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Mixture (organ stop)

April 11, 2024

A mixture is an organ stop, usually of principal tone quality, that contains multiple ranks of pipes including at least one mutation stop. It is designed to be drawn with a combination of stops that forms a complete chorus, for example, principals of 8 foot (8′), 4′, and 2′ pitches. The mixture emphasizes upper harmonics of each note of the keyboard; the individual pitches in the mixture are not distinguished by the listener, but reinforce the fundamental (lowest) pitch, adding volume, timbre (colour) and brilliance to the sound. Because pipes playing upper harmonics produce their own set of harmonic overtones, an element of harmonic dissonance is introduced, giving mixtures their characteristic tonal texture as they enrich the ensemble. Historically, the mixture descends from the medieval Blockwerk concept, an organ in which there were no stops and all the ranks sounded simultaneously.

Nomenclature edit

Mixture stops are typically labeled with Roman numerals with the number of ranks of pipes that they have, i.e. how many pipes sound when a single key is pressed. For example, a Mixture II contains two ranks (sounding two notes), a Mixture V contains five ranks, and so forth.

The mixture is sometimes designed so that the number of ranks per note increases as one ascends the compass of the keyboard. A mixture exhibiting this trait is referred to as progressive, and is labeled with two numbers (e.g. Plein Jeu III-VII, Fourniture IV-VIII).

If a pitch is specified (e.g. Mixture IV 2′), it refers to the pitch of the lowest-sounding rank when the lowest C on the keyboard is pressed.

Sometimes a mixture is labeled with multiple numbers denoting the intervals above root pitch that it will sound. For example, Mixture 15.19.22.26 means when a note is pressed, the intervals of a 15th, a 19th, a 22nd and a 26th will sound (or 2' + 11⁄3' + 1' + 2⁄3').

Types of Mixtures edit

Fourniture edit

This is the most common type of mixture, often written simply as "Mixture". It contains octaves and fifths and is usually progressive. It is complementary to the Cymbale mixture.

Cymbale edit

A relatively high mixture containing, properly, octaves and fifths, but may include the major third. It accompanies the Fourniture to create a full chorus mixture sound.

Plein Jeu edit

Literally "full chorus" this is usually a combination of the Fourniture and Cymbale mixtures.

Scharf edit

A high-pitched mixture (1', 1/2', or 1/4') usually of III or more ranks=mIV, IV-V, III-IV, V-VI. It contains octaves, major thirds (at least one), and fifths, though it can also contain the minor seventh.

Rauschquint edit

A harmonic mixture containing two or three or more (IV/V/VI/VII/VIII/IX/Rauschquint III-XII ranks of only octaves and fifths.

Variables affecting tone color edit

Mixture stops commonly include only unison and fifth pitch levels, though they sometimes include thirds and less commonly include other harmonics such as sevenths and ninths. The pedal division normally contains lower-pitched mixtures that reinforce the 16' fundamental.

Manual mixtures with tierces can sound "disembodied" without a 16' stop being drawn with them.

The frequency at which the various ranks in a mixture drop back by an interval (or break) as one ascends the compass determines to a great extent how the mixture sounds. If a mixture does not break, it is referred to as a harmonic mixture. Aristide Cavaillé-Coll built many examples of mixture stops labelled "Plein jeux harmonique". Some mixtures augment the treble in the lower ranges of the keyboard and the bass in the upper ranges of the keyboard.

Mixture breaks edit

The composition of pitches in a mixture will usually change (or break back) several times across the compass of the keyboard, often on subsequent C's, as in the example below. The "breaks" of a mixture involve the dropping out of a higher pitch at a given point within the keyboard's compass, and the addition of a lower pitch. This feature causes the mixture to sound relatively higher pitches in the lower parts of the keyboard, and relatively lower pitches towards the top end. It provides for definition in the bass and additional fundamental in the treble. Another reason for breaks, particularly in very high mixtures, is that builders find it impractical to make pipes smaller (higher) than the top of a 2′ rank, the C that's about 2/3″ long. When that pitch is reached, it is usual practice to repeat the previous octave of pipes at the lower pitch level. Since mixtures commonly begin at pitches higher than 2′, octave repeats would be required as the pitches ascend.

