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VI. 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. 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 solo and accompaniment without covering them.
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 adds 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 the following Swell stops: Rohr Bourdon 8’,
Traverse Flute 4’, Nasard 2-2/3’, Piccolo 2’ and Tierce 1-3/5’. This solo combination, widely
used for Baroque organ music, is just as appropriate for some modern music. Useful variations
of the Cornet may be achieved by eliminating the 4’, the 2’, or even 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 a solo voice an octave lower than written, the
notes 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 is 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, though the flute often contributes greater interest because
of its greater contrast. Try to seek a “natural” balance of volume between solo and
accompaniment.
SUGGESTED SOLO REGISTRATIONS
CHIMES SOLO
Swell:
Gedackt 8’ or Viola Pomposa 8’, Viola Celeste 8’ or Flute Celeste II 8’
Great: Chimes
Pedal:
Lieblich Gedackt (Sw) 16’, Swell to Pedal 8’
Play solo on Great and accompaniment on Swell
SOLO CORNET COMBINATION
Swell:
Gedackt 8’, Traverse Flute 4’, Nasard 2-2/3’, Piccolo 2’, Tierce 1-3/5’
Great:
Viola Pomposa 8’ or Flute Celeste II 8’
Pedal:
Lieblich Gedackt 16’, Flute 8’
Play solo melody on Swell and accompaniment on Great
