62:
the solo voice would be played using the cromorne stop. Cromorne, cornet, tierce, nasard, trompette and voix humaine are the most commonly encountered solo stops. The titles of such compositions frequently omit the word "récit" and simply indicate the registration
222:), "high tenor". Such designations are used to point to the position of the solo stop in a récit (see examples above), or of the chant melody in a setting (i.e. the title
707:
596:
The following section briefly summarizes explanations from the following sources: Apel 1972, 723–725; Owen 1997, 110–118; Silbiger 2004, 108–112.
58:: a piece in which a single voice emerges soloistically above all others by means of special registration. The latter is usually indicated in the title, i.e. in a
640:
Beckmann, Klaus. Repertorium
Orgelmusik. Komponisten - Werke - Editionen. 1150-2000 (3., neu bearbeitete und erweiterte Auflage 2001). Vol. I. Schott.
51:, whereas the first three genres were all realized as collections of brief pieces in various characteristic forms. Such forms included the following:
35:(c. 1626–1661), who experimented with structure, registration and melodic lines, expanding the traditional polyphonic forms, and
714:
131:: usually, three- or four-voice polyphonic pieces that adhere more or less strictly to the imitative style. The designation
543:
531:
157:: phrases are played twice, quieter on the second time, giving the impression of an echo. This impression is heightened in
1033:
482:
24:(c. 1563–1633) to a unique, richly ornamented style with its own characteristic forms that made full use of the
687:
673:
659:
645:
630:
39:(1632–1714), who established the distinct forms and styles of what was to become the French organ tradition.
167:: mostly homophonic pieces in duple or quadruple meter. They are almost invariably used as introductory movements.
488:
562:
47:
French organ composers cultivated four major genres: masses, hymns, suites and noëls. Noëls are variations on
1028:
422:
519:
386:
744:
464:
398:
525:
295:
392:
977:
870:
804:
799:
458:
283:
36:
909:
839:
572:
171:
Additionally, a number of standard registrations may be indicated by the following designations:
537:
20:
formed in the first half of the 17th century. It progressed from the strict polyphonic music of
1038:
513:
549:
476:
470:
289:
161:
that repeat only the endings of phrases. Such pieces used specially designed echo divisions.
972:
919:
904:
879:
844:
700:
567:
404:
337:
258:
71:, etc.) and/or the position of the solo voice. Typical combinations include the following:
8:
924:
894:
727:
416:
212:
stand for "soprano", "tenor" and "bass", respectively. A rarely used type of voicing is
884:
809:
410:
271:
277:
856:
683:
669:
655:
641:
626:
501:
440:
373:
361:
148:
428:
992:
962:
774:
754:
577:
446:
355:
307:
507:
196:, frequently used in homophonic sections of larger pieces or standalone movements.
982:
769:
452:
331:
264:
246:
48:
929:
301:
987:
791:
764:
759:
736:
349:
343:
319:
313:
252:
240:
32:
21:
1022:
1002:
749:
367:
325:
111:: a piece which constantly alternates between two different registrations. A
952:
889:
652:
The
Language of the Classical French Organ: A Musical Tradition Before 1800
214:
100:
1007:
997:
957:
939:
434:
934:
866:
829:
821:
723:
618:
27:
914:
851:
834:
786:
781:
692:
193:
188:
176:
272:
Second period: the establishing of the French
Classical Organ School
495:
234:
143:) is its opposite. Rarely, four-voice fugal pieces bear the title
899:
80:
181:
127:
90:
625:. Translated by Hans Tischler. Indiana University Press.
42:
135:
indicates a piece of a serious character, whereas the
226:indicates that the chant itself is in the bass).
1020:
635:Geschichte der Orgel- und Klaviermusik bis 1700
496:Late 18th century and post-revolutionary period
235:First period: the development of free polyphony
31:. Instrumental in establishing this style were
708:
380:
180:: combination of the organ's principals and
715:
701:
103:(basse), played using the trompette stop
83:(dessus), played using the cromorne stop
666:The Registration of Baroque Organ Music
1021:
722:
93:(taille), played using the tierce stop
696:
623:The History of Keyboard Music to 1700
115:would be alternatively played on the
43:Characteristic forms and nomenclature
532:Jacques-Marie Beauvarlet-Charpentier
483:Jean-Jacques Beauvarlet-Charpentier
192:: a loud combination, based on the
13:
184:, with the mixtures also included.
14:
1050:
544:Alexandre Pierre François Boëly
637:by Bärenreiter-Verlag, Kassel.
599:
590:
563:French baroque harpsichordists
443:(c. 1700/10– after 1740)
376:(c. 1675/80 –after 1739)
346:(c. 1668/72– c. 1728/30)
1:
612:
151:cultivated five-voice fugues.
668:. Indiana University Press.
489:Josse-François-Joseph Benaut
229:
113:Dialogue sur les grands jeux
7:
678:Silbiger, Alexander. 2004.
