 8-ft. and 4-ft. flue pipe, similar to our open 8-ft. Flute, pleasantly refreshing in character; occurring frequently in large new English and American organs (Liverpool, Canterbury, Birmingham, Garden City, U.S.A., and others).

Clarionet. An 8-ft. tone, intended to imitate the orchestral instrument of the same name. It is of small scale, cylinder shape, and has conical bells (resonant tubes). With regard to power it stands between, say, a softly intonated Trumpet and an Oboe. It is a solo stop of brilliant effect. Clarionet is one of the few reed stops which in Germany and Switzerland are constructed almost exclusively as free reeds. (See Physharmonica.) In England and France this stop occurs as a striking reed. In Switzerland very nice Clarionets are found even on small organs. As a rarity Clarionet occurs as a pedal stop of 4-ft. tone in Silbermann's Court Xorgan at Dresden. It combines well with 8-ft. Bourdon, and, if necessary, by the aid of couplers, with Concertor Wiener-flöte and 4-ft. Flauto Traverso, or 4-ft. Flûte d'Amour.

Clavæolina. See Eolina.

Combinations of Stops. It is clear that the limited space of this modest and concise work does not permit of our enlarging upon the theory of stops; nor is it possible to give a reprint of the many and varied arrangements. Where occasion offered I have endeavoured, however, to give a few useful hints for good combinations at the end of articles on certain stops. They naturally make no claim to completeness, and must be modified in each case in accordance with the intonation of the organ in question. As the results of a varied experience, they will, I trust, be of service now and again to brother organists, by giving an outline of the relative proportions of stops in combination. From my various propositions a tolerably skilful organist will easily recognize my endeavour to point to the relations and affinities of stops, which must be strictly observed, as they are entirely distinct, according to their foundation