For example, here is the break structure of a typical Great Fourniture IV: 

Note Pitches on that note and above Fourniture IV-VII (St Jean De Luz Symphonie Hall) C#2 1-1/3' - 1' - _____2/3' - 1/2' C#14 2' - 1-1/3' - 1' - 2/3' - 1/2' C#26 2-2/3' - 2' - 1-1/3' - 1' - 2/3' - 1/2' C#38 4' - 2-2/3' - 2' - 1-1/3' - 1' - 1' - 2/3' C#50 5-1/3' - 4' - 2-2/3' - 2' - 1-1/3' - 1' - 1' 
Note Pitches on that note and above Cymbale V-VI (St Jean De Luz Symphonie Hall) C#1 2/3' - 1/2' - 1/3' - 1/4' C#13 1' - 2/3' - 1/2' - 1/3' 1/4' C#25 1-1/3' - 1' - 2/3' - 1/2' - 1/3' C#37 2' - 1-1/3' - 1' - 2/3' - 1/2' F#45 2-2/3' - 2' - 1-1/3' - 1' - 2/3' 
Note Pitches on that note and above Plein jeu V (St Jean De Luz Symphonie Hall,Pau st Jacques,Leeds Town Hall/Dusseldorf/Pau St Martin/Vatican/Chartres Cathedral/St Eustache) C1 1-1/3' - 1' - 2/3' - 1/2' - 1/3' C13 2' - 1-1/3' - 1' - 2/3' - 1/2' C25 2-2/3' - 2' - 1-1/3' - 1' - 2/3' C37 4' - 2-2/3' - 2' - 1-1/3' - 1' C49 4' - 4' - 2-2/3' - 2' - 1-1/3' - 1' 
Note Pitches on that note and above Plein jeu V (St Eustache) C1 2' - 1-1/3' - 1' - 2/3' - 1/2' - 1/3' C13 2-2/3' - 2' - 1-1/3' - 1' - 2/3' - 1/2' C25 4' - 2-2/3' - 2' - 1-1/3' - 1' - 2/3' C37 5-1/3' - 4' - 2-2/3' - 2' - 1-1/3' - 1' 
Note Pitches on that note and above Plein jeu V (Vatican) C1 1-1/3' - 1' - 2/3' - 1/2' C13 2' - 1-1/3' - 1' - 2/3' - 1/2' C25 2-2/3' - 2' - 1-1/3' - 1' - 2/3' C37 4' - 2-2/3' - 2' - 1-1/3' - 1' C49 4' - 4' - 2-2/3' - 2' - 1-1/3' 
Treizieme Mixture III-VII(Pau st martin Transept organ): C1 1-1/3' - 1' - 8/13' C13 2' - 1-1/3' - 1' - 8/13' C25 2-2/3' - 2' - 1-1/3' - 1' - 8/13' C37 4' - 2-2/3' - 2' - 1-1/3' - 1' - 8/13' C49 5-1/3' - 4' - 2-2/3' - 2' - 1-1/3' - 1' - 8/13 oR a Special Cymbal IV ranks by Cucherousset in the Barton 3/7: C1 1/4' - 1/5' - 1/7' - 1/10' C13 2/7' - 1/4' - 1/6' - 1/8' C25 1/2' - 2/5' - 1/4' - 1/6' C37 2/3' - 1/2' - 1/3' - 1/4' C49 3 1/5 1' - 4/5' - 1/2' - 2/5' C C C C C C 1 2 3 4 5 6 C 1/16' |------------+-----------+-----------+-----------+-----------/| 1 - C 1/16' B | | | | | / | 1 - B Bb | | | | | / | 