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).

[Illustration: Fig. 20. Vox Humana with Vowel Cavity Attached. Fig.
21. Orchestral Oboe with Vowel Cavity Attached Fig. 22. Kinura with
Vowel Cavity Attached]

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 Cavaille-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, t