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BYU Organ Workshop 2016

Registration Basics, Part I Organ Console and Families of Organ ToneJoseph Peeples, Instructor

Resources

✤ OrganTutor (source for much of this presentation)✤ www.organtutor.byu.edu

✤ Download PowerPoint Presentation✤ www.josephpeeples.com/byu

✤ E-Mail✤ [email protected]

Types of Organs

✤ Pipe Organ✤ Console✤ Pipework✤ Wind system

Types of Organs

✤ Electronic Organ✤ Console✤ Speakers

The Console

✤ The organ console is the “control center” of the organ.✤ The many devices on the console can be classified into

the following categories:✤ Key action✤ Stop action✤ Combination action✤ Expressive devices✤ Miscellaneous

The Console: Key Action

✤ Pipe organs use three different types of key action:✤ Mechanical (Tracker)✤ Pneumatic✤ Electric

✤ Organs typically have at least two keyboards or manuals. Each manual is called by the name of the division that it is linked to.

✤ The lowest C of all manuals and the pedal is the C two octaves below Middle C.

The Console: Key Action✤ The typical manual order is as

follows:✤ Echo/Bombarde/

Orchestral/etc. (5)✤ Solo/Bombarde (4)✤ Swell (2)✤ Great (1)✤ Choir/Positiv (3)

The Console



The Console: Stop Action

✤ Pipe organs use three different types of stop action:✤ Mechanical✤ Electric Assist✤ Electric

✤ Stop tabs✤ Rocker tabs✤ Draw knobs


✤ Each manual is connected to a specific division of the organ.✤ A division is a section of the organ, usually associated

with one keyboard in particular (e.g., Swell division, Pedal division)

✤ To play on a specific manual, at least one rank from that division must be activated.✤ A rank is a complete “row” of pipes, each pipe

corresponding to each key of the keyboard, and the whole set corresponding to one stop.


✤ A speaking stop, when engaged, activates a rank of pipes (or in some cases, multiple ranks).

✤ Non-speaking stops perform some function besides activating ranks of pipes.✤ Couplers✤ Tremulant

The Console



The Console: Combination Action

✤ The combination action allows the organist to save combinations of stops for instant recall.

✤ Pipe organs use three different types of combination action:✤ Mechanical✤ Pneumatic✤ Electric


✤ Combination (thumb) pistons✤ Many organs have only one set of combination pistons. If so, they

will be general pistons, centered underneath one or both of the manuals. If both generals and divisional pistons are present, the generals are usually located to the left underneath the manual(s).

✤ Toe studs✤ General and (pedal) division

✤ Reversibles (piston or toe stud)✤ Great to Pedal✤ Tutti/Sforzando


✤ Set button✤ Cancel button✤ Multi-level memory controls✤ Combination lockout


✤ To set a combination:✤ Select the stops to be set.✤ Hold the Set button.✤ While holding Set, press a general or divisional

piston.✤ Release both pistons.✤ Hit general cancel and press desired piston again, to

make sure it set!

The Console



The Console: Expressive Devices

✤ Expression Pedals control the volume of expressive divisions.✤ The default position of all expression pedals is fully

“open.”✤ The Crescendo Pedal creates a crescendo by

progressively adding stops (“blindly”) in a pre-determined order.✤ The default position of the Crescendo Pedal is fully

“closed.”

The Console



The Console: Miscellaneous

✤ Pedal Coupler✤ Melody Coupler✤ Great/Pedal (Un)enclosed✤ All Swells to Swell✤ Transposer✤ MIDI✤ Acoustic Portrait✤ Alternate Tunings

Families of Organ Tone

✤ A rank is a set of pipes of similar design and tonal quality, with one pipe for each key on the keyboard.✤ Manual ranks – 61 pipes✤ Pedal ranks – 32 pipes

✤ Each speaking stop activates one or more ranks of pipes.✤ The draw knob or stop tab for every speaking stop contains two

important indications:✤ Nomenclature (Name)✤ Pitch designation

✤ The stop nomenclature of a rank of pipes indicates the tone quality or timbre of that rank.


