R-230, -250, -270
SECTION IV
21
ARTISTIC REGISTRATION
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 accompanimental 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.
Summary of Contents for Renaissance 230
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