Organ-point

(Ger. Orgelpunit; Fr. int Porguc Xe pun'ts dor-gane) A ‘tone sustained in one part to harmonies executed by the others. Itis ordinarily a ba note (usually the tonic or dominant, or even both combined), and is also called a pedal-point, or petal: but atone so sustained in a higher part is more properly termed a holding-note, or simply a sustained tone, and the organ point is then sometimes termed inverted. —Pastoral organ-point, tonic and dominant sustained together in the ba . ORGANUM. Sw. to Gt., Solo to Gt., Sw. to Ch.), and 4 dedal couplers (Gt. to Ped., Ch. to Ped., Sw. to Ped., Soloto Ped.) The organ-keyboards are usually called manuals; there may be from 1 to 5 (see list below) with or without pedal-keyboard. Usual compa of manuals, 4 octaves and a fifth, with 56 keys (sometimes 5 full octaves), from Cto g*: Compa . of Az pedal, up to, 2 octav "and a fourth, with 3okeys: ‘This notation, however, expre es only a part of the full compa , wej—— the lowest —_pedal-pipes —yielding Cs (2 octaves below and the highest manual-pipes (piccolo 1foot) producing ¢# (3 octaves higher than the total compa of the ); "gan thus being 9 octaves stops belonging to each manual are set on a separate soundboard or set of soundboards, and constitute a partial organ.—The names of the manuals follow; FRENCH. ITALIAN. dorgue (:* clavi Principale. asi Grgane df coro, de récit (3* clavier) __Organo d'espre ione. des bombardes (4° clay.) Organo d'a olo, décho (5° clavier) Organo d’eco. ganum (Lat.) 1. An instrument; later, an organ—z. The earliest attempts at harmonic or polyphonic music, in which the parts progre ed in parallel fifths and fourths. The excruciating effect of this diaphony on the modern ear has led investigators to make the most of any historical evidence going to show that these progre ions were not simultaneous, but of an antiphonal character; it appears to be established, however, that they were really the connecting link between the earlier chanting in octaves, and the later contrapuntal forms slowly developed out of the oblique and contrary motion in certain forms of the organum, due to the occasional introduction of harmonic seconds and thirds.—Though the organum was, properly, the part added below the cantus firm us, the term is generally applied to all the first rude attempts at harmonic composition, whether in 2 parts (diaphonia), 3 parts (triphonia, the added third part being called ¢rip/um. ORGEL—O' whence our free), oF 4 parts (efraphotia), The examples are quoted from