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does not occur. (See Bourdon.) Rohrflöte, together with a fine, cutting Gamba, Dolce (if arranged on the first manual), or coupled with Viola or Oboe, gives a peculiarly attractive colouring. It combines well with Salicional; for instance, in the organ at Brienz (Berner Oberland). If necessary it may be refreshed by a bright Flûte d'Amour. (See Combinations of Stops.)

Salicet. See Salicional.

S.

Salicional, Salicet. A much affected stop among the strings, arranged as S-ft. or 4-ft., rarely as 2-ft., and as 16-ft. stop at Riga. It is, as a rule, of wider scale than the Gamba, and is consequently less cutting in character. The Court organist Gottschalg, of Weimar, writes that in North Germany these dimensions of Gamba and Salicional are often reversed. Seidel and Zamminer derive the word Salicional from the Latin salicis fistula (see Fistula), English willow-pipe. The articulation of this stop, as well as that of the Gamba, was formerly rather tardy, in accordance with the construction of the pipe. The modern art of organbuilding has overcome this difficulty by improved intonation (see Gamba). (See Æolina for the use of wood in constructing the lower tones.) If constructed as a pedal stop, it is called 16-ft. Salicet (Nicolaikirche, Leipsic), or simply 16-ft. Salicional (St. George's Hall, Liverpool). In the episcopal church at Lund, Sweden, the Salicional occurs double-lipped (see Double Flute), according to Seidel, on the second manual. The 16-ft. Salicional closely resembles the Harmonica Bass constructed in other countries (q.v.). A Voix Celeste is often found of charming effect with

Salicional (also Æolina) if tuned slightly sharper than the latter. Salicional is one of the most useful stops for fine combinations. I will only mention for instance Wienerflöte, Gedackt, Flauto Traverso, or Flûte d'Amour, the two latter as refreshers of the 4-ft. tone. (See Intonation.)

Sanftflöte. See Wienerflöte.

Schalmei. A soft reed stop, usually of 8-ft. tone (for example at the Hague, Holland, arranged by J. F. Witte), and generally labelled Musette in French organs (Madeleine, Paris). Zamminer (p. 228) gives a delightful description of this ancient wind instrument (originally a flat tube of green willow bark blown with the lips). He traces back to this instrument, which was used by the shepherds of the Alps, the origin of the modern Bassoon, Clarionet, Oboe, etc. It appears also as 8-ft. Chalumeau on the third manual of Silbermann's Court organ, Dresden, and as 4-ft. Schalmei on the First Pedal (see Hohlflöte) of the Lübeck organ.

Septime (seventh), as I understood from Profs. Fink and Palme, was intended for the Nicolaikirche (Ladegast) at Leipsic. The organ-builders whom I consulted are of different opinion concerning the value and effect of this stop. The organ of Notre Dame, Paris, has three Septimes, one of 44 ft. on the pedals, and two of 2 ft. and 11 ft. respectively on the manuals.

Serpent, 16 ft., and the 8-ft. Bassethorn, measured on the same foundation, are smooth, free reed pedal stops, as a rule without a tube, like Physharmonica. They represent the smooth reed-character on the upper pedal of the Ulm Cathedral, and on the Swell pedal of the cathedral organ, Riga. (See Ophicleide for its relations to this stop.)

Sesquialtera. A 2-rank mixture stop resembling Sharp, inasmuch as it also has a third, though not in the first

position like that stop, but as fifth and twelfth from the foundation tone; that is to say, on striking the note c', the notes g' and e' are heard. It belongs to the Great Organ.

Sharp is a mixture stop of from three to five ranks, which differs from the mixture proper in that it contains an obbligato third in its first position (for example, Frankfort-on-the-Main, Berne); therefore, if of three ranks, it has c, e, g; if of four ranks c, e, g, c, and if of five ranks g, c, e, g, c. It belongs to the Great Organ, and is found in English organs under the Latin name Acuta, or as Sharp Mixture.

FIG. 12.

