You're right that the Septième gives a very flat Bb (-31 cents compared to
equal temperament)rather than a sharp A.
The Gros Nasard and Grosse Tierce are meant to reinforce the 16'
fundamental. They are drawn in the "Grand jeu de tierce" which at its
fullest would consist of:
Grand-orgue: Montre 16', Bourdon 16', Montre 8', Bourdon 8', Gros Nasard,
Prestant, Grosse Tierce, Nasard, Quarte de Nasard (or Doublette), Tierce
Positif: Montre 8', Bourdon 8', Prestant, Nasard, Doublette, Tierce,
Larigot
Manuals coupled.
Pédale: All foundations 16', 8', 4':Gros Nasard and Grosse Tierce if these
are present(they rarely were); or Trompette 8', absent the mutations.
This registration is typically used for a Quattuor or a "Fugue de
mouvement"--a grand fugue in a quick tempo, where these mutations add
clarity to the voices.
In Duos and Trios the registration (G.O.)B16, B8, P4, GrT, Nsd, D2, Tce
can be used against the jeu de tierce of the Positif: B8, P4, Nsd, (D2)
Tce, (Lgt)
Dom Bedos, who comes at the end of the period, condemns the use of any
mutations in the Grand-jeu, but André Raison and Nicolas Lebègue, a
century earlier, both prescribe the Nasard and Tierce along with the
Cornet, Trompette, Clairon and all the rest; and Raison suggests one big
registration for Dialogues that uses the Grosse Tierce as well.
You should use these 16' mutations sparingly, keeping in mind that they
are meant to add clarity, not volume. They speak fast, allowing a 16' line
to keep up with a more sprightly voice registered at 8' pitch. (In this
sense, their role is analogous to that of the Quntadena 16' on a German
baroque organ.) The ultimate criterion is that that elusive standard, "le
bon goût."
If you want to delve more deeply into French classic registration, the
book for you is Fenner Douglass' "The Language of the French Classic
Organ" (New Haven 1995). It's available from the Organ Historical Society.
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