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Scan 429
American History and Encyclopedia of Music, 1910
12 lines. Read by computer on 11 September 2026. No printed page number was found. See the scan on archive.org.
1ORGAN INSTRUCTION
3REGISTRATION.
5Registration is almost like orchestration and one's freedom is great.
7We have the four kinds of tone: 1, Diapason; 2, String; 3, Flue or Flute; 4, Reed, and these can be thought of in quantity and quality, and in the ratio of quantity singly and collectively. A reed against a flute, a flute against a string, with nice sense of balance of solo and accompaniment, or one quantity against another, as, for instance, a mezzo-great against a full swell, these offer the contrasts. It will be remembered that normal pitch is eight feet. When a registration is indicated it is suggested only, and one must first discern what is effected, or what effect is intended, and then serve or meet this idea as well as the organ at hand will permit.
9One will speedily learn that certain stops have a quality and quantity that dominate, so that with a salicional, stop diapason, violin diapason, and open diapason, with a strong oboe, the dominant quality is reed. Take the reed off and the open diapason predominates.
11This knowledge permits contrast in color in group or collective registration. That which permits orchestral coloring is as much a separate study and highly developed sense, and requires as great technic to handle as successful orchestration, and the student will best learn this by a careful study of the works of Lemare and Archer. A sufficient table of stops, kind of tone, quantity and pitch, will be found in Eddy's Church and Concert Organist, Book II.; an exhaustive list of 425 registers in Thomas G. Shepard's "Pipe-Organ Method"; and a fair list in each of Best's Original School and Stainer's Organ Method.
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