Although many organists are familiar with Widor's procedure for effecting grand crescendos and decrescendos—as outlined under the subheading “Crescendo and Decrescendo” in the section on “Registration”—for those who are not, it may be helpful to recapitulate it briefly here, utilizing as a practical example the straightforward opening movement of the Symphonie gothique.

The initial registration is given as follows: G Fonds 16ʹ, 8ʹ, 4ʹ; P Fonds 16ʹ, 8ʹ, 4ʹ; R Anches 16ʹ, 8ʹ, 4ʹ; Péd Fonds 32ʹ, 16ʹ, 8ʹ, 4ʹ (fff = tutti). This typical indication for large-scale movements represents a shorthand formula that assumes several preparations. The nomenclature is simple: G represents Grand-orgue (Great); P Positif (Positive); R Récit (Swell); Péd Pédale (Pedal); Fonds (foundations); Anches (reeds, mutations, and compound stops—mixtures and cornets); the pitch designations are self-evident. In the body of the score, one encounters GPR indicating the Grand-orgue manual with Positif and Récit coupled to it, PR indicating the Positif manual with the Récit coupled to it, and R indicating the Récit manual alone. In like manner, initials placed under the pedal line indicate one or more manuals that are to be coupled to the Pédale; sometimes in lieu of a manual indication Widor placed only a dynamic marking in the course of the pedal line, and the performer must use his or her discretion as to which Pédale coupler (tirasse) needs to be taken off or introduced. Widor instructed, “The sonorous intensity for the feet should always be regulated with that of the hands, which is easy, thanks to our means of coupling.” It must be noted that in the French edition of Widor's organ symphonies, he occasionally deferred to an abbreviated manual indication that lacks the coupled manual(s). For example, unless he specifically calls for the single uncoupled manual, G can be assumed to indicate GPR or GR, depending on the context. Other than convenience, this practice was often necessitated when a lack of space in the score would have caused visual congestion if the complete directive were indicated.

In the specification of the Saint-Sulpice organ, all stops in each division listed under “Jeux de combinaison” are affected by the ventil (“Anches”) pedal for that division; these stops, being located on wind-chests brought into play by the respective “Anches” pedal, will not sound until the proper pedal is depressed.