OrganTutor Registration Workbook Version 3.

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 OrganTutor Organ 101 Registration: Contents Registration 1

This workbook contains supporting materials for the Organ Registration lessons

REGISTRATION
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
Trio/Duo Registration....................................................................... Registration 14

Registration Mechanics..................................................................... Registration 17

Lesson Objectives for the Registration Lessons (for note taking).... Registration 23

RESOURCES

OrganTutor Organ 101

Continuing Your Organ Study................................................................ Resources 1
Additional Study Materials.................................................................... Resources 4
OrganTutor Organ 101 Units and Lessons..............................................Back Cover
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 part (normally build on Some simple hymn preludes
with no pedal)—
melodic in nature, registration— a 16’ foundation) The hymn-melody sections of
and it would be fea- or as the solo part (use many hymn preludes
sible to play it on a 16', 8', or 4' founda- So-called Trios that have one or
its own manual— tion). two prominent parts
and you decide that then use and any pedal part will True trios and duos
If there are BOTH of the two TRIO/DUO registra- function either as a bass
ONLY TWO manual parts could tion— part (normally build
MANUAL PARTS be considered on a 16' foundation) or
(only two manual prominent or as a third independent
parts plus pedal or melodic in nature melodic part (use a 16',
with no pedal)— (or both manual
parts AND the 8', or 4' foundation).
pedal part)— (no pedal in duos)
Registration 6 OrganTutor Organ 101 Registration
 OrganTutor Organ 101 Registration Registration 7

CHORUS REGISTRATION
See the OrganTutor lesson, “Chorus Registration.”

FOR WHAT KINDS OF PIECES DOES ONE USE CHORUS REGISTRATION?

Chorus registration is used in music where all voices are equally important and no one voice predominates.
Texture is chordal or layered, with both hands generally playing several voices at a time on a single manual.
Congregational hymns played in their normal arrangement nearly always employ chorus registration, as do
Bach preludes, toccatas, and fugues.

RULES FOR FORMULATION OF CHORUS REGISTRATIONS

1. Stops of the principal (diapason) family are preferred. If no principal stop is available at the desired
pitch, or if you prefer a softer chorus, a clear flute stop such as a Gedeckt may be used. Chorus mixtures are
an important element of most chorus registrations.
2. Choruses are built upwards from a foundation of 8' pitch on the manuals and 16' pitch in the pedals.
They usually consist of at least two stops of different pitch. In rare cases where extra gravity is desired,
the 16' manual stops and 32' pedal stops may be used. A brilliant chorus might include 8', 4', 2' stops plus
a mixture. A chorus of moderate strength might include 8', 4', and 2' stops. A milder chorus would include
only 8' and 4' stops.
3. Where clarity is important, build vertically, using only one stop at each pitch level (e.g., 8' Principal,
4' Octave, 2' Fifteenth). Where richness is more important, use a “pyramid” configuration, with more than
one stop at lower pitch levels (e.g., 8' Principal, 8' Bourdon, 4' Octave, 4' Flute, and 2’ Flute). Lean towards
clarity for Baroque music (17th and 18th centuries), and richness for Romantic music (19th century).
4. Avoid gaps between octave pitches as you build up. For example, 8'/4'/2' and 16'/8'/4' are preferable
to 8'/2' and 16'/4' (although the latter can be quite useful in solo lines where color is desirable).
5. Reed stops may be used to augment a chorus of flue stops. The reed will blend best when a mixture
is also contained in the chorus. For example, you may add an 8' trumpet to a combination consisting of 8',
4', and 2' principals and mixture. Reed stops are particularly appropriate at climactic points in the music
(e.g., on the last verse of a jubilant hymn).
6. Avoid soft stops which make little or no difference to the sound. Especially avoid celeste stops,
which are intentionally detuned and take away from the clarity of the ensemble.

AESTHETIC CONSIDERATIONS FOR CHORUS REGISTRATIONS

1. The chorus should be of the appropriate volume for the music being played. Festive music calls for
a bright and loud chorus including higher stops, mixtures, and possibly reed stops. More reflective music
calls for a softer chorus consisting primarily of 8' and 4' principals or flutes.
2. Balance between the manuals and pedals is very important, as is balance between the individual
stops. For example, a chorus registration made up of gentle flutes on the manuals and strong principals in
the pedal will allow the manual parts to be swamped by the pedal part. A chorus of 8' flute, 4' flute, and 2'
principal may be “top-heavy” and possibly shrill, while a chorus of 8' principal, 4' flute, and 2' flute might be
“bottom-heavy” and lack clarity.
3. Clarity is critical since all of the voice parts or melodies will be played on the same sound. Listen
carefully and be sure that all voices can be heard clearly. If not, consider thinning out the combination.

SOME TYPICAL CHORUS REGISTRATIONS • (mf-f): 8' principal, 4' principal, 2' principal
• (mp): 8' flute, 4' flute • (f): 8' principal, 4' principal, 2' principal, mixture
• (mf): 8' principal, 4' flute • (ff): 8' principal, 4' principal, 2 2/3' principal, 2'
principal, mixture, 8' reed
• (mf): 8' principal, 4' principal • (fff): 16' flute, 8' principal, 4' principal, 2 2/3' princi-
pal, 2' principal, mixture, 8' reed, 4' reed
Registration 8 OrganTutor Organ 101 Registration

CHORUS REGISTRATION: EXAMPLES

 OrganTutor Organ 101 Registration Registration 9

CHORUS REGISTRATION: EXERCISE

1. In the first six columns create six different chorus-type registrational combinations on the Great, build-
ing from mezzo piano to fortissimo. In each column, first construct a Great combination without couplers,
and then balance the Pedal accordingly. Using pencil, mark “X” to indicate your stop choices.
2. Next, as a separate exercise, build six chorus-type combinations on the Swell that increase in volume,
independent of Great and Pedal.
3. Finally, create one combination for each example on the “Chorus Registration: Examples” page. Be
sure to use the principles of chorus registration described in the OrganTutor lesson “Chorus Registration.”
(The division from which borrowed stops are taken are indicated in parentheses.)
Rodgers T788L mp - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ff ex. 1 ex. 2 ex. 3 ex. 4
PEDAL—Contre Bourdon 32’
Principal 16’
Subbass 16’
Bourdon Doux 16’ (Swell)
Octave 8’
Gedeckt 8’
Choralbass 4’
Mixture IV
Bombarde 16’
Trumpet 8’
Great to Pedal 8’
Swell to Pedal 8’
SWELL—Bourdon Doux 16’
Geigen Principal 8’
Viola 8’
Viola Celeste 8’
Bourdon 8’
Prestant 4’
Flûte 4’
Nazard 2 2/3’
Piccolo 2’
Tierce 1 3/5’
Plein Jeu IV
Basson 16’
Trompette 8’
Oboe 8’
Tremulant
GREAT—Violone 16’
Diapason 8’
Gemshorn 8’
Chimney Flute 8’
Harmonic Flute 8’
Flute Celeste II 8’
Octave 4’
Spitzflöte 4’
Super Octave 2’
Fourniture IV
Trumpet 8’
Cromorne 8’
Tremulant
Swell to Great 8’
Registration 10 OrganTutor Organ 101 Registration

GUIDELINES FOR HYMN REGISTRATION

IN CONGREGATIONAL SINGING Don Cook
See the OrganTutor lesson, “Hymn Playing—Registration”
IN GENERAL
1. Support the congregation with confidence, but do not overpower.
2. The principal chorus (especially the 8’ principal) should form the basis for registration in congregational
singing. Start with the 8’ principal and work up from there.
3. In meditative hymns, stops from the flute chorus might be substituted in place of principal stops to mini-
mize sharpness, especially at the 4’ and 2’ level.
4. 8’ and 4’ pitches are minimum for the manual; 16’ and 8’ are minimum for the pedal.
5. The Great to Pedal and Swell to Pedal couplers provide homogeneity between all voices; avoid them if
independence in the pedal line is desired.
6. For clarity, build upward with only one stop per pitch.
7. For fullness, build outward then upward in pyramid fashion.
8. Use economy of means; add a stop only if it contributes to the ensemble. Celestes, for example, are not
effective for congregational accompaniment.
9. Use 8’ (and possibly 4’) reeds to add fire to a bright principal chorus, or 8’ and light 16’ reeds to add
gravity to a more foundational principal chorus.
10. The normal position for the expression pedal (“swell pedal”) is fully open. The normal position for the
crescendo pedal is fully closed.
11. If the crescendo pedal and the sforzando (“tutti”) reversible have been regulated properly, use them
when appropriate. If not, either have them regulated until they are useful or avoid using them.

