oRGAK. 
eys, Sc. have but twelve finger-keys in each octave, and 
thefe are generally tuned to what is called the mean-tone 
fyltem, that is, ay of the major third, viz. ON »D, 
> E; » are made per 
very mel fo, an four of the 
% C, and x G, remain each, unavoidably, too fharp, by an 
i ee diefis (or near it), which fome call a sia of a 
tone, and confequently, fuch thirds beat very T 
ne in the Temple church, London, has ten founds, 
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eer as Stal ating uate are as nome call teme for 
* D, b A, xA, and b D, in addition to the twelve 
mon notes as rae ; and w ich new note 
ftops that move fideways, can be brought o 
in order to correét all the four major thirds that are too 
arp, as above mentioned: ftill, however, bias other 
falfe = occur in the ufe of this inftrum 
an at a in Blackfriars oa hae 
has ben lately erected un ke’s a copy 
of — ot be fo 7 in ale Philofophical Magazine 
vol. XX 5, fee sig x 
» (fee our article 
Hawke’s Temperament,) yet has oa i twelve ufual 
finger-keys, feven of which are long ones, and five ak 
ones; the latter producing the /barp notes, unlefs that 
“pedal is preffed, which flattens each of thefe notes a dictie, 
and makes them all flgt notes 
The organ which Dr. Kemp exhibited in his le€tures at 
the Ruffel Inftitution, for which Mr. Loefc hes nee 
(fee the Philofophical Magazine, vol. xxxvii. p. 
vol, xxx viii. »- 47.) hastwenty-four founds, a as ey ise 
in each o By the help of fix pedals, and the twelve 
ufual inger keys, os eaphes is enabled to execute the 
mean-tone fy » or any other, in the twenty-four 
ufual keys, and te neal fo for all the concords that oc- 
cur in siarty-thres different keys. 
reffive fteps in the 
5 
As 
All thele progr ace seinona of the tune 
of orgatis, are only applicable to the tempered fy{ftems of 
tuning, in which the greater part of the concord muft ftill 
ftems have 
be left imperfe€t, although the moft improv 
them fo in /ma/l, and in equal degrees, Pitead of that great 
and difagreeable irregularity, which attends all the ufual 
modes of tuning organs with only twelve notes ; we fay ufual 
modes, becaufe on the organ, an equal temperament has cer- 
tainly never been ufed, whatever may have been done on 
piano-fortes, and other ftringed ieee where eae are 
lefs obfervable and offenfive. In the year 1810 
enry Lifton perfeéted an inftrument, calla ted to Gee 
fede Cone altogether, ook o ata tor the 
fame, under the name of the ee organs whic 
patent will be found defcribed in the Philofophical Mean ine, 
vol, xxxvil. p. 328.) Since that period, Meflrs. Flight and 
Vou. XXV. 
et 
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Sea in pe odtave, aa ras with eleven 
pedale fix of which, for flats and fharps, are poe exadtly imi- 
lar to thofe of Mr. Loelehman above menticn This inven- 
tion enables ag a aaa to produce perfed palin in ape 
key mmon ufe, as Mr. Iuifton has fully ex 
which is in 
plained mathematically, and by reference to numberlefs ex- 
w wifh 
notice of comp cs eerie, as oe 
many of the hitheto ‘hidden ae of har 
may be proper t that the twenty- eae: ste of 
Mr. Lifton’s aan. are occafionally made to yield twenty- 
four other notes, w. ich are each one comma flatter than the 
pitch of the pipes, coins alfo eleven other notes, which are 
each two commas 
ufed on the organ; an 
tempering, but the whole are produced from 
cords, without the floweft — beating, {uch eee 
as a performer ufes in tuning his violin. 
In attempting to defcribe the peauiaese of a good organ, 
we fhall begin with the bellows; which, befides being of a 
peed pe ane to fupply the hae fhould at all times 
ae of win may be pci by 
of the Seton, or any 0 
and pie a 
of tune, until the 
n equal ; 
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33. 
nie rh own aoe 
when the bellows are peas 
they continue in the fame uae {tate 
bellows are nearly empty. If the 
without which no orga 
carefully blown, no difference fhould be heard from the ac- 
tion of blowing. In like manner, a fingle note pf the dia- 
pafon fhonld aad unaltered in its pitch, and {mooth in . 
its tone, while dded in fucceffion, 
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wind meets with no impedim a in its aul o the 
a requifite of no lefs importance than the former. 
The draw-ftops fhould move with fufficient eafe and 
{moothnefs; and-fhould ftop fo decidedly, as to leave no 
doubt of their being completely drawn, or fhu 
The touch of the keys fhou!d be free and elaftic, and ex- 
actly the fame preffure fhould be requifite to put down every 
med throughout t i 
e pipes ; 
cul facility in every part of the Doel except sac a in 
the loweft o¢tave, where it is not t ced 
If all thefe things a& without oe the mechanical anes of 
the organ may be confidered good, and in order. 
The goodnefs of the pipes is not fo ae defcribed, be- 
caufe much depends upon the quality of the tone, of which 
little idea can be given in words. A fine quality and great 
ftrength can meee be expected from the fame pipe: it, 
therefore, depen 
a requifite which can- 
not be too ftrongly infifted on in all inftraments, fo as to 
Ce 4 give 
