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THE MUSICAL RESOURCES OF THE MODEL 35-A
&
35-D
THE VOICE FAMILIES OF THE ORGAN
(DIAPASONS, FLUTES, STRINGS, AND REEDS)
THE DIAPASON FAMILY
The sound which most of us associate with the organ is Diapason tone, the
very foundation of the organ. The importance of this stop is further empha-
sized by the frequent use of the name "principal" to denote it. Diapason tone
is non-imitative in nature, and is unique to the organ alone. It has enough
foundational tone to enable it to blend well with, and add strength to, the en-
semble. At the same time, it possesses enough harmonic development to
add brilliance and life. The usefulness of this type of tone becomes apparent
as one looks at the stoplist of the organ. On the Great Manual, Diapasons
are present at 16 , 8
1
,
4
1
,
and 2
1
pitch registers. There is also a Diapason
Twelfth (2-2/3'), as well as the Mixture Ill, which corroborates the upper
harmonic structure of the Diapasons and adds the final touch of brilliance to
the Diapason Chorus.
In
the Swell Division, Diapasons are present at 8
1
and
4
1
pitch, the 8' Diapason being less bold, more in keeping with the romantic
nature of the Swell. The general name for this type of stop is Geigen Diapa-
son. The Choir Division has the Diapason family represented by the softer
Gemshorn sound, at 8
1
and 4' pitch. These add fullness and variety to the
Choir ensemble. The Pedal Division uses the Diapason at 32' , 16, 8' , and
4' pitches, as well as the Diapason Mixture IT, which caps the Pedal ensem-
ble. Here, as in all divisions, Diapason tone is the principal sound, and the
one most characteristic of the organ.
THE FLUTE FAMILY
The Flute tones of the organ are characterized by a lesser amount of harmonic
development, and as such are good foundation builders. The Great Flute chorus
completes the ensemble and gives it a well-rounded, full sound. The Choir
Flutes, present in an abundance of pitch registers (including mutations) serve
as a contrapuntal foil to the more assertive Great, and lend the possibility of
synthesizing many interesting solo effects. The Quintade stop adds the Baroque
"chili" accent to the Choir Flutes, adding sparkle to the works of Bach and his
contemporaries. The Swell 8' Flute is a fuller sound, again in keeping with the
romantic nature of this division. The 16, 4', 2-2/3', and 2' Flutes on the Swell
extend the pitch register capability of this division and provide the necessary
·
upper work. The Pedal Flutes, at 16', 8', and 4' pitches, round out the Pedal
sound much in the same way as they do in the Great ensemble, and provide the
soft to medium heavy foundation for quiet ensemble playing.
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