Registration (organ)

Last updated

Registration is the technique of choosing and combining the stops of a pipe organ in order to produce a particular sound. Registration can also refer to a particular combination of stops, which may be recalled through combination action. The registration chosen for a particular piece will be determined by a number of factors, including the composer's indications (if any are given), the time and place in which the piece was composed, the organ the piece is played upon, and the acoustic environment within which the organ resides.

Contents

Pitch and timbre

The pitch produced by a pipe is a function of its length. An organ stop may be tuned to sound (or "speak at") the pitch normally associated with the key that is pressed (the "unison pitch"), or it may speak at a fixed interval above or below this pitch (an "octave pitch"). Some stops are tuned to notes "in-between" the octaves and are called "Mutations" (see below). The pitch of a rank of pipes is denoted by a number on the stop knob. A stop that speaks at unison pitch (the "native pitch" for that note; the pitch you would hear if you pressed that same key on a piano) is known as an 8′ (pronounced "eight foot") stop. This nomenclature refers to the approximate length of the longest pipe in that rank.

The octave sounded by a given pipe is inversely exponentially proportional to its length (12 the length = double the pitch), meaning that a 4′ stop speaks exactly one octave higher than an 8′ stop. Likewise, a 2′ stop speaks exactly one octave higher than a 4′ stop. Conversely, a 16′ stop speaks exactly one octave below an 8′ stop; and a 32′ stop speaks exactly one octave below a 16′ stop. Lengths used in actual organs include 64′, 32′, 16′, 8′, 4′, 2′, 1′, and 12′.

Example:

Organ keyboard unision pitch layout.png

Mutations

Ranks that do not speak at a unison or octave pitch, but rather at a non-octave interval to the unison pitch, are called mutation stops (or, simply, "mutations"). Because they sound at intervals other than an octave (2:1 ratio) above or below the unison sound, they are rarely used on their own; rather, they are combined with unison stops to create different tone colors.

Like the unison and octave stops, the length label of a mutation stop indicates what pitch the rank sounds. For example, a stop labeled 223' sounds at the interval of a twelfth (one octave plus a fifth; or 3:1 ratio) above unison pitch. That is, with a 223' stop drawn, pressing middle C sounds the G that is the 12th diatonic note above.

Mutations usually sound at pitches in the harmonic series of the unison pitch. In some large organs, non-harmonic mutations are occasionally used, sounding pitches from the harmonic series of one or two octaves below unison pitch. Such mutations that sound at the fifth above (or fourth below) the fundamental can create the impression of a stop an octave (or two) lower than the fundamental, especially when low frequencies are involved; these are often called resultants.

Mutations are tuned an exact just interval away from the fundamental, with no beats. [1] (This is not possible in mutation stops unified from other ranks, such as an 8' or 4' rank also used for a 223' stop.)

Mixtures

Certain stops called mixtures contain multiple ranks of pipes sounding at consecutive octaves and fifths (and in some cases, thirds) above unison pitch. The number of ranks in a mixture is denoted by a Roman numeral on the stop knob; for example, a stop labeled "Mixture V" would contain five pipes for every note. So for every key pressed, five different pipes sound (all controlled by the same stop).

National styles of registration

In the seventeenth century, national styles of organ building began to emerge. Organs had certain unique characteristics that were common to organs in the country in which they were built. Registration techniques developed that mirrored the characteristics in the organs of each national style.


Combination action

Combination pistons (buttons) on the organ console Freiekombinationen.jpg
Combination pistons (buttons) on the organ console

A combination action is a system designed to store specific organ registrations to be recalled instantaneously by the player while they are playing. It usually consists of several numbered pistons (buttons) situated in the space between the manuals at the organ console. The pistons control either the stops of the whole organ (in which case they are called general pistons or generals) or the stops of a particular division (in which case they are called divisional pistons or divisionals). Each piston is programmed by the organist with a particular registration to be activated when it is pressed. This allows the organist to change registrations on the fly, without the assistance of a registrant.

