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 . 5 ^ 4,^.^^^^ 4-4--^ ^-- --- i^^ ?:=z:±±. §EEElE m zi=: ?=±. ? Beiiedic Animri in B flat. D. B., Episcopal Church Music, 1st Series. G. Schirmer. 80 CHOIE ACCOMPANIMENT. Clearness ofEffect. Reed tonebelow the Fe-male Voice. Example 73.—In this example of Soprano solo accompaniment, tlie \ motion (three trijjlets)is estabhshed in the first measure by the left hand upon the Choir (or Gr
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 . 5 ^ 4,^.^^^^ 4-4--^ ^-- --- i^^ ?:=z:±±. §EEElE m zi=: ?=±. ? Beiiedic Animri in B flat. D. B., Episcopal Church Music, 1st Series. G. Schirmer. 80 CHOIE ACCOMPANIMENT. Clearness ofEffect. Reed tonebelow the Fe-male Voice. Example 73.—In this example of Soprano solo accompaniment, tlie \ motion (three trijjlets)is estabhshed in the first measure by the left hand upon the Choir (or Great) Organ. With thesecond measme, the reed enters, imitating the voice, not as to intei-vals, biit in its rhythmicdesign, thus : J., ^^V-#^X* The voice pausing upon the high F of the second measui-e peiTnits the ear to clearlydistinguish and appreciate this entrance of the obligato, while the quality of tlie reed, and theintei-val between it and the voice, precludes the necessity of a loud registration. This obligatouse of any solo-stop in accomjjaniment natm-aUy necessitates the obligato treatment of the pedalslikewise, imless the obligato melody is found in the Bass itself, which is then sometimes givenat eight-foot pitch upon the manuals. Thus, while the tw
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
