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kropf

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Dear MM, thanks for this.

Regarding your treatise: Do not work to much :blink: !

Of course I'd know how to reproduce what I hear form the clips and discs on my (or any other) organ and a choir, at least I'd know the direction, as the result will be limited more or less to all the circumstances.

For me it is interesting which effects con ONLY be produced on an English instrument, or, which effects found in compositions have been generated by it.

You made an important point: "Strangers" to the subject often (like me) are endagered to mix up historic developments. So it is important to be pointed to the fact, that Stanford could never play his pieces like we here them on most occasions today due to the lack of technical controls. Many errors in performance practice may occur in organ life, e. g. to forget that the first Cavaillé-Coll expression pedals where just to be hooked in and placed on the outer edge of the console (similar examples are found in Germany at the same time)... or, that people marvel the beautiful organ of St. Johannis Lüneburg and imagine, how the teenage JSBach was there to invent his first large pedal solos under the eyes of Georg Böhm! But in fact, during Bach's stay in Lüneburg the organ had no autonomous pedal at all...!

So it is good to know that the piston thing would have been strange to Stanford, too, if we would place him onto a modern console today.

 

Your description of the outline of a typical Harrison are helpful, too, thanks!

 

Worth of pilgrimage: Yes, I am mostly tracing the art of accompaniment. I think that it always was my most beloved subject among organ playing.

And hear, coming from catholic practice in my youth in Austria, where weak choirs obliged themselves to sing a complete mass setting every sunday, I often sat on the organ trying to follow as much as possible the dynamic lines of the music and the choir, to give as much support and colouring as possible without overwhelming the singers. I still find this a thrilling challenge and enjoy myself pretty much in accompaning my relatively small congregation on my relatively large but very gentle-voiced organ. That's why I feel in a way so familiar with the work which is done by fine Anglican cathedral organists.

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=================================

 

 

Even if the Arthur Harrison sound is now regarded as "old fashioned" in so many ways, one cannot deny the effectiveness of it when it comes to accompanying choral-music.

 

'mpk' is absolutely right about the seamless decrescendo and crescendo, but I would just make an observation of my own.

 

On almost all Harrison organs of that era, the fluework was in terraced dynamic style ie:- The great flues powerful (often VERY powerful), the Swell flues much more restrained, and the Choir flues very gentle. However, ALL the fluework will blend and interact wonderfully, with the result that even just the foundations can increase and decrease in power with what sounds like a seamless progression. In fact, the ONLY way a Harrison (or Willis) Swell stands on equal terms with the Great, is with the provision of very powerful, fiery reeds and usually a bright Mixture.

 

The organ at King's College is also unusual, in that the Great reeds (the usual 16ft, 8ft and 4ft Trombas), are enclosed in the Solo expression box; meaning that there is a sort of "super full swell" available based on these reeds; thus taking the expressive dynamic from ppp right through to fff.

 

As an instrument, one would never normally make an extended journey to attend an organ-recital at King's College, but to hear the organ being used to accompany the choir, is the stuff of international pilgrimage.

 

However, more will be revealed when I've completed what is turning out to be a treatise! :blink:

 

MM

 

The Temple Church also has the Great reeds enclosed (in the Solo box) and there are one or two places where there are big enclosed reeds on the Solo (Hereford, Bridlington). It adds a new dimension to registration, since these reeds are not solely for capping full organ. Harry Gabb used the enclosed Solo as a super-Full Swell at St. Pauls before the Mander rebuild.

 

Query: Full Swell at St. Paul's is legendary, but is it, in itself, so outstanding, or is it just a stage in the build-up? Was the reputation originally founded on the Swell alone, or on back-up from the enclosed Solo? Full Swell on its own is a fine sound, but not outstandingly commanding, even in the Quire (ditto Durham). Every time I've played at St. Paul's, I've noticed that the octave coupler comes on for pistons giving Full Swell effects. I think, however, that the characteristic crescendo effect of Willis voicing may enhance the build-up, even when adding stops on the Great.