Mechanical systems

Over the years, organ builders have designed various combination action systems. The simplest combination actions are toe studs that move a predetermined combination of stop knobs when pressed. Depending on the way in which the mechanism operates, these toe studs may or may not be reversible (i.e., pressing a toe stud again may or may not turn off the stops that were turned on when it was first pressed). More complex versions of this system are reversible, and furthermore can activate a predetermined registration without moving the stop knobs. Certain large organs of the romantic era (such as the organ built by Friedrich Ladegast for the cathedral in Merseburg, Germany) feature this kind of combination action. Often, the toe studs will be labeled with dynamic markings reflecting the loudness of the registrations which result when they are pressed. For example, an organ may have two of these combinations, one labeled p (for piano, Italian for "soft") and one labeled ff (for fortissimo, Italian for "very strong"). This system allows the organist to set the stops to a specific registration (very quiet, for example) and then suddenly change it for a short period of time (to very loud, for example) simply by pressing the appropriate toe stud. The organist can then return to the original registration by pressing the toe stud again. This is especially helpful when playing the organ works of German romantic composers such as Max Reger and Franz Liszt.

Saint-Sulpice

The combination action in the organ at the church of Saint-Sulpice in Paris deserves special mention. It was designed by the renowned French organ builder Aristide Cavaillé-Coll. Because the organ predates the advent of electricity, the entire system operates through mechanical and pneumatic means. There are no pistons or toe studs. The combination action consists of six stop knobs, one for each division of the organ, connected to a system of pneumatics. When one of these knobs is pulled, the registration on its respective division may be altered without the stop changes taking effect. When the knob is pushed back in, the new registration sounds. Using this system along with the pédales de combinaison, an organist (and an assistant or two) can prepare elaborate registrations in advance of their use during a performance. Unlike a modern electrical combination action, this system cannot retain combinations to be recalled later; registrations must be prepared on the spot. In spite of its shortcomings (which are apparent only in light of present-day combination actions), it is an ingeniously designed system that was groundbreaking for its time.

Early twentieth century

Left-half of setterboards on the console: two rows of register rocker switches for two free combinations per manuals or pedalboard (Organ at the Liebfrauenkirche Ravensburg) RV Liebfrauenkirche Orgel Spieltisch Register.jpg
Left-half of setterboards on the console: two rows of register rocker switches for two free combinations per manuals or pedalboard (Organ at the Liebfrauenkirche Ravensburg)

When electricity became commonplace, organ builders realized that it could be used to create more complex and capable combination actions. Large setterboards consisting of a grid of switches were built inside the console or the organ case. The piston numbers formed one axis of the grid, and the stop names formed the other axis. To set a combination, the organist would have to go to the setterboard and flip the switches for each stop corresponding to the desired piston number. This process was quite time-consuming, and in most cases required the organist to leave his position at the console entirely to change even one stop on a piston. Setterboard setups did not always result in the actual stop knobs moving---such a system was called a blind system, and stops added manually during a performance would add to the preset setting. Occasionally provision would be made for Pedal stops to be affected by manual pistons, allowing for a suitable bass.

A more advanced system which is still in use in some organs is the electropneumatic capture system. To set a piston, the organist must press and hold the desired piston while pulling the desired stops. The motion of the stop control sets a mechanical on/off tab or lever on a rocker arm inside the combination action, allowing the configuration to be recalled from the set tabs. Since this "hold-and-set" system depended on manipulation of the stop controls, it was always located within the console. It represented an improvement over the setterboard in that the organist could remain seated at the console while altering registrations. These combination actions were actually early mechanical digital-memory storage devices.

An additional system which was usually used on large instruments was often called "remote capture" (although it could be either in the console or in a remote location). Combinations were set by pressing a "setter" button and then the desired piston. Its advantage over push-and-set was that a carefully worked-out combination could be instantly recorded, without having to push a piston already set to another combination and change it. Neither the setterboard system nor the electropneumatic system is built in new organs today; they have both been supplanted by the modern solid-state combination action.

Modern

The most widely used combination action in newly built organs has at its heart a system of electronics. The combinations are stored in a computer memory. To set a combination, the organist pulls the desired stops, holds the setter button (usually labeled "Set"), and presses the desired piston. Larger organs, especially in the academic realm, as well as organs played by several organists or guest artists sometimes feature a system of memory levels: each organist is assigned a level or a range of levels and is able to keep his registrations separate from those of other organists who play the instrument. This is especially useful in academic and concert settings, as it makes it unnecessary for organists to write down their registrations and reset the pistons every time they sit down at the organ. Some organs feature a disk drive, enabling the organist to save combinations to a floppy disk or other removable media. More recent ones include a USB port for devices such as flash drives.

