Reeds
As remarked in our opening chapter, pipes with strips of cane or reeds in the mouthpiece are of great antiquity, being found side by side with the flutes in the Egyptian tombs. These reeds, as those used at the present day, were formed of the outer siliceous layer of a tall grass, Arundo donax, or sativa, which grows in Egypt and the south of Europe. They were frequently double, but the prototype of the reed organ-pipe is to be seen in the clarinet, where the reed is single and beats against the mouthpiece. Of course, an artificial mouthpiece has to be provided for our organ-pipe, but this is called the boot. See Figure 19, which shows the construction of a reed organ-pipe. A is the boot containing a tube called the eschallot B, partly cut away and the opening closed by a brass tongue C, which vibrates under pressure of the wind. D is the wire by which the tongue is tuned; E the body of the pipe which acts as a resonator.
In the last half-century the art of reed voicing has been entirely revolutionized. Prior to the advent of Willis, organ reeds were poor, thin, buzzy things, with little or no grandeur of effect, and were most unmusical in quality. Testimony to the truth of this fact is to be found in old instruction books for organ students. It is there stated that reeds should never be used alone, but that a Stopped Diapason or other rank of flue pipes must always be drawn with them to improve the tone quality.
Willis created an entirely new school of reed voicing. He was the first to show that reeds could be made really beautiful and fit for use without help from flue stops. When he wanted power he obtained it by raising the pressure, in order that he might be able to afford still to restrain the tone and to consider only beauty of musical quality.
He was the first to show that every trace of roughness and rattle could be obviated by imparting to the reed tongue exactly the right curve.
He restrained too emphatic vibrations in the case of the larger reed tongues by affixing to them with small screws, weights made of brass. He quickly adopted the practice of using harmonic, or double-length tubes, for the treble notes, and secured a degree of power and brilliance never before dreamed possible.
Willis gave up the open eschallot in favor of the closed variety, thereby securing greater refinement of musical quality, though of course sacrificing power of tone. He designed many varieties of reed tubes, the most notable departure from existing standards being probably his Cor Anglais and Orchestral Oboe.
Under the guiding genius of Willis, the Swell organ—which had hitherto been a poor and weak department, entirely over-shadowed by the Great—became rich, powerful and alive with angry reeds, which were nevertheless truly musical in effect. Hope-Jones took up the work where Willis left it, and has not only pushed the Willis work to its logical conclusion, but has introduced a new school of his own.
He has taken the Willis chorus reeds and by doubling the wind pressures and increasing the loading and thickness of tongues, has produced results of surpassing magnificence. From the Willis Cor Anglais he has developed his Double English Horn, from the Willis Oboe his Oboe Horn, and from the Willis Orchestral Oboe the thin-toned stops of that class now being introduced by Austin, Skinner and by his own firm. His chief claim to distinction in this field, however, lies in the production of the smooth reed tone now so rapidly coming into general use; in his 85-note Tuba; in the use of diminutive eschallots with mere saw-cut openings; in providing means for making reed pipes stand in tune almost as well as flue pipes; and in the utilization of “vowel cavities” for giving character to orchestral-toned reeds.
The latter are of particular interest, as their possibilities are in process of development. The results already achieved have done much to make the most advanced organ rival the orchestra.
To exemplify the principle of the vowel cavities Hope-Jones was in the habit, in his factory in Birkenhead, England, in 1890, of placing the end of one of his slim Kinura reed pipes in his mouth and by making the shape of the latter favor the oo, ah, eh, or ee, entirely altered and modified the quality of tone emitted by the pipe.
Some years ago in an organ built for the Presbyterian Church, Irvington-on-Hudson, N. Y., Hope-Jones introduced a beating reed having no pipes or resonators of any kind. He is using this form of reed in most of his organs now building.
In England this vowel cavity principle has been applied to Orchestral Oboes, Kinuras and Vox Humanas, but in this country it was introduced but seven years ago and has so far been adapted only to Orchestral Oboes. At the time of writing it is being introduced in connection with Hope-Jones’ Vox Humanas and Kinuras. Examples are to be seen in the Wanamaker (New York) organ; in Park Church, Elmira; Buffalo Cathedral; Columbia College, St. James’ Church, New York; College of the City of New York; Ocean Grove Auditorium, and elsewhere. There undoubtedly lies a great future before this plan for increasing the variety of orchestral tone colors. Figure 20 shows a vowel cavity applied to a Vox Humana (Norwich Cathedral, England), Figure 21 to an Orchestral Oboe (Worcester Cathedral, England), and Figure 22 to a Kinura (Kinoul, Scotland).
Builders who have not mastered the art of so curving their reed tongues that buzz and rattle are impossible have endeavored to obtain smoothness of tone by leathering the face of the eschallot. This pernicious practice has unfortunately obtained much headway in the United States and in Germany. It cannot be too strongly condemned, for its introduction robs the reeds of their characteristic virility of tone. Reeds that are leathered cannot be depended upon; atmospheric changes affect them and put them out of tune.
The French school of reed voicing, led by Cavaillé-Coll, has produced several varieties that have become celebrated. Many French Orchestral reeds are refined and beautiful in quality and the larger Trumpets and Tubas, though assertive and blatant, are not unmusical. The French school, however, does not appear to be destined to exercise any great influence upon the art in this country. (For further information regarding reeds see chapter on tuning.)