✤ There are two general categories of organ pipes:

Flues Reeds


✤ Speaking stops are classified into four families:

* Note that the term “reed” refers to botha category of organ pipes and a family of organ tone.

Flues

Flutes“Oooo"

Principals“Ahh”

Strings“Eehhh”

Reeds

Reeds“Awww”

Families of Organ Tone: Flutes

✤ Subbass (16’)✤ Quintatön (16’)✤ Bourdon (16’, 8’)✤ Gedackt (16’, 8’)✤ Pommer (16’, 8’)✤ Rohrflöte (8’)✤ Chimney Flute (8’)✤ Cor de nuit (8’)✤ Clarabella (8’)✤ Stopped Diapason (8’)

✤ Copula (8’, 4’)✤ Tibia (8’, 4’)✤ Nachthorn (4’)✤ Nazard (22/3’)✤ Octavin (2’)✤ Blockflöte (2’)✤ Tierce (13/5’)✤ Larigot (11/3’)✤ Sifflöte (1’)

Pictured (L to R): Kegelpijp, Koppelflöte, Rohrflöte, Metal Gedackt, Wooden Gedackt.

Families of Organ Tone: Strings

✤ Violone (16’, 8’)✤ Gamba (8’)✤ Salicional (8’✤ Viola (8’)

✤ Viola da gamba (8’)✤ Viola celeste (8’)✤ Voix celeste (8’)✤ Unda maris (8’)

Pictured (L to R): Romantic-type Diapason, Modern Principal, Dulciana, Salicional, Aeoline.

Families of Organ Tone: Principals

✤ Principal (16’, 8’, 4’)✤ Diapason (16’, 8’)✤ Montre (16’, 8’)✤ Dulciana (8’)✤ Prestant (8’, 4’)✤ Octave (4’)✤ Quint (2 2/3’)

✤ Twelfth (2 2/3’)✤ Fifteenth (2’)✤ Super Octave (2’)✤ Doublette (2’)✤ Tierce (1 3/5’)✤ Seventeenth (1 3/5’)

Pictured (L to R): Romantic-type Diapason, Modern Principal, Dulciana, Salicional, Aeoline.

Families of Organ Tone: Reeds

✤ Chorus Reeds✤ Bombarde (32’, 16’)✤ Posaune (32’, 16’)✤ Fagott (32’, 16’)✤ Basson (32’, 16’)✤ Dulzian (16’)✤ Trumpet (16’, 8’)✤ Trompette (16’, 8’)✤ Tromba (16’, 8’)✤ Hautbois (8’)✤ Oboe (8’)✤ Clarion (4’)

✤ Solo Reeds✤ Cromorne (8’)✤ Krummhorn (8’) ✤ Clarinet (8’)✤ French Horn (8’)✤ Regal (8’)✤ Schalmei (8’)✤ Tuba (8’)✤ Festival Trumpet (8’)

Pictured (L to R): Trumpet, Schalmei, Oboe, Oboe, English Horn, Krummhorn, Trichterregal, Vox Humana.

Questions?





Registration Basics, Part II Pitches, and Chorus RegistrationJoseph Peeples, Instructor

Resources




Pitches of Organ Stops

✤ The draw knob or stop/rocker tab for every speaking stop contains two important indications:✤ Nomenclature (Name)✤ Pitch designation

✤ The pitch designation of a rank of pipes identifies the basic speaking pitch of the rank.

✤ The pitch designation is an arabic numeral. ✤ (Roman numerals indicate the number of ranks that a stop

activates.)


✤ Pitch designation refers to the length of the longest pipe in a rank (low C).

✤ A stop with an 8’ pitch designation speaks at normal, or “concert” pitch.

✤ Other stops speak at some pitch other than concert pitch.✤ 4’ stops speak one octave above concert pitch.✤ 2’ stops speak two octaves above concert pitch.✤ 16’ stops speak one octave below concert pitch.

✤ Stops which sound at concert pitch or some octave above or below it are called unison- or octave-sounding stops.


