Flute a Dilemme

[KleinErzahler]

Greetings,

** *I haven't seen too many instruments with an 8' Spitzflute as the sole Great 8' flute...* I'm curious about thoughts as to what the 4' pairing stop for a fairly bold 8' Spitzflute would be in theory, or in practice?

* * *- Nate

[soubasse32]

This sort of hybrid stop tends to blend very well - it takes the character of another stop paired with it. I would pair it with a just about any type of 4' flute as long as it is not too assertive.

I'm more used to mild Spitz flutes - a bold onesounds interesting.

[Violoncello]

In the U.S., calling a stop "Spitzflote" is like calling all the types of fruit in the world 'Apples'. I say this because Spitzflotes will be a Koppelflote on one organ and a Gemshorn on another. The Wicks organ that I'm allowed to play has two types of Spitzflotes: The 8' Spitzflote in the Antiphonal is essentially a Cone Diapason (a wicks monstrosity) and the 4' Spitzflote in the Choir division is a mellow Blockflote-type stop. (This one is much better sounding than the 8'!) Typically, a Spitzflote is a Flute-Principal hybrid with a copious amount of foundation qualities and should [probably] be used only for Chorus/Foundation use.

That's just my suggestion, but you never know (it's a spitzflote!) so it could be different. Especially if the instrument you pay is a Wicks [*-)] >>

>>

[organpower]

i find that very true...since I have gone around the US and played many organs of different builders I am always interested in the tonal nuances between the builders....Casavant's Spitzflute 4 on the great of a phelps organ sounds like an assertive Gemshorn with a lot of octave harmonic. The Spitzflute on a early Skinner organ sounds fluty...just things like that....I guess you could consider a spitzflute and a koppleflute to be very simmilar...we all use them to bind or "kopple" stops of different characteristics together...sort of like an ensamble glue...

[soubasse32]

[quote user="Violoncello"]Spitzflotes will be a Koppelflote on one organ and a Gemshorn on another.[/quote]

Although if it isreally a Gemshorn it should not be labelled a "flute". [] Also, theSpitzflöte is usually entirely tapered, while the Koppelflötehas a tapered canister top.The tonal differences between these stops areevident, to the point that a builder would be advised to label them properly. []

Typically, a Spitzflote is a Flute-Principal hybrid with a copious amount of foundation qualities and should [probably] be used only for Chorus/Foundation use.

Actually, the Spitzflöte is "usually classified as a Flute/String hybrid, and occasionally as a Flute/Diapason hybrid" (see http://www.organstops.org/s/Spitzflote.html). Thus it can, and should be used for much more than chorus/foundation use. I would use it as a true flute stop (soloistically); the excellent blending quality (usually on the bland side) means it can bind to flutes, principals, and strings.

[Jay999]

The empical rule of organ building says to never match 8' and 4' flutes in the same division. I have always observed in better quality organs that this rule is adhered to in every instance. Therefore, a partially closed flute is also a partially open one too. If it were built by a fine builder, the 4' would probably be something like a 4' Bourdon, or4' Rohrflote, or 4' Gedeckt. If you were to continue on up to a 2' flute stop, then you would go back to some sort of openflute.

The upside down cone of "spitz" stops, as well as gemshorns, is put there to intentionally trap upper harmonics (partials). You will find Spitzflotes that are almost cylindrical, with a very small amount of taper, while others will be extremely tapered to almost closed at the top. Usually, the more powerful Spitzflotes are large scale andfairly wide open atthe top, while the quieter ones are smaller scaled and much more closed at the top. The more harmonics that are intended to be heard, the larger the top. The less harmonics intended to be heard, the tighter the opening at the top.

Spitzprincipals are made for the same reasons. As they are reducedin power and scale size, they become Gemshorns. Much like the classic Dulciana, whichif properly made, is really a softer, and smaller, Diapason.

[soubasse32]

[quote user="Jay999"]The empical rule of organ building says to never match 8' and 4' flutes in the same division. I have always observed in better quality organs that this rule is adhered to in every instance.[/quote] Though I've been made to understand that the ideal octave partner to a French-style Harmonic Flute is another Harmonic Flute (at 4' pitch).

One of the finest organs I play has Harmonic flutes at 8' and 4' on the Great, and they pair very nicely indeed - this pairing was used in many of Cavaillé-Coll's masterpieces (Flûte harmonique 8'/Flûte octaviante 4'; Flûte harmonique 8'/Flûte traversière 4').

[Jay999]

Hi Soubasse. Ahem. I stand corrected!

[KleinErzahler]

Your point is well-taken though - it's certainly true for a vast number of organs; such as the 19th century 8' Melodia with the 4' Flute d' Amour, or perhaps the more modern instrument of the last 50 years with a Bourdon 8' with the Koppel Flute 4'.* Nevertheless, because of the Gemshorny quality of a Spitz Flute, the pairing possibilities didn't seem obvious because it is a somewhat rare situation in comparison.* I guess some experimentation is needed.

Skinner also paired Harmonic Flutes or Principal Flutes with Harmonic Flutes from time to time, usually on the Choir and Great respectively.

* * *- Nate

[soubasse32]

[quote user="KleinErzahler"]I guess some experimentation is needed.[/quote]

Absolutely.

Experimenting with different stop combinations is something we all must do - but it is one of the things that makes playing the organ so unique and so fun.