AVOID
12. Generally avoid thick, heavy 16’ or 8’ manual stops and sub-couplers.
13. Avoid overusing full organ.
14. Never use the tremulant for congregational accompaniment.

TO INSPIRE MORE SINGING

15. Note the message of the hymn text in general and the message of each verse. Let them guide the regis-
trational plan for the hymn.
16. Use text-directed changes of registration primarily at ends of verses (or between a verse and chorus).
However, a change is not necessary following every verse of every hymn. Occasionally it might even be
appropriate to play the entire hymn very simply–with no registration change.
17. If the text fails to suggest a registrational direction, build upward gradually as the hymn progresses to
encourage increased congregational singing. Using another effective approach, diminish the organ after
the congregation gains strength, and then build the organ again for the final verse.
18. When using solo lines in congregational accompaniment, avoid softer solo stops; use large reed or prin-
cipal stops or combinations to lead out. Be sure the accompanimental combination (as well as the solo
combination) is supportive enough for the congregation.
19. Use manual-only playing as a contrast to constant deep pedal tone. When the second-to-last verse is
played manual only, the impact of the pedal entrance on the last verse is increased.
 OrganTutor Organ 101 Registration Registration 11

SOLO AND ACCOMPANIMENT REGISTRATION

See the OrganTutor lesson, “Solo and Accompaniment Registration.”

I. FOR WHAT KINDS OF PIECES DOES ONE USE SOLO & ACCOMPANIMENT REGISTRATION?
Solo and accompaniment registration is employed in music where one voice predominates and the other
voices are in a subordinate (accompanying) role. In most cases, one hand (or sometimes the feet) will have
a single-note melody, while the other hand plays chords.

II. HOW TO BUILD SOLO AND ACCOMPANIMENT REGISTRATIONS

1. It is easiest to determine the registration of the solo voice first, then decide on the accompaniment.
2. The best way to achieve contrast between the solo voice and the accompaniment is to employ colorful
stops for the solo part. The two most colorful registrations are: a. a single reed stop, and b. a synthetic solo
(a combination of flue stops at various pitches, including mutations).
3. Synthetic solo registrations depend extensively on the following pitches of flue stops: 8’, 4’, 2 2/3’,
2’, 1 3/5’, 1 1/3’, and 1’. A synthetic registration is one where independent parts form a cohesive whole.
Many different permutations of the above pitches are possible, each of which has a distinct color. Most will
be based on an 8’ stop. Some possibilities are: 8’, 4’, 2 2/3’; or 8’, 2 2/3’, 1 3/5’; or 8’, 2’; or 8’, 2’, 1 1/3’.
Experiment with as many permutations as you can discover.
4. A single principal or flute stop also works effectively as a solo registration.
5. The tremulant can often be used to good effect with a solo registration, provided it is well regulated
and does not oscillate too fast or too deeply.
6. Some pieces call for an 8’ or 4’ stop to play a melody (“cantus firmus,” “c.f.”) in the pedal. In most
cases a reed stop, if available, will work best.
7. The accompaniment is generally best played on smaller ensembles of flutes, strings, and hybrids. In
most cases one should stick to 8’ and possibly 4’ stops. Celestes often work well where clarity and historical
authenticity are not an issue.
8. When the pedal is part of the accompaniment, it should be balanced with the manual accompaniment.
Use either soft 16’ and 8’ stops or a single 16’ stop with the manual accompaniment coupled to the pedal.

III. AESTHETIC CONSIDERATIONS FOR SOLO AND ACCOMPANIMENT REGISTRATIONS

1. Solo registrations should be determined in part by the range of the melody. Reed solo registrations
work best in the middle range of the keyboard (C2 to G4). Synthetic solo registrations work best above
middle C because of the tendency for mutation stops to “separate” in the lower range of the keyboard. A
single 8’ principal can be very lovely in the lower range of the keyboard. A single flute will be heard more
clearly in the upper range of the keyboard.
2. Both balance and contrast are essential to a good solo and accompaniment registration. The melody
should predominate but not overwhelm. A trumpet solo will call for a much stronger accompaniment than
would a flute solo.

SOME TYPICAL SOLO AND ACCOMPANIMENT REGISTRATIONS

MELODY IN RIGHT HAND: MELODY IN LEFT HAND:
• RH: 8' oboe; LH: 8' flute; PED: 16', 8' flutes • LH: 8' principal; RH: 8' flute; PED: 16', 8' flutes
• RH: 8', 4', 2 2/3', 2', 1 3/5' flutes (the “cornet,” pro- • LH: 8' reed; RH: 8', 4' flutes; PED: 16', 8' flutes
nounced “cor-NAY”); LH: 8', 4' flutes; PED: 16'
flute, LH to PED MELODY IN PEDAL:
• RH: 8' flute; LH: 8' string & celeste; PED: 16' • PED: 4' reed; LH & RH: 8' flute, 4' principal
flute, LH to PED • PED: 8' reed: LH & RH: 8' principal, 4' & 2'
• RH: 8' trumpet; LH: 8', 4', 2' flutes or light princi- flutes
pals; PED: 16', 8', 4' flutes or light principals
Registration 12 OrganTutor Organ 101 Registration

SOLO AND ACCOMPANIMENT REGISTRATION: EXAMPLES

 OrganTutor Organ 101 Registration Registration 13

SOLO AND ACCOMPANIMENT REGISTRATION: EXERCISE

Create two different solo and accompaniment-type registrational combinations for each of the four examples
on the “Solo and Accompaniment Registration: Examples” page. Using pencil, mark “S” for solo combina-
tion stops and “A” for accompaniment stops (including Pedal, which is part of the accompaniment in these
examples and should be balanced accordingly). Be sure to match your choices with the spirit of the piece
and any dynamic indications, and to use the principles of solo and accompaniment registration described in
the OrganTutor lesson “Solo and Accompaniment Registration.”
Allen LD34b example 1 example 2 example 3 example 4
PEDAL—Contre Bourdon 32'
Diapason 16'
Bourdon 16'
Lieblichgedackt 16' (Swell)
Octave 8'
Flute 8'
Choralbass 4'
Mixture III
Contre Posaune 32'
Posaune 16'
Waldhorn 16' (Swell)
Clairon 4’
Great to Pedal
Swell to Pedal
SWELL—Lieblich Gedackt 16'
Gedeckt 8'
Viole 8'
Viole Celeste 8'
Octave 4'
Nachthorn 4'
Nasard 2 2/3'
Piccolo 2'
Tierce 1 3/5'
Fourniture IV
Waldhorn 16'
French Trumpet 8'
Oboe 8'
Tremulant
GREAT—Violone 16'
Diapason 8'
Gemshorn 8’
Harmonic Flute 8'
Erzähler Celeste II 8'
Octave 4'
Spitzflöte 4'
Fifteenth 2'
Mixture IV
Tromba 8'
Tremulant
Swell to Great
Registration 14 OrganTutor Organ 101 Registration

TRIO/DUO REGISTRATION
See the OrganTutor lesson, “Trio/Duo Registration.”

I. FOR WHAT KINDS OF PIECES DOES ONE USE TRIO/DUO REGISTRATION?

Trio/duo registration is employed in music where all voices are equally important and yet independent, and
where each hand is playing in single-note melody. Many pieces employing trio/duo registration are labeled
as “trios” or “duos.” Trio/duo registrations are especially common in music of the Baroque era (roughly
1600-1750).

