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ARTISTIC REGISTRATION
(Trained organists might not need to review this section.)
Organ registrations fall into two broad categories: solo combinations and ensembles. A solo
combination is one in which a melody is played on one keyboard, the accompaniment on another
keyboard, and the pedal often provides a light bass line. Almost any stop or combination of stops
will sound good as a solo voice. A contrasting tone quality should be chosen for the accompaniment,
so that the accompaniment is softer than the solo voice. The pedal stops must provide a foundation
for the sound without covering it.
Most 8’ reed stops make interesting solo voices. The addition of a 4’ flute or a flute mutation (e.g.,
Nasard or Tierce) to a reed such as the Trompette colors the sound further and increases its volume
slightly. Adding an 8’ flute to a reed will add body to the sound.
Flutes can be used alone or in combinations as solo voices. One special combination of flutes that
creates an appealing and historically significant solo combination is the Cornet (pronounced kor-
NAY). The Cornet is created by using Swell flute stops at these pitches: 8’, 4’, 2-2/3’, 2’ and 1-3/5’.
This combination was used widely in Baroque organ music, but it is just as appropriate for some
modern music. Useful variations of the Cornet may be achieved by eliminating the 4’, the 2’, or
both.
When choosing stops for a solo voice, it is not always necessary to include an 8’ stop. For example,
since the 4’ flute has a tone quality different from that of the 8’ flute, the 4’ flute can be used as an
independent solo voice. By playing the solo an octave lower than written, the notes will sound at the
correct pitch. In similar fashion, a 16’ stop can be selected and the notes played an octave higher than
written. Tonal variety will be gained, because each stop has its own tone color.
For accompaniment, the most desirable voices are the 8’ flutes or strings on each manual. Celestes
often make effective accompaniments. The correct choice depends on the volume of the solo tone (a
soft solo voice requires the softest accompaniment stop), the element of contrast and the location of
the solo stop. A bright, harmonically rich solo reed, for example, can be accompanied by either a
string or flute, but the flute will often contribute greater interest because of its greater contrast.
Seek a “natural” balance of volume between solo and accompaniment. This will be especially easy to
accomplish if the solo and accompaniment are under separate expression.
SUGGESTED SOLO REGISTRATIONS
CHIMES SOLO
Swell:
Viola 8’, Viola Celeste 8’
Great:
Chimes
Pedal:
Lieblich Gedackt 16’, Swell to Pedal
Play solo on Great.
SOLO CORNET COMBINATION
Swell:
Gedeckt 8’, Nachthorn 4’, Nasard 2-2/3’, Piccolo 2’, Tierce 1-3/5’
Great:
Harmonic Flute 8’; or Erzähler Celeste II 8’
Pedal:
Lieblich Gedackt 16’, Flute 8’
Play solo on Swell.
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