Figs. 31-35. New Method of Tuning Reeds
Figures 31, 32, and 33 will serve to make clear the chief cause for reeds going out of tune. Figure 31 may be taken to represent a reed block, eschallot, tongue and tuning wire at rest.
In this case the tuning wire will be pressing firmly against the tongue at the point B, but said tuning wire will not be subjected to any abnormal strain.
Turning to Figure 32, if we use the reed knife and slightly lift the tuning wire at the point C, friction against the tongue at the point B will prevent said point B from moving upward. (In this connection it must be borne in mind that the co-efficient of friction in repose is much greater than the co-efficient of friction in motion.)
In consequence of the drawing up of the tuning wire at point C, and the frictional resistance at point B holding the latter steady, the lower part of the tuning wire will assume the shape shown in Figure 32, and point A will in consequence move farther away from the tongue.
Now, if the reeds be left in this state and the organ be used for any length of time, it will be found that point B of the tuning wire will have risen upward until the abnormal strain upon the tuning-wire spring has been satisfied. In consequence of this, this particular note will be sounding flatter in pitch than it ought to do.
Conversely, if the portion of the tuning wire lettered C be slightly driven down, as in Figure 33, the retarding effect of the friction of repose at point B will cause the lower portion of the tuning wire to approach nearer the tongue than it should do.
If now this reed be left in this state, after the pipe has been used for some time and the tongue has been vibrating, it will be found that point B on this tuning wire will have traveled nearer to the tip of the tongue, in order to relieve the abnormal strain upon the lower portion of the tuning wire. Point A will then have resumed its normal position.
In Figures 32 and 33, the defective action of the lower portion of the tuning spring has been purposely exaggerated in order to make the point clear. This bending of the tuning wires, however, takes place to a much larger extent than most organ builders imagine. It is the chief reason why reeds fail to stand in tune.
When point A on the reed tuning wires is rigidly supported and held by force in its normal position, reeds can be made to stand in tune almost as well as flue pipes.
Figure 34 represents the Hope-Jones method of supporting the tuning wire at point A. It consists of having a brass tube T inserted in the block moulds before the block is cast. This tube T therefore becoming an integral part of the block itself. The inside bore of tube T is of such diameter that the tuning wire fits snugly therein.
In Figure 35 another method used by him for accomplishing the same purpose is shown. In this case a lug L is cast upon the block, forming, indeed, a portion of said block. The lower end of lug L is formed into a V, which partly embraces a tuning wire and supports it in such manner as to prevent improper movement of said tuning wire at point A.
When this method of construction is employed, the reeds are very much easier to tune, and, when once tuned, will stand infinitely better than reeds made in the ordinary way.
[1] Some organs have been made (notably that in Temple Church, London) with separate keys for the flats and sharps.
CHAPTER XII.
PROGRESS OF THE REVOLUTION IN OUR OWN COUNTRY.
In the study of the art of organ-building one cannot fail to be struck by the fact that almost all the great steps in advance have been due to Englishmen: the compound horizontal bellows, the concussion bellows, the swell box, the pneumatic lever, the tubular-pneumatic action, the electro-pneumatic action, the Universal air chest, the leathered lip, the clothed flue, the diaphone, smooth reed tone, imitative string tone, the vowel cavity, tone reflectors, cement swell boxes, the sound trap joint, suitable bass, the unit organ, movable console, radiating and concave pedal board, combination pedals, combination pistons and keys, the rotary blower—and many other items—were the inventions and work of Englishmen.
Speaking in general terms, this country lagged very far behind not only England, but also behind France, and even Germany, in the art of organ-building until comparatively a few years ago.
It has recently advanced with extraordinary rapidity, and if it be not yet in the position of leader, it is certainly now well abreast of other nations.
Hilborne Roosevelt constructed a number of beautiful organs in this country, beginning his work about the year 1874. While his organs altogether lacked the impressive dignity of the best European instruments of the period, they were marked by beauty of finish and artistic care in construction. He invented the adjustable combination action, and this forms about all his original contribution destined to live and influence the organ of the future. Nevertheless, his marks on organ-building in this country were great and wholly beneficial. He studied the art in Europe (especially France) and introduced into this country many features at that time practically unknown here. Several of the organs constructed by his firm are in use to-day and are in a good state of repair. They contain Flutes that it would be hard to surpass, Diapasons that are bold and firm, and far above the average, though thought by some to lack weight and dignity of effect. The action is excellent and the materials employed and the care and workmanship shown throughout cannot be too highly praised.
Roosevelt must be set down as the leader of the revolution which, by the introduction of foreign methods, has in the last twenty years so completely transformed organ-building in the United States.
Roosevelt was also the pioneer in using electro-pneumatic action here. Accounts had reached England of his wonderful organ in Garden City Cathedral, part of which was in the gallery, part in the chancel, part in the roof, and part in the choir vestry in the basement. The author, on arriving in Philadelphia in 1893, as organist of St. Clement's Church there, was anxious to see a Roosevelt electric organ and was invited to see one in the concert hall of Stetson's hat factory. He was shown one of the magnets, which was about six inches long! Here is an account of the organ in Grace Church, New York City, which appeared in the American Correspondence of the London Musical News, February 15, 1896:
There are three organs in this church by Roosevelt—in the chancel, in the west gallery, and an echo in the roof, electrically connected and playable from either of the keyboards, one in the chancel and one in the gallery. The electric action is of an old and clumsy pattern, operated from storage batteries filled from the electric-light main, and requiring constant attention. The "full organs" and "full swells" go off slowly, with a disagreeable effect, familiar to players on faulty pneumatic instruments.