II. HOW TO BUILD TRIO/DUO REGISTRATIONS

1. Since each voice is fulfilling the role of a solo part, rules pertaining to the construction of solo reg-
istration apply to trio/duo registrations. Reeds, synthetic solos, and single stops all work well in different
situations.
2. Unless specified otherwise by the composer, each manual registration should be based on 8’ tone.
The pedal may be based on 16’ tone, 8’ tone, or 4’ tone, depending on its character. If it fulfills the role of
a more slowly-moving bass part, 16’ tone should be satisfactory. If it moves more quickly or has a more
melodic role, it may be best to avoid 16’ tone and build on 8’ tone. If the pedal is marked “c.f.” or “cantus
firmus,” it will often sound best if played on a single 4’ stop (usually a reed).
3. “Gap” registrations often work very well in trio/duo compositions. “Gap” registrations are a form of
synthetic solo where adjacent pitches (e.g., 8’, 4’ or 4’, 2 2/3’ are avoided. Examples of “gap” registrations
would be: 8’, 2’ flutes; 8’, 2 2/3’, 1 3/5’ flutes.

III. AESTHETIC CONSIDERATIONS FOR TRIO/DUO REGISTRATIONS

1. As in solo and accompaniment registrations, both balance and contrast are important aesthetic con-
siderations. No one part should predominate, and no two voices should sound alike to the point where their
independence is destroyed.
2. It is generally best to place the higher-pitched stops in the highest voice (usually the right hand). Oth-
erwise, the texture will become confused and the listener will not be able to sort out the individual voices.
3. Many trios and duos involve quick-moving lines with short note values. It is best to avoid using
more slowly-speaking stops (reeds, 8’ principals, and strings) in rapidly-moving voice parts.

SOME TYPICAL TRIO/DUO REGISTRATIONS
DUO: TRIO:
• RH: 8' reed (if notes do not move too quickly); • RH: 8'. 2' flutes; LH: 8'. 4' flutes;
LH: 8', 4' flutes PED: 8' principal
• RH: 8', 2' flutes; LH: 8' principal • RH: 8', 2', 1 1/3' flutes; LH: 8' flute, 4' principal;
• RH: 8', 2 2/3', 1' flutes; LH: 8' flute, 4' principal PED: 16', 8' flutes
• RH: cornet (8', 4', 2 2/3', 2', 1 3/5' flutes); • RH: 8', 2 2/3', 1' flutes; LH: 16' flute, 8' princi-
LH: 8', 4' flutes pal; PED: 4' reed (melody in pedal)
 OrganTutor Organ 101 Registration Registration 15

TRIO/DUO REGISTRATION: EXAMPLES

Registration 16 OrganTutor Organ 101 Registration

TRIO/DUO REGISTRATION: EXERCISE

Create two different trio-type registrational combinations for each of the four examples on the “Trio or Duo
Registration: Examples” page. Using pencil, mark “R” for right-hand stops, “L” for left, and “X” for Pedal
stops. Be sure to match your choices with the spirit of the piece and any dynamic indications, and to use the
principles described in the OrganTutor lesson “Trio/Duo Registration.”
Johannus WM44-LDS example 1 example 2 example 3 example 4
PEDAL—Contra Violone 32'
Open Diapason 16'
Bourdon 16'
Echo Bourdon 16’
Octave 8'
Bass Flute 8'
Choral Bass 4'
Mixture III
Contra Trombone 32'
Trombone 16'
Fagotto 16’
Trumpet 8'
Clairon 4'
Great to Pedal
Swell to Pedal
SWELL—Gemshorn 16'
Diapason 8'
Gedeckt 8'
Flute Celeste 8’
Viola di Gamba 8'
Voix Celeste 8'
Principal 4'
Chimney Flute 4'
Nasard 2 2/3'
Piccolo 2'
Tierce 1 3/5'
Mixture IV
Double Trumpet 16'
Trumpet 8'
Oboe 8'
French Horn 8’
English Horn 8’
Clarion 4’
Tremulant
Octave Coupler
GREAT—Bourdon 16'
Open Diapason 8'
Stopped Flute 8'
Claribel Flute 8'
Gemshorn 8’
Gemshorn Celeste 8’
Octave 4'
Harmonic Flute 4'
Octave Quint 2 2/3’
Super Octave 2’
Full Mixture IV
Cromorne 8'
Posaune 8’
Tremulant
Swell to Great
 OrganTutor Organ 101 Registration Registration 17

REGISTRATION MECHANICS

INTRODUCTION

LEADING UP TO THIS SECTION

The following lessons in the Organ Registration unit of OrganTutor Organ 101 serve as a basic overview
of the organ. After studying these lessons, you should have a basic familiarity with most of the standard
components on modern organ consoles:
• Introduction to the Organ Console
• Organ Types and Components
• Using Console Devices
Registrational planning requires a working understanding of basic registrational concepts, covered in the
remaining seven lessons in the Organ Registration unit of OrganTutor.
In addition, the following lesson includes some helpful ideas on making registration indications in the score:
• Score Preparation
In this section, it will be assumed that you are familiar with the concepts covered in the lessons mentioned
above. If you feel that you could benefit by reviewing them, take the time to do it before proceeding.

THE REGISTRATION PROCESS

As an organist learns a piece of music, he or she should seek to understand its musical characteristics. In
addition to its overall character (often revealed by any text that might be associated with it), matters of form,
phrase structure, harmony, and melody are important. As these characteristics are reflected in the organist’s
choice of combinations, the music becomes more meaningful and interesting to the listener. The historical
context of the piece should also be studied, and reflected in the performance to whatever degree appropriate.
Fine organ playing occurs when the organist knows the instrument well enough to “clothe” the musical
characteristics of a piece with an effective combination of available stops–this is organ registration. Just
as the orchestrator learns and uses the instruments of the orchestra to achieve a good musical result, the
organist gets to know each stop and how it participates in various combinations to make good music.
But, unlike the orchestrator, the organist must also execute the plan. Confidence in learning the music,
planning the registration, and making the registrational changes are essential skills of all organists.

General Guidelines
After notes are learned, “orchestrating” them through registrational planning at the console can be a most
rewarding experience. To hurry through this step is to miss seeing the forest because of the trees. Most
organs offer some beauty of tone that is under-utilized because of hasty registrational planning–or none at
all.

Here are a few general guidelines for registrational planning:

• BE TRUE TO THE COMPOSER FIRST. If the composer has given registrational instructions, try
realizing them on your instrument as faithfully as possible. This may require some research, but it is
usually well worth the effort. If modifications are needed, as is often the case, try to reproduce the
“spirit” of the composer’s intentions in some other way.
Registration 18 OrganTutor Organ 101 Registration

• USE ECONOMY OF MEANS. Strike the balance between the extremely simple and the very
complex. If a piston can be used at more than one point in the piece, reuse it and avoid setting an
unnecessary duplicate piston. Use divisional (“local”) combination pistons and reversibles instead
of general pistons where possible.
• MAKE NOTE OF EASILY-ACCESSIBLE THUMB PISTONS AND TOE STUDS. These will come
in very handy when very quick registration changes are required. In those situations, plan to use
pistons and toe studs that are near the previous or next location of the hands or feet.
• BE AWARE OF MECHANICAL PROBLEMS. When some detail of the combination action fails
during practice, make note of it. Bring it to the attention of the technician, and think twice about
using it in that manner for the performance.

Common Approaches
How do you approach the registration of a piece of music or a section of it? There are several common
approaches. Your choice should be based on the particular needs of the piece, the organ, the occasion,
registrational style, etc.
• FRONT TO BACK. Often it is feasible simply to start from the beginning and plan each registrational
change to the end.
• BUILDUP. When the registrational plan is a buildup in volume, you might begin by setting the either
the softest or both the softest and largest combinations. Next, determine the number of dynamic
increments that will be needed throughout the buildup. Plan a registrational “step” for each
increment, adjusting the size of each step as needed to take its proper place within the buildup.
• TAKEDOWN. This is actually the reverse of the “buildup” approach. Begin by setting the largest
combination. Proceed backwards, retiring one or more stops for each registrational “step.” This
approach is especially useful in hymn playing, where the largest combination that can be used
tastefully leaves out some of the loudest stops.
• POINT TO POINT. There may be particular points in a piece that call for specific combinations. It
may be wise to begin by registering each of those points. Finally, plan the registrational changes as
you approach and leave each of those points.