1 - Bb A | | | | | / | 1 - A Ab | | | | | / | 1 - Ab G 1/12' |------------+-----------+-----------+-----------+------/----/| 2 - G 1/12' F# | | | | /| / / | 3 - F# F | | | | / | / / | 3 - F E 1/10' | | | | / | / / | 3 - E 1/10' Eb | | | | / | / / | 3 - Eb D | | | | / | / / | 3 - D C# | | | | / |/ / | 3 - C# C 1/8' |------------+-----------+-----------+----/------/----/------/| 4 - C 1/8' B | | | /| / /| / / | 5 - B Bb | | | / | / / | / / | 5 - Bb A | | | / | / / | / / | 5 - A Ab | | | / |/ / |/ / | 5 - Ab G 1/6' |------------+-----------+------/----/------/----/------/----/| 6 - G 1/6' F# | | /| / /| / /| / / | 7 - F# F | | / | / / | / / | / / | 7 - F E 1/5' | | / | / / | / / | / / | 7 - E 1/5' Eb | | / | / / | / / | / / | 7 - Eb D | | / | / / | / / | / / | 7 - D C# | | / |/ / |/ / |/ / | 7 - C# C 1/4' |------------+----/------/----/------/----/------/----/-------| 7 - C 1/4' B | /| / /| / /| / /| / | 8 - B Bb | / | / / | / / | / / | / | 8 - Bb A | / | / / | / / | / / | / | 8 - A Ab | / |/ / |/ / |/ / |/ | 8 - Ab G 1/3' |-------/----/------/----/------/----/------/----/------------| 8 - G 1/3' F# | / /| / /| / /| / | | 7 - F# F | / / | / / | / / | / | | 7 - F E 2/5' | / / | / / | / / | / | | 7 - E 2/5' Eb | / / | / / | / / | / | | 7 - Eb D | / / | / / | / / | / | | 7 - D C# | / / |/ / |/ / |/ | | 7 - C# C 1/2' |/----/------/----/------/----/------/-----------+------------| 7 - C 1/2' B | / /| / /| / | | | 5 - B Bb | / / | / / | / | | | 5 - Bb A | / / | / / | / | | | 5 - A Ab | / / |/ / |/ | | | 5 - Ab G 2/3' |/------/----/------/----/-----------+-----------+------------| 5 - G 2/3' F# | / /| / | | | | 3 - F# F | / / | / | | | | 3 - F E 4/5' | / / | / | | | | 3 - E 4/5' Eb | / / | / | | | | 3 - Eb D | / / | / | | | | 3 - D C# | / / |/ | | | | 3 - C# C 1' |/----/------/-----------+-----------+-----------+------------| 3 - C 1' B | / | | | | | 1 - B Bb | / | | | | | 1 - Bb A | / | | | | | 1 - A Ab | / | | | | | 1 - Ab G 1'1/3 |/-----------+-----------+-----------+-----------+------------| 1 - G 1'1/3 C C C C C C 1 2 3 4 5 6

