The two upper parts of this piece are equal in melodic and rhythmic character, but the slower movement of the pedal notes identify it as the hymn melody.
The registration indications are by the composer: “1st manual 8 foot,” “2nd manual 16 foot,” and “Pedal 4 foot.” It is understood that the pitch designation may refer either to a single stop of that pitch, or to that pitch as the foundation for a combination of higher stops.
Note that the 16' pitch is assigned to the tenor/bass-range LH, not to the pedal. This makes sense, since the LH can more readily play a rapidly-moving bass line than can the feet. The pedal is assigned to a slow-moving hymn melody which, since it is based on 4' pitch, sounds in the soprano range.
The choice of 16' manual stops is limited on most smaller organs. Because of the rapid LH motion, we need a FLUE stop at 16' pitch on the manual. The only choice may be a 16' flute on the Swell. In that case, the soft volume of the 16' flute will dictate that the general volume level of the piece will be medium-soft. In the Pedal we can use a 4' reed (Cromorne) or 4' principal (Choral Bass). To give the LH bass line some pitch definition, we will add 8' Gemshorn (a hybrid) and 4' Copula to the 16' flute. To balance with the LH part yet allow some contrast, we can use an 8' flute and a 2' principal on the Great, another gap combination.