CONTENTS
[CHAPTER I]
As It Was in the Beginning
[CHAPTER II]
The Organ in the Nineteenth Century
[CHAPTER III]
The Dawn of a New Era; the Pneumatic Lever
[CHAPTER IV]
Pneumatic and Electro-pneumatic Actions—Tubular Pneumatics—Division of Organs—Sound Reflection—Octave Couplers and Extensions
[CHAPTER V]
Stop-keys—Control of the Stops
[CHAPTER VI]
Radiating and Concave Pedal Boards—Pedal-stop Control—Suitable Bass Attachments
[CHAPTER VII]
Means of Obtaining Expression—Crescendo Pedal—Sforzando Pedal—Double Touch—Balanced Swell Pedal—Control of Swell by Keys—Swell Boxes—the Sound Trap Joint—Vacuum Swell Shutters
[CHAPTER VIII]
A Revolution in Wind Supply—Springs vs. Weights—Individual Pallets—Heavy Wind Pressures—Mechanical Blowers
[CHAPTER IX]
Transference of Stops—Double Touch—Pizzicato Touch—the Unit Organ—Sympathy
[CHAPTER X]
Production of Organ Tone—Acoustics of Organ Pipes—Estey Open Bass Pipes—Diapasons—Flutes—Strings—Reeds—Vowel Cavities—Undulating Stops (Celestes)—Percussion Stops—the Diaphone
[CHAPTER XI]
Tuning—Equal Temperament—New Method of Tuning Reeds
[CHAPTER XII]
Progress of the Revolution in Our Own Country
[CHAPTER XIII]
Chief Actors—Barker—Cavaillé-Coll—Willis—Hope-Jones
[CHAPTER XIV]
How We Stand To-day—Automatic Players—Specifications of Notable Organs: St. George's Hall, Liverpool; Notre Dame, Paris; St. Paul's Cathedral, London; Westminster Abbey; Balruddery, Scotland; Worcester Cathedral; Yale University, U. S. A.; St. Paul's Cathedral, Buffalo; Paris Theatre, Denver; Cathedral of St. John the Divine, New York; University of Toronto, Canada; City Hall, Portland, Me.; Liverpool Cathedral, England