Shut-off Valve is a stop, found for instance on the Münster organ at Berne, which admits and intercepts the passage of wind by means of a valve which works in the wind-trunk. It is also used in conjunction with the slider for combining different groups of stops. It is used by Cavaillé-Coll, Merklin, Ladegast, Steinmeyer, and others. In French organs the manuals as well as the pedals have their Jeux de Fonds (foundation stops) and Jeux de Combinaison (combination stops) on different portions of the windchest. Accordingly as the pallet of one or other of the divisions is opened or closed, the combinations of the different groups of stops can be sounded.

Sifflöte. See Hohlflöte.

Spitzflöte (spire or taper flute) is a much-used open metal stop, with conical tops (Fig. 12). Its tone is somewhat brighter than that of Flûte d'Amour, and it is often used as sharpening stop for several mellow 8-ft. stops on the upper manuals. It appears more frequently as an 8-ft. than as a 4-ft. tone. (See Flûte d'Amour for its occasional arrangement on the first manual.)

In combination the 4-ft. Spitzflöte ranges in point of power between 4-ft. Flûte d'Amour and 4-ft. Gemshorn, which stops it sometimes replaces.

Stentorphon. See Tuba Mirabilis.

Stop Manuals. See Pneumatic Combination Pistons.
Stopped Diapason. See Gedackt.

Suabile. See Suavial.

Suavial, Suabile. A soft-toned stop like Geigenprincipal, often found on old organs as 8-ft. stop beginning at c', as for instance in the French Church at Berne.

Sub-Bass (often labelled Bourdon, Grand Bourdon in England). The name of a stop with a 16-ft. or 32-ft. covered pipe. (See Gedackt.) In small organs, where the size of the church does not admit of the 16-ft. open pipe, Sub-Bass is quite indispensable (or even side by side with this). We advise the use of Harmonica Bass (q.v.) with Sub-Bass, if there is a liberal allowance of pedals, which stop, discreetly giving precision to the sombre fullness of the SubBass, is, in such combination, of special value. In large and small organs Sub-Bass forms one of the most essential stops; and even in the smallest instrument a coupler to the first manual should not be deemed a sufficient substitute. From ! an acoustic point of view it is worth mentioning that my experience of the character of this stop is that the same note, which may have a tremendous effect in one part of the church, may scarcely be audible a few paces from this spot. This acoustic peculiarity of Sub-Bass (and other tones of lower registers) has therefore caused great trouble to many a builder, and has often made the satisfaction of experts questionable. Prof. Dr. Forster, of Berne, writes to me on this subject: "It would be doing the organ-builder a great injustice if one attributed this phenomenon to a

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faulty construction of the instrument. In different parts of the church increase and decrease in the tone, especially if this be of great length of undulation and of great intensity, may arise from resonance as well as from interference of direct and reflected waves. The appearance or nonappearance of these phenomena is dependent upon the shape and proportions of the interior of the church." The professor had the kindness to prove to me ad oculos by physical experiments this explanation, which is as clear as it is concise. Those of my English readers who may take special interest in these remarkable phenomena in the province of physical acoustics are referred to the inimitably clear and unrivalled Lectures on Sound by Tyndall. (See Principal Bass for the name Sub-Bass instead of Principal Bass.) Sub-Bass lends itself well to the accompanying of any soft combination. It gains a delicate precision by the aid of Harmonica Bass and Violon Bass. It becomes, however, still more precise with Violoncello. Flute Bass and Octave Bass render Sub-Bass not only more precise, but also thicker and sounder. (See Flute.) An admirably delicate reinforcement of the Sub-Bass is obtained by coupling it to a suitable stop on the second or third manual. (See Couplers and Combinations of Stops.)

Swell. See Crescendo.

Swiss Flute (formerly more frequent in Germany than

* If two or more stones are thrown into still water at different points, two or more systems of rings are formed, which in expanding meet. This meeting—that is, the phenomenon occasioned by it—is called interference. Beyond the point of meeting the waves proceed undisturbedly the same as before.

† If in an enclosed space a sound is produced, the waves of sound progress in all directions, beating against the walls, from which they are then reflected. The angle of reflection is that which is formed by a vertical line erected at the point struck by the ray of sound, and by the reflected ray itself.

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