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in Switzerland) is an 8-ft. stop, which, in spite of its name, belongs rather to the string family, as for example on the Great Organ of the instrument in Magdeburg Cathedral, where it means a loud Gamba. The name Swiss Flute, in the same way as Wienerflöte (q.v.), has therefore no foundation whatever.

T.

Temperament (from the Latin temperare, to regulate, to proportion) is the manner, described under the head of Octave, of deciding the intervals (laying the bearings), which, in short, enables us to play relatively in tune in all keys (Equal Temperament).

Terpodion (from the Greek rερw, to delight), according to C. F. Richter, was originally a keyed instrument struck with wooden sticks; according to Schuberth, however, a keyed instrument similar to the pianoforte. This stop is arranged as a pipe with flute-like intonation on the third manual of the great Marien organ at Lübeck, and on the fourth manual of the cathedral organ at Halberstadt.

Tierce. A mutation stop, of Flute tone and Principal size (metal), which, as its name denotes, gives, chiefly in larger organs, the major third e when intonated on c. It is often, like many Quints and Mixtures, mistakenly arranged on small provincial organs; that is to say, without sufficient covering by foundation stops. It occurs as 13-ft., 31-ft., and 63-ft. tone. An uncommon Tierce of 123-ft. occurs on the pedal of the Nicolai organ, Leipsic. It belongs to the Great Organ.

Tone Colour. This expression for the quality, or, as the

French say, the timbre of a stop, has, in the course of this book, been used on almost every page to designate the characteristic difference of the oral effects of the various stops; a further definition may therefore not seem illplaced. Even if we only compare the Oboe with the Flute, or the Trumpet with the Violoncello, we shall see that, although tuned to the same pitch, they cannot be mistaken for one another, on account of the difference in their Tone Colour. The expression "Tone Colour" has been used by Helmholtz, the greatest authority on acoustics of any age, in his "Sensations of Tone," and has thereby, in the terminology of musical science, become classical. (Compare Melde's "Acoustics," p. 345.) Tyndall owns that the English language has no equivalent, and he therefore envies the German language the suppleness with which it adapts itself to the requirements of nature. It is well known that colour also depends upon the velocity of vibrations, so that, for example, a blue light has the same relation to a red one as a high note has to a low one. Tyndall felicitously compares any one single colour, which has a simple ratio of vibration, with a tone, the vibrations of which cannot be divided into simpler ones (every tone, the vibrations of which have a complicated form, such as a string, must be capable of being divided into a number of simple tones, all of which belong to the harmonic scale [1, 2, 3, 4, 5, 6]. Compare Blaserna's "Theory of Sound," p. 200); while a mixed colour corresponds to a sound, for the production of which the foundation tone and the characteristic harmonics act together. Hence the expression "Tone Colour." In my article on Geigenprincipal, I have made practical use of this theory, by the aid of which Helmholtz explains the violin-like colour of this stop.

Some stops, which strengthen certain high upper partials more than the lower ones, serve to produce specially characteristic Tone Colours, and thereby distinguish themselves from the others. A favourable centre for the foundation of the bulk of the harmony is formed by the sound tone-power of the Principal proper (q.v.), which does not bear this name for nothing. The organ has this advantage over all other instruments (says Helmholtz), that the player can mix the Tone Colours in a far higher degree in accordance with his feelings and the character of the piece he is rendering. It is evident how grateful a field for the production of the most varied shades of tone, even with limited means, is open to the skilful organist. He must therefore shun no pains to make himself thoroughly acquainted with the Tone Colour of each stop on his organ; he will find himself plentifully rewarded by the skill in combination which he will soon acquire. (See also Combinations of Stops.)

Tremulant. The Tremolo, or trembling, is produced on new organs chiefly by a pallet in the wind-trunk, which, when not in action, presses firmly on the frame of the trunk. When raised by the draw-stop, it vibrates freely in the air-current and offers resistance by means of springs, which assist the vibration. Tremulant is a draw stop used often to vulgarity, to which-being, as Prof. Zellner expresses himself, a "barbarism "-no importance can be attached (see Helmholtz, p. 251). The Tremolo can only be applied with effect to the most delicate stops in the Swell (see, for example, Vox Humana), and even then only rarely, and with taste and moderation. In the Nydeck organ at Berne, the front side of the wind-trunk, in which the Tremolo works, is of glass, so that its effect may be easily remarked.

A new effective Tremolo is (Dienel) now constructed after the manner of blowers (ventilators), which are turned by the current of air like a fan with wings. (See also Unda Maris.)

Tromba. Means also Trumpet.

Trombone, Contra Trombone, is a beating reed, intended to imitate the sound of the orchestral trombone, and is seldom missing on large organs. Next to the English Tuba Mirabilis (q.v.), it is the most powerful and sonorous of all organ stops, and therefore requires a corresponding number of loud, voluminous stops to prevent it from drowning the others. In medium-sized organs it is often replaced by the softer Bombard. The Trombone occurs oftenest as a 16-ft. stop, and as Double Trombone (Contra Posaune) as 32-ft. stop. (In the magnificent organ now in course of building by W. Hill and Son, for the Town Hall, Sydney, I find the most remarkable feature in the specification to be the 64-ft. Double Trombone on the pedals. This tremendous and peerless reed will, it is confidently believed, have a fine tone and ready speech, but cannot be used except with the Great Organ to good effect. I here mention with pleasure that in England the art of organ-building is of the highest order, and that the oldest and largest English firm, W. Hill and Son, founded 1755, employ at present 140 men in their workshops.) The tubes, usually of wood, are in the shape of inverted foursided pyramids. By the use of tin for the resonant tubes the tone becomes, perhaps, more brilliant and expressive. The Sydney organ above mentioned has a 32-ft. Double Trombone of metal. (See Reed Stops.)

Trumpet, 8 ft., Tuba, 16 ft., Clarino, Tuba, Clarion, 4 ft., Clairon, 4 ft., have all the shape of an inverted cone.

Built

and intonated by a master, and supplied with a propersized tube, it is a brilliant stop of decided effect. In this stop is shown what the modern art of organ-building can accomplish by careful intonation. One now feels great satisfaction in finding on organs by good makers a Trumpet of a softly rounded and yet lively metallic sound, very different from the hard crashing sound, which in old organs made the Trumpet intolerable. The tone of the organ under its influence loses the dull monotonous character peculiar to combinations of nothing but flue stops. The Clarino (Clairon) is a small Trumpet of 4-ft. tone, found not only on the pedals (along with 8-ft. Trumpet), but also on the manuals. On the Münster organ, Geneva, at Glarus, and in Temple Neuf at Strassburg, I found a 4-ft. Clairon on the Great Manual as well as on the pedals. English organs often possess several Clarions with strikingly brilliant effect. On the pedals of the Stifts organ, Stuttgart, and on the Münster organ, Ulm, there is a Clairon of 2-ft. tone. In the highest octave on the manual this stop repeats (that is, starts again with the larger pipes), because its building would be too difficult up to F".

In organs which do not possess any of the modern improvements, it is advisable to exclude the Trumpet from the composition pedals, unless there is a chance of regular tuning of the organ, particularly of the reed stops. If not, the Trumpet, when out of tune (see Reed Stops), makes the composition stops as good as useless. By means of these modern contrivances, already mentioned, any one stop may be eliminated from a combination formed by the composition pedal. (See Pneumatic Combination Pistons.) If intonated by an experienced hand, the Trumpet requires

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