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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. Following 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 tonal groupings or "choruses":
The principal chorus is the most fully developed with
representation in various divisions of the organ and at every
pitch from 16' (Diapason) to 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 of lesser volume than 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 Hautbois, for example, is usually a solo stop. The
various Trumpets, Clairons, Bassons, 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 stoplist in the
preceding section.
MDS-30 LDS
ENSEMBLE REGISTRATIONS
13
Section II
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