REGISTRATION MECHANICS
This section is designed to offer help in executing registrational plans for organ music and hymns. Practical
ideas are given on making stop changes by hand, then by making use of the combination action. The use of
the expression pedals is then discussed, followed by the operation of the crescendo pedal. Finally, a number
of helpful approaches to registration planning and executing are presented.

REGISTRATION BY HAND—A BASIC SKILL

No one can possibly know when organ builders began to dream of a mechanism that could engage or retire
numerous stops in a single instant–as is possible on modern instruments. Organists had pulled stops by
hand for over five hundred years before a rudimentary combination action ever came into use.

In modern times it remains a valuable skill to make stop changes without relying on the combination action.
Several reasons account for this. Combination actions can be less than totally reliable. Combinations can
be changed by mistake. Organists can easily forget which piston to press, or which memory to use. There
may be insufficient time to set combinations in advance of a performance.
 Registration Mechanics Registration 19

To an organist who is skilled at changing stops by hand, even an unfamiliar organ will seem less than
formidable to play. It requires three simple steps:
1. Get free
2. Make the change
3. Pre-locate and play

►1. GET FREE

There is no real secret to registration by hand: a hand or foot must get free in time to make the stop change
and return to the keyboard. This is possible under several circumstances:
• a rest appears in the music
• one hand can play all manual notes, freeing up the other hand
• one foot can play all pedal notes, freeing up the other foot
• only rarely–and as a last resort–would you omit notes to make a registrational change by hand
The amount of time that the hand or foot is free will determine how complex a change can be made. If there
is ample time, stop changes on several manuals and pedals might be possible–there may even be time to set
a piston! If only a moment is available, there may scarcely be time for a single change.

►2. MAKE THE CHANGE

How to engage or retire a single stop or coupler is discussed in another lesson.
If a stop must be changed very quickly, the eye may need some help finding it in time. Applying a small
removable sticker (perhaps even color-coded) directly onto the stop can draw the eye and hand immediately
to their destination. Of course, this sticker should be removed immediately following the performance.
The timing of a registration change is critical, and often must occur within a time frame of only a fraction of
a second. It must occur AFTER the notes prior to the change have been released. Otherwise, a “chirp” may
occur as the registration change is made at the tail end of the “old” notes. It must also occur BEFORE the
attack of the new notes.

►3. PRE-LOCATE AND PLAY

Returning to the keys AFTER making a change is usually the most difficult and under-practiced step of
the hand-registration process. Note errors can easily occur as the hand returns to the notes immediately
following a registration change–particularly if a hand “dives” into the key. Instead, pre-locate the hand(s), if
only for an instant, over the key(s) that immediately follow a stop change.
To prevent making these kind of errors, practice pre-locating in this manner at every point where a
registration change occurs. This motion should be practiced repeatedly just as you would practice a
technically challenging passage of music.

COMPENSATING FOR DELAYS IN THE STOP ACTION

A purely mechanical stop action will make the rank audible at the instant the stop is completely drawn.
However, when pneumatics (air-driven components), motors, and even electrical connections are involved,
there may be a slight delay between the time the stop is pulled and the sound is heard. A good organist must
compensate for any delay in the stop action.
Try this experiment to determine if there is a delay. Pull an 8’ principal stop on the Great. Prepare the
fingers to play a chord on the Great, and prepare to pull a 4’ principal stop on the Great. Pull the stop and
Registration 20 OrganTutor Organ 101 Registration

play the keys at the same instant. Did you hear the 8’ principal alone before the 4’ principal engaged? Try it
several times, listening for ANY delay in the speech of the 4’ principal.
In order to time your registration changes properly, you must always make stop changes EARLY by the
exact length of that delay in order to avoid audible late stop entries. This skill can only be gained by trial
and error in practice on the actual instrument.

USING THE COMBINATION ACTION—A BASIC SKILL

As organs have grown in the number of stops, particularly since the nineteenth century, a means of changing
numerous stops in an instant has become an increasingly important feature. If an organ is equipped with
a user-adjustable combination action, the organist should become familiar with its operation, capacity,
advantages, and limitations.
A reliable combination action offers the luxury of immediate recall of even complex registrational
combinations. However, its operation requires a few more steps (underlined, below) than are required when
registering by hand:
1. Plan and set combinations
2. Double-check combinations
3. Get free
4. Make the change
5. Pre-locate and play

►1. PLAN AND SET COMBINATIONS

Setting Combinations
The procedure for setting common “capture”-type registrational combinations is described in the “Organ
Types and Components” section of this workbook and in the OrganTutor lesson, “Using Console Devices.”

If you experience problems setting or recalling a combination, check the following:

• FACTORY PRE-SETS. Some older or less expensive organs include only factory pre-set
combinations. The user cannot change them. The absence of a set button or of a combination lock
key may indicate factory pre-sets.
• COMBINATION LOCK-OUT. Many organs come with a means of locking the combinations once
they are set, mainly to avoid accidental loss of combinations. This may appear as a keyed lock, a
sequence of piston-pressing, a menu choice, a toggle switch, etc. Be sure that the memory or pistons
on which you are working is unlocked.
• GENERALS vs. LOCALS. It is easy to mistake local (divisional) combination pistons for generals.
Setting and attempting to recall a large combination on a Great Local will set and recall only the
Great stops, leaving the Pedal, Swell, and other divisions unchanged.
• MEMORY CONFUSION. On organs with more than one memory level, it is easy to set pistons on
one memory then try to recall them on another. A common scenario: Power up the organ, change
to Memory B, set a combination on General 1, turn off the organ to go to lunch, return and power
up the organ (and organ defaults to Memory A), attempt to recall General 1, and your combination
appears to have been lost. The solution: indicate on your score which memory is used, and
remember to change to that memory each time you play the piece.
 Registration Mechanics Registration 21

►2. DOUBLE-CHECK COMBINATIONS

An organist sets combinations on Friday. On Sunday morning, much to her horror, the very piston that
had previously engaged warm and soothing strings for the end of the prelude music now recalls a battery
of trumpets! Rather than learn your lesson the hard way, arrive a few minutes early for the service or
performance, check each and every piston that you plan to use, and enjoy some peace of mind.

►3. GET FREE

Just as in hand registration, a hand or foot must get free in time to make the stop change and return to the
keyboard. However, the location of thumb pistons and toe studs in close proximity to the keyboards allows
for quicker changes when using the combination action than when registering by hand. In addition to the
situations mentioned above, registration changes with pistons or toe studs are even possible when both hands
and feet are busy–a thumb can reach a general or local piston under a manual keyboard.

►4. MAKE THE CHANGE

►5. PRE-LOCATE AND PLAY

Follow the same procedure for making the change, pre-locating, and playing as when registering by hand.

COMPENSATING FOR DELAYS IN THE COMBINATION ACTION

Nearly all combination actions involve a degree of delay from the moment the piston or toe stud is pressed
to the moment the sound is heard. This delay is usually longer than the delay in the stop action, since the
combination action usually operates the stop action physically. Since the combination action uses electrical,
magnetic, pneumatic, or even motorized mechanical means to accomplish this, the length of the delay varies
from a few miliseconds to large fractions of a second. A good organist must compensate for any delay in the
combination action.
Try this experiment to determine if there is a delay. Set a large Great combination on a general combination
piston. Cancel all stops on the Great. Play a chord on the Great (there should be silence), then press the
general combination piston. How long was the delay before sound was heard?
In order to time your registration changes properly, you must always make piston or toe stud changes changes
EARLY by the exact length of that delay in order to avoid audible late stop entries. This skill can only be
gained by trial and error in practice on the actual instrument.

