Harp Aeolian (unknown)
Harp Aeoline (unknown)
Harp Aeolone (unknown)

What little we know about Harp Aeolone comes to us from Wedgwood's entry for Kerophone, in which he says:

These stops are composed of free reeds, of 8 ft. pitch, with very broad tongues and no pipes. They are under the control of an expression device (Gale's patent), whereby every shade of power can be instantly obtained, either for accenting a single note or a whole chord. A patent tuning device enables them to be rapidly tuned.

Wedgwood also lists Harp Aeoline and Harp Aeolone, but says only “see Aeoline”, for which stop he lists Harp Aeolian as a synonym, but says nothing more about either of the three names. Audsley also mentions the stop:

Free-reed stops devoid of resonators have recently been introduced by certain English organ-builders, with favorable results in tonal combination and registration. In the Organ in Colston Hall, Bristol, built by Norman & Beard in 1905, there are three such free-reed stops, labeled Harp Aeolone, Kerophone, and Saxophone.


Audsley[1]: Physharmonika. Wedgwood[1]: Aeoline; Harp Aeoline; Kerophone.
Copyright © 2000 Edward L. Stauff, all rights reserved.
HarpAeolone.html - Last updated 18 August 2000.
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