1. Principal, 16' 2. Principal, 8' 3. Quintatön, 16' 4. Octave, 4' 5. Quinte, 3' 6. Superoctave, 2' 7. Spielpfeife (a species of flute), 8' 8. Sesquialtera 9. Mixtur, of 6, 8, and 10 ranks _Echo (Brustwerk)._ 1. Grobgedackt, 8' 2. Principal, 4' 3. Nachthorn, 4' 4. Nasat, 3' 5. Gemshorn, 2' 6. Cymbel, of 2 ranks 7. Sesquialtera 8. Regal, 8' 9. Geigenregal[186] (Violin-regal), 4' [Footnote 186: In combination with the _Quintatön_ of eight feet, says Adlung, the _Geigenregal_ sounds almost like a stringed instrument.] _Choir._ 1. Principal 8' 2. Quintatön, 8' 3. Lieblich Gedackt, 8' 4. Kleingedackt, 4' 5. Querflöte (_Flauto traverso_), 4' 6. Violine, 2' 7. Rauschquinte doppelt 8. Mixtur, of 4 ranks 9. Sesquialtera 10. Spitzflöte, 4' 11. Schallflöte, 1' 12. Krummhorn,[187] 16' 13. Trompete, 8' [Footnote 187: _Cromorne._ Also called _lituus_ (clarion) by Praetorius (_Syntagma musicum_), Tome ii, chap. xv, p. 40. Adlung suggests this simple derivation: _cor_ and _morne_ (sad, reserved).] _Pedal._ 1. Subbass (of metal), 16' 2. Posaune, 16' 3. Trompete, 8' 4. Schalmei, 4' 5. Cornett, 3' The St. Thomas church possessed in addition a small organ. This instrument, at one time abandoned, and later again brought into service, stood at Bach's time in a gallery, opposite the large organ. It possessed a stop called _Trichter-Regal_, a sort of _Vox humana_. This organ was used in performance of the St. Matthew Passion music, in coöperation with the other. When Bach played for strangers, he was fond of astonishing them by his originality in registration. "After having first of all censured as ill-advised the combination of certain stops," says Forkel,[188] "the listeners were greatly surprised upon hearing the admirable effect produced by these very combinations, suddenly drawing from the organ a sonority at once original and varied, whose attainment might have been vainly sought by following older methods.... [Footnote 188: _Ueber J.S. Bach's Leben, Kunst und Kunstwerke._] "In trying an unfamiliar organ, his first step was to draw all the registers and to play upon the great manual with all couplers. He was in the habit of saying, jestingly, that he wished at the outset to know if the instrument possessed good lungs." With this art in registration was combined the greatest facility in improvisation.