quality of tone it stands between this and the Geigenprincipal. It occurs as 8-ft. and 4-ft. tone.

Furniture is the French name for our Mixture.

FIG. 5.

G.

Gamba, or Viola di Gamba (German, Kniegeige), is an eminently characteristic organ stop, found at the present date as 8-ft. stop on every Great manual, besides occurring in very large organs as a 16-ft. stop. On the cathedral organ at Riga (124 speaking stops), it occurs on the Great manual as 16-ft., 8-ft., and 4-ft. tone simultaneously. Its intonation is stringy, and shriller than that of Salicional. A Gamba of ready speech, and possessing these qualities strongly developed, is one of the most satisfactory results of the modern art of organ-building. (See Intonation.) The pipes have a narrow aperture between the lips and narrow gauge (Fig. 5), and are therefore constructed longer than Principal or Salicional pipes. The proportions of the 8-ft. Gamba are taken from those of the 4-ft. Octave, and the length of C, for instance, is 8 ft. 3 in.* It is made chiefly of best English tin. A conical Gamba is called ConeGamba. In examining an organ the other day, in the capacity of an expert, I found the lower ranks of the Gamba, which were made of wood, lying horizontally for reasons of space, without in the least

* Prof. Zellner, of Vienna, writes to me: "Rieger of Jägerndorf constructs metal Gambas which are exceedingly narrow (11 mm.— in diam. for a'). They have the Frein Harmonique (q.v.), and, under increased pressure, speak with great precision."

Gamba. Length and pitch the same as 8-ft. Principal, width (presupposing an 8-ft. Gamba) the same as 4-ft. Octave.

thereby losing colour or power. In Spain, horizontal ranks are not unfrequently met with. The wider, and therefore more powerful, Gambas found in some places cannot be so highly recommended as the narrower and weaker ones, which possess the real incisive Gamba tones, unless Viola and Salicional supply this want. (See Geigenprincipal.) Although a Gamba of the above-mentioned qualities requires no addition to be wonderfully beautiful in effect, I would still recommend-should a flute-like character be desired for this string-toned stop-a richly voiced Gedackt, Hohlflöte, Rohrflöte, and Flûte d'Amour. (See Combinations of Stops.) In the construction of such metal stops as are not visible, a moderate alloy of tin and lead (see below) is not only permissible, but is indeed quite the rule. With regard to the historical development of pipes, and the materials which in turn have been employed (see also Fistula), I refer the reader to my collection of notes which came out in the Alpenrosen (Series 1878, C. Locher's "History of the Organ"). In the terminology of the organ, the terms "pure English tin," "tin," and "metal" often occur, by which is simply meant the proportion (alloy) in which lead has been added to the pure English tin. We have pure English tin (instead of which an alloy, containing of lead, is unfortunately still often employed); further, the common English tin (proportion 2: 14); probe-tin (4:12); and metal, of which one-third, often even one-half, is lead. It is apparent that these proportions are subject to modifications according to the practice of the organ-builder in question and the varying conditions of the contract. Only absolutely purest tin ought to be employed for the front pipes, even should the contract become more expensive in consequence; instead of the sil

very polish (see Principal), which is the chief ornament of the front, the alloy pipes show in course of time a blueish tint, or even worse, sugar of lead. (Compare Zamminer, "Musical Instruments in their Relation to Acoustics," p. 261 and the following, and Prof. von Schafhäutl's "Experiments with Metal, Wood, and Pasteboard," for further particulars on material for pipes, and its influence on sound.)