DYNAMIC EXPRESSION VIA THE EXPRESSION PEDALS

The basic concepts related to the expression pedals were described in the “Organ Types and Components”
section of this workbook, and in the OrganTutor lessons titled “Introduction to the Organ Console” and
“Using Console Devices.”

EXPRESSION PEDAL TYPES

Expression pedals come in a variety of common types:
• Mechanical: the pedal drives a direct mechanical linkage that operates the shutters collectively.
• Pneumatic: the pedal controls the flow of air into bellows that operate the shutters individually or
collectively.
Registration 22 OrganTutor Organ 101 Registration

• Motorized mechanical: the pedal controls motors that drive the shutters collectively.
• Electronic: the pedal controls the volume of electronically-produced organ tone.
It is wise to learn as much as possible about the type of expression pedal on your instrument.

IMPORTANT CHARACTERISTICS
Even more important than to know the type of expression pedal is to understand how it operates–its
characteristics. There are so many variables that it would be impractical to explore all the possibilities in this
lesson. It is critical, however, to GET TO KNOW the most important characteristics of the expression pedal
at your disposal:
• LOCATION. Is the Swell expression pedal located in the “standard” position above pedals E and F?
• CONTENT. What ranks of the organ does it control? On which divisions?
• DYNAMIC RANGE. How soft do the various ranks and combinations sound when it is closed? How
loud when opened?
• RATE OF CHANGE. At what point(s) in its range of motion does the majority of volume change occur?
Does it become rather suddenly louder as it first begins to open, then only very gradually louder as it
continues to open? Does it remain soft until part-way through the pedals stroke?
• EASE OF MOTION. Does the pedal require much weight to operate? Can you “throw” it open by using
inertia, or must the foot follow through the entire length of the stroke?

SET POSITION
Normally the expression pedals are set in the fully open position, as explained in another lesson. However,
several circumstances in the music MAY indicate that one or more expression pedals could be used in a SET
position throughout an entire piece or a section:
• BALANCE. Especially in solo and accompaniment registration, either the solo or accompaniment could
be softened to adjust the contrast between them.
• GENERAL VOLUME. If the organ has been voiced too large for the circumstance, the expression pedal
could be partially closed to adjust the volume. This is particularly useful on some electronic organs
where a single expression pedal adjusts the volume of the entire organ. It is also useful in ensemble
playing (accompanying voice, instruments, choirs, or playing with orchestra or piano).

VARIABLE POSITIONS FOR MUSICAL EXPRESSION

Some music calls for a type of dynamic expression that is made possible by using the expression pedal(s).
A musical phrase may be “shaped” by opening the pedal as the phrase begins and closing (partially) as it
ends. An expression pedal can create a short crescendo, and a longer grand crescendo can occur through a
combination of stop additions and expression pedal opening.
Try this combination:
Swell: Full to mixture, chorus reed 8’, Swell expression pedal closed
Great: foundations 8’ and 4’, Swell to Great
Play a chord on the Swell. After a few seconds, gradually open the Swell expression pedal. Now move the
chord to the Great. Add Great Principal 2’. Then add Great Mixture. Finally, add Swell chorus reeds 4’ and
16’.
 OrganTutor Organ 101 Registration Registration 23

ORGANTUTOR REGISTRATION LESSON OBJECTIVES

This section may be photocopied for the instructor.

The main objectives for each of the OrganTutor Organ 101 Registration lessons are given below. The objec-
tives for each lesson are listed in the same order in which the corresponding topics appear on screen for your
convenience in taking notes. The lessons themselves are listed in a suggested order of completion.

Each of these “Study Lessons” presents a registration topic through study screens accompanied by Quick
Review questions and a Lesson Test. As you study a lesson, take notes in these Lesson Objectives pages to
help you focus on the main points. Answer the Quick Review questions at the end of each topic to test your
understanding, and then take the Lesson Test when you feel that you understand the entire lesson. Do not
refer to your notes during a Quick Review or Lesson Test. Complete any written assignment then review it
with your instructor. Apply what you learn immediately and often in order to internalize the concept.

In parentheses after each lesson title will be found the page number of any written assignment from the
workbook (see “Pitches of Organ Stops,” for example).

INTRODUCTION TO THE ORGAN CONSOLE

1. What is the control center of the organ?

2. Identify the location of the various manual keyboards on a two-,

three-, and four-manual organ.

3. Name and briefly describe three different types of pipework divi-

sions (not Swell, Great, Pedal).

4. Describe characteristics of the Swell division, the Great division,

and the Pedal division.

5. Identify the normal location of the Swell expression pedal relative

to the pedal keys.

6. Identify the normal position (open or closed) of an expression

pedal.
Registration 24 OrganTutor Organ 101 Registration

7. Describe some of the possible functions of the expression pedal

on a digital organ.

8. Identify the normal position (open or closed) of the crescendo

pedal, and its function.

9. Identify the normal location of the crescendo pedal relative to the

expression pedals.

10. Identify middle C and tenor C on the pedal and manual keyboards.

11. Identify three different types of stop controls.

12. Locate on an organ console the set button and the cancel button.

13. On a large organ console, point out the usual location of the following:
a. coupler rail

b. general and local thumb pistons

c. toe studs

ORGAN TYPES AND COMPONENTS

1. Identify the two main components of a pipe organ.

2. Identify the two main configurations in which organs appear.

3. Compare and contrast the pipe organ and the digital organ.

4. Describe the components and function of the wind system.

5. Describe the function of the stop action, and identify at least two types.

6. Describe the function of the combination action and the multi-level memory.
 Lesson Objectives Registration 25

7. Compare and contrast three different types of key action.

USING CONSOLE DEVICES

Perform the following tasks, in sequence:
1. Start up the organ properly.
2. Engage Great and Pedal stops, and play on Great and Pedal.
3. Set your Great and Pedal combination on a general thumb piston, cancel, and then recall the com-
bination by using the thumb piston. Play again on the Great and Pedal. If general combination toe
studs are present, cancel, and then recall the combination now by using the toe stud.
4. Add stops for the Swell to your combination, and then play on the Swell.
5. Set the entire combination on a general thumb piston on another memory (if available), cancel, and
then recall the combination by using the thumb piston. Play again on the Swell.
6. If there is a Great and Pedal expression pedal on your organ: use it to execute a crescendo and dimin-
uendo while playing.
7. Use the Swell expression pedal to execute a crescendo and diminuendo while playing.
8. Open the expression pedals. If there is a Crescendo Pedal on your organ, cancel, and then set a very
soft combination on the Great and Pedal. Play on the Great as you use the crescendo pedal to make a
gradual crescendo, and then make a gradual diminuendo.
9. Add two or three stops on the Great. Set your combination on a Great local piston, cancel, and then
recall the combination by using the thumb piston. Play on the Great.
10. Set a soft combination on the Swell. Couple it to the Great. Couple it to the Pedal.
11. If there is a Great to Pedal reversible (not coupler) on your organ: engage it and begin playing on
the Great and the Pedal. Engage the reversible again and play on the Swell and Pedal. Pause, engage
the Great to Pedal coupler by using the reversible, then return to playing on the Great.
12. Determine whether any tremulants on your organ are divisional or general.
13. If there is a Sforzando (Tutti) reversible on your organ, play on the Great and Pedal, pause, then en-
gage the Sforzando reversible and continue playing. Pause, retire the Sforzando by using the revers-
ible, and then continue playing.

