OrganTutor :: Solo and Accompaniment Registration : Lesson Test

Lesson Test

Take this test after you have internalized the entire lesson. Once you begin, do not refer to the workbook or other reference material. To grade this test, press the “Check Answers” button below. You may take this test as many times as you wish by pressing the “Reset Test” button. For each incorrect answer you will be given a reference to the OrganTutor lesson topic that you should review to gain a full understanding of the concept.

Choose the one best answer.

Which of the following factors is true in both chorus registration and solo and accompaniment registration?
1. The pedal must be present.
2. One part is prominent or more melodic in nature.
3. There are two manual parts or more.
4. The hands play on two different manuals.
Which of the following is NOT true relative to solo and accompaniment registration?
1. In the manuals, both solo and accompaniment are usually built on an 8' foundation.
2. The Pedal combination, if it sounds the bass part, is usually built on an 8' foundation.
3. It is possible that the solo combination could be built on a 16', 8', or 4' foundation.
4. The solo part may be played in the Pedal.
An organist is constructing a solo and accompaniment registration. She has found a good 8' and 4' flute combination in the Swell for the left-hand accompaniment, and a well-balancing Pedal combination. She cannot, however, find a solo stop or combination that she likes on the Great. What is the best assumption given this situation?
1. The organ is probably too small.
2. The 8' and 4' flute combination should be the solo, not the accompaniment.
3. She should not be using solo and accompaniment registration.
4. The right hand, not the left, usually plays on the Swell.
5. She proceeded in the wrong order.
Which of the following would be LEAST likely to succeed in an accompaniment part of a solo/accompaniment combination?
1. a principal stop
2. a hybrid stop
3. flutes 8' and 4'
4. a celeste
5. a tremulant
Based on the guidelines offered in this lesson, which of the options below identifies a problem with the following combination as a congregational hymn?
--Solo: Oboe 8'
--Accompaniment: flutes 8' & 4' with balanced pedal built on 16' foundation
1. accompaniment combination itself is not constructed correctly
2. inappropriate volume for the situation
3. accompaniment overbalances solo
4. too much contrast in volume between solo and accompaniment
Based on the guidelines offered in this lesson, which of the options below identifies a problem with the following combination?
--Solo: flutes 8' and 4'
--Accompaniment: flute 8', principal 4' with balanced pedal built on 16' foundation
1. accompaniment combination itself is not constructed correctly
2. inappropriate volume for the situation
3. accompaniment overbalances solo
4. too much contrast in volume between solo and accompaniment
Based on the guidelines offered in this lesson, which of the options below identifies a problem with the following combination?
--Solo: flute 8', principal 4', flute 2'
--Accompaniment: flutes 8' & 2' with pedal flutes 16', 8', 4'
1. accompaniment combination itself is not constructed correctly
2. inappropriate volume for the situation
3. accompaniment overbalances solo
4. too much contrast in volume between solo and accompaniment
Based on the guidelines offered in this lesson, which of the options below identifies a problem with the following combination?
--Solo: foundations 8', 4', 2', Mixture IV, Trompette 8',
--Accompaniment: flutes 8' & 4' with pedal flutes 16', & 8'
1. accompaniment combination itself is not constructed correctly
2. inappropriate volume for the situation
3. accompaniment overbalances solo
4. too much contrast in volume between solo and accompaniment
Which of the following solo stops or combinations is most likely to be of the “firm but less assertive” type?
1. Trompette 8' with principal chorus
2. Principals 8' & 4'
3. flutes 8' & 2'
4. Bourdon 8'
5. flutes 8' & 2 2/3'
A full principal chorus through the (chorus) mixture may be used
1. in the ACCOMPANIMENT part of a solo & accompaniment combination.
2. in the SOLO part of a solo & accompaniment combination.
3. in a chorus-type combination.
4. in any of these three types of combinations.

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