Gedackt, or Gedeckt (covered, stopped), if a wood pipe, is plugged with a leather-covered stopper (Fig. 6); if a metal pipe (Fig. 7), it is a 4-ft., 8-ft., 16-ft., and 32-ft. flue stop,

covered with a metal lid. Gedackts form one of the most important families of stops, which is evident from the fact that Bourdon and Sub-Bass belong to them. The terms Lieblich-, Sanft-, Still-, Gross-, and Grob-Gedackt depend upon the power of intonation and the dimensions of the pipes. The 8-ft. Lieblich-Gedackt is built by some masters with double lips from g upwards. A refined Lieblich-Gedackt, cleverly intonated by a master hand, forms one of the most fascinating organ stops on the Swell, and admits, as hardly any other does, of a tasteful use of the Tremulant (see Tremulant). (See Sub-Bass for the use of the Gedackts as pedal

stops.) Every stopped pipe may be looked upon as an open pipe cut in half at the node of vibration (Töpfer). It gives a tone an octave deeper than the open pipe of the same length, because the column of air set vibrating in the covered pipe has the same distance to travel to the lip, as if the pipe were open and as long again. Stopped pipes of very wide scale give, when softly blown, the foundation tone almost true, whereas narrow Gedackts allow the twelfth to be distinctly audible (Helmholtz). (See also Quintaten.) A double-lipped Gedackt (see Double Flute) sounds proportionately brighter and stronger than the single-lipped one. No large organ should be without the 16-ft. LieblichGedackt on its upper manual, for the same reason that a responsive 16-ft. Bourdon is recommended for the first manual. A beautifully effective specimen is that in the Catholic church at Berne. Gedackts form a good foundation, and can be combined with anything that lacks fullness and sombre colouring. (See Bourdon and Combinations of Stops.) If, however, one wanted to play a polyphonic composition with its dissonances only on the Gedackts, it would all sound equally colourless, and, for that reason, without character or energy (Helmholtz). (See also Tone Colour.) In tuning the stopped pipes, which should be the organbuilder's affair (see Flue Stops), the pipe is lengthened by raising the stopper or the lid; by pushing the latter down, the bore is made shorter, and the tone consequently sharpened.

Geigenprincipal. A metal stop of very narrow scale, occurring as 16-ft. (Riga for instance), 8-ft., or 4-ft. stop on the upper manuals, where, on a smaller scale, it is often required to take the place of the Principal. It has a rather incisive, violin-like tone. In the narrow flue pipes, which naturally

require a strong wind-pressure (Geigenprincipal, Violoncello, Violon Bass, Viola di Gamba, etc.), the foundation tone is accompanied loudly and distinctly by a number of harmonics, which, according to Helmholtz ("Sensations of Tone," p. 151), lend to the tone its stringy quality.* Geigenprincipal gives the round organ-like tone to the Swell Manual, so often supplied only with far-fetched would-be characteristic stops; and as 8-ft. tone it combines favourably with 4-ft. Gemshorns in rapid passages. Bergner, organist at the Riga Cathedral, considers 16-ft. Geigenprincipal most effective with 8-ft. Spitzflöte. (See Combinations of Stops and Tone Colour. See Diapason for the term Violin Diapason, as applied to the Geigenprincipal in American organs.)

Gemshorn is a metal stop resembling the Principal, with a precise, rather horn-like tone; the pipes taper upwards to a point. It occurs as 8-ft. and 4-ft. tone, and in power about equals Geigenprincipal. A bright, singing Gemshorn, along with 8-ft. Geigenprincipal, produces intensity of tone in the Swell. There is a 2-ft. Gemshorn in the new organ at the Hague, Holland; and in Westminster Abbey (W. Hill) there is a 2-ft. Harmonic Gemshorn. (See Harmonic Flute.)

Gemshornquint. See Quint.

Grand Bourdon. See Double-stopped Bass.

Great Organ. Prof. R. Palme, of Magdeburg, is right in drawing my attention to a fact which I have often observed myself, viz. that when organists meet with the indication "Great Organ," they blindly draw all the stops they can well lay hold of. I dare say that it will only

*The real Principals of wide scale which allow of stronger wind-pressure without over-blowing, give the foundation tone full and loud with the more delicate accompaniment of the upper pedals, and form, therefore, the bulk of foundation sounds of the organ.