Chapter I
As It Was in the Beginning
Chapter II
The Organ in the Nineteenth Century
Chapter III
The Dawn of a New Era; the Pneumatic Lever
Chapter IV
Pneumatic and Electro-pneumatic Actions—Tubular Pneumatics—Division of Organs—Sound Reflection—Octave Couplers and Extensions
Chapter V
Stop-keys—Control of the Stops
Chapter VI
Radiating and Concave Pedal Boards—Pedal-stop Control—Suitable Bass Attachments
Chapter VII
Means of Obtaining Expression—Crescendo Pedal—Sforzando Pedal—Double Touch—Balanced Swell Pedal—Control of Swell by Keys—Swell Boxes—the Sound Trap Joint—Vacuum Swell Shutters
Chapter VIII
A Revolution in Wind Supply—Springs vs. Weights—Individual Pallets—Heavy Wind Pressures—Mechanical Blowers
Chapter IX
Transference of Stops—Double Touch—Pizzicato Touch—the Unit Organ—Sympathy
Chapter X
Production of Organ Tone—Acoustics of Organ Pipes—Estey Open Bass Pipes—Diapasons—Flutes—Strings—Reeds—Vowel Cavities—Undulating Stops (Celestes)—Percussion Stops—the Diaphone
Chapter XI
Tuning—Equal Temperament—New Method of Tuning Reeds
Chapter XII
Progress of the Revolution in Our Own Country
Chapter XIII
Chief Actors—Barker—Cavaillé-Coll—Willis—Hope-Jones
Chapter XIV
How We Stand To-day—Automatic Players—Specifications of Notable Organs: St. George’s Hall, Liverpool; Notre Dame, Paris; St. Paul’s Cathedral, London; Westminster Abbey; Balruddery, Scotland; Worcester Cathedral; Yale University, U. S. A.; St. Paul’s Cathedral, Buffalo; Paris Theatre, Denver; Cathedral of St. John the Divine, New York; University of Toronto, Canada; City Hall, Portland, Me.; Liverpool Cathedral, England