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see reed organreed organ,
an organ in which air is forced over free reeds by means of bellows, usually worked by pedals. It is played by the use of one or more keyboards. Variations in tone are produced by stops that control different sets of reeds or vary the manner in which the air acts
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a keyboard wind instrument. The harmonium was invented in the second decade of the 19th century; its precursor was the orgue expressif designed by the Frenchman G. J. Grenié in 1810. A similarly constructed instrument was created in 1818 by the master A. Häckel. The modern harmonium resembles a small upright piano; it has a piano keyboard, with six to 20 registers activated by movable levers. The keyboard is divided into a left side, with a range from C two octaves below the bass staff to E at the bottom of the treble staff, and a right side, with a range from F at the bottom of the treble staff to C two octaves above the treble staff. Sound is produced when air passes over steel tongues set in brass frames, causing the tongues, which act as free reeds, to vibrate. Air is pumped through channels to the reed compartments by pedal-operated bellows. The sound of the harmonium is similar to that of the organ.


a musical keyboard instrument of the reed organ family, in which air from pedal-operated bellows causes the reeds to vibrate
References in periodicals archive ?
Prefatory sections address Franck's harmonium works, the sources, critical notes, and the characteristics and technique of the instrument.
Franck, indeed, never considered the harmonium a substitute for the organ.
How do Franck's works exemplify idiomatic harmonium style?
The Petit offertoire thus appears in the edition stripped of its original organ registration, but also without harmonium registrations since Franck did not supply any.
Another baffling lapse is the editors' use of the bogus title L'organiste, which was applied posthumously to Franck's harmonium works.
After a thorough chronological rundown on the pieces contained in these volumes, the remaining nearly one-half of the essay is spent comparing two versions of the Offertoire in E major, one for harmonium (given in the appendix of vol.
For the sixty-three Pieces pour harmonium included in the volumes, four sources are identified.
We learn that, aside from Enoch's commissioning Franck to compose one hundred pieces for harmonium, the composer "dearly loved" the Magnificat:
He explains that, although Franck entitled it Pieces pour harmonium, the appellation L'organiste seems, in part, to have come from the commonly used name for the instrument, "orgueharmonium," as well as being an indication of the liturgical function of the pieces.
The editor also explains how the organ pedals may be imposed in these manual-only harmonium works.