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Mutations and mixtures; compound stops
Mutations
Fifth, quint, quinte, nasard, nasard, tierce, Terz, larigot,
seventh
To create new sound colors, it is necessary to produce overtones.
Any musical sound is a mixture of many notes : the fundamental (for
example C), which is also the first overtone, but also its octave
(second overtone), the fifth above this octave (third), and many
others, always higher.
Some organ stops are used only to produce wanted overtones, and
are built with pipes that produce this overtone as their fundamental.
So, these pipes give different notes than the key than makes them play
Thus, to give overtones to a C1 (the lowest of the keyboard) played
by a 8' pipe, one can want to hear :
- the fundamental or first overtone. The 8' itself gives it.
overtone #1 = Fundamental 8'
- The second overtone. It is the Octave,
i.e. the C2 in our example. A 4' is played together with the 8'.
Overtone #2 = Octave 4'
- The third overtone. It is the fifth of the latter octave,
i.e. G2.
The stop playing a G2 when the C1 key is stricken is called
twelfth, or "quinte". To build
the stop, flute pipes are used. It is also
possible to use stopped flutes (except for
the small pipes, where open, conical flutes are preferred).
In this case, the stop is called "nasard" (the word comes
from "nose", and it is often written "nazard").
2'2/3
The length of the longest pipe of this stop is thus that of a pipe
giving the G2 (which plays here on the C1 key). This length is 2 feet and
2 third :
Overtone 3 = Nasard (nazard) (Quint) 2'2/3
- The fourth overtone. That is : 2 octaves above the fundamental, C3
in our example. The interval between the overtone and the fundamental is
a fifteenth. A 2' stop will produce it. The Principal 2' is thus called
"fifteenth" ("doublette"). The Flute 2' sounds one fourth
above the nasard. This is the reason why it is called, in French, "Quarte
de nasard", or simply quarte.
Overtone 4 = Quarte 2'
- The fifth overtone is the third of the previous overtone. An E3 in
our example.
The corresponding stop is called tierce ("Terz").
This stop is very important in the French classical organ.
These stops were said to be "chirpy", and were systematically removed
from the organs in the late 1800s.
The tierce is build with flute pipes. The words
"jeu de tierce" are other words for cornet.
But the cornet normally only begins at F2 or C3, and is called by a single
stop. The jeu de tierce plays on the whole keyboard, and is normally split
up in four stops : 8' (usually bourdon), 4' (flute), 2'2/3 (nasard),
2' (quarte) and 1'3/5 (tierce).
1'3/5
The length of the longest pipe of this stop is thus that of a pipe
giving the E3 (which plays here on the C1 key). This length is 1 feet and
3 fifth :
Overtone 5 = Tierce 1'3/5
- The sixth overtone is the fifth of the 2' octave. A G3 in our
example.
The corresponding stop is called larigot.
1'1/3
The length of the longest pipe of this stop is thus that of a pipe
giving the G3 (which plays here on the C1 key). This length is 1 feet and
1 third :
Overtone 6 = Larigot 1'1/3
- It is possible to go further, but the stops are more seldom. The seventh
overtone is the seventh (as a musical interval) of the fourth overtone,
i.e. the Bmoll3 in our example. The corresponding stop is called
septième (seventh), and its length is 1'1/7 :
1'1/7
Overtone 7 = Septième 1'1/7
All these stops enable to build up various overtone combinations, and this
very precisely, as it it possible to choose them one by one.
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Cornet V |
The Cornet
Sesquialtera, Kornett, Jeu de tierce
The mutation stops previously described are
"simple", the meaning of the word is that there is only one pipe to play
a single note. To hear the fundamental and its 2 first overtones, 3 stops
are to be drawn.
But and other way to proceed is to put all the pipes corresponding
to chosen overtones together in one stop, so that they play together.
The stop that plays the 5 following overtones on each note is called
Cornet V :
- the fundamental (8')
- the octave (4')
- the fifth (nasard) (2'2/3)
- the fifteenth (quarte de nasard) (2')
- the third (tierce) (1'1/3)
The following notes are played on the key corresponding to C2
(supposing that the cornet is not limited, as very often, to the upper part
of the keyboard) :
This stop is an excellent soloist, who also mixes very well with the
"French" reeds of the "batterie", with which it
constitutes what is called the "grand jeu".
by extension, the Mutations stops corresponding to the ranks in the
cornet are often called "split up cornet" ("cornet décomposé"),
as it is possible to build up a cornet by drawing all these stops.
The tierce (third) gives its typical sound to the cornet. It is possible
to remove the 4' or the 2' in a cornet, but with no tierce 1'3/5, it
would not be called a cornet.
