Organ Transcription Question

Heylo.

I'm transcribing the Adagio from Bach's Easter Oratorio to organ from the string part.

I was wondering if I need to specify anything about the stops for something like this, or if I should just let my organist handle it. Thanks. :]

Some scores say only p ff etc...

others specify everything very clearly, (Bourdon 8', Gamba 8', Nazard 2 2/3', etc...

and other only say "Fonds 2' 4' 8' "..

I prefer the 3rd....

...the 2nd one is ok when you want a very specific timbre but sometimes the organ doesn't have the stops the score is calling for, If you write only "Fonds 2' 8' " the organist will use the available stops like "Flute 2' " + "Bourdon 8' "...

- "Fonds" means stops like Flutes, Principales, Strings

- "Mixtures" the Mixtures available (Stops that have several pipes for each note, i.e 4' + 2' + 2 2/3' ... that means that sounds C 8va up + C 2 8vas up + G 2 8vas up.)

- "Reeds" pipes with reeds (non flute pipes) like "Trumpet 8' " "Oboe 8' " "Bombarde 16' "

try to see some organ scores to see what I mean.

As an organist I would only specify registration if you know the organ that the piece will be performed or under the guidance of an organist. Registration is an art in itself.

So, I advise expression marks. Note that when you add in decrescendo and crescendo marks that mean to the organist to open or close the boxes gradually - eg to control dynamics you have a screen that muffles the sound to get softer and opens it up to resume the prior volume, To add volume to your present sound when the screen is not muffling the noise you need to add stops and to reduce volume remove stops - generally.

Registration is an art in itself.

UUUU very true...

Yes, follow composerorganist advise, mostly if you are not an organist don't write fo specific stops. Actually those scores with "Specific Stops" were written by Organists (Widor, Vierne etc....) and not just that but for an specific Organ (San Sulpice Organ, Paris... or one of the others there....)

Hmm, well, it's clear of course that if you write for a specific setup, the required stops might not be available on every organ. But won't the organist simply choose a similar equivalent in this case, so you'll get the same effect in the end than by just writing down general expressions for the intended sound? Personally I always think that, no matter what instruments you are writing for, if you do want a specific sound, write it down.

Certainly, registration is an art in itself, but I don't think that means a composer should just ignore it altogether - after all it has a huge influence on how your piece will sound. And I'd really expect any composer writing for organ (as for any other instrument), to learn about the instrument, maybe to try out the organ the piece is going to be performed on (if known), to discuss it with organists etc., in other words: to know the instrument you're writing for. If you do that, I don't see why precise registration should be left to composers who are organists themselves. You just have to be aware that what you write is not universally applicable to every organ out there (but depending on what exactly you ask for, it might be something that really is available on almost every organ). But certainly - knowing the organ your piece will be performed on and knowing the organist always helps.

But of course, if a very precise registration doesn't matter to your compositorial ideas and you're just interested in having different sections in different timbres, there's no need to write down the stops. Just write down what is important to you to get in an exact certain fashion.

Gardener - As usual excellent points. My assumption was to exclude registration ONLY if you do not have a chance to consult an organist and this is your first time writing for organ. I just find some composers get overwhelmed by the registration part and learn more if they describe what they want to an organist. In this case, I would change my advice - add registrations and go over them with the organist.

In general, if you do your homework and have a specific sound in mind then of course include registrations. Most organs will have at least foundation stops, reeds and a mixture or two and the pedal will have at least foundation stops of 16' and 8'.

And yes, the organist will adjust your registrations for the organ given. My advice to write for a given organ is an optimal situation. If you have that chance then definitely explore the registration.

Finally, when I wrote my organ piece I kept the registration very bare - the organist I worked with was getting his Masters in organ and was something of a prodigy. I mean the guy learned the Widor Tocatta from Symphony 5 in less than 5 days for a chuirch service and for his recital he did Sibelius' Commottio - a monster of a piece (with something like 5 insane fugues and 20 minutes long). If you are ever so lucky LISTEN to such an organist.

If you are interested in the organ, The American Guild of Organists has organ encounters for adults. There is an international chapter of the AGO. In Canada they have the RCCO. I imagine in Europe there are a ton of organ associations. Don't be shy contacting one of the members - organists love to show off their instrument (Ok that DID sound a little naughty - lol)

You know, thinking it twice.... Gardener is very right, the composer should specify the stops if he wants his piece sound like he's thinking. (Actually I would write the stops)...

But composerorganist is right too when he says that if the composer is not an organist or doesn't know very much about stops, he can only write something less specific. In that case, if the composer wants an specific sound, he must make the proper research to learn about stops. Let's say he heard the "Cor de Nuit" or "Flageolet" and we wants that timbre on his work but he doesn't know what is that stop, he must find out and write in the score "Cor de Nuit"....

Now, if the Organ have no that "Cor de Nuit" the organist will determinate how indispensable is that stop for that piece and see if he can imitate it with other stop or what to do ...

now...not all the stops are that "randomly" available, for instance, to get a Flute 8' + Flute 2' timbre, it would be very easy, all organs have something to play that.

I would like to see the response of oboeducky about what he plans to do.

Thanks for all the advice.

I think I will probably just go to the church and check out the organ. Experiment with sounds and stuff. :]