PITCHES OF ORGAN STOPS (Complete “Worksheet: Pitches of Organ Stops”)

1. Describe in general the meaning of the Arabic numerals on a stop knob or tab.

2. Which two of these three parts of a pipe define the speaking length? (toe, mouth, top)

3. Which pipe of a rank determines the pitch designation?

3. Name each of the most common octave-sounding pitches.

4. For each pitch that corresponds to a partial from the harmonic series, identify the interval between a
note (on a staff) being played and the pitch that is heard (for example: 4’ pitch is one octave higher).
Registration 26 OrganTutor Organ 101 Registration

5. Describe two general ways in which the harmonic series functions in organ registration.

6. Name each of the three most common mutations.

7. Describe the meaning of the Roman numerals on a stop knob or tab.

8. Describe and give examples of two different kinds of compound stops.

9. Describe the nature and function of chorus mixtures.

10. Describe the nature and function of solo mixtures.

11. Identify the five pitches that make up the cornet.

12. Identify the two stop names commonly associated with solo mixtures.

13. Given any two of the following items, be able to supply the third (as in “Worksheet: Classification of
Organ Stops by Pitch”):
a. note (on a staff) being played
b. pitch designation
c. pitch that is heard

FAMILIES OF ORGAN TONE

1. Describe each of the following terms: rank, stop, stop nomenclature.

2. Tell the number of pipes in a pedal rank, and then in a pedal rank.

3. Find an appropriate corollary (comparison) from the orchestra to

a rank of pipes in the organ.

4. Identify and describe the two categories of organ pipe.

 Lesson Objectives Registration 27

5. Describe how a pipe from each of the two categories of organ pipe produces tone.

6. Name the four families of organ tone, and identify the category of organ pipe to which each belongs.

7. Describe pipe scale, and describe the general tonal characteristics of wide-, medium-, and nar-
row-scaled pipes.

8. Describe each family of organ tone by the five given categories:

Flute Principal String Reed
a. Describe the tone

b. Identify the scale

c. Identify the volume

range
d. Identify any common
characteristics in the
stop nomenclatures
e. Describe the main
pipe characteristics

9. Tell how a two-rank string celeste is created, describe its tone,
and tell when it may and should not be used.

10. What is a “stopped pipe,” and what two tonal changes happen to a
pipe when it is stopped?

11. Describe hybrid stops, and identify their most important charac-
teristics and functions.

12. Compare and contrast the characteristics and functions of solo

and chorus reeds.
Registration 28 OrganTutor Organ 101 Registration

13. Given the name of any stop listed in the workbook page “Common Stop Names Listed by Pipe Cate-
gory and Family of Organ Tone,” be able to identify its family of organ tone.

NON-SPEAKING STOPS (See “Summary” below)

1. Explain the difference between a non-speaking stop and a speaking stop.

2. Name the three main types of non-speaking stops.

3. Identify and explain two components (“factors”) of a tremulant.

4. Identify two appropriate uses of the tremulant in classical organ

playing, and several INappropriate uses.

5. Describe the function of each of the following types of couplers:

Intermanual couplers

Intramanual couplers

MIDI couplers

6. Identify each of the following couplers with one of the types listed in the preceding objective:
Swell to Swell 16’ Swell to Pedal 4’
Swell to Great 8’ Great to Pedal 8’
Swell to Swell 4’ MIDI on Great
Swell to Pedal 8’ Great to Pedal 4’

7. Describe the function of supercouplers and subcouplers.

8. Describe the function of the Unison Off, and identify two com-
mon applications.

Summary of PITCHES OF ORGAN STOPS, FAMILIES OF ORGAN TONE, and NON-

SPEAKING STOPS (“Stop Classification Exercise”)

Complete the “Stop Classification Exercise” in the workbook, and be able to identify the following from any
stoplist:
1. the octave-sounding stops and the mutations
2. the stops from the cornet of any manual division
3. the solo mixtures and chorus mixtures
 Lesson Objectives Registration 29

4. the family of any speaking stop that is included on the table in the textbook entitled “Common Stop
Names Listed by Pipe Category and Family of Organ Tone”
5. the intermanual couplers, the intramanual couplers, and the other non-speaking stops

THREE PRIMARY TYPES OF ORGAN REGISTRATION

1. Name the three primary types of organ registration.

2. Name two musical characteristics upon which you can focus

when evaluating the musical texture for purposes of registration.

3. Describe how those two musical characteristics appear in each of the

three types of musical texture described in the OrganTutor lesson.
The number of manual parts The relative prominence and nature of
the parts
Chorus

Solo & Accompaniment

Trio/Duo

4. Recognize and understand the meaning of the various main types
of manual indications.

5. Given passages of various types from hymns or organ music, identify the number of parts, determine
which (if any) is most prominent, and identify the most appropriate registrational type.

6. Name at least four types of musical form that allow for registra-
tion change.

CHORUS REGISTRATION (“Chorus Registration Exercise”)

1. Name two important elements of musical texture that call for
chorus registration.

2. Describe three important standards in chorus registration.

3. Compare building for clarity with building for richness in chorus

registration.
Registration 30 OrganTutor Organ 101 Registration

4. Give examples of bright, moderate, and gentle combinations of

the CLEAR type.

5. Describe the use of pure choruses compared with mixed choruses.

6. Identify two ways in which balance should be applied in chorus

registration.

7. Describe two different ways of balancing the pedal combination

with the manual combination.

8. Discuss the use of each of the following mutations in chorus registration:

2 2/3’

1 3/5’

1 1/3’

9. Be able to create an effective buildup from soft to very loud using one manual and pedal.

10. Use chorus reeds effectively in chorus registration.

11. Describe at least three forms of reed chorus.

12. Describe the typical “full organ.”

13. Given a piece of music with the appropriate musical texture, apply an effective combination using
chorus registration. Consider clarity or richness, volume, timbre, and balance.

HYMN PLAYING—REGISTRATION

Become thoroughly familiar with all nineteen of the “Guidelines for Hymn Registration in Congregational
Singing.” Apply an appropriate chorus-type combination for one or more verses of a given hymn. Observe
all of the nineteen guidelines discussed in the OrganTutor lesson that are pertinent to the situation.
 Lesson Objectives Registration 31

SOLO AND ACCOMPANIMENT REGISTRATION (“Solo and Accompaniment Registration

Exercise”)
1. Describe in general terms solo and accompaniment registration,
and compare this to chorus registration.

2. Name two important elements of musical texture that call for solo
and accompaniment registration.

3. Describe three important standards in solo and accompaniment

registration.

4. Discuss the procedure for building a solo and accompaniment

registration.

5. Describe the general nature of the solo part.

6. Construct solo combinations with various ranges, volumes, and timbres.

7. Describe the general nature of the accompaniment part.

8. Describe in general terms various ways of achieving contrast

between solo and accompaniment.

9. Given music with the right musical texture, apply an effective combination using solo and accompa-
niment registration. Considering the written range of the solo, use an appropriate pitch foundation,
volume, and timbre. Use appropriate contrast in volume and timbre in the accompaniment.
Registration 32 OrganTutor Organ 101 Registration

TRIO/DUO REGISTRATION (“Trio/Duo Registration Exercise”)

1. Describe in general terms trio/duo registration.

2. Name two important elements of musical texture that call for trio/
duo registration.

3. Describe each of the three important aesthetic ideals of the trio or duo.

4. Compare the “true” trio with other types.

5. Compare trio/duo registration with solo and accompaniment.

6. Described three important standards in trio/duo registration.

7. Discuss the procedure for

a. building a trio/duo registration in general

b. registering the first part (tremulant?)

c. registering the other parts

8. Discuss some of the considerations for the Pedal in trio/duo registration.

9. Given a piece of music with the right musical texture, apply an effective combination using trio/duo
registration. Considering the written range of the solo, use an appropriate sounding range, volume,
and timbre. Use appropriate contrast in volume and timbre in the other parts.
 OrganTutor Organ 101 Registration Resources 1

CONTINUING YOUR ORGAN STUDY

Any serious course of organ study should be thought of as only one step in a lifetime of exploration. The long history and diverse
types of organ music have inspired students, performers, and scholars to devote great energy to organ study. Today’s student
enjoys easy access to editions, books, articles, and recordings.
Following are listed various ways of extending organ study beyond the OrganTutor lessons. Specific references to Brigham
Young University (BYU) courses may be considered examples of the types of courses that might be found in other colleges and
universities where full music programs are offered.

