In this lesson you will continue your study of organ registration and how to use all of the stops of the instrument to enhance the hymn singing experience. 

In church organ playing, chorus registration is used when supporting congregational singing. It's used when all musical lines are equally important, and no single line stands out.  This type of registration is also used in much of the music by composers like J.S. Bach, such as his preludes, fugues, and toccatas.

How to Build a Chorus Registration (Step by Step)

Chorus registrations are built by carefully combining stops to create a unified sound across the manuals and pedalboard. Here's how to approach it:

1. Start with Principals

• The principal (or diapason) stops are the core of a good chorus sound. If a principal stop isn't available at a needed pitch, consider using a clear flute stop like a Gedeckt as a substitute. Use Proper Foundations

• Manuals: Begin with 8' pitch.

• Pedals: Start with 16' pitch.

2. From there, you can add stops at 4', 2', and mixture to add more volume and clarity.

Examples:

• Strong and bright: 8' + 4' + 2' + Mixture

• Moderate strength: 8' + 4' + 2'

• Gentle and reflective: 8' + 4' only

3. Clarity versus Richness

• If you desire clarity, use only one stop per pitch level, all of the same tonal family (e.g., 8' Principal, 4' Octave, 2' Fifteenth).

• If you desire richness, fullness, or a thicker texture of sound, layer stops of other tonal families at the same pitch level to create a pyramid configuration for a richer, fuller sound (e.g., three 8' stops, two 4' stops, and one 2' stop). Never include celeste stops in this configuration.

4. Avoid Pitch Gaps

• Avoid combinations like 8'/2' or 16'/4', which sound thin, top-heavy, or bottom-heavy. Instead, use a smooth progression of pitches like:

  • 8' → 4' → 2'

  • 16' → 8' → 4'

5. Adding Chorus Reeds

• Fiery chorus reed stops like trumpets can add fire and intensity to a chorus, but they should be used with intention. They're most effective:

• When paired with mixtures

• In climactic moments, such as the final verse of a hymn

6. Leave Out Ineffective Stops

• • Some stops—especially very soft ones or celeste stops—don't blend well in a chorus registration. Celestes, which are tuned slightly sharp or flat to create an undulating effect, are better suited for prelude and postlude and should not be used in congregational singing.

7. The role of 16' manual stops, 32' pedal stops, and 4' chorus reeds in the full organ

• 16' manual stops and 32' pedal stops add depth and gravity to the sound of full organ. However, they should be used sparingly and with clear musical intention. If they are overused, they can become tiresome for a congregation, muddy the texture, and obscure the melody, making it difficult to hear clearly.

• If your organ contains a 4' chorus reed in the manuals—often labeled "Clarion 4'"—you can use it alongside an 8' manual chorus reed and the 16' manual and 32' pedal stops. This addition helps balance the overall sound and makes the melody clearer.

Musical and Aesthetic Considerations

Match the Mood

• Festive hymns or processional pieces: Use fuller registrations with mixtures and perhaps reeds.

• Softer or contemplative music: Stick to 8' and 4' stops. Avoid 2' stops, mixtures, and chorus reeds.

Maintain Balance

• It's essential to strike a balance between the sound of the manuals and the pedals. For example, don't use bold pedal stops with very soft manual stops. Also, avoid overemphasizing one pitch range (such as using too many high-pitched stops without enough low ones).

Final Tip:

• When accompanying hymns, chorus registration supports congregational singing best. It gives structure and strength to a singing congregation. Build registrations that are well-balanced and appropriate to the hymn—whether it's jubilant or meditative.