4
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
SWELL SOLO COMBINATION
Swell:
Gedackt 8’, Koppelflöte 4’, Nasard 2-2/3’, Blockflöte 2’, Tierce 1-3/5’
Great:
Harmonic Flute 8’, Spitzflöte 4’
Pedal: Lieblich
gedackt 16’, Gedacktflöte 8’
[Play solo on Swell]
FLUTE SOLO COMBINATION
Swell:
Salicional 8’, Voix Celeste 8’
Great:
Harmonic Flute 8’
Pedal:
Lieblich gedackt 16’, Swell to Pedal
[Play solo on Great]
TRUMPET SOLO COMBINATION
Swell: Trompette
8’
Great:
Principal 8’, Octave 4’, Super Octave 2’, Mixture IV
Pedal:
Bourdon 16’, Octave 8’, Choral Bass 4’
[Play solo on Swell]
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.