PRIVATE STUDY
No method book, periodical, video, or computer can offer the customized feedback of which a private organ teacher is capable.
Finding a competent teacher should be the highest priority. The following guidelines
may be of some assistance:

1. The teacher should have a Bachelor of Music degree from an accredited institution, or
2. He or she should have passed any of the exams of the American Guild of Organists (AGO), the Roy-
al Canadian College of Organists (R.C.C.O.), the Music Teachers National Association (MTNA), or
another reputable institution.
To find a teacher, you may wish to ask a respected organist for recommendations. If you are in a larger city, you will probably be
able to find well-trained organists associated with colleges, universities, or larger churches. The local chapter of The American
Guild of Organists (AGO) is probably best suited to make recommendations. For a list of the nearest chapter to your area, visit
the web page of the AGO at agohq.org

BRIGHAM YOUNG UNIVERSITY ORGAN COURSES for non-organ majors

For information on any of these BYU courses, contact Prof. Don Cook (doncook@byu.edu or 801-422-3260) or Prof. Neil
Harmon (naharmon7@gmail.com or 801-422-3159). See also the Organ Study at BYU website: organ.byu.edu

Basic Organ Skills (Music 115) (2 credits; offered fall and winter semesters, spring term) Training for
pianists in basic organ manual and pedal technique, organ registration, and hymn playing. Prerequisite:
adequate piano training.
Organ Techniques & Literature (Music 116R) (2 credits; offered fall and winter semesters) Continuation of
Music 115, with emphasis on more advanced hymn playing, registration, repertoire playing, and accom-
panying skills. Prerequisite: Music 115, or other formal organ study and consent of instructor.
Private Organ Instruction (Music 160R) (1 credit; extra fee required; offered fall and winter semesters, and
spring term for 0.5 credits) Private study with organ instructor; 1 to 2 hours practice per day required;
audition may be required.
Organ Registration (Music 166) (2 credits; offered fall semesters) Organ stops and their application to
various performance styles. Prerequisite: concurrent private or group instruction in organ or consent of
instructor.
Resources 2 OrganTutor Organ 101 Registration

BRIGHAM YOUNG UNIVERSITY COURSES FOR OFF-CAMPUS ORGANISTS

BYU Independent Study Organ Courses (Including Organ Certification)
BYU Independent Study and the School of Music organ faculty offer a variety of organ courses designed
to provide motivation and instruction for organists to improve their skills by working toward specific
goals. Traditional instruction is offered through books and online lessons, while performance instruction
is coordinated with qualified organ instructors in person (in the vicinity of the student) or online.
Six levels of courses are offered. Levels 1 and 2 appear in a free non-certification/non-credit form
of the course (Continuing Education courses–Music 71 and 72). Levels 1-6 also appear in a certifica-
tion/non-credit version (visit elearn.byu.edu, and then click Catalog > Continuing Education Cours-
es, and then find Organ Performance, Level 1, etc. ($150). Levels 1-6 also appear in a certification/
credit version (University courses–Music 399R sections 1-6 http://is.byu.edu/site/courses/index.cfm?-
school=univ). Each credit course offers between two and five hours of college credit (fee: $398-$995).
All these courses emphasize the following skills: organ technique, organ repertoire, hymn playing, organ
registration, music theory, sight-reading, transposition, and accompaniment (plus piano technique as
needed). They can lead into the Service Playing or Colleague exams of the American Guild of Organists
at about Level 4 or 5 (see following page, or visit https://www.agohq.org/certification). Each level can
be completed within one year if the appropriate keyboard proficiency is present.
Students, in consultation with their instructors, enroll in the level that best suits their needs. Upon pass-
ing, students may enroll for the next level. Level 1 is for pianists and organists who have little or no
formal organ training.
To see the requirements for levels 1-2, visit organ.byu.edu/orgcertlev1-2.pdf, and for levels 3-6 visit
organ.byu.edu/orgcertlev3-6. The requirements are of two types: 1) written assignments and exams on
organ technique, organ registration, and music theory, and 2) played assignments on specified exercises,
organ repertoire, hymn playing, sight-reading, transposition, and accompaniment. The written assign-
ments are graded online. Played assignments are passed off with an approved evaluator (or the instruc-
tor, with BYU faculty approval) or possibly with a member of the BYU organ faculty. Some may be
submitted by video recording.
A student should seek out a private organ instructor (in person or online) who is willing to assist in meet-
ing the course requirements. In addition, instruction customized for each level is offered during the BYU
Organ Workshop (organworkshop.byu.edu). Other instructional materials are available at organ.byu.edu,
for some levels through BYU Independent Study, and certain materials and information are available on
the internet (see the web site addresses below).
For more information, follow the links above, visit http://organ.byu.edu, email indstudy@byu.edu, or
call 801-422-4044.

The BYU Organ Workshop

The BYU Organ Workshop (organworkshop.byu.edu) offers four days of instruction in organ playing
skills. Whether you use your skills in the church service, for teaching, or for your own enjoyment, up to
five classes are scheduled every hour to meet the needs of beginning to advanced organists. More than a
dozen seasoned instructors offer personal attention and will encourage you to new levels of progress.
Supervised Practice Sessions (no fee) and Private Instruction ($30-60) provide an opportunity to play
hymns hymns or organ pieces for an instructor and receive personalized feedback, instruction, and mo-
 Continuing Your Organ Study Resources 3

tivation. Most organists prepare hymns or organ repertoire pieces one of the six organ instruction levels
from the Independent Study Organ courses. To see the hymns and repertoire for levels 1-2, visit organ.
byu.edu/orgcertlev1-2.pdf, and for levels 3-6 visit organ.byu.edu/orgcertlev3-6. However, any form of
organ performance preparation is acceptable. The instructors then provide motivation, instruction, and
feedback towards improving organ-playing skills.
Return home from this intensive four-day workshop with the seeds of new skills and with the motivation
to follow through with organ study throughout the year. Use this workshop as a springboard for lifelong
learning in organ. If you wish, enroll in a BYU Independent Study organ course to help you along during
the year. Return the following year and take workshop classes that will prepare you for the next level of
study. The fee is $275-$375.
For more information, visit http://organworkshop.byu.edu, call 801-422-7692, email ce@byu.edu, or
follow the link on the BYU Organ Study web site at organ.byu.edu.

THE AMERICAN GUILD OF ORGANISTS

The American Guild of Organists (AGO) is a non-profit organization that furthers the cause of organs and
organ playing in the United States and abroad. Some of the benefits of membership follow:
• Local chapters provide support for members by sponsoring and organizing recitals, workshops, and
social activities (usually monthly).
• Members of the AGO receive a copy of The American Organist magazine each month. Each issue
includes reviews of books, recordings, and music, as well as informative articles on a wide variety of
organ-related topics.
• The AGO has produced a large amount of educational materials, mostly online, available either free
or at a nominal cost to both members and non-members.
• Each summer, guild members have the opportunity to attend national or regional conventions. These
offer recitals by prominent organists on significant instruments as well as classes and workshops on a
wide spectrum of topics related to church music and organs.
• The AGO professional certification program provides members with educational goals and with the
motivation to expand their range of skills and knowledge. Examinations administered by the Guild
include the Service Playing Test, the Colleague Exam, the Choir Master Exam, the Associate Exam,
and the Fellowship Exam. The Achievement Awards offer a chance to learn basic organ topics such
as the organ console, organ registration, technique, harmony, and transposition. Visit agohq.org and
click the “Education” tab.
For information on the AGO or for a membership application, write or call:
The American Guild of Organists Phone: (212) 870-2310
475 Riverside Drive, Suite 1260 Fax: (212) 870-2163
New York, NY 10115 agohq.org

Resources 4 OrganTutor Organ 101 Registration

ADDITIONAL STUDY MATERIALS

The following is a list of a few interesting sources for each of the OrganTutor Organ 101 units.

