Page:A Dictionary of Music and Musicians vol 2.djvu/610

Great organ. 12 stops.
			Pipes
1.	Bourdon, to CC		53
2.	Open Diapason		57
3.	Stopped Diapason		57
4.	Principal		57
5.	Twelfth		57
6.	Fifteenth		57
7.	Tierce		57
8.	Sesquialtera, 4 ranks		228
9.	Furniture, 3 ranks		171
10.	Cornet to mid. C, 5 ranks		145
11.	Trumpet		57
12.	Clarion		57
			1083
Choir Organ. 7 stops.
13.	Dulciana, of metal throughout		57
14.	Stopped Diapason		57
15.	Principal		57
16.	Flute		57
17.	Fifteenth		57
18.	Bassoon up to Fiddle G		36
19.	Vox Humana		57
			378
Swell. 8 stops, and 3 borrowed Bass stops.
20.	Open Diapason		36
21.	Stopped Diapason		36
22.	Dulciana		36
23.	German Flute, to mid. C		29
24.	Cornet, 4 ranks		144
25.	French Horn		36
26.	Trumpet		36
27.	Hautboy		36
a.	Stopped Bass	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,}$ from Choir.
b.	Dulciana Bass
c.	Flute Bass
		Total⁠	1860
Compass, Gt. and Chr. GG, long 8ves. no GG♯, to E in alt, 57 notes. Swell, Tenor F to E in alt, 36 notes.

1789. Greenwich Hospital. Samuel Green.

Swell to FF.

In the organ made for the chapel of the Royal Hospital at Greenwich, Green extended the compass of the Swell down to FF, a most important improvement; and included therein not only a Dulciana but also its octave, the Dulcet or Dulciana Principal. The disposition of this organ stood as follows:—

Great organ. 11 stops.
		Pipes
1.	Open Diapason	59
2.	Open Diapason	59
3.	Stopped Diapason	59
4.	Principal	59
5.	Flute	59
6.	Twelfth	59
7.	Fifteenth	59
8.	Sesquialtera, 3 ranks	177
9.	Mixture, 2 ranks	118
10.	Cornet to mid. C, 4 ranks	116
11.	Trumpet	59
		883
Choir organ. 5 stops.
12.	Stopped Diapason	59
13.	Principal	59
14.	Flute	59
15.	Fifteenth	59
16.	Bassoon	59
		295
Swell organ. 8 stops.
17.	Open Diapason	48
18.	Stopped Diapason	48
19.	Dulciana	48
20.	Principal	48
21.	Dulciana Principal	48
22.	Cornet. 3 ranks	144
23.	Trumpet	48
24.	Hautboy	48
		480
	Total⁠	1658

1790. St. George's Chapel, Windsor.

Samuel Green.

Great Organ in general Swell.

In the organ built for the Chapel Royal at Windsor in the following year, Green further extended the effect of the 'crescendo' and 'diminuendo' by enclosing the entire Great Organ in a large general Swell. The upper manual organ thus became 'a Swell within a Swell.' The great front pipes, east and west, were therefore all 'mutes,' but were replaced by speaking pipes when the general swell was taken away some years ago by Gray. The compass of the Great and Choir Organs was carried down to FFF, 12 ft., as in Green's organ at Greenwich, and also in those which he restored at Magdalen College, Oxford, and York Minster.

Great organ. 11 stops.
		Pipes
1.	Open Diapason	59
2.	Open Diapason	59
3.	Stopped Diapason	59
4.	Principal	59
5.	Twelfth	59
6.	Fifteenth	59
7.	Sesquialtera, 3 ranks	177
8.	Mixture, 2 ranks	118
9.	Cornet to mid. C, 4 ranks	116
10.	Trumpet	59
11.	Small Trumpet (Clarion)	59
		883
Choir organ. 6 stops.
12.	Dulciana, to FF	48
13.	Stopped Diapason	59
14.	Principal	59
15.	Flute	59
16.	Fifteenth	59
17.	Bassoon	59
		343
Swell organ. 8 stops.
18.	Open Diapason	36
19.	Stopped Diapason	36
20.	Dulciana	36
21.	Principal	36
22.	Dulciana Principal	36
23.	Cornet, 3 ranks	104
24.	Trumpet	36
25.	Hautboy	36
		1856
Compass, Gt. and Chr. FFF, no FFF♯, to E in alt, 59 notes. Swell, Tenor F, to E in alt; 36 notes.

1790. Introduction of Pedals.

Although, as we have seen, Pedals were known in Germany upwards of four hundred years ago, yet they were not introduced into England until nearly the close of the last century. Who first made them, or which was the first organ to have them, are matters of some doubt. The organs in Westminster Abbey, the German Lutheran Church in the Savoy, and St. Matthew's, Friday Street, each claim the priority. The first organ that is known for certain to have had them, was that made in 1790 by G. P. England, and erected by him at St. James's, Clerkenwell, which instrument, according to the words of the original specification, was 'to have Pedals to play by the feet.' These, like the early German specimens, were an octave only in compass, GG to Gamut G; and also, as at Halberstadt, etc., had no pipes of their own, but only drew down the manual keys. Before 1793 Avery put Pedals to the Westminster Abbey organ, together with an octave of Unison wood GG Pedal pipes; and from that date he frequently introduced both into his own instruments. In 1811 G. P. England built an organ for Lancaster with 1½ octave of Pedals, GG to Tenor C; and two couplers, Great and Choir to Pedal. He also, like Avery, became a strong advocate for separate pipes for the pedals, introducing them in 1803 into his organ at Newark, which had the FFF (12 ft.) pipe.

After a time pipes of double size, speaking down to GGG (21½ feet length) were made, as by Elliott & Hill at Westminster Abbey, etc. Besides the Unison and Double Pedal-pipe ranges, a mongrel scale crept into use, which, though most defective, was for a few years the most frequently followed. This consisted of an octave of double pipes from CC down to CCC, and then five unison pipes from BB down to GG. The five pedal keys, B to G, at each extremity of the pedal-board, were thus without any difference in the pitch of their five sounds.

1809. Composition Pedals. J. C. Bishop.

In 1809 the late J. C. Bishop effected the improvement on the old Shifting movement which afterwards became so generally known as the Composition Pedals. [See vol. i. p. 382b.] An important modification on his original mechanism is now generally made, by a long arm of iron, called a fan, extending horizontally in front of the vertical draw-rods, where by suitable mechanism it is made to wave up and down. As the fan moves it comes in contact with small 'blocks' of wood, by which it moves the rods;