An impression seems to be prevalent among some musicians of the more advanced class, that the reed organ has gone or is going out of use; in certain communities there appears to be sufficient ground for such an impression; in other communities, however, we find the number of organs largely in excess of the number of pianos.  Not only is this the case, but statistics of the various organ factories throughout the United States show that the output is enormous, which is a sufficient assurance that the reed organ is not an obsolete instrument by any means.  To be sure, the organ has been superseded in numerous cases by the piano, which is, in many respects, a greatly superior instrument, and, generally speaking, is more popular; yet, the reed organ has its special features of tone quality and adaptation, which render it even more desirable to many than the piano, aside from the fact of its being less expensive.

The musical effects possible on the organ and not on the piano may be few; but they are of no small value, when certain kinds of musical compositions are to be rendered.

One great point in favor of the organ is, that it is capable of continuing any tone or chord for any length of time, without diminution, while in the piano, the bass tones may be continued for considerable time, the middle tones a shorter length of time, and the extreme high tones of the treble have but the slightest duration; every tone in the piano gradually grows weaker from the instant of its sounding until it fades into silence.  Another feature of the organ, not possible in the piano, is its ability of making the “crescendo” (a gradual increase of strength or volume) in single tones or chords.  Still another point in favor of the organ (not in the tuner’s favor, however) is that it rarely gets out of tune and does not require being gone over by the tuner at short intervals in order to keep it in fit condition to be used.

The idea with which we desire to impress the student by the foregoing remarks is, that while the piano is a superior instrument, and the art of tuning the piano is a much deeper study from the general tuner’s standpoint than that of doing the various things the tuner is called to do on the organ, he should not consider the reed organ of minor importance, or slight the organ when called upon to put it in order.  The fact is, persons having organs in their homes cherish them as much as others do their pianos, and there is no reason why they should not have as good service.

It will be impossible to give anything more than general instruction in organ work, as the difference in construction is so pronounced.  Pianos are built practically on the same plan, and when the construction of one is learned, the tuner will find little difficulty in others of the same type; but it seems that every organ manufacturer has his own hobbies as to the best means of securing results; however, the general principles are the same, and, like many operations coming under the hand of the tuner, all that is necessary is to examine, reason, and use good mechanical judgment.