THE MODERN ORGAN HAS HUMBLE ORIGIN

Star (Christchurch), Issue 19154, 21 August 1930, Page 11

THE MODERN ORGAN HAS HUMBLE ORIGIN

HAD ITS BEGINNING IN PRIMITIVE FLUTE. (Written for the “Star ’ by Arthur Lilly, A.R.C.0.) The stately modern organ, with mighty dimensions and impressive tones, is the outcome of gradual growth from natural suggestions to the triumph of human skill. The following is a very brief attempt to describe some of its history. The idea of a musical wind-instrument probably first occurred to man througJi the wind itself. Breezes passing over and striking the open ends of broken reeds produced sound. Reeds of different lengths gave sounds of different pitch. Some reeds were probably bound together and blown over, thus producing different sounds together Then it was thought of producing more than one sound from a. .single reed lv cutting holes in the side of the reed, or tube, covering some with the fingers and leaving others exposed. Thi* led to an instrument called a “Beak. Flute”—a pipe with a mouthpiece placed against the lips and blown into. The history of the organ is contained in the efforts of man to bring under the control of one player a large number of “flutes”—probably like our Old penny tin whistle. There is, indeed little difference in principle between the construction of the old whistle and the organ pipe. The next step was to place several of these “flutes” on end, in a box filled with wind sunpjilied by a blacksmith's bellows. As the number of “flutes” increased, more blowers were required. Then it was found that the weight of a man standing on the bellows could relieve the arm muscles of the hand blower. Therefore, more than one set of bellows were used, with a man mounting first one set, then another, forcing air into the wind-box by bis weight. This man was called a “bellows-treader.” The sound of these first flute pipes was prodviced by causing the air to vibrate inside the tube without obstruction, corresponding to the “flue” pipes in our organs—in the Diapason, for instance. Then it was found that by inserting a “tongue” of wood or metal, fixed at j one end. the passage of air being panly obstructed, would cause this tongue ;to beat backwards and forwards. This j produced a different vibration and led | to the discovery of what was called | “reed” pipes, such as the oboe or i trumpet of our organs. The next step was to invent a kevboard. Ihe first keys were so big and | clumsy that they had to be struck with clenched fist. The organist was then called an “organ-beater” After further discovery and improvement they came to resemble our present-da\* ke\ s, except that the “white” keys (naturals) were black, and the “black” keys (sharps) were white, just the reverse of ours. Keys for the feet to play—pedals—were next thought of. The' pedal kevboard is just the same as the mantra) —the notes are made of wood and, of j course, much larger. ! _ These simple beginnings led slowiv j from the building of small organs to the noble instruments of our day. it would require a volume of technical writings to attempt a description of the use of electricity, pneumatics and exquisite workmanship in wood and metal, in a modern organ. The perfection of workmanship and ingenuity displayed for instance in our own city organ is a sheer delight. A description of a modem organ, from the wind supply, through the dhferent qualities of tone to a wonderful console, had better be reserved for a further article.