Sequencers

Toe studs (pistons) on the console:
center: Sequencers "<" and ">"
right:   Combinations "1"~"8" Walze und Schwelltritt.jpg
Toe studs (pistons) on the console:
center: Sequencers "<" and ">"
right:   Combinations "1"~"8"

In recent times, sequencers have become an integral part of combination actions, primarily on large organs. A sequencer allows an organist to program a list of registration changes and advance through it by pressing a piston labeled "+" (or regress through it using a "" piston). It becomes unnecessary for the organist to push the proper piston; he must only press the "+" piston and the next registration in the sequence will be activated. Some sequencers have an "all pistons plus" feature, which makes all the pistons on the console (excepting the General Cancel and the "" pistons) function like the "+" piston; in this case the organist can press any piston which is in convenient reach to advance through the sequence.

Adding a piston change in the midst of an already established sequence of stop changes is difficult or not possible with some sequencing systems.

Using a sequencer can remove many of the complications related to changing registrations during a performance that have traditionally plagued organists.

See also

Related Research Articles

Pipe organ Wind instrument controlled by keyboard

The pipe organ is a musical instrument that produces sound by driving pressurized air through the organ pipes selected from a keyboard. Because each pipe produces a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre and volume throughout the keyboard compass. Most organs have many ranks of pipes of differing timbre, pitch, and volume that the player can employ singly or in combination through the use of controls called stops.

Organ stop Part of a pipe organ

An organ stop is a component of a pipe organ that admits pressurized air to a set of organ pipes. Its name comes from the fact that stops can be used selectively by the organist; each can be "on", or "off".

Tutti

Tutti is an Italian word literally meaning all or together and is used as a musical term, for the whole orchestra as opposed to the soloist. It is applied similarly to choral music, where the whole section or choir is called to sing. Music examination boards may instruct candidates to "play in tuttis", indicating that the candidate should play both the solo and the tutti sections.

  1. An orchestrator may specify that a section leader plays alone, while the rest of the section is silent for the duration of the solo passage, by writing solo in the music at the point where it begins and tutti at the point where the rest of the section should resume playing.
  2. In organ music, it indicates that the full organ should be used: all stops and all couplers. Some organ consoles offer a toe stud or piston to toggle the tutti: pressing once activates all stops, and pressing again reverts to the previous registration.
Electric organ Electronic keyboard instrument

An electric organ, also known as electronic organ, is an electronic keyboard instrument which was derived from the harmonium, pipe organ and theatre organ. Originally designed to imitate their sound, or orchestral sounds, it has since developed into several types of instruments:

A mixture is an organ stop, usually of principal tone quality, that contains multiple ranks of pipes including at least one mutation stop. It is designed to be drawn with a combination of stops that forms a complete chorus. The mixture sounds the upper harmonics of each note of the keyboard, adding a chord to each note played. The individual pitches in the mixture are not distinguished by the listener; rather, they reinforce the fundamental pitches of the chorus, adding volume and brilliance to the sound. Because pipes playing upper harmonics produce their own set of harmonic overtones, an element of harmonic dissonance is introduced, giving mixtures their characteristic tonal texture as they enrich the ensemble. Historically, the mixture descends from the medieval Blockwerk concept, an organ in which there were no stops and all the ranks sounded simultaneously.

Pedal keyboard Musical keyboard played with the feet, usually used for low-pitched notes

A pedalboard is a keyboard played with the feet that is usually used to produce the low-pitched bass line of a piece of music. A pedalboard has long, narrow lever-style keys laid out in the same semitone scalar pattern as a manual keyboard, with longer keys for C, D, E, F, G, A and B, and shorter, raised keys for C, D, F, G and A. Training in pedal technique is part of standard organ pedagogy in church music and art music.

Theatre organ

A theatre organ is a distinct type of pipe organ originally developed to provide music and sound effects to accompany silent films during the first 3 decades of the 20th century.

Manual (music) Musical keyboard played with the hands

A manual is a musical keyboard designed to be played with the hands, on an instrument such as a pipe organ, harpsichord, clavichord, electronic organ, melodica, or synthesizer. The term "manual" is used with regard to any hand keyboard on these instruments to distinguish it from the pedalboard, which is a keyboard that the organist plays with their feet. It is proper to use "manual" rather than "keyboard", then, when referring to the hand keyboards on any instrument that has a pedalboard.

Organ pipe Musical instrument part

An organ pipe is a sound-producing element of the pipe organ that resonates at a specific pitch when pressurized air is driven through it. Each pipe is tuned to a specific note of the musical scale. A set of organ pipes of similar timbre comprising the complete scale is known as a rank; one or more ranks constitutes a stop.

Expression pedal

An expression pedal is an important control found on many musical instruments including organs, electronic keyboards and pedal steel guitar. The musician uses the pedal to control different aspects of the sound, commonly volume. Separate expression pedals can often be added to a guitar amplifier or effects unit and used to control many different aspects of the tone.

