Favorite Registration for Congregational Music (Hymn/Accompaniment)

[jskumro]

I vary hymn registrations often. I can't say that I have a favorite registration, but I love to play with energy and excitement. My registrations depend on the hymn or piece of service music I am playing, the text, liturgical season, etc. I play in an RC Church, and often "build up" throughout the Mass parts, with the "Great Amen" being the climax of the Mass.

For opening or closing, as long as liturgically appropriate, I play something festive, and use large registrations. I often change registration for each verse, sometimes hopping to other manuals as necessary. I get lots of compliments when I use the festival Trumpet, but reserve it's use for very well-known hymns or festive celebrations.

I sometimes enjoy playing a medium registration with an 8'-4' ensemble, using full swell with the box closed. Interesting sensation there.

Sometimes I start with a beefy ensemble of flues, reeds and mixtures, then drop way back to an 8' ensemble, exposing the voice of the congregation, which is fun.

It's also interesting to use a Tierce and Sesquialtera built on a 16' Plenum (32' pedal flue) in place of mixtures at times. Very unique sound.

I was taught that registrations should be done in a pyramid fashion, using multiple stops at the fundamental 8' pitch, and not doubling at the highest pitch. (Though it depends on the organ, and I sometimes break this rule.) I have found that if I play with a clear registration and clean playing, I can get away with almost anything.

I reserve the use of the Great Mixture during hymn playing, as it's often "too loud." But have been known to accompany a large congregation with full organ. But I'm nuts. I grew up with an organist who played the SAME registration of 8'-4' Diapasons for EVERY hymn and EVERY piece of music, ALWAYS. It drove me nuts, and I never wanted to play like that. As a result, I tend to explore much of the tonal landscape on a regular basis. Plus, the capture action is there, so you might as well use it.

[Juniper]

Here is what I generally use (I play at a RCC)

For traditional opening and closing hymns:
Great all 8 and 4, along with all the Swell 8s and 4s with box halfway open and Choir 8,4,2 coupled to great. Pedals, regular organ bass 16' with all coupled to pedal.

2nd verse: Add swell reeds, box still halfway open.
3rd verse: remove swell reeds and add 2 and mixture on the great

Gloria:
I tend to use the same registration from the opening hymns and play on the Choir in the verses.

Psalms:
Choir: Clarinet 8'
Great: Diapason 8' with Swell to Great
Swell: Flutes 8' 4' Box closed
Pedal: Organ Bass 16' with Swell to Pedal

In the introduction I use the Clarinet to introduce the melody, accompanied by the swell flutes on the chords and pedal bass. The first time the cantor sings it, I accompany him/her solely with the swell. On the repetition where the congregation is invited to sing, I play on the great and add the great to pedal and open the swell box. For the verses I then play on the swell with the box closed, and on every repetition of the refrain, reopen the box and play on the great.

Offertory and Communion Hymns:
I tend to use mostly flutes for these: The Great 8'4' flutes, or the Choir 8,4,2, or play all on a Great diapason 8.

Sanctus:
Same as Gloria

Acclamation:
Same as Psalms

Great Amen:
Same as Opening Hymns and ending last chord with added Mixture and Trumpet from the great.

Lamb of God:
Same as Offertory Hymns


This is very specific to the organ I am at now. In the past I do different things for different organs, depending on how loud/soft some of the organs are and depending on congregation.

[myorgan]

[snip]with the "Great Amen" being the climax of the Mass.

Interesting comment. I noticed growing up that the hymns in my church would build up to the end, then there would be a wimpy "Amen," which sounded almost like an afterthought. I've often thought of the "Amen" as the period at the end of the sentence, meaning "So be it." I wondered why it was so diminutive. Nice to know other traditions don't do that.

Michael