556:
99:: the solo voice is in the
89:: the solo voice is in the
79:: the solo voice is in the
10:
1055:
1034:French classical organists
680:Keyboard Music Before 1700
633:. Originally published as
423:Guillaume-Antoine Calvière
381:Third period: 18th century
948:
865:
820:
735:
654:. Yale University Press.
526:Jean-Baptiste Charbonnier
520:Gervais-François Couperin
387:Louis-Nicolas Clérambault
650:Douglass, Fenner. 1995.
583:
465:Claude-BĂ©nigne Balbastre
431:(1696– after 1762)
413:(c. 1690– c. 1772)
358:(1671–before 1733)
284:Guillaume-Gabriel Nivers
37:Guillaume-Gabriel Nivers
573:List of organ composers
278:Nicolas-Antoine Lebègue
514:Jean-Nicolas Marrigues
393:Jean-François Dandrieu
296:Jean-Henri d'Anglebert
664:Owen, Barbara. 1997.
471:Armand-Louis Couperin
459:Louis Bollioud-Mermet
290:Jean-Nicolas Geoffroy
1029:French music history
568:German organ schools
538:François-Louis Perne
491:(c. 1743–1794)
405:Louis-Antoine Dornel
399:François d'Agincourt
395:(c. 1682–1738)
334:(c. 1660–1733)
322:(c. 1650–1706)
316:(1650/53–1703)
310:(c. 1645–1712)
304:(c. 1640–1719)
267:(c. 1627–1707)
255:(c. 1626–1661)
243:(c. 1563–1633)
925:Trompette militaire
796:Combination action
550:Louis-Nicolas SĂ©jan
477:Jean-Baptiste NĂ´tre
417:Louis-Claude Daquin
18:French organ school
978:Historical Society
411:Christophe Moyreau
97:Basse de Trompette
77:Dessus de Cromorne
1016:
1015:
805:Tubular-pneumatic
800:Electro-pneumatic
552:(1786–1849)
546:(1785–1858)
540:(1772–1832)
534:(1766–1834)
528:(1764–1859)
522:(1759–1826)
516:(1757–1834)
510:(1745–1819)
504:(1740–1831)
502:Guillaume Lasceux
485:(1734–1794)
479:(1732–1807)
473:(1727–1789)
467:(1724–1799)
461:(1709–1794)
455:(1707–1795)
449:(1705–1789)
441:Dom George Franck
437:(1696–1765)
425:(1695–1755)
419:(1694–1772)
407:(1685–1765)
401:(1684–1758)
389:(1676–1749)
374:Jean-Adam Guilain
370:(1674–1751)
364:(1672–1703)
362:Nicolas de Grigny
352:(1669–1732)
340:(1668–1733)
338:François Couperin
328:(1660–1725)
298:(1635–1691)
292:(1633–1694)
286:(1632–1714)
280:(1631–1702)
261:(1624–1680)
259:François Roberday
249:(1598–1664)
200:The designations
149:Nicolas de Grigny
60:RĂ©cit de Cromorne
26:French classical
1046:
775:Expression pedal
755:Eight-foot pitch
717:
710:
703:
694:
693:
606:
603:
597:
594:
578:Organ repertoire
447:Louis Archimbaud
356:Gaspard Corrette
308:Lambert Chaumont
119:(Great) and the
87:Tierce en taille
49:Christmas carols
1054:
1053:
1049:
1048:
1047:
1045:
1044:
1043:
1019:
1018:
1017:
1012:
944:
861:
816:
770:Crescendo pedal
731:
721:
615:
610:
609:
604:
600:
595:
591:
586:
559:
498:
453:Michel Corrette
383:
332:Pierre Dandrieu
274:
265:Nicolas Gigault
247:Charles Racquet
237:
232:
45:
12:
11:
5:
1052:
1042:
1041:
1036:
1031:
1014:
1013:
1011:
1010:
1005:
1000:
995:
990:
985:
980:
975:
970:
965:
960:
955:
949:
946:
945:
943:
942:
937:
932:
927:
922:
917:
912:
907:
902:
897:
892:
887:
882:
876:
874:
863:
862:
860:
859:
854:
849:
848:
847:
842:
832:
826:
824:
818:
817:
815:
814:
813:
812:
807:
802:
794:
789:
784:
779:
778:
777:
772:
762:
757:
752:
747:
741:
739:
733:
732:
720:
719:
712:
705:
697:
691:
690:
676:
662:
648:
638:
614:
611:
608:
607:
605:Silbiger, 111.
