A Glossary of Stops

Prepared by Mr. C. Sharpe Minor

Bassoon                      Imitating the tone of the Bassoon, the reed bass of the orchestra. Must not be confused with many so-called Bassoon stops which are but a cheep imitation.

Bourdon                    A 16 foot covered wood stop of a dull, droning quality. A tone that is often found effective to give firmness and bottom when it is of proper scale for the general character of the organ.

Clarinet                     Imitative of its orchestra namesake, the Clarinet seems to be the one stop which all organ builders have been successful in producing. A soloist and accompaniment.

Concert Flute            A tone imitation of the orchestra flute and important in any orchestral organ.

Diaphone                   A pedal stop producing a tone that is a series of rumbling vibrations and adds a bigness to an organ obtained by no other stop. Suitable for tonal climaxes, storm effects, explosions, etc.

Diaphonic Diapason A manual stop that may best be termed a compromise between the Diaphone and the Diapason. The peculiar tone characteristics of this stop make its use unadvisable except in large organs.

English Post Horn    A blatant tone, drawn in 16 ft., 8 ft., and 4 ft. pitch. Resembles a loud shrill trumpet. Adaptable to large organs only.

Kinura                       A poor grade of Oboe tone, but quite essential in building up coloring for Oriental scenes, Comedy interpretations, etc.

Oboe Horn                A compromise between the Oboe and the Horn, possessing a rich full tone which can be adapted to unlimited uses in Combination Compositions.

Open Diapason         The foundational stop of the Church organ. It serves the double purpose of solo stop and body builder in the theater organ.

Orchestral Oboe       A solo stop imitative of the Oboe of the orchestra; that (as Berlioz puts it) “Acid-sweet voice.” When of true tone is indispensable in combination foundation. Beware of anything except the finest grade of Oboe.

Quintadena               A flute-like tone in which the Twelfth or second upper partial tone, is present in a pronounced degree along with the fundamental tone. Very effective soloist and body builder.

Salicional                   A stop that can be best described as combining the tones of the Viola and Flute playing in unison. Very effective both as a solo stop and string section augmentor.

Solo String                 A string stop of much larger tone than the Violin. A solo stop and essential in combinations.

Tibia Clausa              A covered wood stop of unusual beauty of tone. Drawn at 16 ft., 8 ft., 4 ft., and 2 ft. When properly constructed and voiced is unexcelled as a solo and combination stop.

Tibia Flute                 A stopped flute of soft tone and used very effectively in building up light combinations.

Tibia Profunda         The 16 ft. Pedal extension of the Tibia Plena.

Trumpet-Tuba          An 8 ft. Manual stop possessing the tone of an orchestra Tuba or Trombone. Voiced smoothly, it is an excellent solo stop and can be used in combination with all other tones. A very valuable stop.

Viole Celeste              A stop of the String or Violin class which is tuned slightly sharp and produces a bright undulatory effect when played in unison with other stops correctly tuned.

Viole D’Orchestra    The “Violin of the orchestra” used wherever its namesake is used.

Viox Celeste              A stop of the string class tuned slightly sharp and softer than the Viole Celeste. The Viox Celeste and Viole Celeste are very valuable in building up the string sections of the orchestral organ.

Vox Humana             A stop which imitates as nearly as possible the human voice and without which no theater organ is complete.