METHOD BOOKS (including Manual Technique and Pedal Technique)

Davis, Roger. The Organist’s Manual. New York: W. W. Norton, 1985.
An excellent organ method book with exercises and studies, a good selection of repertoire, and
well written text.
Gleason, Harold. Method of Organ Playing. 8th ed. Englewood Cliffs, NJ: Prentice-Hall, 1995.
A time-honored organ method book representing a thorough approach to organ playing. The
volume has experienced the refinement of eight editions.
Peeters, Flor. Ars Organi. 3 vols. New York: C. F. Peters, 1953.
A very thorough approach to organ playing.
Ritchie, George and Stauffer, George. Organ Technique: Modern and Early. London: Oxford, 2000.
This relatively recent volume approaches organ playing from a stylistic and historical perspec-
tive. The changes in performance style are explored, with exercises and studies in both earlier and
later styles. The written text on performance-related historical matters is noteworthy.

ORGAN REGISTRATION
Engel, James. An Introduction to Organ Registration. St. Louis, MO: Concordia, 1986.
This small paperback takes a very concise approach to basic organ registration.
Geer, E. Harold. Organ Registration in Theory and Practice. Glen Rock, NJ: J. Fischer, 1957. (Out of
print)
Goode, Jack C. Pipe Organ Registration. Nashville, TN: Abingdon Press, 1964. (Out of print)
Sumner, William Leslie. The Organ: Its Evolution, Principles of Construction, and Use. 4th ed. New
York: St. Martin’s Press, 1973.
Williams, Peter. A New History of the Organ. Bloomington: Indiana University Press, 1980. (Out of
print)
Woolard, Margot Ann. A Mini-Course in Basic Organ Registration.
This booklet and cassette are listed in the “AGO Resources” section of The American Organist.
(See “The American Guild of Organists” on the previous page for more details on this publication.)

HYMN PLAYING
Belnap, Parley L. Hymn Studies for Organists. Rev. ed. Provo, UT: Brigham Young University Cre-
ative Works Office, 1992, 2004.
A progressive study into the basics of hymn playing.
Cook, Don. Easy Organ Hymn Settings. Provo, UT: Jackman, 1992.
Twenty-nine hymns in three parts: the original soprano and bass lines, and a new middle part.
Fingering and pedaling in legato style are supplied.
 Additional Study Materials Resources 5

Lovelace, Austin C. The Organist and Hymn Playing. Rev. ed. Carol Stream, IL: Agape, 1981.
Woolard, Margot Ann. A Mini-Course in Hymn Playing.
Ferguson, John. A Mini-Course in Creative Hymn Playing.
These booklet and cassette sets are listed in the “AGO Resources” section of The American Or-
ganist. (See “The American Guild of Organists” on the previous page for more details on this publi-
cation.)

GENERAL
The American Organist. (The monthly magazine of the American Guild of Organists, 475 Riverside Dr.,
Suite 1260, New York, NY 10115).
In addition to its regular articles, this organization publishes many useful materials that are listed
in each issue near the front under the title, “AGO Resources.”
Apel, Willi. Harvard Dictionary of Music, Second Revised and Enlarged Edition. Cambridge, MA:
Harvard University Press, 1972.
This is a standard comprehensive reference book for musical terms, with in-depth definitions and
descriptions.
Arnold, Corliss Richard. Organ Literature: A Comprehensive Survey. Third Edition. Metuchen, N.J.:
The Scarecrow Press, 1992.
This is a standard reference for organists, containing detailed information on composers, compo-
sitions, and historical background.
Bush, Douglas and Richard Kassel, eds. The Organ: An Encyclopedia. Oxford: Routledge, 2006.
This large volume (696 pages) includes articles on the organ family of instruments, including
famous players, composers, instrument builders, the construction of the instruments, and related
terminology.

BYU Organ Studies Home Page (organ.byu.edu)

Diapason. (Write to Diapason, 380 Northwest Highway, Des Plaines, IL 60016).
This periodical has published materials pertinent to the organ world for over seventy years.
Hurford, Peter. Making Music at the Organ. Oxford: Oxford University Press, 1988.
This book extends beyond the techniques, nuts, and bolts, and into the nuances of artistry at the
organ console.
Keller, Hermann. Phrasing and Articulation. Trans. Leigh Gerdine. New York: W. W. Norton, 1965.
Kohut, Daniel L. Musical Performance: Learning Theory and Pedagogy. Champaign, IL: Stipes Pub-
lishing, 1991.
With its valuable insights and practical ideas on learning and teaching, this book is an excellent
guide for both the student and the instructor.
OrganMaster Shoes. 282 Stepstone Hill, Guilford, Connecticut 06437. organmastershoes.com
(203) 453-1973
 ORGANTUTOR ORGAN 101 ONLINE UNITS AND LESSONS
This page may be photocopied as needed.

OrganTutor Organ 101 Registration includes only the eleven lessons listed below under the “Organ Reg-
istration” unit and “Hymn Playing--Registration.” The other listed lessons are included in the complete
version of OrganTutor Organ 101. For information, visit organtutor.byu.edu

MANUAL TECHNIQUE GENERAL CONCEPTS

(not included in OrganTutor Organ 101 Registration) (not included in OrganTutor Organ 101 Registration)
Manual Technique—Introduction Nature of Organ Tone
Independence—One Part in Each Hand Listening Skills for Practice
Direct Fingering Practice Techniques
Finger Crossing Correct Position at the Organ
Finger Substitution Touch
Redeemer of Israel—soprano & tenor Score Preparation
How Gentle God’s Commands—soprano & tenor
Finger Glissando
Thumb Glissando—Inward ORGAN REGISTRATION
(Included in OrganTutor Organ 101 Registration)
Independence—Two+ Parts in One Hand
Thumb Glissando—Outward Introduction to the Organ Console
Redistribution of the Inner Part Organ Types and Components
Efficiency of Various Fingering Techniques Using Console Devices
Independence—Three Parts in Two Hands Pitches of Organ Stops
Families of Organ Tone
PEDAL TECHNIQUE Non-Speaking Stops
(not included in OrganTutor Organ 101 Registration)
Organ Shoes
Three Primary Types of Organ Registration
Pedal Technique—Introduction Chorus Registration
Groups 1-2: Precise Attack & Release; Alternate Toes on Sharps Solo and Accompaniment Registration
Group 3: Alternate Toes on Sharps—Spanning 2nd & 3rd Trio/Duo Registration
Group 4: Single Foot on Naturals & Natural/Sharp Combinations
Group 5: Single Foot on Naturals & Natural/Sharp Combinations
Group 6: Alternate Toes on Sharps—Spanning 2nd, 3rd, 4th
HYMN PLAYING
(four lessons not included in Organ 101 Registration)
Group 7: Alternate Toes on Natural/Sharp Combinations Hymn Playing—Introduction
Group 8: Alternate Toes on Naturals Hymn Playing—Phrasing
Group 9: Independent Feet on Sharps Hymn Playing—Repeated Notes
Group 10: Toe-Heel of a Single Foot on Sharps & Naturals Hymn Playing—Tempo
Group 11: Single Foot on Sharps
Group 12: Toe-Heel of a Single Foot—Half- & Whole-Steps, 3rds
Hymn Playing—Registration (included)
Group 13: Heel Slide; Toe-Heel of a Single Foot on Naturals
Group 14: Toe Glissando—Sharp to Sharp & Sharp to Natural PROJECTS
Group 15: Substitution Between Two Feet (not included in OrganTutor Organ 101 Registration)
Group 16: Single Foot on Naturals & Natural/Sharp Combinations Hymn Project 1: 3-Part Hymn With Easy Pedal
Group 17: Toe Crossing on Naturals & Natural/Sharp Combinations Hymn Projects 2 & 3: 3-Part Hymns
Group 18: Toe-Heel Crossing on Naturals & Natural/Sharp Combinations Left Hand and Pedal Studies
Group 19: Scales Using Various Techniques Hymn Project 4(&5): 4-Part Hymn
Group 20: Arpeggios
Marking Challenging Pedal Parts

SYSTEM REQUIREMENTS: OrganTutor Organ 101 is an Internet-based (online) tutorial for desktop and laptop com-
puters, tablets, and smartphones capable of downnloading and running YouTube videos, displaying standard high-resolution
graphics, and mp3 audio files.