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Organtutor Registration Workbookversion OrganTutor Registration Workbook Version 3.3 Copyright © 1998, 2020 by Ard Publications All Rights Reserved Ard Publications ardpublications.com OrganTutor Organ 101 Online Tutorial Version 4.0 Copyright © 1998, 2018 by Brigham Young University organtutor.byu.edu Registration lessons licensed for members of the American Guild of Organists agohq.org (The New Organist) All Rights Reserved Creative Works Office 3760 HBLL Brigham Young University Provo, Utah 84602 creativeworks.byu.edu/catalog organtutor.byu.edu OrganTutor Organ 101 Registration: Contents Registration 1 This workbook contains supporting materials for the Organ Registration lessons of the OrganTutor Organ 101 online tutorial. These lessons were taken from the Organ Registration unit of that tutorial. ORGAN REGISTRATION Common Stop Names Listed by Pipe Category and Family of Organ Tone ......................................................... Registration 2 Worksheet: Pitches of Organ Stops .................................................... Registration 3 Stop Classification Exercise ............................................................... Registration 4 The Three Primary Types of Organ Registration ............................... Registration 5 EXAMPLES AND EXERCISES Chorus Registration ........................................................................... Registration 7 Guidelines for Hymn Registration in Congregational Singing ........ Registration 10 Solo and Accompaniment Registration ............................................ Registration 11 REGISTRATION Trio/Duo Registration ...................................................................... Registration 14 Registration Mechanics .................................................................... Registration 17 Lesson Objectives for the Registration Lessons (for note taking) ... Registration 23 RESOURCES Continuing Your Organ Study ............................................................... Resources 1 Additional Study Materials ................................................................... Resources 4 OrganTutor Organ 101 Units and Lessons .............................................Back Cover OrganTutor Organ 101 OrganTutor Registration 2 OrganTutor Organ 101 Registration COMMON STOP NAMES LISTED BY PIPE CATEGORY AND FAMILY OF ORGAN TONE See the OrganTutor lesson, “Families of Organ Tone.” Study goal: if you see one of these stop names, know immediately to which family of organ tone it belongs. For some helpful electronic flash cards, visit flashcardmachine.com and find “Organ Stops by Family2”. FLUE pipe category REED pipe category Flute family Principal family String family Reed family Blockflöte Choral bass Aeoline Chorus reeds Bourdon (– doux, Contre –) Diapason Cello Basson (Contre –) Chimney flute Double diapason Echo gamba Bombarde Clarabel(la) Doublette Fugara Clairon (Clarion) Copula Dulciana Gamba Doucaine Cor de nuit Fifteenth Salicet Dulzian Doppelflöte Montre Salicional Fagotto (Fagott) [bassoon] Fife Octave (Oktav) Unda maris (pronounced “fuh-GOT”) Flachflöte Open diapason Viola French trumpet Flautino Prestant Viola da gamba Hautbois [oboe] Flauto dolce Principal (Prinzipal) Viola celeste Oboe Flûte (– à bec, – à fuseau, Quint(e) Viola pomposa Posaune [trombone] – bouchée, – celeste, Spitz prinzipal Violone (Contre violone) Rankett – harmonique, – ouverte) Super octave Voix celeste Tromba Gedackt (Gedeckt) (– flûte) Twelfth Trompette (Trompete) Harmonic flute Trumpet Hohlflöte Chorus mixtures: Waldhorn Holzgedackt (Plein jeu, Mixture, Koppelflöte Fourniture, Cymbal, Solo reeds Larigot Scharf, Acuta) Clarinet Lieblich gedeckt Cromorne Melodia English horn (Cor Anglais) Nachthorn Festival trumpet Nazard (Nasard, Nasat) French horn Octavin Horn Open flute Krummhorn Orchestral flute Regal Piccolo Rohrkrummhorn Pommer Rohr schalmei Quintatön (Quintadena) Schalmei Quintflöte Tuba (– mirabilis) Rohrflöte Sifflöte Spillpfeife Other reeds Stopped diapason Vox humana (Voix humaine) Subbass Tibia Tierce (Terz) Traverse flute Waldflöte Zauberflöte Solo mixtures--Cornet II or III, Sesquialtera II (These are usually flutes unless they are found on the Great, in which case they are usually Principals) Hybrid stops (share characteristics of more than one family) Some stop names that can Erzähler easily be identified with the Geigen (– diapason, – principal) wrong family are underlined. Gemshorn, Gemshorn celeste Spitzflöte OrganTutor Organ 101 Registration Registration 3 WORKSHEET: PITCHES OF ORGAN STOPS See the OrganTutor lesson, “Pitches of Organ Stops.” A note is played (shown as a whole note) and a stop is engaged (see the pitch designation above the staff). Write a solid notehead above or below each whole note to indicate the pitch that is