They are not nearly as common as flutes or principals. In fact some organs do not have string stops. This rank of pipes is tuned slightly sharp to cause beats with another similar rank at standard pitch. This causes an undulating effect, which was very popular with romantic composers. The Celeste rank must be used with its companion rank usually Gamba and not used in other combinations.
Sometimes both ranks are found on one stop knob usually with a II on it, showing that the knob pulls two ranks of pipes. There are some flue stops that do not fit neatly into these categories. They may also have celestes. Reed pipes have a metal tongue that vibrates against a brass tube called a shallot to produce the sound. The reed and shallot are inside the boot of the pipe. The sound is magnified by the resonator, which can be of metal or wood.
Reed resonators come in many shapes and sizes, all affecting the tone of the pipe. The sound of reed pipes is pungent and distinctive, even when used with flues. Reeds are grouped according to whether they can be used with combinations of other stops or whether they are better used in solos.
Some have names like the brass instruments of the orchestra: Trumpet, Trombone, Tuba. Others are called Clarion, Posaune, Bombarde. Sometimes trumpet pipes will be mounted horizontally called en chamade. If this stop is on high wind pressure it can be very loud and should be used sparingly.
Chorus Reeds can be used for solos too. The oboe family has slim, conical resonators. Oboe tone in an organ is often a softer version of trumpet tone, and therefore a good oboe stop, called Oboe, Schalmei, Hautbois, or Fagott, can be used as a solo but will also blend with flues. The clarinet family has cylindrical resonators and are called Clarinet, Krummhorn Cromorne , or Dulzian. Very short resonators make a buzzy reed sound like that of early wind instruments and have names that reflect this: Rankett, Regal, Zink.
The Vox Humana is also a short-resonator reed and is usually used with tremolo. Reed pipes on the organ make sound just like the saxophone does. Listen to the Reeds. The natural harmonic series contains pitches other than octaves, and organ builders through the centuries have made use of stops sounding these pitches to add tonal color to their instruments. It should be mentioned that pipes sounding upper harmonics must be tuned absolutely to the fundamental and not tempered.
There are two types of stops which sound these harmonics: Mixtures and Mutations. Mixtures have been a part of organ design since the early history of the instrument. They are usually octave- and fifth-sounding ranks of principal pipes that are made to give brightness to a combination in the low and middle registers and breadth in the upper register. Two or more ranks are controlled by one stop knob. The number of ranks is indicated by a Roman numeral.
The various ranks break back in different octaves so that high pitches are sounding in the low register and lower pitches in the high register. To hear this, put on a mixture stop by itself and play a scale. If the stop knob has an Arabic numeral on it, that number indicates the length of the longest pipe at low C on the keyboard. Mutations are single ranks of pipes tuned to sound particular non-octave pitches in the harmonic series. If it is made of principal pipes, it is usually called Quinte or Twelfth.
If it is made of flute pipes it is called Nazard. It sounds two octaves and a pure major third above the written pitch. It is generally made of flute pipes and is found on the same manual as the Nazard because it is usually used with it. Sometimes the two are on one stop knob, which is called Sesquialtera. It may have a II on it because the knob draws two ranks of pipes. The Nazard and Tierce, together with flues of 8 and 4, produce a sound something like a clarinet.
It is usually made of flute pipes and called Larigot. It adds further color and glitter to the Cornet sound. Other mutations are sometimes available, but are not nearly as common as these. Each keyboard of the organ manual or pedal usually controls a separate division of the instrument with its own pipes and stops. The nice thing about having more than two manual keyboards is that tone color changes may be made simply by moving the hands to another manual instead of by changing stops.
Stops may be played on another keyboard than their own by means of couplers. On many organs one can also couple a manual to itself an octave higher or an octave lower. The Great Hauptwerk, Grand Orgue is the main division of the organ. It is generally the lower manual on two-manual instruments and the middle manual on three-manual organs. The other manuals can usually be coupled to the Great, so the loudest sounds are played on it. The Great can also be coupled to the Pedal.
On two-manual instruments one will often find mutations and solo reeds on the Great also. It is so called because the sound of its pipes can be made to swell and diminish. Its pipes are housed in a box with shutters on one or more sides. These shutters are like large Venetian blinds that are controlled by a pedal.
