Editing Pipe organ (section)

===Renaissance and Baroque periods===
[[File:Roskilde_Dom_Innen_Orgel_2.JPG|thumb|upright|The [[baroque music|baroque]] organ in [[Roskilde Cathedral]], Denmark<ref>Organ by Hermean Raphaelis, 1554. [http://copenhagenet.dk/CPH-Roskilde.htm Copenhagen Portal: Roskilde Cathedral] {{Webarchive|url=https://web.archive.org/web/20080105153651/http://www.copenhagenet.dk/CPH-Roskilde.htm |date=5 January 2008 }}. GBM MARKETING ApS. Retrieved on 13 May 2008.</ref>]]

During the [[Renaissance music|Renaissance]] and [[Baroque music|Baroque]] periods, the organ's tonal colors became more varied. Organ builders fashioned stops that imitated various instruments, such as the [[krummhorn]] and the [[viol|viola da gamba]]. Builders such as [[Arp Schnitger]], Jasper Johannsen, [[Zacharias Hildebrandt]] and [[Gottfried Silbermann]] constructed instruments that were in themselves artistic, displaying both exquisite craftsmanship and beautiful sound. These organs featured well-balanced mechanical key actions, giving the organist precise control over the pipe speech. Schnitger's organs featured particularly distinctive reed timbres and large Pedal and Rückpositiv divisions.<ref name="Webber 222">Webber, 222.</ref>

Different national styles of organ building began to develop, often due to changing political climates.<ref name="Randel 585">Randel "Organ", 585.</ref> In the Netherlands, the organ became a large instrument with several divisions, doubled ranks, and mounted cornets. The organs of northern Germany also had more divisions, and independent pedal divisions became increasingly common.<ref name="Randel 585" /> Organ makers began designing their cases in such a way that the divisions of the organ were visibly discernible. Twentieth-century musicologists have retroactively labelled this the ''Werkprinzip''.<ref>Bicknell "The organ case", 66–71.</ref>

[[File:Monasterio de Santa Cruz, Coímbra, Portugal, 2012-05-10, DD 09 organ edit.jpg|thumb|right|Baroque pipe organ of the 18th century at [[Monastery of Santa Cruz (Coimbra)|Monastery of Santa Cruz]], [[Coimbra]], Portugal]]

In France, as in Italy, Spain and Portugal, organs were primarily designed to play [[alternatim]] verses rather than accompany [[hymns|congregational singing]]. The ''French Classical Organ'' became remarkably consistent throughout France over the course of the Baroque era, more so than any other style of organ building in history, and standardized registrations developed.<ref name="Thistlethwaite, 12">Thistlethwaite, 12.</ref><ref>Douglass, 3.</ref> This type of instrument was elaborately described by [[Dom Bédos de Celles]] in his treatise ''L'art du facteur d'orgues'' (''The Art of Organ Building'').<ref>{{in lang|fr}} Bédos de Celles, Dom François (1766). ''[http://www.synec-doc.be/musique/dbedos/dbedos.htm Extraits de l'Art du facteur d'orgues] {{Webarchive|url=https://web.archive.org/web/20071011041127/http://synec-doc.be/musique/dbedos/dbedos.htm |date=11 October 2007 }}''. Ferguson (Tr.) (1977). Retrieved on 7 May 2007.</ref> The Italian Baroque organ was often a single-manual instrument, without pedals.<ref>{{cite book |last1=Williams |first1=Peter |title=A New History of the Organ |date=1980 |publisher=Faber and Faber |isbn=0-571-11459-8 |pages=126–130}}</ref> It was built on a full diapason chorus of octaves and fifths. The stop-names indicated the pitch relative to the fundamental ("Principale") and typically reached extremely short nominal pipe-lengths (for example, if the Principale were 8', the "Vigesimanona" was ½'). The highest ranks "broke back", their smallest pipes replaced by pipes pitched an octave lower to produce a kind of composite treble mixture.

In England, many pipe organs were destroyed or removed from churches during the [[English Reformation]] of the 16th century and the [[Commonwealth of England|Commonwealth]] period. Some were relocated to private homes. At the [[Stuart Restoration|Restoration]], organ builders such as [[Renatus Harris]] and [[Bernard Smith (organ builder)|"Father" Bernard Smith]] brought new organ-building ideas from continental Europe. English organs evolved from small one- or two-manual instruments into three or more divisions disposed in the French manner with grander reeds and mixtures, though still without pedal keyboards.<ref name="England">Randel "Organ", 586–587.</ref> The Echo division began to be enclosed in the early 18th century, and in 1712, Abraham Jordan claimed his "swelling organ" at [[St Magnus-the-Martyr]] to be a new invention.<ref name="Thistlethwaite, 12"/> The [[swell box]] and the independent pedal division appeared in English organs beginning in the 18th century.<ref name="England" /><ref>McCrea, 279–280.</ref>