Illustrations in choir accompaniment : with hints in registration : a hand-book (provided with marginal notes for reference) for the use of organ students, organists, and those interested in church music . the organist intunes of this class. It may very likely be the case that the key as written is the proper one, butt\\ remains to be ascertained. This principle also obtains in accompanying congregationalsinging, many of the tunes at present in vogue nmning too high for true congregational use. It can hardly be expected of the average accompanist that he qualify himself to transposelong
Illustrations in choir accompaniment : with hints in registration : a hand-book (provided with marginal notes for reference) for the use of organ students, organists, and those interested in church music . the organist intunes of this class. It may very likely be the case that the key as written is the proper one, butt\\ remains to be ascertained. This principle also obtains in accompanying congregationalsinging, many of the tunes at present in vogue nmning too high for true congregational use. It can hardly be expected of the average accompanist that he qualify himself to transposelong and intricate anthems, abounding in modulations, etc. This requires an expert harmonistand much routine; but to transpose such examples as have here been given requires compara-tively little study. The proper way to begin this practice is to take keys where the notes themselves do notchange—that is, where they retain the same degree of the staff. As an example, transpose apiece in E major to E flat major. The accidentals which may occm- in the piece to be thustransposed will then be simply reversed^that is, sharps will become natm-als,* natmrals willbecome flats, and vice versa. Thus: Example Double sharps will become single sharps, and double flats single flats, and vice versa. Example 38.^i?^ e(pials --^v- ?^ ~^!§^ Sufiicient dexterity to easily conmiand the al)ove and similar trans]iositions is alone a greatassistance to the voices under the conditions stated. Having conquered tltese thoroughly, thestudent may proceed to the more difficult transpositions, such as C to B, E to F ^, etc. Transpositions of more than a whole step will rarely, if ever, occm- in Church Music. * In some modern -worka/the term cancel is used 1o denote this chanirter, ^, and commends itself as a moroprecise definition of the effect produced. See Cornells Primer of Modern Tonality, page 19, parngrupli Schirmer, New Vork. Chant Accom-paniment. CHAPTER Y. ACCOMPANIMENT OF THE CHANT. In the
Size: 3081px × 811px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