This organ has lately been entirely rebuilt with new action and vastly improved by Mr. E. M. Skinner.
In 1894 the writer made the acquaintance of the late Mr. Edmund Jardine, who was then building a new organ for Scotch Presbyterian Church in Central Park West, with an entirely new electric action that had been invented by his nephew. Of course by this time Mr. Hope-Jones' inventions were well known over here, and Mr. Jardine told the writer that some of the other organ-builders had been using actions which were as close imitations of the Hope-Jones as it was possible to get without infringement of patents. The Jardine action seemed to the writer a very close imitation also, and he can testify to its being a good one, as he later on had nearly three years experience of it at All Angels' Church.
But the pioneers had troubles of their own, no doubt, caused by using too large and heavy magnets, which exhausted the batteries faster than the current could be produced. The writer had this experience with the batteries at two different churches and had some difficulty in getting the organ-builders to see what was the matter. The steady use of the organ for an hour-and-a-half's choir rehearsal would exhaust the batteries. The organ-builder would be notified, and, on coming next day, would not find anything the matter, the batteries having recovered themselves in the interim. Finally, two sets of batteries were installed with a switch by the keyboard, so that the fresh set could be brought into use on observing signs of exhaustion. Many churches have installed small dynamos to furnish current for the key action. Even in these cases signs of weakness are often apparent—the organist in playing full does not get all the notes he puts down. Same cause of trouble—too heavy magnets. Here is where the Hope-Jones action has the whip-hand over all others, all the current it requires being supplied by a single cell! At the writer's churches there were six and eight cells. Most of the electric organs erected in this country, 1894-1904, have had to be entirely rebuilt.
About the year 1894 Ernest M. Skinner (at that time Superintendent of the Hutchings Organ Co., of Boston, Mass.), went over to England to study the art in that country. He was well received by Hope-Jones, by Willis and others. He introduced many of the English inventions into this country—the movable console (St. Bartholomew's, New York; Symphony Hall, Boston, etc.), increased wind pressure and the leathered lip (Grace Church, Plymouth Church, Columbia College, College of the City of New York, Cleveland Cathedral, etc.), smooth heavy pressure reeds, Tibias (Philomela) small scale strings, etc. In this work Skinner eventually had the advantage of Hope-Jones' services as Vice-President of his own company and of the assistance of a number of his men from England.
About the year 1895 Carlton C. Michell, an English organ-builder, who had been associated with Thynne and with Hope-Jones, and who had as the latter's representative set up new-type organs in Baltimore, Md., and Taunton, Mass., joined the Austin Organ Co., Hartford, Conn. He rapidly introduced modern string tone and other improvements there.
In 1903 Hope-Jones came to this country and also joined the Austin Organ Co. as its Vice-President, whereupon that company adopted his stop-keys, wind pressures, scales, leathered lip, smooth reeds, orchestral stops, etc. (Albany Cathedral, Wanamaker's organ, New York, the organs now standing in the Brooklyn Academy of Music, and others.)
In 1907 the Hope-Jones Organ Co., Elmira, N. Y., commenced the construction of organs containing all these and other English improvements (Ocean Grove, N. J.; Buffalo Cathedral, N. Y.; New Orleans, La., etc.).
The influence of the work already done by the aforenamed pioneers in this country is being manifested in a general improvement in organ tone and mechanism throughout the United States.
Musical men, hearing the new tones and musical effects now produced, realize for the first time the grandeur and refinement and amazing variety of musical effects that the organ is capable of yielding; on returning to their own churches they are filled with "divine discontent," and they do not rest until a movement for obtaining a new organ, or at least modernizing the old one, is set on foot. The abandonment of old ideas as to the limitations of the organ is begun, new ideals are being set up, and a revolution which will sweep the whole country has now obtained firm foothold.
Until recently England unquestionably led in the development of the organ, and Hope-Jones led England. Now that his genius is at work in this country, who shall set limit to our progress? Even when expressing himself through other firms, his influence entirely altered the standard practice of the leading builders, and now, since direct expression has been obtained, improvements have appeared with even greater rapidity.
It is the author's opinion (based on a wide knowledge of the instruments in both countries) that in the course of the last ten years this country has made such great strides in the art that it may now claim ability to produce organs that are quite equal to the best of these built in England. And he ventures to prophesy that in less than another ten years, American-built organs will be accepted as the world's highest standard.
At a banquet given in his honor in New York in 1906, the late Alexandre Guilmant complained that no organ that he had played in this country possessed majesty of effect. The advent of Hope-Jones has entirely changed the situation. Tertius Noble, late of York Minster, England, who has just come to this country, asserts that organs can be found here equal to or superior to any built in England, and the celebrated English organist, Edwin Lemare, pronounced the reeds at Ocean Grove, N. J., the finest he had ever heard.