 

I use the enclosed Tuba (and Violes) here for back-up full swell effects regularly. It helps to have lots of couplers and 68 note soundboards.

 

There is a tendency to use the Great, like a Cavaille-Coll, as a coupler manual. Oddly enough, throughout ny student days, you really couldn't do that at Redcliffe because there either wasn't an action cut-out or it didn't work, so quiet stuff on the Great was out because of the noise of the Great pallets.

 

Actually, I would go a long way to hear an organ recital at King's, although I agree with the remark that it is a first-class accompanying organ (but not the easiest to play due to balance and timing issues).

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It seemed like a good idea to just grab a YouTube sample and then comment upon it, but it's actually extremely difficult to listen to something and then give any sort of running commentary as to what the organist is doing with the instrument.

 

However, after much listening and making notes, using the timing of the YouTube video as a guide, I've managed to put something together. However, all should be aware that the organist, (in this case the excellent Daniel Hyde), is the only person who would truly know what was going on exactly. My comments are therefore a broad guide based purely on personal experience of similar instruments and choral situations.

 

Given below is the full specification of the organ of King's College, Cambridge, and the YouTube video is of the choir singing "I was glad" by Parry, which can be found at

 

To save space and time, only the relevant stop departments and stops will be shown as changes occur in the music; highlighted in red, blue or green, depending on what is in use, what is being removed and what is being added.

 

I'll explain further as we proceed, but be warned, it's very detailed and there's a lot going on.

 

So the opening bars of the introduction to "I was glad" would probably commence with the following stops drawn (00.08), with the Right Hand on the Solo (man.IV) and the Left Hand on the Great (Man II)

 

SOLO

 

Contra Viola 16

Viole d'Orchestre 8

Viole Octaviante 4

Cornet de Violes III

(10.12.15)

Harmonic Flute 8

Concert Flute 4

Cor Anglais 16

Clarinet 8

Orchestral Hautboy 8

 

Tremulant

 

French Horn 8 Harmonic

Tuba 8 Harmonic. Unenclosed

 

Great to Solo

Solo Octave

Solo Sub Octave

Solo Unison Off

 

 

SWELL

 

Quintatön 16

Open Diapason 8

Violin Diapason 8

Lieblich Gedact 8

Echo Salicional 8

Voix Céleste 8

Vox Angelica 8 TC

Principal 4

Lieblich Flute 4

Fifteenth 2

Mixture IV

(12.17.19.22)

Oboe 8

 

Tremulant

 

Double Trumpet 16

Trumpet 8

Clarion 4

 

Swell octave

Swell suboctave

Solo to Swell

 

GREAT

 

Double Open Diapason 16

Open Diapason I 8

Open Diapason II 8

Stopped Diapason 8

Octave 4

Principal 4

Wald Flute 4

Octave Quint 2 2/3

Super Octave 2

Open Flute 2

Sesquialtera III

(17.19.22)

Mixture IV

(19.22.26.29)

Contra Tromba 16 (Enclosed in Solo)

Tromba 8 (Enclosed in Solo)

Octave Tromba 4 (Enclosed in Solo)

 

Swell to Great

Choir to Great

Solo to Great

 

CHOIR (Enclosed)

 

Double Salicional 16

Open Diapason 8

Claribel Flute 8

Salicional 8

Dulciana 8

Gemshorn 4

Salicet 4

Suabe Flute 4

Nazard 2 2/3

Dulcet 2

Tierce 1 3/5

Larigot 1 1/3

Twenty Second 1

Corno di Bassetto 8

 

Contra Tromba 16 from Great

Tromba 8 from Great

Octave Tromba 4 from Great

 

Swell to Choir

Solo to Choir

 

PEDAL

 

Double Open Wood 32

Open Wood 16

Open Diapason 16 (from Great)

Geigen 16

Bourdon 16

Salicional 16

Echo Violone 16 (from Solo)

