Leco1ne a re8J,.-trat•on• • aour,net by AllenMiller To a great majority of those who sounds out of the theatre organ, and couple organists even approach this play the theatre organ, particularly continues to do so. He has had a long type of ability with two hands ... those who only have occasional appreciation of orchestral music, the rest of us must be content to access to a theatre organ, selecting and knowledge of the tonal aspects compromise. the right stop combinations is a real of pipes, and in which ranges or Although the theatre organ can problem. This is obvious not only octaves certain stops sound best for imitate many sounds of orchestral during chapter open console ses­ certain uses. He will try to convey in instruments, the orchestra has the sions, but also during programs, tangible terms, several pointers to advantage of being able to make and even in some cases, during con­ assist you in learning how to register, individual instruments or even a certs. The problem of selecting and will set out certain specific stop given note in a chord louder or softer proper registration does not take combinations as examples which independently of the overall loud­ care of itself in time, but rather, you may try for yourself, and use as ness. The theatre organist also has tends to be compounded with time stepping-stones to further com­ no control over the depth and speed for several reasons. Hearing poor binations. of tremulant on each note, as do registration sets a bad example and First of all, we should consider orchestral instrumentalists. Such does not tend to instill a sense of the theatre organ as an orchestral factors will influence an attempt to proper registration in the listener. instrument. After all, it was orig­ register orchestrally. Asking someone else to register for inally supposed to take the place To be able to register properly, you may result in satisfactorysounds, of a small orchestra. Robert Hope­ one must first have a musical sense but will not result in appropriate Jones, inventor of the theatre organ, of sounds ... a sort of musical taste choice of stops unless the person originally built his organs in sec­ to know which sounds are good and selecting the stops is familiar with tions like those of an orchestra ... bad. Organ stops are like foods. the EXACT arrangement you are Strings, Woodwinds, Brass, Per­ There are the staples, the bland going to play. It does nothing to help cussion, and Foundation (which and rich stops, sweet and sour stops, you learn unless you find you like included more traditional pipe organ and condiments. Within stop fam­ what you are hearing, and take note sounds like the Diapason). Hope­ ilies and even specific names, we of which stops are on so you can Jones envisioned playing the organ may have different flavors according duplicate the sound the next time like an orchestra, but this is not to the whim of the organ builder. you play. practical, even with second touch, A good cook can build a fine meal The writer doesn't pretend to unless you have several hands and by selecting the main foods accord­ know the last word on registration, a brain capable of keeping multiple ing to type and color, combine and but has spent the past 15 years try­ lines of music going in different prepare them in the proportions and ing to find out how to get the right directions at the same time. Only a order that will make each com- OCTOBER - NOVEMBER, 1975 THEATRE ORGAN 37 pliment the other, and serve them at and get a seat where you can see the ones still sound musical after lis­ just the right time. A good organist instruments ... close enough so tening to a real orchestra? Which will use his registration in exactly the you can get an idea of which instru­ ones sound almost like the real same manner. If you really think ment is making which sound. This thing? Listen to John Seng's ar­ about it, you can draw many par­ can be general. You must be able rangement of Porgy and Bess, then allels between food and stops ... to identify the following instruments listen to an orchestra playing the something to keep in mind as you by sound: Strings ... violins, violas, same selections. study registration. violoncellos, bass; Woodwinds ... Now, just when you think you're There are as many variations in flute and piccolo, clarinet, oboe, getting somewhere, you run into the musical taste as there are in taste for bassoon; Reeds ... Trumpet, Trom­ real problem. OK, so you know what foods. We are entitled to our own bone, French horn, Tuba. The per­ the music should sound like, but opinions, but there are certain cussion instruments are known to what the heck stops are making sensible guidelines. We all know most of us, and you can see what that sound!? when food is over or undercooked, they are when they are played. There is only one way to find that over or under seasoned, or plainly Take particular note of what part out. Become familiar with the stops unbalanced, allowing for slight of the music each instrument or in a theatre organ. You have to try differences in taste. I know someone family takes. Does the Xylophone or them yourself, listen to the sounds, who puts catsup on everything he Glockenspiel play harmony or ac­ and try to visualize an orchestra, eats. The organist who puts the companiment, as we call it? How perhaps. Does a certain stop sound Xylophone on with every combi­ like part of the string, woodwind or nation has the same kind of hangup. brass section? Could it depend upon The first basic rule is not to over­ whether you play single notes or a do anything, whether a single stop, chord? or a whole combination. Too much Identifying some of the sounds of the same thing is just plain tiring. you will hear on the suggested rec­ Too much also depends upon ords will not be easy, and for a very WHAT. A very little salt or pepper good reason. The organs recorded can be way too much. More than a are essentially large Wurlitzers, hint of garlic can be pure murder! either built or modified after W ur­ Learn which stops are the spices and litzer was influenced by Jesse Craw­ condiments and use them for flavor ford's ideas on registration, typically only. W urlitzers built later than 1927. Then learn which sounds go to­ Crawford's playing influenced Wur­ gether, and in what proportions, and litzer to the extent that they modified what effect they create in the mind their tonal scheme to suit his type of of the listener. I recall an ad used playing, and most early Wurlitzers extensively by an organ manufac­ are the strings used, and in what will not produce the sounds Craw­ turer several years ago, proclaiming pitch ranges? What part does the ford so often used ... the same that, "Over 10,000 combinations trumpet and trombone section play? sounds used extensively by George are possible!" Maybe so, but are The French horns? Listen for the Wright, Lyn Larsen, Buddy Cole, they all good? clarinet and oboe and flutes. When etc. As already stated, first you must do they play the melody, and what Many of the registrations you learn what sounds good. Like foods, else is playing at the same time? hear on the larger Wurlitzers simply there are some sounds we may like al­ How do the woodwinds fit into the cannot be duplicated on smaller most instinctively, but real taste is harmony? instruments or on other brands. learned or acquired through ex­ Not only will this give you some­ Many of the solo combinations used posure. The obvious method is to thing to do during a symphony con­ by the aforementioned organists listen. Listen to organ records by the cert, but it will certainly give you are typified by the inclusion of the organists who have gained out­ insight into the use of these same Saxophone, Krumet, Musette, and standing reputation for their reg­ sounds in a theatre organ. other "rare" stops. In the case of the istrational ability. Specifically, You may note that trumpets DO Saxophone, some of those which records by George Wright, Buddy sometimes play the accompaniment. have been recorded extensively have Cole, Lyn Larsen, Ashley Miller, When they do, which instruments been modified to produce a lusher Lee Erwin, and Tom Hazleton will are carrying the melody, and how sound, and bear no resemblance to get you started on the right track. loud are the trumpets playing? It either original Wurlitzer sets, or the Also listen carefully to orchestras, will be a great help to take notes on real instrument. It would be beyond especially the ones which at times which instruments are taking which the scope of this article to cover the sound like a theatre organ. Henry part at the same time, and what myriad possible combinations avail­ Mancini, Ray Conniff, Percy Faith, effect it makes upon the music. Re­ able on a large organ. However, The Boston Pops and even some late this to the type of music. Are many of the principles set forth in Mantovani records are good ref­ ballads treated the same as marches the description of stops can be ap­ erences. Listen to any symphony by the orchestra? plied to other stops in the same orchestra. If you are really serious, Go back and listen to those the­ family.