8
TRUMPET SOLO
Swell:
Festival Trumpet 8’ or French Trumpet 8’
Great:
Diapason 8’, Viola Pomposa 8’, Octave 4’, Fifteenth 2’, Mixture IV
Pedal:
Contre Violone 32’, Diapason 16’, Octave 8’
Play melody on Swell and accompaniment on Great.
These few combinations demonstrate basic techniques of solo registration. In creating
registrations of your own, remember these three simple rules:
Seek tonal contrast between solo and accompaniment.
Be sure the solo is louder than the accompaniment.
Choose a solo whose character is appropriate to the specific piece.
ENSEMBLE REGISTRATIONS
Volumes have been written on the subject of ensemble registration. Following is a summary of
the major points.
•
Ensemble registrations involve groups of stops that are played together, usually, but not
always, with both hands on one keyboard. They are characterized by compatibility of
tone, clarity, and occasionally power. Such registrations are used in hymn singing, choir
accompaniments, and much of the contrapuntal organ literature.
•
Two factors are always to be considered: tone quality and pitch. Ensembles begin with a
few stops at the 8’ and/or 4’ pitch and expand “outward” in pitch as they build up. New
pitches are usually added in preference to another 8’ stop. Ensembles are generally
divided into three tonal groupings called “choruses”:
The Principal Chorus
is the most fully developed with representation in various
divisions of the organ and at every pitch from 16’ to high mixtures. The Principal
Chorus is sometimes called the narrow-scale flue chorus, a reference to the relative
thinness of Principal pipes in relation to their length.
The Flute Chorus
is also well represented with a diversity of stops at various
pitches. Generally speaking, the Flute Chorus is composed of less harmonically
developed tones, and is smoother and of lesser volume than the Principal Chorus.
The Flute Chorus is sometimes called the wide-scale flue chorus, owing to the
generally “fatter” look of Flute pipes as compared to Principals.
The Reed Chorus
includes those reed tones designed to be used in the ensemble
buildup. Not all reed voices are ensemble tones. A Clarinet, for example, is usually
a solo stop. The various Trumpets, Clairons, Bassons, etc., are usually ensemble
voices that add brilliance, power, and incisiveness to the sound. If you have
questions as to whether a specific reed is a solo or ensemble stop, refer to the stop
list in the preceding section.
The Swell Reed Chorus
is a special ensemble of Basson 16’ and Trompette 8’. It
represents an entity important to French organ music and the full ensemble of the
organ. These stops create a “blaze” of richly harmonic sounds that tops off both flue
choruses.
Another special ensemble combination important in French music is the
Cornet
(described 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, adding weight and
thickness to the sound.