Violoncello 8

Flute 8

Fifteenth 4

Rohr Flute 4

Open Flute 2

Mixture V

(12.15.17.19.22)

Double Ophicleide 32

Ophicleide 16

Trombone 16 (from Great)

Double Trumpet 16 (from Swell)

Cor Anglais 8 (from Solo)

Posaune 8

Tromba 8 (from Great)

Octave Tromba 4 (from Great)

Schalmei 4

 

Swell to Pedal

Choir to Pedal

Great to Pedal

Solo to Pedal

Great & Ped.Combs. Coupled

 

 

 

At (00.40) of the video, there is a increase in dynamic power by what sounds like two means; possibly the addition of the Swell Octave coupler as the swell box is snapped partially closed and the more powerful Great Diapasons come into play, with the use of a thumb or toe piston which also adds (with the use of the Geat & Ped. combination coupler) a weightier pedal effect.

 

This possibly would therefore include the following Swell, Great & Pedal stops at the climax of the introduction, (Man II), with the fanfare motif being played quite low down with the left hand, (presumably with octave coupler and the Solo Unison Off) on the Solo (Man IV). Note the dramatic, fiery reeds of a Harrison full-swell which swell up and then equal the power of the larger scale Great Diapasons!

 

The BLUE coloured stops are those already drawn, and the RED stops are those probably those being added for the crescendo leading to the climax of the introduction, with the bigger enclosed Great Trombas, Great upperwork and Pedal Ophicleide added, (with the Solo box closed and opened gradually like an extra Full Swell effect), for the gigantic effect just before the choir start to sing, "I was glad.".

 

SOLO

 

Contra Viola 16

Viole d'Orchestre 8

Viole Octaviante 4

Cornet de Violes III

(10.12.15)

Harmonic Flute 8

Concert Flute 4

Cor Anglais 16

Clarinet 8

Orchestral Hautboy 8

 

Tremulant

 

French Horn 8 Harmonic

Tuba 8 Harmonic. Unenclosed

 

Great to Solo

Solo Octave

Solo Sub Octave

Solo Unison Off

 

SWELL

 

Quintatön 16

Open Diapason 8

Violin Diapason 8

Lieblich Gedact 8

Echo Salicional 8

Voix Céleste 8

Vox Angelica 8 TC

Principal 4

Lieblich Flute 4

Fifteenth 2

Mixture IV

(12.17.19.22)

Oboe 8

 

Tremulant

 

Double Trumpet 16

Trumpet 8

Clarion 4

 

Swell octave

Swell suboctave

Solo to Swell

 

 

GREAT

 

Double Open Diapason 16

Open Diapason I 8

Open Diapason II 8

Stopped Diapason 8

Octave 4

Principal 4

Wald Flute 4

Octave Quint 2 2/3

Super Octave 2

Open Flute 2

Sesquialtera III

(17.19.22)

Mixture IV

(19.22.26.29)

[/color]Contra Tromba 16 (Enclosed in Solo)

Tromba 8 (Enclosed in Solo)

Octave Tromba 4 (Enclosed in Solo)

 

Swell to Great

Choir to Great

Solo to Great

 

 

CHOIR (Enclosed)

 

Double Salicional 16

Open Diapason 8

Claribel Flute 8

Salicional 8

Dulciana 8

Gemshorn 4

Salicet 4

Suabe Flute 4

Nazard 2 2/3

Dulcet 2

Tierce 1 3/5

Larigot 1 1/3

Twenty Second 1

Corno di Bassetto 8

 

Contra Tromba 16 from Great

Tromba 8 from Great

Octave Tromba 4 from Great

 

Swell to Choir

Solo to Choir

 

PEDAL

 

Double Open Wood 32

Open Wood 16

Open Diapason 16 (from Great)

Geigen 16

Bourdon 16

Salicional 16

Echo Violone 16 (from Solo)

Violoncello 8

Flute 8

Fifteenth 4

Rohr Flute 4

Open Flute 2

Mixture V

(12.15.17.19.22)

