tone. In Flautino and Flageolet, for example, the necessity for an appropriate covering, and the quality thereof, is pointed out; in Bombard and Trombone the proportionate power of the flue stops is to be considered; in Mixture, Sharp, Cymbal, etc., their exclusive employment on the Great Organ is expressly demanded. In the paragraphs on Flues, Mixtures, Reeds, and others, some rules are laid down for correct combinations to suit the express occasion. For instance, solemnity, dignity, and volume are obtained by means of the round, noble tone of the Principal, together with the Gedackts, Flutes, and Gambas; brilliancy and acuteness by means of mixtures, 2-ft. flues and piercing reeds. The organist must first make himself acquainted with the 8-ft. tone on his organ, which is the basis of all stops; the Tremulant is often abused even to vulgarity, and the predilection for sudden transition from the Great Organ to a solo without due preparation, easily becomes mere craving for effect. A well-considered, appropriate choice of stops, suitable to the character of the voluntary and hymn, and a noble simplicity, free from all exaggeration, are the chief qualifications for the performance of a dignified church service. An important requisite for fine organ-playing is a careful choice of the number and combination of stops proportionate to the size and acoustic properties of the building, and in keeping with the sacredness of the place. To this end the advice of a real master in organ-building, and of an experienced and clever organist, is absolutely indispensable. The Composition Stops (now found on nearly all new organs), by means of which the organist can draw three, four, or more combinations without further reflection, make matters much easier for the beginner, and even perhaps tend to make him indolent.

Hints for combinations can naturally only be given and received on a broad basis, as every church, every organ, and every work of art whatsoever has peculiarities of its own, resulting from different causes. Music Director R. Löw,

organist at Bâle, writes me the following excellent letter on this subject:-"In the church of St. Elizabeth I can combine much that is beautifully effective, while in the Münster the same combinations give a totally different result, and vice versa. Every organ requires studying, and although certain rules for the use of stops must always remain law, still the minor' details cannot be specified; and let a number of stops appear ever so heterogeneous at the first glance, they will under certain acoustic, conditions combine well."

Furthermore the celebrated Berlin organist, Otto Dienel, gives me the following concise practical rules on the use of stops, for insertion in this book, and on which alone one might write a good-sized paper. "According to the tone-character of the organ stops, the following combinations can be formed: 1. Principal character; 2. Flute and Gedackt character; 3. Gamba or Salicional character (strings); 4. Reed character; 5. F or FF character as produced by the Mixtures. Compound combinations of the above groups of stops are not only possible but exceedingly effective. In choosing stops one must remember that the 4-ft., 2-ft., 2-ft., and mixture stops only strengthen the small number of harmonics of the 8-ft. foundation tone, and that the 16-ft. manual stops only assist the combinational tone, which is composed of two sound-waves of the 8-ft. tone. It therefore follows that the foundation tone must be represented before all others, and that the remaining voices must only be employed to give a colouring."

Indispensable hints for obtaining tasteful combinations are also found in the article on Tone Colour. Here must be also mentioned the gradations of the strings, flutes, gedackts, reeds, mixtures, etc., according to power, the study of which the comparing and impressing of them upon the mind-I cannot recommend too highly to young organists.

In conclusion, I cannot help giving a few passages on ecclesiastical organ-playing from Anthe's "Music in Relation to the Protestant Rite." He expresses himself with charming fitness: "It is the sublime object of religious music, and therefore particularly that of the organ, to lift the soul towards the Almighty by the marvels of sound. Greatness and sublimity are its inviolable laws. All parts of church organ-music must form an harmonious whole, only intended. to serve the purpose of Christian edification. Secular airs and variations here appear as a profanation of the sanctuary. Put off thy shoes from off thy feet, for the place whereon thou standest is holy ground,' would be a suitable inscription on every organ;" and no matter, I would add, whether it stands in a Protestant or a Catholic church.

Combination Stops (constructed either as pedals, draw stops, or combination pistons) call into action certain groups of stops, previously connected for this purpose. They affect either separate manuals or the whole organ. The organ of the Royal Albert Hall, London, has no less than thirty-two combination buttons for four manuals, and a number of pedals acting upon combinations affecting the whole organ. The giant organ (126 stops) being built by Hill and Son (see Trombone) for Sydney, presents a most astounding variety of couplers, composition, and combination stops.

Composition Coupler. A pedal, or stop, which pushes out all the couplers at once.

Composition Stops (from the Latin componere, to place together) are contrivances (pedals, draw stops, or pistons) which bring into action the whole of the stops on a manual, or a certain prearranged set of stops. In the church of St. Eustache, Paris, there is, for instance, one draw stop labelled Fonds, and one Anches, which embrace respectively all the corresponding groups of foundation stops and reed stops.

Composition Swell Pedal. See Crescendo.

Concert-Flute. Similar to the rather brighter sounding Wienerflöte, q.v.

Contra-Bass. See Double Bass.

Contra-Bourdon.

Contra-Trombone.

See Double-stopped Bass.

See Trombone.

Contra-Violon. See Double Bass.

Cor Anglais. See English Horn.

Cormorne (also called Cromorne, Cremorne, Krummhorn) has a soft-sounding horn tone, and is met with in many old organs as an 8-ft. reed stop.

Cornet belongs to the mixture stops. It is based upon the natural scale, and, if 5-ranked, is composed of C, c, g, c', e', having pipes of 8-ft., 4-ft., 23-ft., 2-ft., and 13-ft. tone. The 4-rank and 3-rank stops are smaller accordingly. Оссаsionally one meets with a Cornet based on a 16-ft. rank, as in the church of St. John, Schaffhausen, and in the Music Hall, Boston. The Cornet is only a good one if all the notes or the tones of a chorus blend in such a manner as to leave no single tone perceptible (see Töpfer, “Orgelbaukunst," part i. p. 97). The scale of the Cornet is comparatively the widest employed in the organ, and, on account

of its numerous chorus of pipes, is the only mixture stop which does not repeat; whilst the mixture proper often repeats the notes of the higher octaves at the pitch of the previous octave (see Mixture). The effect of a well-arranged Cornet is that of great volume; its intonation is loud, and its tone resembles the horn, from which it derives its name (from the Latin cornu, the horn).

Cornet is one of the few mixture stops which can be employed as a brilliant solo, naturally only in combination with foundation flue stops of equal length of tone.

Corno. See Cornopean.

Corno di Bassetto. See Ophicleide.

Cornopean (from the Latin cornu, horn, and the English pean, pæan, hymn of praise) is an 8-ft. flue stop of hornlike tone. In new English and American organs it is frequently placed in the Swell Box, by the side of Cornet and Oboe. In the new Votiv organ at Vienna, Walcker has also a 4-ft. Corno, as striking reed; and Hill and Son have placed an 8-ft. Cornopean in Westminster Abbey and in the large organ for Sydney.

Couplers. The well-known contrivance for combining the various manuals with each other, and the manuals with the pedals. I may here say that I consider it advantageous in small organs for coupling not only the first manual, but also the second manual to the pedals, as the latter arrangement permits a clever organ-player to accompany discreetly, yet most accurately, a soft solo on the first manual by the Sub-Bass, which in turn is delicately supported by a stop on the second manual. I should here mention the Swell Bass, obtained by coupling with the lowest octave of a 16-ft. Lieblich-Gedackt. By means of combinations, possible through coupling manuals to pedals, an astonishing