avoid this sympathy by using pipes of different
scale, but even then the results were seldom satisfactory; the big
pipes seemed to swallow the little ones. In the big organ in Leeds
Town Hall, England, there was one pipe in the Principal which nobody
could tune. The tuner turned it every possible way in its socket
without avail, and at last succeeded by removing it from the socket and
mounting it on a block at a considerable distance from its proper
place, the wind being conveyed to it by a tube. This is only one
instance of what frequently occurred.

In the Hope-Jones organ the usual plan of putting all the C pipes on
one side of the organ and all the C# pipes on the other, is departed
from. The pipes are alternated and in this ingenious way sympathy is
largely avoided.

[1] Broadhouse: "Musical Acoustics," p. 261.

CHAPTER X.

THE PRODUCTION OF ORGAN TONE.

We now come to the department of the organ which will be of more
interest to the listener, viz., the various organ tones. The general
shape and construction of the pipes now in use, judging from the
earliest drawings obtainable, have not changed for hundreds of years.
The ancients were not wanting in ingenuity and we have pictures of many
funny-looking pipes which were intended to imitate the growling of a
bear (this stop was sometimes labeled Vox Humana!), the crowing of a
cock, the call of the cuckoo, the song of the nightingale, and the
twitter of the canary, the ends of these pipes being bent over and
inserted in water, just as the player blows into a glass of water
through a quill in a toy symphony. Then there was the Hummel, a device
which caused two of the largest pipes in the organ to sound at once
_and awake those who snored during the sermon_! Finally there was the
Fuchsschwanz. A stop-knob bearing the inscription, "Noli me tangere"
(touch me not), was attached to the console. As a reward for their
curiosity, persons who were induced to touch the knob thereby set free
the catch of a spring, causing a huge foxtail to fly into their
faces--to the great joy and mirth of the bystanders.

In order to understand what follows we must make a short excursion into
the realm of acoustics. We have already remarked upon the extreme
antiquity of the Flute. The tone of the Flute is produced by blowing
across a hole pierced in its side; in other words, _like a stream of
wind striking upon a cutting edge_. It is possible to produce a tone
in