Specifications

RENAISSANCE 450 SECTION III
20.
ENSEMBLE REGISTRATIONS:
Ensemble registrations involve groups of stops that are played together, usually, but
not always, with both hands on one keyboard. They are characterized by
compatibility of tone, clarity, and occasionally power. Such registrations are used in
hymn singing, choir accompaniments, and much of the contrapuntal organ literature.
Volumes have been written on the subject of ensemble registration; here is a summary
of the major points. Ensembles are created by combining stops. Two factors are
always to be considered: tone quality and pitch. Ensembles begin with a few stops at
the 8’ and/or 4’ pitch and expand “outward” in pitch as they build up. New pitches
are usually added in preference to another 8’ stop.
Ensembles are generally divided into three ensemble groupings or “choruses”:
The Principal Chorus is the most fully developed with foundation voices of
various divisions at every pitch from 16’ Diapason to the high mixtures.
The Principal chorus is sometimes called the narrow-scale flue chorus, a
reference to the relative thinness of Principal pipes in relation to their
length.
The Flute Chorus is also well represented with a diversity of stops at various
pitches. Generally speaking, the Flute chorus is composed of less
harmonically developed tones, and is smoother and is not as loud as the
Principal chorus. The Flute chorus is sometimes called the wide-scale flue
chorus, owing to the generally “fatter” look of flute pipes as compared to
principals.
The Reed Chorus includes those reed tones designed to be used in the
ensemble buildup. Not all reed voices are ensemble tones. An Oboe, for
example, is usually a solo stop. The various Trumpets, Tromba Clairons,
Posaune Bombarde, etc., are usually ensemble voices that add brilliance,
power, and incisiveness to the sound. If you have questions as to whether a
specific reed is a solo or ensemble stop, refer to the stop list in Section I.
The Swell Reed Chorus consists of Waldhorn 16’, French Trompet 8’, and Clarion 4’.
These stops create a blaze of richly harmonic sounds that bring “fire” to top off both
flue choruses.
Another special ensemble combination is the Cornet, which was discussed in the
section on Solo Registration. This combination can be used with the chorus reeds and
mutations to create the “Grand Jeu.” The Cornet is also useful in Romantic ensembles
to add weight and thickness to the sound.