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 . -> —^—H ye liuu - - - ilred, etc. THE STACCATO TOUCH. 147 Other sustained tones may also be employed, as foi instance : Example In selecting the form to be employed thns, the relation of the sustained tone to the vocal Relation ofpart should always be considered. The student will perceive that the principle here involved isessentially identical with that which we have already consid
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 . -> —^—H ye liuu - - - ilred, etc. THE STACCATO TOUCH. 147 Other sustained tones may also be employed, as foi instance : Example In selecting the form to be employed thns, the relation of the sustained tone to the vocal Relation ofpart should always be considered. The student will perceive that the principle here involved isessentially identical with that which we have already considered under the head of Adaptation Piano and Orchestral Accompaniments to the Organ. (See Chapter IX., pages 100, 101.) When the staccato accompaniment is sufficiently varied melodically in the upjper tones of upper tone otthe chords which constitute it, these upper tones may sometimes be treated as a legato melody, »<=;*»when relief from continued staccato is desired. Our former illustration, treated thus, would the following form: Example 156. Cb. Keraulopho m=^t ?±=z imm^m ^^m:=m\ (roic?.) Walk je, walk, * •—zz—il • li — 9ipg^=glEfEqZ^^gE£S:£g!3r^^^?z*3^^^ In this case, such legato treatment would, of course, give the opening measures quite adifferent signiticance from that intended by
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
