The teaching and accompaniment of plainsong . O quick - en me in thy right - eous-ness. 3. So shall I ^wi i ^ r=t 3^3 5==Pe ?1= T r s s^i -p r ? 68 THE TEACHING OF PLAINSONG al - way keep thy law : y£a, for ev - er and In this example it will be seen that the allowableB flat is sometimes used in the here again it is the rhythmical setting out ofthe harmony which really matters, and it should benoticed that when the second half of a Psalm versebegins with a weak syllable, as in verses i and 2, thepreceding chord is used again for it, and a new chordappears on the strong s
The teaching and accompaniment of plainsong . O quick - en me in thy right - eous-ness. 3. So shall I ^wi i ^ r=t 3^3 5==Pe ?1= T r s s^i -p r ? 68 THE TEACHING OF PLAINSONG al - way keep thy law : y£a, for ev - er and In this example it will be seen that the allowableB flat is sometimes used in the here again it is the rhythmical setting out ofthe harmony which really matters, and it should benoticed that when the second half of a Psalm versebegins with a weak syllable, as in verses i and 2, thepreceding chord is used again for it, and a new chordappears on the strong syllable which follows. Inverse 3 the second half begins with a strong syllable,therefore it appropriately takes a new also the treatment of the Mediation (thatis the inflexion at the end of the first half of theverse) in this Tone as it appears in verse 1 and againin verse 3. In the analysis of the Tones we saw thatthe use of the inflexion G—A was purely automatic;that these notes took the last two syllables of thehalf verse, whether they were strong or weak. Butthe harmonization must not be automatic; itshould reflect the verbal accentuation. Tone II. presents no new features except that inthe Plain
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Keywords: ., bo, bookcentury1900, bookdecade1910, bookidteachingaccompan00burg
