The
Reed
chorus includes those reed tones designed to be used in the ensemble buildup. Not all
reed voices are ensemble tones. An Hautbois, for example, is usually a solo stop. The various
Trumpets, Clairons, Posaunes, etc., are ensemble voices that add brilliance, power, and
incisiveness to the sound.
The Swell Reed chorus of Waldhorn 16’ and French Trumpet 8’ represents an entity important to
French organ music and the full ensemble of the organ. These stops create a “blaze” of harmonic
richness that tops off the Principal and Flute choruses.
Another special ensemble combination important in French music is the Cornet, which was discussed
in the section on solo registration. This combination can be used with the chorus reeds and mutations
to create the “Grand Jeu.” The Cornet is also useful in Romantic ensembles to add weight and
thickness to the sound.
Here are typical ensemble combinations for the Swell and Great manuals:
GREAT
1. Harmonic Flute 8’, Spitzflöte 4’
2. Harmonic Flute 8’, Spitzflöte 4’, Fifteenth 2’
3. Diapason 8’, Octave 4’
4. Diapason 8’, Octave 4’, Fifteenth 2’
5. Diapason 8’, Octave 4’, Fifteenth 2’, Mixture IV
6. Diapason 8’, Harmonic Flute 8’, Octave 4’, Spitzflöte 4’, Fifteenth 2’, Mixture IV
SWELL
1. Gedackt 8’, Viola 8’
2. Gedackt 8’, Viola 8’, Nachthorn 4’
3. Gedackt 8’, Viola 8’, Nachthorn 4’, Piccolo 2’
4. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’
5. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’, Fourniture IV
6. Gedackt 8’, Viola 8’, Octave 4’, Nachthorn 4’, Piccolo 2’, Fourniture IV, French Trumpet 8’
The use of the
Swell to Great
coupler allows these separate ensembles to be combined on the Great
manual. For example, the Great #5 and Swell #4 registrations coupled together and played on the
Great combine to form a nice round hymn combination.
The Pedal ensemble is created in much the same way as the manual ensembles, starting at 16’ pitch
instead of 8’. Be careful that the volume of the pedals is not greater than that of the manuals.
Although the manual to pedal couplers are useful in bringing clarity to the pedal line, especially on
softer registrations, avoid the temptation to rely constantly on one or two 16’ stops and a coupler.
Please note that the softest stops and flute mutations are normally not used in ensembles.
FULL ORGAN
Due to the immense capabilities of your Allen Organ, every stop and coupler on the instrument could
be used simultaneously. In good registration practice, however, the organist would not haphazardly
put on every stop on the instrument. For best results, listen and include only those stops whose
contribution to the fullness and brilliance of the ensemble you can hear when they are added.
Eliminate soft stops and solo stops that make no audible contribution.
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