✤ Non-unison sounding stops are referred to as mutations.✤ The most common mutations are:

✤ 2 2/3 ’ – Sounds one octave and a perfect fifth (seven half-steps) above concert pitch.

✤ 1 3/5’ – Sounds two octaves and a major third (four half-steps) above concert pitch.

✤ 1 1/3’ – Sounds two octaves and a perfect fifth above concert pitch.


✤ Summary:

Registration

✤ The best approach to a particular piece can be determined by examining:✤ The number of manual parts✤ The relative prominence and nature of the parts

Registration

✤ Most registrational combinations fall into one of three types:✤ Chorus Registration: All manual parts are played on a

single manual, with a pedal part in balance.✤ Solo and Accompaniment Registration: One part is played

on a solo stop or combination on one manual or pedal, with an accompaniment played on a chorus-type registration on another manual. The pedal is balanced with the accompaniment.

✤ Trio/Duo Registration: Two parts are played on different manuals and a third part appears in the pedal.

Registration: Chorus

✤ Chorus registration is best used:✤ Whenever the musical texture calls for it.✤ Whenever the various parts would best be heard as equal in

timbre (tone color) and volume. ✤ Four-part hymns and the preludes and fugues of J. S. Bach are

examples of the elements of musical texture that call for chorus registration:✤ There are two or more manual parts✤ No part is more prominent or more melodic in nature

✤ The pedal may or may not be present.


✤ Example: Building for Clarity

Diapason 8’

Octave 4’

Fifteenth 2’

Mixture IV

Tromba 8’

Great

Diapason 16’

Octave 8’

Choralbass 4’

Mixture III

Posaune 16’

Pedal


✤ Example: Building for Richness

Diapason 8’

Octave 4’

Fifteenth 2’

Mixture IV

Tromba 8’

Great

Gemshorn 8’

Harmonic Flute 8’

Spitzflöte 4’

Violone 16’Diapason 8’Gemshorn 8’

Harmonic Flute 8’Erzähler Celeste II 8’

Octave 4’Spitzflöte 4’Fifteenth 2’Mixture IVTromba 8’

Krummhorn 8’Great

Lieblichgedeckt 16’Gedeckt 8’

Viola 8’Viola Celeste 8’

Octave 4’Nachthorn 4’Nasard 2 2/3’

Piccolo 2’Tierce 1 3/5’

Fourniture IVWaldhorn 16’

French Trumpet 8’Oboe 8’Swell

Contre Bourdon 32’Diapason 16’Bourdon 16’

Lieblichgedeckt 16’Octave 8’Flute 8’

Choralbass 4’Mixture III

Contre Posaune 32’Posaune 16’

Waldhorn 16’Trumpet 8’Clairon 4’Pedal

1 2 3 4 5 6Registration: Chorus


✤ A Few of the Most Important Guidelines✤ Support the congregation with confidence, but do not overpower ✤ Let the text guide the registrational plan for the hymn ✤ Begin with stops from the principal chorus, especially at the 8' level ✤ 8' and 4' pitches are minimum for the manual; 16' and 8' are

minimum for the pedal ✤ In meditative hymns, substitute flutes for principals at 4' and 2'

levels as needed to reduce sharpness ✤ Use changes of registration between verses and/or between verse

and chorus


✤ Basic Hymn Registration✤ Meditative Hymns

✤ Great: Principals 8' and 4'  (the stops may be called Principal, Diapason, Octave, or Prestant)

✤ Pedal: The main 16' stop  (may be called Principal, Subbass, Bourdon, or Gedackt), and Great to Pedal


✤ Basic Hymn Registration✤ Jubilant Hymns:

✤ Add the 2' Principal on the Great to the meditative hymn combination, resulting in

✤ Great: Principals 8', 4' and 2'  (the 2' stop may be called Super Octave, Fifteenth, or Doublette)

✤ Pedal: The main 16' stop, and Great to Pedal


1. Redeemer of Israel, Our only delight, on whom for a blessing we call,Our shadow by day And our pillar by night, Our King, our Deliv’rer, our all!