Double Ophicleide 32

Ophicleide 16

[/color]Trombone 16 (from Great)

Double Trumpet 16 (from Swell)

Cor Anglais 8 (from Solo)

Posaune 8

Tromba 8 (from Great)

Octave Tromba 4 (from Great)

Schalmei 4

 

 

Swell to Pedal

Choir to Pedal

Great to Pedal

Solo to Pedal

Great & Ped.Combs. Coupled

 

 

 

This powerful sound would overwhelm even this choir singing (fff), and although the choir start to sing a-capella, the organist must reduce the volume quickly for the next section of the accompaniment. So at about (00.56), when the organ is heard again, the registration (most likely using just the thumb pistons), has been reduced to that heard right at the beginning of the introduction, but with only a single 8ft Swell reed, and without the Tuba and Octave Coupler. The Swell box controls most of the dynamic expression. At some convenient point, the Clarinet is drawn on the Solo in readiness for what comes later. (The Swell Octave coupler is probably linked to the pistons, and would come off automatically with any thumb-piston other than the tutti one).

 

From (01.30) there starts a sustained choral crescendo' the organ supporting this, but not getting appreciably louder until (02.04), when the Full Swell is added with the box closed. At about (02.15), it sounds as if the Great 8ft, 4ft & 2ft Diapasons are brought on, with what sound like the 16ft Trombone being added to the Pedal organ. The opening of the Swell box is quite dramatic at thios point, and demonstrates the effectiveness of it in damping down the fiery reeds within.

 

At (02.24) there is a sudden reduction on organ volume; presumably with the use of two thunb pistons simultaneously on Swell & Great; reducing the Swell to 8ft and 4ft flues only, with perhaps only the 2nd Diapason and the Stopped Diapason drawn on the Great, but still coupled to the Swell. The Pedal organ would again automatically reduce with the use of the Great piston and the Gt & Peds. Combination Coupler drawn.

 

At (02.47), the power of the Great Organ and the associated Pedal stops is increased by use of the Great pistons. Firstly to Diapasons at 8ft and 4ft, then to the 16ft,8ft,4ft and 2ft chorus, before the Swell box is rolled open and probably the Great Mixture and 16ft Pedal Ophicleide added at (02.59). This would all be done with the thumb pistons and the Great & Pedal Combinations stop drawn. At about (03,09), we hear the reverse, as the Great Chorus is reduced by use of the thumb-pistons; the Swell pedal being cleverly manipulated to keep the reed sound in proportion to the Great. As the Great organ and Pedals reduce on the pistons to just foundation tone (possibly just the 8ft Diapason and Stopped Diapason), the Swell reeds are shut off except for the 16ft Double Trumpet. (This reduction on the Swell Organ is probably achieved with hand registration rather than thumb pistons). Using the Swell pistons, the volume further reduces.

 

Changing manuals at (03.24) the quietest foundations of the Swell accompany a Clarinet melody played on the Solo, ( with just the Swell to Pedal coupler drawn, with an gentle 16ft Bourdon left drawn on the Pedal Organ. (Possibly making use of the Swell & Pedal piston combination toe pistons to the left of the swell pedal .

 

At this point, the registration is likely to be:-

 

SOLO

 

Clarinet 8

 

SWELL

Violin Diapason 8

Lieblich Gedact 8

 

GREAT

 

Stopped Diapason 8

 

Swell to Great

 

 

CHOIR (Enclosed)

 

Open Diapason 8

Suabe Flute 4

 

Swell to Choir

 

 

PEDAL

 

Bourdon 16

Salicional 16

Swell to Pedal

 

 

With the Swell to Great coupler still drawn, the blend between Swell and Great is so good on a Harrison instrument, an organist can move from Swell to Great as part of a crescendo, and back again as part of a diminuendo. The blend is the real secret of why these instruments can provide a seamless change of dynamics across a huge range, because not only do Swell, Great and Choir blend with each other, most of the Flutes can always be used with any of the Diapasons.