External links edit

  • Data outflows and graphics of mixtures L'Hydraule (the example above without outflow).
  • Study of the Aristide Cavaillé Coll's pipework. Laurent Plet.

April 11, 2024
mixture, organ, stop, this, article, require, copy, editing, grammar, style, cohesion, tone, spelling, assist, editing, july, 2023, learn, when, remove, this, template, message, mixture, organ, stop, usually, principal, tone, quality, that, contains, multiple,. This article may require copy editing for grammar style cohesion tone or spelling You can assist by editing it July 2023 Learn how and when to remove this template message A mixture is an organ stop usually of principal tone quality that contains multiple ranks of pipes including at least one mutation stop It is designed to be drawn with a combination of stops that forms a complete chorus for example principals of 8 foot 8 4 and 2 pitches The mixture emphasizes upper harmonics of each note of the keyboard the individual pitches in the mixture are not distinguished by the listener but reinforce the fundamental lowest pitch adding volume timbre colour and brilliance to the sound Because pipes playing upper harmonics produce their own set of harmonic overtones an element of harmonic dissonance is introduced giving mixtures their characteristic tonal texture as they enrich the ensemble Historically the mixture descends from the medieval Blockwerk concept an organ in which there were no stops and all the ranks sounded simultaneously Contents 1 Nomenclature 1 1 Types of Mixtures 1 1 1 Fourniture 1 1 2 Cymbale 1 1 3 Plein Jeu 1 1 4 Scharf 1 1 5 Rauschquint 2 Variables affecting tone color 3 Mixture breaks 4 External linksNomenclature editMixture stops are typically labeled with Roman numerals with the number of ranks of pipes that they have i e how many pipes sound when a single key is pressed For example a Mixture II contains two ranks sounding two notes a Mixture V contains five ranks and so forth The mixture is sometimes designed so that the number of ranks per note increases as one ascends the compass of the keyboard A mixture exhibiting this trait is referred to as progressive and is labeled with two numbers e g Plein Jeu III VII Fourniture IV VIII If a pitch is specified e g Mixture IV 2 it refers to the pitch of the lowest sounding rank when the lowest C on the keyboard is pressed Sometimes a mixture is labeled with multiple numbers denoting the intervals above root pitch that it will sound For example Mixture 15 19 22 26 means when a note is pressed the intervals of a 15th a 19th a 22nd and a 26th will sound or 2 11 3 1 2 3 Types of Mixtures edit Fourniture edit This is the most common type of mixture often written simply as Mixture It contains octaves and fifths and is usually progressive It is complementary to the Cymbale mixture Cymbale edit A relatively high mixture containing properly octaves and fifths but may include the major third It accompanies the Fourniture to create a full chorus mixture sound Plein Jeu edit Literally full chorus this is usually a combination of the Fourniture and Cymbale mixtures Scharf edit A high pitched mixture 1 1 2 or 1 4 usually of III or more ranks mIV IV V III IV V VI It contains octaves major thirds at least one and fifths though it can also contain the minor seventh Rauschquint edit A harmonic mixture containing two or three or more IV V VI VII VIII IX Rauschquint III XII ranks of only octaves and fifths Variables affecting tone color editMixture stops commonly include only unison and fifth pitch levels though they sometimes include thirds and less commonly include other harmonics such as sevenths and ninths The pedal division normally contains lower pitched mixtures that reinforce the 16 fundamental Manual mixtures with tierces can