[rodgersorgan] Registrations

Hello all,
Everytime I see this subject come up, I have to laugh.  For many years I used 
to assist an organ serviceman when he worked in my area, usually holding 
keys.  I was always amazed at the combinations most organists had on their 
pistons.  Usually celeste stops in full combinations and then complain that the 
organ 
sounded "wavy" and not in tune.

I was told many years ago that it didn't make any difference how well one 
played, if they didn't know what stops to use, they were better off not to sit 
at 
the console.

A number of years ago I attended a master-class conducted by Catherine 
Crozier.  She told the story of having played a recital some years previously 
at a 
church that had a very nice pipe organ, well voiced and balanced.  About five 
years later she played a recital at the same church.  The organist proudly told 
her when she arrived that she "wouldn't have to set pistons because she (the 
organist) hadn't changed them since Miss Crozier had played there before.  
Okay, so much for the theory that every piece can be played using the same 
pistons.

I think that registration of a given piece continually changes, even on the 
same instrument.  Your hearing changes, you've heard someone else play the 
piece with an entirely different concept of sound or the room has been 
carpeted, 
etc.  I've found that I either augment or drop stops when playing a work 
another time.  Again, it's personal taste.  Many composers and arrangers give 
good 
registration suggestions that generally work.  However, there are a few who say 
something like "full swell" or "great without reeds".  What is "full swell".  
Is it with or without reeds?  Do you use mixtures?

Sometimes it's actually nice to disregard suggestions altogether and quietly 
play a piece for communion (because of the beautiful harmonies) that could be 
more appropriate for a postlude in another service.

The last several months I've been playing in a church that has a "blended 
service" (whatever that term really means) and find that my registrations on a 
3-manual Rodgers have evolved in a direction different for a more liturgial 
service.  I've even used the "Tibia and Vox" on some gospel hymns and had 
people 
lined up after the service to say "That took me back to the days of the Orpheum 
Theatre".  So be it.

David E. Dillon
Organist, St. Paul's Methodist
Tulsa, OK
Owner of a 950 (which is on loan to the church)


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