 

We can hear this at (03.45), with an almost seamless crescendo which continues right through to the final organ 'fff' climax. At (03.45) with just the 8ft Flute on the Great and the Swell to Great coupler drawn, the organist transfers back to the Great Organ; the Swell Organ foundations providing the expression by use of the Swell Pedal. At (04.12), there is an addition of stops on the Swell at (04.17), (probably 8ft Diapason and 4ft Flute), neatly brought on with just the nudge of a knuckle to one of the Swell pistons (probably no.3) and a simultaneous increase on the Great Organ, with the addition of the Open Diapason 2, using the left hand on one of the Great thumb pistons. (probably no.2). The change is almost impercetible, but the dynamic increases as the Swell is opened, preparing the way for the next stage of the process, (04.24) which sees a further increase to the Swell Organ, possibly including the 4ft Principal and Fifteenth 2ft; the swell box being simultaneously shut a little to hide the step. (This is "clutch control" par excellence).

 

At this point, it becomes increasingly difficult to hear what is going on, because the recording, the compression and mp3 conversion seem to conspire in clouding the sound quality. However, the "clutch control" just continues, with Great Flues and what sounds like Swell 16ft reed, then the 16ft Great chorus with more Swell reeds, and finally, as the organ reaches the end, just about everything, including the Full Swell, Pedal Ophicleides at 32ft and 16ft, plus the 16ft. 8ft and 4ft Trombas on the Great.

 

I'm sure Karl will be able to follow the techniques used, but what staggers me, having listened to this video and analysed, is just how much is going on at the console, yet those of us who have done this sort of accompaniment, just do so with relative ease. It shows, I think, how we take so much for granted, and tend to forget just what a difficult task it once was when we first started.

 

Sorry it's such a long post! I could have learned an organ symphony in the time it has taken.

 

Now copy this to a compatible text file or print-out, run the video and follow the details.

 

MM 

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Wow! That's masterly! Thanks very much.

 

There is/was something of a tradition at King's for a second organist to put in the fanfares in the introduction to 'I was glad'.

 

I'm going to listen to the YouTube video again, now.....

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There is just time for a short reply now, it will take time to get through it...:

Dear MM, your last entry might turn out my biggest harvest on the Mander forum until now - thank you!

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There is/was something of a tradition at King's for a second organist to put in the fanfares in the introduction to 'I was glad'.

I recall Sydney Watson inviting a chorister to play a phrase on the Tuba during a voluntary at Ch Ch; can't remember what it was though.

 

Paul

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There is just time for a short reply now, it will take time to get through it...:

Dear MM, your last entry might turn out my biggest harvest on the Mander forum until now - thank you!

 

 

============================

 

 

Thank you to David and Karl for their kind comments.

 

I may just tidy it up a little under edit, because even I got slightly confused trying to work it out, and my use of language is inelegant and lacking clarity in places.

 

However, it should not change in substance.

 

I can't do it immediately, because I'm off to prison........

 

Don't get excited, because I'm only taking a young lad to see his 15 year old brother, who got himself into a bit of trouble.

 

MM

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It is an oral tradition, but, with respect, I don't think the reason was the relative scarcity of Tubas. Rather, from what I have been told, I believe it was once a quite common practice of organists when accompanying to "solo out" any short phrases that were sufficiently melodic and lent themselves to it. These solos could be soft or loud and in any part of the texture (though most commonly the top). It was all part of "orchestrating" the score.

 

Another well-known example of an unwritten Tuba solo is at the very end of Howells's Colegium Regale Jubilate, which I think stems from the old King's, Cambridge, Howells LP with Andrew Davies at the organ (and which presumably had Howells's blessing since he was involved in the recording sessions). The other place I have always fancied doing one is in the tenor part at the end of the Glorias of Howells's St Paul's canticles. This can be done if you play the Tuba part on the Choir, but it needs ample practice owing to the fact that it ends with you needing to play an uncomfortable fistful of notes with the same hand on the Great while still thumbing the Tuba part (there is no other artistic solution).

