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This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
This scarce antiquarian book is a selection from Kessinger
PublishingAcentsa -a centss Legacy Reprint Series. Due to its age,
it may contain imperfections such as marks, notations, marginalia
and flawed pages. Because we believe this work is culturally
important, we have made it available as part of our commitment to
protecting, preserving, and promoting the world's literature.
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for e
Inscribed to the American Chittd of Organist ORGAN REGISTRATION A
COMPREHENSIVE TREATISE ON THE DISTINCTIVE QUALITY OF TONE OF ORGAN
STOPS THE ACOUSTICAL AND MUSICAL EFFECT OF COMBINING INDIVIDUAL
STOPS, AND THE SELECTION OF STOPS AND COMBINATIONS FOR THE VARIOUS
PHRASES OF ORGAN COMPOSITIONS TOGETHER WITH SUGGESTED REGISTRA TION
FOR ONE HUNDRED ORGAN COMPOSITIONS, HYMNS, AND ANTHEMS INTENDED TO
BE PLAYED ON SPECIFIC ORGANS BY EVERETT E. TRUETTE t Mus. BAG., A.
G. 0. A Founder of the American Guild of Organists and Dean of the
New England Chapter Organist and Choirmaster of the Eliot
Congregational Church, Newton, Mass. FOURTH EDITION BOSTON C. W.
THOMPSON AND CO. 1919 EVERETT E. all I3STO, TT. S. A. PREFACE IN
planning a work of this character, which requires the expression of
a great deal of personal opinion, it is evident, at the outset,
that the author renders himself a target for considerable
criticism, from those organists who happen to entertain different
opinions on any branch of the subject. I am not unmindful of the
fact that the success of the work would perhaps be assured, if it
were possible to pronounce opinions with which every organist would
agree. From the nature of the subject itself, and from a great
diversity of personal tastes, any one can see that such a course is
absolutely impossible. I have attacked the subject of Registration
from many angles, have treated it from many points of view, and
have recorded my personal conclusions. In recording these personal
conclusions, I wish, at the outset, to have it understood, that,
while I am firm in my personal con victions, I do not put them
forward ex cathedrd, with the idea that they are to be accepted
without aquestion. As I have just stated, these con clusions can
only be considered as an expression of my personal taste, and I am
fully conscious that some organists will differ with me. As one
English author wrote Where the standpoint of criticism is al most
wholly subjective, great diversities of judgment are inevitable. I
trust that my readers will readily see the impossibility of
treating the subject impersonally, or of presenting all the
personal opinions of others who happen to disagree with me on any
branch of the subject. I bow my head to the different opinions of
other organists who disagree with me, and hope that the young
organist will fully consider the various opinions, in forming his
personal taste and individuality in registration. It will be
observed that many statements are repeated several times in the
course of the book. This is unavoidable, as these statements have
an important bearing on the subject-matter which occurs in various
parts of the book. Furthermore, frequent repetitions of some of the
important statements will ensure a permanency in the mind of the
young organist which, otherwise, might not prevail. For the sake of
clearness, I have treated the names of all organ stops as proper
names, beginning them with capital letters. I am aware that this is
not customary, but it seems to me that the importance of the names
of the stops, and the method of referring to them so frequently,
justifies this plan. In the technical description of the pipes of
various stops, free use has been made of A Comprehensive Dictionary
of Organ Stops, by James Ingall Wedgwood, F. A. S. F. R. Hist. S.
England, an excellent work which ought to be in every organists
library. If, after perusingthe following chapters, the young
organist finds that a keen interest in the subject of registration
has been kindled within his mind, my efforts will not have been in
vain. BOSTON, JANUAKY, 1919. CONTENTS PART ONE CHAPTER I PAGE
Definition and Description of Registration ..... 9 Registration and
Orchestration Compared 9 CHAPTER II Classifications of Organ Stops
. 13 Speaking and Mechanical Stops 13 Flue, Reed, and Percussion
Stops 13 Five Qualities of Tone .........
Inscribed to the American Chittd of Organist ORGAN REGISTRATION A
COMPREHENSIVE TREATISE ON THE DISTINCTIVE QUALITY OF TONE OF ORGAN
STOPS THE ACOUSTICAL AND MUSICAL EFFECT OF COMBINING INDIVIDUAL
STOPS, AND THE SELECTION OF STOPS AND COMBINATIONS FOR THE VARIOUS
PHRASES OF ORGAN COMPOSITIONS TOGETHER WITH SUGGESTED REGISTRA TION
FOR ONE HUNDRED ORGAN COMPOSITIONS, HYMNS, AND ANTHEMS INTENDED TO
BE PLAYED ON SPECIFIC ORGANS BY EVERETT E. TRUETTE t Mus. BAG., A.
G. 0. A Founder of the American Guild of Organists and Dean of the
New England Chapter Organist and Choirmaster of the Eliot
Congregational Church, Newton, Mass. FOURTH EDITION BOSTON C. W.
THOMPSON AND CO. 1919 EVERETT E. all I3STO, TT. S. A. PREFACE IN
planning a work of this character, which requires the expression of
a great deal of personal opinion, it is evident, at the outset,
that the author renders himself a target for considerable
criticism, from those organists who happen to entertain different
opinions on any branch of the subject. I am not unmindful of the
fact that the success of the work would perhaps be assured, if it
were possible to pronounce opinions with which every organist would
agree. From the nature of the subject itself, and from a great
diversity of personal tastes, any one can see that such a course is
absolutely impossible. I have attacked the subject of Registration
from many angles, have treated it from many points of view, and
have recorded my personal conclusions. In recording these personal
conclusions, I wish, at the outset, to have it understood, that,
while I am firm in my personal con victions, I do not put them
forward ex cathedrd, with the idea that they are to be accepted
without aquestion. As I have just stated, these con clusions can
only be considered as an expression of my personal taste, and I am
fully conscious that some organists will differ with me. As one
English author wrote Where the standpoint of criticism is al most
wholly subjective, great diversities of judgment are inevitable. I
trust that my readers will readily see the impossibility of
treating the subject impersonally, or of presenting all the
personal opinions of others who happen to disagree with me on any
branch of the subject. I bow my head to the different opinions of
other organists who disagree with me, and hope that the young
organist will fully consider the various opinions, in forming his
personal taste and individuality in registration. It will be
observed that many statements are repeated several times in the
course of the book. This is unavoidable, as these statements have
an important bearing on the subject-matter which occurs in various
parts of the book. Furthermore, frequent repetitions of some of the
important statements will ensure a permanency in the mind of the
young organist which, otherwise, might not prevail. For the sake of
clearness, I have treated the names of all organ stops as proper
names, beginning them with capital letters. I am aware that this is
not customary, but it seems to me that the importance of the names
of the stops, and the method of referring to them so frequently,
justifies this plan. In the technical description of the pipes of
various stops, free use has been made of A Comprehensive Dictionary
of Organ Stops, by James Ingall Wedgwood, F. A. S. F. R. Hist. S.
England, an excellent work which ought to be in every organists
library. If, after perusingthe following chapters, the young
organist finds that a keen interest in the subject of registration
has been kindled within his mind, my efforts will not have been in
vain. BOSTON, JANUAKY, 1919. CONTENTS PART ONE CHAPTER I PAGE
Definition and Description of Registration ..... 9 Registration and
Orchestration Compared 9 CHAPTER II Classifications of Organ Stops
. 13 Speaking and Mechanical Stops 13 Flue, Reed, and Percussion
Stops 13 Five Qualities of Tone .........
'Being an Account of Her Influence on the Art, in Ancient as well
as Modern Times'
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