sound disembodied without a 16 stop being drawn with them The frequency at which the various ranks in a mixture drop back by an interval or break as one ascends the compass determines to a great extent how the mixture sounds If a mixture does not break it is referred to as a harmonic mixture Aristide Cavaille Coll built many examples of mixture stops labelled Plein jeux harmonique Some mixtures augment the treble in the lower ranges of the keyboard and the bass in the upper ranges of the keyboard Mixture breaks editThe composition of pitches in a mixture will usually change or break back several times across the compass of the keyboard often on subsequent C s as in the example below The breaks of a mixture involve the dropping out of a higher pitch at a given point within the keyboard s compass and the addition of a lower pitch This feature causes the mixture to sound relatively higher pitches in the lower parts of the keyboard and relatively lower pitches towards the top end It provides for definition in the bass and additional fundamental in the treble Another reason for breaks particularly in very high mixtures is that builders find it impractical to make pipes smaller higher than the top of a 2 rank the C that s about 2 3 long When that pitch is reached it is usual practice to repeat the previous octave of pipes at the lower pitch level Since mixtures commonly begin at pitches higher than 2 octave repeats would be required as the pitches ascend For example here is the break structure of a typical Great Fourniture IV Note Pitches on that note and above Fourniture IV VII St Jean De Luz Symphonie Hall C 2 1 1 3 1 2 3 1 2 C 14 2 1 1 3 1 2 3 1 2 C 26 2 2 3 2 1 1 3 1 2 3 1 2 C 38 4 2 2 3 2 1 1 3 1 1 2 3 C 50 5 1 3 4 2 2 3 2 1 1 3 1 1 Note Pitches on that note and above Cymbale V VI St Jean De Luz Symphonie Hall C 1 2 3 1 2 1 3 1 4 C 13 1 2 3 1 2 1 3 1 4 C 25 1 1 3 1 2 3 1 2 1 3 C 37 2 1 1 3 1 2 3 1 2 F 45 2 2 3 2 1 1 3 1 2 3 Note Pitches on that note and above Plein jeu V St Jean De Luz Symphonie Hall Pau st Jacques Leeds Town Hall Dusseldorf Pau St Martin Vatican Chartres Cathedral St Eustache C1 1 1 3 1 2 3 1 2 1 3 C13 2 1 1 3 1 2 3 1 2 C25 2 2 3 2 1 1 3 1 2 3 C37 4 2 2 3 2 1 1 3 1 C49 4 4 2 2 3 2 1 1 3 1 Note Pitches on that note and above Plein jeu V St Eustache C1 2 1 1 3 1 2 3 1 2 1 3 C13 2 2 3 2 1 1 3 1 2 3 1 2 C25 4 2 2 3 2 1 1 3 1 2 3 C37 5 1 3 4 2 2 3 2 1 1 3 1 Note Pitches on that note and above Plein jeu V Vatican C1 1 1 3 1 2 3 1 2 C13 2 1 1 3 1 2 3 1 2 C25 2 2 3 2 1 1 3 1 2 3 C37 4 2 2 3 2 1 1 3 1 C49 4 4 2 2 3 2 1 1 3 Treizieme Mixture III VII Pau st martin Transept organ C1 1 1 3 1 8 13 C13 2 1 1 3 1 8 13 C25 2 2 3 2 1 1 3 1 8 13 C37 4 2 2 3 2 1 1 3 1 8 13 C49 5 1 3 4 2 2 3 2 1 1 3 1 8 13 oR a Special Cymbal IV ranks by Cucherousset in the Barton 3 7 C1 1 4 1 5 1 7 1 10 C13 2 7 1 4 1 6 1 8 C25 1 2 2 5 1 4 1 6 C37 2 3 1 2 1 3 1 4 C49 3 1 5 1 4 5 1 2 2 5 C C C C C C 1 2 3 4 5 6 C 1 16 1 C 1 16 B 1 B Bb 1 Bb A 1 A Ab 1 Ab G 1 12 2 G 1 12 F 3 F F 3 F E 1 10 3 E 1 10 Eb 3 Eb D 3 D C 3 C C 1 8 4 C 1 8 B 5 B Bb 5 Bb A 5 A Ab 5 Ab G 1 6 6 G 1 6 F 7 F F 7 F E 1 5 7 E 1 5 Eb 7 Eb D 7 D C 7 C C 1 4 7 C 1 4 B 8 B Bb 8 Bb A 8 A Ab 8 Ab G 1 3 8 G 1 3 F 7 F F 7 F E 2 5 7 E 2 5 Eb 7 Eb D 7 D C 7 C C 1 2 7 C 1 2 B 5 B Bb 5 Bb A 5 A Ab 5 Ab G 2 3 5 G 2 3 F 3 F F 3 F E 4 5 3 E 4 5 Eb 3 Eb D 3 D C 3 C C 1 3 C 1 B 1 B Bb 1 Bb A 1 A Ab 1 Ab G 1 1 3 1 G 1 1 3 C C C C C C 1 2 3 4 5 6External links editData outflows and graphics of mixtures L Hydraule the example above without outflow Study of the Aristide Cavaille Coll s pipework Laurent Plet Retrieved from https en wikipedia org w index php title Mixture organ stop amp oldid 1215912663, wikipedia, wiki, book, books, library,

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