 

Apologies for stumbling across this discussion a little late.

 

Interestingly, I favour a short Tuba Solo at a different point in the Balfour Gardiner - about four bars before the third verse (the second loud entry) as the organ is building up in volume, there is a G minor chord and there is a nice little line which you can solo out there in the tenor, (D-E-G rising to a G# in the following bar). I picked this up from hearing someone else doing it and think it adds to the build-up (and a good way to learn is listening to other people).

 

I was having a think about a few other 'obligato' tuba solos - Dyson in D evening service is full of them. I think I recalled a couple more but forget them now. I think I'd thought of a couple of examples in organ repertoire too.

 

Picking up on something MM said, how common is the practice when accompanying to build up loudly during an organ interlude and reduce the volume below the voices? 'I was glad' is a particularly good example - the monumental introduction deserves to be loud as these are among the most momentous bars in any choral music, but in order for the voices to be heard the volume needs to be taken down a bit.

 

If you want a good example of a big choral accompaniment, the Stanford in A evening service goes all over the place - I'm not sure there's a more difficult evening service to play. Stanford provides some direction and suggestions. I registered it a while ago using general pistons and I think I had something in the realm of 40-50 registration changes, and even some of them weren't that seamless. I guess it's all part of the fun.

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Apologies for stumbling across this discussion a little late.

 

Interestingly, I favour a short Tuba Solo at a different point in the Balfour Gardiner - about four bars before the third verse (the second loud entry) as the organ is building up in volume, there is a G minor chord and there is a nice little line which you can solo out there in the tenor, (D-E-G rising to a G# in the following bar). I picked this up from hearing someone else doing it and think it adds to the build-up (and a good way to learn is listening to other people).

 

I was having a think about a few other 'obligato' tuba solos - Dyson in D evening service is full of them. I think I recalled a couple more but forget them now. I think I'd thought of a couple of examples in organ repertoire too.

 

Picking up on something MM said, how common is the practice when accompanying to build up loudly during an organ interlude and reduce the volume below the voices? 'I was glad' is a particularly good example - the monumental introduction deserves to be loud as these are among the most momentous bars in any choral music, but in order for the voices to be heard the volume needs to be taken down a bit.

 

If you want a good example of a big choral accompaniment, the Stanford in A evening service goes all over the place - I'm not sure there's a more difficult evening service to play. Stanford provides some direction and suggestions. I registered it a while ago using general pistons and I think I had something in the realm of 40-50 registration changes, and even some of them weren't that seamless. I guess it's all part of the fun.

 

 

I cut down the Great and close the Swell box after the voices enter in 'I was glad'.

 

The tuba blasts at the beginning of the Gloria in Murrill in E never fail to please. The ends of both Coll Reg morning canticles provide an excuse for a good honk.

 

The opening of Stanford in A is a bugger, although maybe the hemiolae in Rubbra in A flat are worse. I cut my thumb badly minutes before an Evensong at Worcester Cathedral which included Stanford in A, with the result that the console looked like an abattoire by the end of the Mag.

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Apologies for stumbling across this discussion a little late.

 

Interestingly, I favour a short Tuba Solo at a different point in the Balfour Gardiner - about four bars before the third verse (the second loud entry) as the organ is building up in volume, there is a G minor chord and there is a nice little line which you can solo out there in the tenor, (D-E-G rising to a G# in the following bar). I picked this up from hearing someone else doing it and think it adds to the build-up (and a good way to learn is listening to other people).

 

I was having a think about a few other 'obligato' tuba solos - Dyson in D evening service is full of them. I think I recalled a couple more but forget them now. I think I'd thought of a couple of examples in organ repertoire too.