Worksop Priory Church

Worksop Priory is a Church of England parish church and former priory in the town of Worksop, Nottinghamshire, part of the Diocese of Southwell and Nottingham and under the episcopal care of the Bishop of Beverley.

The electro-pneumatic action is a control system by the mean of air pressure for pipe organs, whereby air pressure, controlled by an electric current and operated by the keys of an organ console, opens and closes valves within wind chests, allowing the pipes to speak. This system also allows the console to be physically detached from the organ itself. The only connection was via an electrical cable from the console to the relay, with some early organ consoles utilizing a separate wind supply to operate combination pistons.

St Georges Minster, Doncaster Church in Doncaster, England

The Minster and Parish Church of St George, Doncaster, also known as Doncaster Minster, is a parish church in the Church of England. It was one of the Greater Churches Network.

Gedackt is the name of a family of stops in pipe organ building. They are one of the most common types of organ flue pipe. The name stems from the Middle High German word gedact, meaning "capped" or "covered".

Royal Albert Hall Organ

The Grand Organ situated in the Royal Albert Hall in London is the second largest pipe organ in the United Kingdom, after the Liverpool Cathedral Grand Organ. It was originally built by Henry "Father" Willis and most recently rebuilt by Mander Organs, having 147 stops and, since the 2004 restoration, 9,999 pipes.

Crescendo pedal

A crescendo pedal is a large pedal commonly found on medium-sized and larger pipe organs, either partially or fully recessed within the organ console. The crescendo pedal incrementally activates stops as it is pressed forward and removes stops as it is depressed backward. The addition of stops, in order from quietest to loudest, creates the effect of a crescendo. The crescendo pedal is located directly above the pedalboard, to the right of any expression pedals that may be present. In actual use, the operation of the crescendo pedal usually does not move the draw knobs or stop tabs on the console; the stops are electronically activated inside the organ. Often an indicator light or lights will be present on the console to inform the organist of when the crescendo pedal is activated and how far it is engaged.

Organ console

The pipe organ is played from an area called the console or keydesk, which holds the manuals (keyboards), pedals, and stop controls. In electric-action organs, the console is often movable. This allows for greater flexibility in placement of the console for various activities. Some very large organs, such as the van den Heuvel organ at the Church of St. Eustache in Paris, have more than one console, enabling the organ to be played from several locations depending on the nature of the performance.

Accordion reed ranks and switches

A reed rank inside accordions refers to a single full set of the reeds that are the means to achieve the instrument's sound range. These reed ranks are located in the reed chamber. Most accordions to this date typically have between 2 and 4 reed ranks on the treble side and between 3 and 5 reed ranks on the bass side. These can usually be selected individually or combined in various ways to provide a range of different timbres, by use of register switches arranged by register from high to low. More of the top-line expensive accordions may contain 5 or 6 reed blocks on the treble side for different tunings, typically found in accordions that stress musette sounds.

Castro Organ Devotees Association

The Castro Organ Devotees Association (CODA) is an American nonprofit organization dedicated to preserving and enhancing the tradition of live organ music in San Francisco's Castro Theatre. The theater is a popular San Francisco movie palace, built in the 1920s, which gained Historic Landmark status in 1976. The original Robert Morton organ was removed in the 1950s. The present organ, widely regarded as one of the finest theatre organs assembled, was assembled in the late 1970s using components from other organs, including its console, which was originally built in 1925 for the State Theatre in Detroit, Michigan to accompany silent pictures. The current console and organ were built by the Taylor family starting in 1979, and it has been owned and maintained by them since, but in 2014 they moved taking the console and one fourth of the pipework.

Casavant Frères Ltée. Opus 1841 (Highland Arts Centre Organ)

Casavant Frères Ltée. Opus 1841 is a pipe organ built by the famous Casavant Frères of Saint-Hyacinthe, Quebec. The organ was first completed in 1911 as Casavant Brothers - Opus 452 for St. Andrew's Presbyterian Church at 40 Bentinck Street, Sydney, Nova Scotia, Canada. St. Andrew's later became St. Andrew's United Church and is now the Highland Arts Theatre.

References

  1. Audsley, George Ashdown (1905). The Art of Organ-Building. Dodd; Mead. pp.  648. [A]ll the pipes which speak on each note of that compass must, whatever their pitch or relation to the foundation tone may be, be tuned together absolutely perfect. This positive rule includes all the pipes forming the harmonic-corroborating and compound stops of the Organ.