heard. Registration 4 OrganTutor Organ 101 Registration STOP CLASSIFICATION EXERCISE This exercise requires an understanding of the main concepts in all OrganTutor Registration lessons through “Non-Speaking Stops.” An organist who is completely familiar with GREAT SWELL PEDAL each stop of an instrument is more likely Violone 16' Bourdon 8' Diapason 16' to use those tonal resources more fully. As Principal 8' Gemshorn 8' Subbass 16' you are faced with an array of stops offered Rohrflöte 8' Viola 8' Octave 8' by an unfamiliar instrument, evaluate the Flauto Dolce 8' Viola Celeste 8' [II] Gedackt 8' instrument as you are about to do in the Flute Celeste 8' [II] Prestant 4' Choral Bass 4' following exercise. This stoplist is typical Octave 4' Koppelflöte 4' Fagott 16' of a large two-manual pipe organ or a small Spitzflöte 4' Nazard 2 2/3' Great to Pedal 8' 2-manual electronic organ. Complete each Super Octave 2' Blockflöte 2' Swell to Pedal 8' of the following steps carefully, in order. Quint 1 1/3' Tierce 1 3/5' Swell to Pedal 4' Cornet II Plein Jeu IV 1. Write “MUT” next to any mutation stop. Mixture IV Contre Basson 16' 2. Write “S M” for solo mixture or “C M” Tuba 8' Trompette 8' for chorus mixture next to any mixture stop. Cromorne 8' Hautbois 8' 3. Write INTRA for intra-manual coupler, Swell to Great 16' Swell to Swell 16' INTER for inter-manual coupler, or if nei- Swell to Great 8' Swell Unison Off ther, “NON” for other non-speaking stop. Swell to Great 4' Swell to Swell 4' 4. Place an asterisk(*) to the left of the five Tremulant Tremulant ranks (only) within any division that make up the CORNET. 5. Place the name and pitch designation of each and every speaking stop in its appropri- ate place on the table. FLUE PIPES REED PIPES Flute Family Principal Family String Family Reed Family (position “hybrids” on either dashed line) (chorus reeds) (solo reeds) GREAT SWELL PEDAL OrganTutor Organ 101 Registration Registration 5 THE THREE PRIMARY TYPES OF ORGAN REGISTRATION See the OrganTutor lesson, “Three Primary Types of Organ Registration.” Occasionally a composer or editor includes specific registration indications in a piece of music. In that case, the organist may come close to fulfilling the original intent. More often, however, there are few if any regis- tration indications, leaving the choice of stops to the organist alone. When this is the case, the nature of the music itself, such as the musical texture and its form, are valuable registrational guidelines. MUSICAL TEXTURE refers to the nature of the horizontal and the vertical elements--that is, the lines and the chords--and the way that they interact. In organ registration, one can focus on a single musical element: relative prominence and nature of the parts. The word “parts” usually refers to the horizontal lines—the instrumental equivalent of the various choral parts (soprano, alto, tenor, bass). In some cases, a “part” can also refer to a series of chords. “Relative prominence and nature of the parts,” then, means “should one part be brought out? And is the nature of each part melodic or harmonic?” Each type of musical texture is best suited to a particular type of organ registration. The three primary types of organ registration combinations are as follows: 1. CHORUS registration (all upper parts are played on a single manual, plus a balancing pedal part) 2. SOLO AND ACCOMPANIMENT registration (a part is played on a prominent solo sound on one manual, with an accompaniment played on an chorus-type registration (see above) on another manu- al, and the pedal is balanced to the accompaniment) 3. TRIO/DUO registration (two parts are played on different manuals and a third part appears in the pedal; a duo omits the pedal) The following table will guide you through a process for determining the appropriate registrational type based on: 1. the number of manual parts, and 2. the relative prominence and nature of the parts. 3. A de- scription of the pedal function follows. (Note: read the table left to right.) 2. Describe the 1. What is the 4. Here are some examples of relative promi- Result: Use this 3. And this will be the number of types of pieces that often call nence and nature registrational type pedal function manual parts? for each registrational type of the parts and you decide that then use and any pedal part will Hymns with pedal playing bass NO PART is CHORUS function as a bass part Preludes and fugues If there are prominent or more registration— (normally build on a The interlude sections of many TWO PARTS OR melodic in nature— 16' foundation). hymn preludes MORE and you decide that then use and any pedal part will Hymns with soprano or tenor (two or more manual ONE PART is SOLO AND function either as a bass solo parts plus pedal or prominent or more ACCOMPANIMENT
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