2. We know he is coming to gather his sheep and lead them to Zion in love,for why in the valley of death should they weep or in the lone wilderness rove?

3. How long we have wandered as strangers in sin and cried in the desert for thee!Our foes have rejoiced when our sorrows they’ve seen, but Israel will shortly be free.

4. As children of Zion, good tidings for us. The tokens already appear.Fear not, an be just, for the kingdom is ours, The hour of redemption is near.




Krummhorn 8’Great











Waldhorn 16’Trumpet 8’

Clairon 4’Pedal





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Clairon 4’Pedal

1Registration: Chorus




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1 2Registration: Chorus




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Clairon 4’Pedal

2Registration: Chorus




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Clairon 4’Pedal

2Registration: Chorus 3




Krummhorn 8’Great












Clairon 4’Pedal

Registration: Chorus 3




Krummhorn 8’Great












Clairon 4’Pedal

Registration: Chorus 3 4




Krummhorn 8’Great












Clairon 4’Pedal

Registration: Chorus 4

Questions?





Registration Basics, Part III Solo/Accompaniment, Trio/Duo RegistrationJoseph Peeples, Instructor

Registration





Registration: Solo/Accompaniment

✤ Solo and Accompaniment registration is used when:✤ There are two manual parts or more.✤ One part is prominent or more melodic in nature.✤ (The pedal may or may not be present.)


✤ In organ playing, a “solo” is usually a single part that stands out from the others. A solo stop or combination is chosen that will render the solo part louder, brighter, or more colorful than the accompaniment. It is played on a separate manual (or in the pedal) from the accompaniment.

✤ An “accompaniment” refers to a stop or combination played on a manual other than that of the solo (and usually with pedal) that is supportive but less prominent than the solo. Specifically, the accompaniment is softer, less bright, or less colorful than the accompaniment.


✤ Standards in Solo and Accompaniment registration:✤ Both solo and accompaniment are usually built on an

8' foundation. However, either a 4' or 16' solo stop, or a combination built on either of these pitches is also possible for the solo part.

✤ If the pedal is part of the accompaniment, it is balanced to the manual accompaniment and is usually built on a 16' foundation. If the pedal plays the solo, it may be built on either a 16', 8', or 4' foundation.


✤ Procedure:✤ Choose a solo.✤ Build a suitable accompaniment.


✤ Choosing a solo:✤ The solo must be more prominent than the

accompaniment.✤ Considerations:

✤ Range✤ Volume✤ Timbre


✤ Forte solo possibilities:✤ 8’ Trumpet (with the possible addition of foundations, mutations,

or mixtures)✤ Strong solo reeds, such as a Festival Trumpet or Tuba✤ Cornet (8’, 4’, 2 2/3’, 2’, 1 3/5’)

✤ Piano solo possibilities:✤ Any single stop✤ Various combinations of the Cornet pitches✤ Gap registrations✤ (+ Tremulant)


✤ Building an accompaniment:✤ Use the principles of chorus registration in building

the accompaniment.✤ The pedal should balance with the accompaniment

(not the solo).


✤ Example 1: Wayfaring Stranger




Krummhorn 8’Great












Clairon 4’Pedal





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Clairon 4’Pedal


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Clairon 4’Pedal


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Clairon 4’Pedal


5


✤ Example 2: Praise to the Lord, the Almighty

& # 34 œœ œœ œœ œ ..œ œœj œœ œœ œœ œœ œœ œœ œœ ˙ .œ œ œ1. Praise to the Lord, the Al -might - y, the King of cre - a -2. Praise to the Lord! O - ver all things he glo - rious - ly reign -3. Praise to the Lord, who doth pros - per thy way and de - fend4. Praise to the Lord! Oh, let all that is in me a - dore

