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And now we may set to work upon our set of wood pipes.

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THE STOPPED DIAPASON.

Why do we begin by making a set of wooden pipes?

For two reasons. First, because they will afford a trial of patience, and involve a great deal of good joinery. Second, because until they are made, or, at any rate, until we know their precise dimensions, we cannot plot out with accuracy the very important sound-board, which is to carry them and the other pipes which are to follow. Either of these reasons is, to our mind, sufficient, apart from the other; and we strongly recommend the young beginner to set himself resolutely to the manufacture of the complete set of wooden pipes belonging to the commonest of all organ-stops, the Stopped Diapason, before taking any step in the direction of the machinery or apparatus which is to waken them into harmonious vibrations.

Our explanations will be much assisted here if we introduce a few definitions of terms in constant use. The pipes which we are about to make will give notes, when tuned, which are familiarly designated by certain names. Thus, the lowest note on the manual or key-board of modern organs is called Double C (printed CC). The note one octave above this is Tenor C; the octave of Tenor C is Middle C; and above this, again, we have Treble C (often called Foot C) and C in Alto. Some of the other notes of the scale, in a similar way, have convenient names. Thus, the first F in the bass is Double F, or FF; the next F, the F of the Tenor octave, is often called Clef F, as the Bass, or F Clef, stands upon this line in music; its sharp is FF sharp; but then we come at once to a single G, and this note is often called Gamut G. The octave above this note is called Fiddle G, as it sounds the same note as the fourth string of the violin. The note B, we may add, throughout the organ, is understood to mean B flat; the semitone above this is indicated by the musical symbol the Natural (♮).