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A substitute for the traditional wind-blown organ dates from 1934 in the form of Laurens Hammond’s “electrical musical instrument” (United States patent no. 1,956,350). By the end of the century, digital applications such as sampling were commonly employed in electronic organs. Apart from the Hammond organ’s use in popular and jazz music, these electronic substitutes have always sought to imitate the traditional organ, and the electronic organ has not developed into a new style of organbuilding.

Other builders had conceptual problems with the third manual and designed something resembling a nineteenth-century Choir. The Great division operates on a slider windchest; all others are typical pitman examples. The 32' “reed” in the Pedal is a synthetic stop called Cornet 32' consisting of ten different pitches and five independent ranks: 16', 102/3', 8', 62/5', 51/3', 44/7', 4', 35/9', 210/11', and 26/13'. The Cornet 16' is extended from the 32' stop. The selection of reeds is typical of Holtkamp, with Trumpet and Posaune stops on the Great (8') and Pedal (16' and 8'); a Cromorne 8' on the Positiv; a Basson 16', Fagott 8', and Rohr Schalmey 4' on the Swell; and a Schalmey 4' on the Pedal.

18 Derisively called by some in Germany a “compromise organ” (Kompromissorgel) because of its inability to accommodate any repertoire authentically. The term was current as early as the 1920s. 19 Ferguson 1979, 66. 20 Ferguson 1979, 123–6; Ambrosino 2009, 108–17. ” Ambrosino 2009, 112. 21 The literature on the Orgelbewegung is large, both in books and articles from the day and in secondary scholarly literature. Some sources also discuss early reform trends in the pre-war period. Phelps 1967 is interesting less as an historical survey—Phelps treats the pre- and post-war Orgelbewegung trends as a single movement, an approach not adopted here—than as an organbuilder’s evaluation of developments through the 1960s.

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5500 Guitar Chords by Ashlund U.

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