 

Picking up on something MM said, how common is the practice when accompanying to build up loudly during an organ interlude and reduce the volume below the voices? 'I was glad' is a particularly good example - the monumental introduction deserves to be loud as these are among the most momentous bars in any choral music, but in order for the voices to be heard the volume needs to be taken down a bit.

 

If you want a good example of a big choral accompaniment, the Stanford in A evening service goes all over the place - I'm not sure there's a more difficult evening service to play. Stanford provides some direction and suggestions. I registered it a while ago using general pistons and I think I had something in the realm of 40-50 registration changes, and even some of them weren't that seamless. I guess it's all part of the fun.

 

=====================================

 

 

Stanford's "Te Deum" in B flat has a massive opening which needs to be trimmed back when the choral part starts.

 

However, for the benefit of Karl Kropft, I was going to add an afterthought about those seamless crescendoes.

 

On a typical Harrison swell organ, (and on many Willis, Hill Norman & Beard, Compton and other instruments), there are several "full swell" effects at varying dynamic levels.

 

There is the small "full swell" consisting of Oboe 8ft with 4ft Principal, which adds the tiniest hint of reedy growl to otherwise soft registrations.

 

Adding sub-octave couplers increases the gravity and reediness.

 

At moderate volume, is the 8.4.2.Mixture and 16ft reed.

 

Similarly, the 4ft Principal with a single 8ft Trumpet is useful in psalm accompaniment, where a little bit of anger is required in the 'word painting.'

 

At high volume, there is the classic 8.4.2.Mixture with reeds at 16,8 & 4.

 

On Harrison instruments, the Swell Octave coupler adds a huge amount, both in terms of brilliance and absolute reed-power.

 

So really, the English Swell is a vital component when the Great is used as a coupler manual, as it normally is when accompanying service settings.

 

I state all this, because when listening to English choral accompaniment, it isn't always easy to work out what swell registration is being used simply from listening, but once the basics are grasped, it makes perfect sense.

 

MM

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Picking up on something MM said, how common is the practice when accompanying to build up loudly during an organ interlude and reduce the volume below the voices?

This is surely a stock technique. At least, it's the way I was taught! Rule of thumb: you can let the organ rip as much as you like when the choir isn't singing (so long as everything remains within the bounds of artistry), but you must never, ever drown the singers (well, almost never!). This will often force you to reduce registration when they enter.

 

One of my favourite moments occurs in Ireland's "Greater love", after the words "into his marvellous light". The vocal fanfares on "Ye are sanctified, ye are justified", etc are another traditional place for a Solo Tuba or Trumpet (the score merely says "add Reeds"). During the wonderfully broad, sweeping tune that follows, the choir needs to build and build. Once they stop singing, the organ really must continue the crescendo to climax on full organ. If you time the pregnant pause that follows exquisitely enough, then the gently floated, piano entry of the altos and tenors becomes one of the most magical moments in the repertoire.

 

If you want a good example of a big choral accompaniment, the Stanford in A evening service goes all over the place - I'm not sure there's a more difficult evening service to play.

Lots of people say this so I suppose there must be something in it, but for some reason it's never worried me in the slightest. I'm infinitely more frightened by Stanford's Magnificat in G, which over the years has given me a positive phobia. There once was a time when I could play it; now I doubt that any amount of practice will make it note-perfect again. I'm sure it's an entirely psychological thing.

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I'm infinitely more frightened by Stanford's Magnificat in G, which over the years has given me a positive phobia. There once was a time when I could play it; now I doubt that any amount of practice will make it note-perfect again. I'm sure it's an entirely psychological thing.

 

==========================

 

 

I got this up to scratch once upon a time, but then.....horror of horrors......a lady soloist stood in for an ill disposed treble soloist.

 

I wish I had been warned that she was, (at least in her world), a famous opera singer, with the most extraordinary sense of rubato timing. The poor old "spinning wheel" accompaniment went all to cock, and in desperation, I played from memory and watched her mouth in a vain attempt to anticipate the next unexpected lurch in the timing.

 

I still have nightmares............ :wacko:

 

MM

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