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SUGGESTED ENSEMBLE COMBINATION REGISTRATIONS:
GREAT ENSEMBLE COMBINATIONS
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 ENSEMBLE COMBINATIONS
1. Gedackt 8’, Viola Pomposa 8’
2. Gedackt 8’, Viola Pomposa 8’ Flûte 4’
3. Gedackt 8’, Viola Pomposa 8’ Flûte 4’, Piccolo 2’
4. Gedackt 8’, Viola Pomposa 8’ Flûte 4’, Piccolo 2’
5. Gedackt 8’, Viola Pomposa 8’ Flûte 4’, Piccolo 2’, Fourniture IV
6. Gedackt 8’, Viola Pomposa 8’ Flûte 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. It is also possible to combine some of these ensembles within the same division;
for example, when the #5 Great and #3 Swell registrations are coupled together and played on
the Great, they 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 with
ensembles.
FULL ORGAN
Due to the immense capabilities of the organ, every stop and coupler on the instrument could be
used simultaneously without distortion, if the organ is adjusted properly. 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 that really contribute to the fullness and brilliance
of the ensemble. Eliminate soft stops and solo stops that make no purposeful contribution.
This short treatment barely scratches the surface of the fascinating subject of organ registration.
For those interested in gaining further insight into this vital area of organ playing, we
recommend the following texts:
Audsley, George Ashdown.
Organ Stops and their Artistic Registration
.
Hialeah, FL: C.P.P. Belwin, 1985.
Irwin, Stevens.
Dictionary of Pipe Organ Stops.
2nd ed.
New York: Macmillan Books, 1983.