? # 34 œœ œœ œœ œ ..œ œœJ œœ œœ œœ œœ œœ œœ œœ œœ ˙̇

[ ]Joyfully q = 92-112

& # ˙ ..˙ œœ œœ œœ œ ..œ œœj œœ œœ œœ œœ œœ œœ œœ

tion! O my soul, praise him, for he is thy health and sal -eth. Borne as on ea - gle wings, safe - ly his Saints he sus -thee. Sure - ly his good - ness and mer - cy shall ev - er at -him! All that hath breath, join with A - bra - ham’s seed to a -

? # ˙ ..˙ œœ œœ œœ œ ..œ œœJ œœ œœ œœ œœ œœ œœ œœ& # ˙ . ˙ ..˙ œœ œœ œœ ˙ ..˙ œœ œœ œœœ œ œ

va - tion! Join the great throng, Psal - ter - y,tain - eth. Hast thou not seen How all thoutend thee. Pon - der a - new What the Al -dore him! Let the “a - men” Sum all our

? # œœ ˙̇ ˙ ..˙ œœ œœ œœ ˙ ..˙ œœ œœ œœ& # œœ œ œœ ˙ ..˙ œ œœ œœ œœ œœ # œœ ˙ . ˙ ..˙œ œ œ ˙ n œ

or - gan and song, Sound-ing in glad ad - o - ra - tion!need - est hath been Grant - ed in what he or - dain - eth?might - y can do, Who with his love doth be - friend thee.prais - es a - gain, Now as we wor - ship be - fore him.

? # œœ œœ œ ˙ ..˙ œœ œœ œœ œœ œœ œœ œ œ œ œ ˙ ..˙œ œ ˙ œ

[ ]

Praise to the Lord, the Almighty72

Text: Joachim Neander, 1650–1680; trans. by Catherine Winkworth, 1829–1878Music: From Stralsund Gesangbuch, 1665; arr. by William S. Bennett, 1816–1875, and Otto Goldschmidt, 1829–1907

Psalm 150Psalm 23:6




Krummhorn 8’Great












Clairon 4’Pedal


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Clairon 4’Pedal


2




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Krummhorn 8’Great












Clairon 4’Pedal


5

Registration





Registration: Trio/Duo

✤ Trio/Duo registration is used when there are only two manual parts, and either of the following:✤ There is either one pedal part (Trio).✤ There is no pedal part (Duo).

✤ Two manual parts are played on different manuals.✤ The pedal part, if present, can serve as a bass line, or a third melodic line.✤ Aesthetic ideals:

✤ Clarity✤ Balance✤ Contrast


✤ Standards in Trio/Duo registration:✤ Both manual parts are usually built on an 8' foundation (However, a 4'

or 16' solo stop or a combination built on either pitch is also possible).✤ If the pedal is serving a bass function, it is usually built on a 16'

foundation. If the pedal is performing a more melodic function, or if it carries the hymn melody, it may be built on either a 16', 8', or 4' foundation.

✤ Clarity is an important element that distinguishes a trio from a solo with accompaniment. Clarity is best achieved in softer, lighter combinations; hence, registration for the trio or duo tends to use few stops, and tends to favor the clear, quick-speaking stops and combinations.


✤ Choosing manual voices:✤ Single stops✤ Combinations of two or more stops (especially at different pitch levels)✤ Various combinations of the Cornet pitches ✤ “Gap” registrations✤ Quick-speaking reeds (or reed with a 4’ principal)✤ Soft combinations + tremulant

✤ Choosing pedal stops:✤ Light, quick-speaking stops✤ Generally avoid reeds


✤ Example 1: Ich ruf zu dir, Herr Jesu Christ (J.S. Bach)




Krummhorn 8’Great












Clairon 4’Pedal


1

Violone 16’Diapason 8’

Gemshorn 8’Harmonic Flute 8’

Erzähler Celeste II 8’Octave 4’

Spitzflöte 4’Fifteenth 2’Mixture IVTromba 8’

Krummhorn 8’Great












Clairon 4’Pedal


2




Krummhorn 8’Great












Clairon 4’Pedal


3





Krummhorn 8’Great












Clairon 4’Pedal


4





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Clairon 4’Pedal


5

✤ Example 2: Vom Himmel hoch (J.S. Bach)






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1





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2





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3




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Questions?




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