This is the reason for which the cornet is often called "Jeu de tierce",
which is not to be confused with the tierce stop.
The "cornet III", or 3 ranks cornet lacks the 8' and 4' pipes.
These two ranks are in fact put apart, as individual stops (bourdon 8' and
flûte 4'). The 8' is to be drawn with the cornet III, and the flute 4' maybe
optional.
The "sesquialtera", or 2 ranks cornet lacks the 8', 4' and 2' pipes
(i.e. gives only the fifth 2'2/3 and third 1'3/5). It is to be used
together with a bourdon 8'. The flutes 4' and 2' are optional.
Sometimes, the sesquialtera is not build with flute pipes
put with principals.
The cornet does not usually extend to the bass, because it is often
used with the reeds (which are louder in the bass),
to "re-balance" the organ.
Even played as a soloist, the upper half of the keyboard is the more
useful. To play as soloist tenor ("Tierce en taille"), the Jeu de Tierce
is to be used, not the 5 ranks Cornet. This is the reason for which
the cornet V only begins at C3 or F2. It is thus often called
"dessus de cornet".
Limited to the upper half of the keyboard, the dessus de cornet is
rather small. It can be put at a special place in the organ chest,
where it will be well brought out when used as soloist. For example,
it is often just behind the front pipes, a bit higher than the other
pipes.
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Mixtures
Plein-jeu, fourniture,
Mixtur, cymbal,, carillon
Mixtures are stops for which each note is given by more than one,
high pitched pipes (i.e. build with more than one "rank" of pipes).
Each rank plays an overtone of the fundamental note, which is not part of
the stop.
Mixtures are thus used in addition to fundamental stops, and are their
overtones crown. When principals are played together with the mixtures,
they constitute the "plein-jeu".
The more common mixture is the "fourniture". It consists in
3 to 7 ranks, giving octaves and fifths to the fundamental.
It is completed with the "cymbal", or "sharp mixture",
which has nothing to do with a percussion stop, but is rather a high-pitched
fourniture.
There are a lot of decisions to be taken when designing a composed stop :
the number of ranks, the pitch of each of them, the progression of the "scale"
in each rank (sounding like flutes or more like
principals).
Moreover, as the ranks begin at a relatively high pitch (some ranks
begin, for example at 1/2', already one octave above the
principal 1') and as it is not possible to go
higher infinitely (because the pipes would only have a couple of millimeters,
would be impossible to tune and would produce a nearly inaudible sound),
the mixtures "goes up" as would do a singer who would try to sing always
higher notes : it "drops" one octave or fifth at given levels. This is
called a "break".
The sesquialtera, especially when built with principal flues, is often
said to be a mixture.
The "Rauchsquinte" is the combination of the fifth and its octave
(i.e. 2'2/3 and 2').
It is possible to say that the "carillon" is a sort of cornet
for which the 2' rank would have replaced by a 1' rank, thus sounding more sharp.
It is thus a kind of sharp mixture with a "third" (tierce) rank, and normally
without any break.
The cymbal has often its breaks at different level than those of the
fourniture that it has to crown. Beginning higher in pitch, the cymbal
has normally more breaks than the fourniture. The way to do the mixture breaks
is an aesthetic choice and is often typical of a given period or a given
organ builder. Ranks, pitches, breaks and their positions are described,
for a mixture stop, in a table called "mixture analysis table"
Example of a 5 ranks fourniture :
- Starting with the lowest C of the keyboard : C1
- A 2' (giving C3, like the fifteenth)
- A 1'1/3 (giving G3, like the larigot)
- A 1' (giving C4, like the sifflet)
- A 2/3' (giving G4)
- A 1/2' (giving C5)
- This will be true for all the keys between C1 and E2. On the F2,
arriving to the "medium" of the keyboard's compass, building the 1/2' rank pipes
becomes difficult. Thus, there will be a break here, by dropping each rank
by 1 octave (but it could be possible to drop by one fifth) :
- The 1st rank drops 1 octave, giving now 4'
- The 2nd also drops 1 octave, giving 2'2/3
- The 3rd, giving now 2' is the continuation of the first rank,
this will "hide the break"
- The 4th, giving 1'1/3, is the continuation of the second
- The 5th, giving 1', is the continuation of the third
- Then, at the F3 of the keyboard, a new break can be placed :
- The 1st rank drops now to 8'
- The 2nd to 5'1/3
- The 3rd, dropping to 4' is the continuation of the first rank,
this will again "hide the break"
- The 4th, giving 2'2/3, is the continuation of the second
- The 5th, giving 2', is the continuation of the third
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