598:
588:
587:
585:
582:
581:
580:
575:
570:
565:
558:
555:
554:
553:
547:
541:
535:
529:
523:
517:
511:
505:
497:
494:
493:
492:
486:
480:
474:
468:
462:
456:
450:
444:
438:
432:
429:Pierre FĂ©vrier
426:
420:
414:
408:
402:
396:
390:
382:
379:
378:
377:
371:
365:
359:
353:
350:Louis Marchand
347:
344:Charles Piroye
341:
335:
329:
323:
320:Jacques Boyvin
317:
314:Gilles Jullien
311:
305:
299:
293:
287:
281:
273:
270:
269:
268:
262:
256:
253:Louis Couperin
250:
244:
241:Jean Titelouze
236:
233:
231:
228:
224:Kyrie en basse
198:
197:
185:
169:
168:
162:
152:
124:
105:
104:
94:
84:
73:
72:
44:
41:
33:Louis Couperin
22:Jean Titelouze
9:
6:
4:
3:
2:
1051:
1040:
1039:Baroque music
1037:
1035:
1032:
1030:
1027:
1026:
1024:
1009:
1006:
1004:
1001:
999:
996:
994:
991:
989:
986:
984:
981:
979:
976:
974:
971:
969:
966:
964:
961:
959:
956:
954:
951:
950:
947:
941:
938:
936:
933:
931:
928:
926:
923:
921:
918:
916:
913:
911:
908:
906:
903:
901:
898:
896:
893:
891:
888:
886:
883:
881:
878:
877:
875:
872:
868:
864:
858:
855:
853:
850:
846:
843:
841:
838:
837:
836:
833:
831:
828:
827:
825:
823:
819:
811:
808:
806:
803:
801:
798:
797:
795:
793:
790:
788:
785:
783:
780:
776:
773:
771:
768:
767:
766:
763:
761:
758:
756:
753:
751:
748:
746:
743:
742:
740:
738:
734:
729:
725:
718:
713:
711:
706:
704:
699:
698:
695:
689:
688:0-415-96891-7
685:
682:. Routledge.
681:
677:
675:
674:0-253-21085-2
671:
667:
663:
661:
660:0-300-06426-8
657:
653:
649:
647:
646:3-7957-0500-2
643:
639:
636:
632:
631:0-253-21141-7
628:
624:
620:
617:
616:
602:
593:
589:
579:
576:
574:
571:
569:
566:
564:
561:
560:
551:
548:
545:
542:
539:
536:
533:
530:
527:
524:
521:
518:
515:
512:
509:
508:Nicolas SĂ©jan
506:
503:
500:
499:
490:
487:
484:
481:
478:
475:
472:
469:
466:
463:
460:
457:
454:
451:
448:
445:
442:
439:
436:
433:
430:
427:
424:
421:
418:
415:
412:
409:
406:
403:
400:
397:
394:
391:
388:
385:
384:
375:
372:
369:
368:Pierre Dumage
366:
363:
360:
357:
354:
351:
348:
345:
342:
339:
336:
333:
330:
327:
326:Mathieu Lanes
324:
321:
318:
315:
312:
309:
306:
303:
300:
297:
294:
291:
288:
285:
282:
279:
276:
275:
266:
263:
260:
257:
254:
251:
248:
245:
242:
239:
238:
227:
225:
221:
220:haulte contre
217:
216:
211:
207:
203:
195:
191:
190:
186:
183:
179:
178:
174:
173:
172:
166:
163:
160:
156:
153:
150:
147:("quartet").
146:
142:
138:
134:
130:
129:
125:
122:
118:
114:
110:
107:
106:
102:
98:
95:
92:
88:
85:
82:
78:
75:
74:
70:
66:
61:
57:
54:
53:
52:
50:
40:
38:
34:
30:
29:
23:
19:
967:
930:Voix céleste
920:Registration
890:Tibia Clausa
737:Construction
679:
665:
651:
634:
622:
601:
592:
302:André Raison
223:
219:
215:haute-contre
213:
209:
205:
201:
199:
187:
175:
170:
164:
158:
154:
144:
140:
136:
132:
126:
120:
116:
112:
108:
96:
86:
76:
68:
64:
59:
55:
46:
25:
17:
15:
940:Zimbelstern
724:Pipe organs
619:Apel, Willi
435:Jean Girard
133:Fugue grave
117:Grand orgue
1023:Categories
993:Repertoire
963:Fairground
935:Vox humana
910:Ophicleide
830:En chamade
613:References
194:reed stops
137:Fugue gaie
983:Portative
915:Plein-jeu
787:Swell box
782:Tremulant
230:Composers
189:Grand jeu
177:Plein jeu
988:Positive
745:Builders
621:. 1972.
557:See also
109:Dialogue
65:Cromorne
1003:Theatre
905:Mixture
900:Gedackt
880:Bourdon
845:Voicing
840:Scaling
792:Tracker
750:Console
165:Prélude
145:Quatuor
121:Positif
81:soprano
973:German
968:French
953:Barrel
895:Cornet
857:Tuning
765:Pedals
760:Manual
686:
672:
658:
644:
629:
206:taille
202:dessus
182:flutes
69:Cornet
1008:Water
998:Shoes
958:Crawl
885:Tibia
867:Stops
822:Pipes
584:Notes
210:basse
159:echos
128:Fugue
91:tenor
56:RĂ©cit
28:organ
871:List
852:Reed
835:Flue
810:Stop
728:list
684:ISBN
670:ISBN
656:ISBN
642:ISBN
627:ISBN
218:(or
208:and
155:Echo
141:gaye
139:(or
101:bass
16:The
1025::
204:,
67:,
873:)
869:(
730:)
726:(
716:e
709:t
702:v
123:.
63:(
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