sing this chapter, the writer desires to express indebtedness for
much of the material therein to the comprehensive "Dictionary of Organ
Stops," by James Ingall Wedgwood, Fellow of the Society of Antiquaries,
Scotland, and Fellow of the Royal Historical Society (published by the
Vincent Music Co., London, England). Although the title is somewhat
forbidding, it is a most interesting book and reveals an amount of
original research and personal acquaintance with organs in England and
the Continent that is simply marvelous. It ought to be in the library
of every organist.

[1] Broadhouse, J., "Musical Acoustics," p. 27.

[2] Mr. Skinner has built some of the finest organs in this country.

[3] Much of Roosevelt's finest work is now being improved by various
builders by leathering the lips.

[4] The "Harmonic" principle is described in Dom Bedos' book, published
in 1780, as applied to reeds, and Dr. Bedart states that this principle
was applied to flutes as early as 1804.

[5] That is to say, the pipes are made double the length actually
required, but are made to sound an octave higher by means of a hole
pierced half-way up the pipe.

[6] Wedgwood; "Dictionary of Organ Stops," p. 150.

[7] Wedgwood: _Ibid_., p. 153.

[8] Wedgwood: _Ibid_., p. 151.

[9] Wedgwood: _Ibid_. p. 153.

[10] "The Hope-Jones pattern of Muted Viol is one of the most beautiful
tones conceivable."--Wedgwood: "Dictionary of Organ Stops," p. 173.

[11] The Erzaehler, a modified Gemshorn, is found only in organs built
by Ernest M. Skinner.

CHAPTER XI.

TUNING.

Having described the improvements in pipes, we now consider how they
are tuned, and the first thing we must notice is the introduction of
equal temperament.

About fifty years ago most organs were so tuned that the player had to
limit himself to certain key signatures if his music was to sound at
all pleasant. Using excessive modulation or wandering into forbidden
keys resulted in his striking some discordant interval, known as the
"wolf." The writer remembers being present at a rehearsal of Handel's
"Messiah" in St. George's Hall, Liverpool, Eng., in 1866, when the
organ was tuned on the unequal temperament system, and there was a
spirited discussion between the conductor and Mr. W. T. Best, who
wanted the orchestra to play "Every Valley" in the key of E flat so as
to be in better tune with the organ.

The modern keyboard is imperfect. One black key is made to s