Theatre Organ 101 - Registration
Tips & Tricks
Let me say that this second chapter of material is more intended to provide
Examples of various effects or treatments. In several slides I refer to
Arrangements by George Wright. I have long considered Mr. Wright to have
been the most gifted theatre organist ever to have graced the console with his
talent. Many prominent organists have demonstrated in their efforts to recreate
his arrangements, not only the extent to which George is universally considered
to have been the great genius of the theatre organ, but also the extent to which
his imitators lack the incredible musical talents that were George’s trademark. In
referencing some of his arrangements, I am only trying to provide examples of
some of the techniques I mention in this presentation, and I do this with the clear
understanding that my own talents and musical knowledge are microscopic in
comparison to his. I have only the deepest respect and admiration for George’s
playing and the magnificent body of brilliant work he has left us to enjoy. I mean
him no disrespect by anything I mention in this presentation, nor am I suggesting
that I fully understand his incredible musical talent. I hope you find this material
of some use.
Real Playing!
• Number 1 Tip – Phrasing & Expression!
• Play as Though You Were Singing
• Crawford Can be Heard Humming in
Recordings!
– He May Have Enjoyed Humming!
– It Helps Get the Phrasing Wright!
• Are You Communicating the Emotion of
the Song or More Like Driving a Fork Lift?
Post Horn 2
nd
Touch
Chord Accents
• Many Instrument Only Have
Accompaniment 2
nd
Touch
• Gives the Illusion of Post Horn Accents on
Great / Melody
– Push all the notes of the Chord to Second
Touch in Unison
• Easy and Impressive if Not Over Used
Build Duet Part Into
Accompaniment
• Gorgeous Two Part Harmony Between
Melody on Great, and Accompaniment
• 4’ Harp Helps Accent Accompaniment
Melody
• Additional Accompaniment Harmony Adds
Complexity
Glockenspiel Octave Plinks
/ Chime Accent Note
• Effective in a Variety of Musical Styles
• Alternative to Chime
• Not Technically Difficult
• Most Instruments have Glockenspiel or Chimes
Melody on the BOTTOM!!!
• Jesse Crawford – I’m Confessin
• George Wright – I Know That You Know
• Sometimes Played with Thumb of Right
Hand
• Also Played with 2
nd
Touch on
Accompaniment
More Melody On the BOTTOM
• Arpeggios with Right Hand While Melody
with Left (Hal Pearl Xylophone)(Ida)
• Also Works with Glockenspiel and
Chrysoglott
Crescendo Accents
• Smooth Build Accent
– Jesse Crawford – So Beats My Heart for You
• Brass Accent
– If no 2
nd
touch
– Affects Pedal and Accompaniment
Simultaneously
Crescendo for Registration
• No Combination Action
• Faulty Combination Action
• Stops Mislabeled
• Rather Than Using Crescendo for
Accents, Various Points in the Travel of
the Crescendo Pedal can Constitute
Individual Registrations
Mystical Harp Arpeggio
• In Key of C, Alternate C and F# Simple
Triad Arpeggio
• Familiar but Mysterious Effect
• Use Chrysoglott or Vibra-harp
Brief Harmonic Interlude
Interpretation of Run from GW’s
“South”
Another Famous Run
Amazing Progression
Progression on Diminished Interval
Blues Riff
F A
b
B
b
C
b
C E
b
Then keep repeating
Pedal Motion
Other Pedal Effects
• Pedal Plays Third Tone
• Pedal Plays Diminished 7
th
Tone
• Resultant 32 – Play Two Pedal Notes a
Fifth Apart
Heel & Toe Tap Cymbal
• For Modern Rythms
• Helps Stabilize Cymbal Patterns
• Allows Tambourine in Accompaniment
Syncopated Accents
• Perhaps the most succinct developmental
device--a microcosm of developmental
harmony--is the short progression of
chords used by jazz players to move from
one part of the composition to another, the
turnaround. Turnarounds, as strong
directional pointers, most often occur at
the end of a composition (before its
improvised repetition), at the end of a
section, or even at the end of a phrase.
You’ve Got Rythm
This Pattern is Similar to the Pattern at the end of GW’s I’ve got Rhythm
More Rythm
This Pattern is similar to the Xylophone Pattern in GW’s I’ve Got Rhythm
Delayed Tremolo
• Manually Hit Tremulant Tab
– After Initiating Sustained Note
• Very Effective on Vibraharp
– Strike with Trem Off, Then Turn On
Turn Stop On Momentarily
• Chime on Melody Note
• Glockenspiel Plink
• Post Horn Accent
• Vibraharp or Chrysoglott Accent
Changing Stops While Holding
Chords
• Can Create Interesting Effect
• Adding or Changing Tibia Unification