When the shutters are closed, the sound of the Swell division pipes is muffled. When the shutters are opened, the sound gets louder and also more brilliant. The Swell division often has more ranks in it than the Great. It can be coupled to the Great and to the Pedal. The sound of the Swell principal chorus is often brighter than that of the Great. If there is a set of strings including Celeste on the organ, it will be in the Swell. If there is a third manual, it will usually be the lowest one on the console.
It is often called the Choir, and may be enclosed in a box like the Swell, in which case there will be another pedal, usually to the left of the Swell pedal, to operate its shutters. This division is intended to accompany the choir, to accompany solo effects on the Swell, and to provide soft, ethereal sounds for service playing. When the third manual division of an organ is not in a box, it is usually called the Positive Positiv, Positif.
The Positive will often contain a small principal chorus with a bright mixture. The function of this Positive principal chorus is to play antiphonal effects with the Great and to add brightness when coupled to the Great chorus. If there is not a Cornet in the Swell, there will usually be one in the Positive. There is often a Krummhorn or other color reed as well.
Reminded of the North German tradition of extensive improvised choral fantasias, I find the fifth manual gets most use when improvising. It is an important tourist mecca visited by more than five million people each year. During my visit in the waning days of Covid restrictions, there were hundreds of people milling about both during and between Masses.
The organ was originally built by Geo. The interior of the church is feet long and feet wide at the transepts. I did not have a tape measure with me, but with my long career of removing organs from big churches, I will hazard a guess that the balcony is more than thirty feet off the floor of the nave and the organ is twenty feet above the console.
The sound of the huge organ is monumental in scale with the room. At Merrill Auditorium, the closest seats are within fifty feet of the organ, and they face the main body of the instrument directly at eye level. My host was Michael Hey, associate organist and director of music for the cathedral. We spent an hour and a half listening to and discussing the organ before a noon Mass.
One of his demonstration pieces became the prelude for the Mass, and while tourists swirled in the back half of the church and down the side aisles, priests and cantor in the chancel led the celebration for a large congregation. It was surreal to be so far from the altar, the priests, and the congregation.
I could hear the cantor singing, standing at a microphone two hundred feet away, but I could barely hear the congregation singing. Throughout my career, people have responded to learning what I do for a living with their travel stories. It was incredible. He is inspired by the sense that his playing brings that visit to life and those visitors will take the experience home with them.
There is a swell little elevator from the narthex to the organ loft, a nice discovery on a very hot day, and a spiral stone stairway from the loft to the organ chambers and ultimately to the south tower. Are you paying attention? The scale of the building and the organ encourages one to play to the acoustics.
It is light years from the practice room and from most usual church organs. The fifth manual is home to the nineteen-stop Nave Organ that includes a principal chorus, a Gamba with Celeste, a couple flutes, a Vox Humana, Oboe, a big chorus of reeds and the Triforium Trumpet on eighteen inches of wind.
Stand back. Michael is a tall, lanky guy, and when I asked him how often he plays on the fifth manual, he put his hands right on it and said it is really about how well your shirt fits. If the shirt is a little tight at the shoulders or the lunch a little too much, it is not as easy to get up there.
But since the Nave Organ is so separate from the gallery organ, it makes sense to use the top keyboard to play the organs against each other. It was obvious as he played that the top manual is well within reach. You can find the stoplist and read about this remarkable organ at nycago. Up and down Park Avenue. Designed by Bertram Goodhue in a Byzantine-Romanesque style, it is markedly different in form and decoration from the many Gothic-inspired buildings throughout the city.
With ranks, the five-manual organ is the largest instrument in the city. The most unusual feature of this landmark organ is the eighteen-stop Celestial division that plays from the fifth manual, built by the Skinner Organ Company in and installed above the dome, sixty-six feet above the floor of the nave.
It originally included a large principal chorus, solo and soft flutes, strings and celestes, Vox Humana, a big assortment of reeds including Harmonic Trumpet, Tuba, and Corno di Bassetto, so the division includes both soft ethereal voices and powerful reeds, topped off with a seven-rank Harmonic Mixture. Half of the space above the ornamental dome is occupied by the organ, the other half of the outer dome is covered with hard plaster forming a huge resonating chamber, so the sound is blended as a heavenly chorus, providing huge climaxes to the effect of the combined chancel and gallery organs.
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How many manuals can an organ have? Why do organs have 2 keyboards? What are organ ranks? What instrument has stops?
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