Organ-Stops and Their Artistic Registration by George Ashdown Audsley

Author:George Ashdown Audsley [Audsley, George Ashdown]
Language: eng
Format: epub
Tags: Music, History & Criticism, Musical Instruments, Piano & Keyboard
ISBN: 9780486317014
Google: a9nCAgAAQBAJ
Amazon: 1359224785
Publisher: Palala Press
Published: 2013-06-09T22:00:00+00:00

Fig. 20

Tone and Registration.—The tone of the Harmonica in its finest quality is extremely refined, being a combination of flute- and string-tone, in some examples inclining to one and in some to the other tonality. Locher says it “is a very tender 8-ft. string-tone stop, of narrow scale, intonated between the Molina and Salicional.” According to Töpfer-Allihn, “Es ist eine Stimme von ätherischem Charakter, welche bei sanften Altargesängen zum Gemüte des stillen Beters spricht.” Although in the case of this stop one cannot speak from actual experience, it is not difficult to arrive at a fairly accurate estimation of its value in refined registration. It has hitherto been, and will continue to be inserted in the softest-toned division of the Organ, where it will be associated with stops labial and lingual of varied tonalities and, properly, of equally refined voices, admitting of combinations of great variety and beauty. If the Harmonica inclines to flute-tone, the most effective registrations will be those with labial stops of string-tone and the lingual stops. It will be specially valuable with the Vox Humana, should one be present. On the other hand, if the Harmonica inclines (as many German examples seem to do) to string-tone, its most effective registrations will be with stops of flute-tone and pure organ-tone, imparting to them a delicate brilliancy and clearness. To the lingual stops it will add firmness and richness. In the registration of stops of soft and refined tonalities the principle of tonal contrast should always be observed. The Harmonica should speak on wind of 1½ inches to 2½ inches pressure.

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