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 . , as we now often find them in modern instru-ments, it is frequently better to let the reed speak for itself, entirely tmsupported by other stops. It should also be observed in the previous example that the reed never cmnes into tmisonwith its own accompaniment upon the Choix or Great Organ. This aids in giving the obligatoits maximmn prominence, through its quality, and the reed always soun
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 . , as we now often find them in modern instru-ments, it is frequently better to let the reed speak for itself, entirely tmsupported by other stops. It should also be observed in the previous example that the reed never cmnes into tmisonwith its own accompaniment upon the Choix or Great Organ. This aids in giving the obligatoits maximmn prominence, through its quality, and the reed always sounds better when so may, indeed, be considered a general rule in reed solos lying above their accompaniment.(See also remarks under Example 48, at A, page 61.) In case of Tenor or Bass Solos, however, the reed may not mifrequently lie above thevoice, pro^ading that the compass be not so extreme as to hazard the blending of voice andobligato. The following excellent example illustrates this manner of treatment, and, at thesame time, marks the extreme upward limit within which the re^d is effective. Example 74.* Tenor Solo. Eelation ofReed to itsown Accom-pauiment. Reed abovethe St, in R flat, S. P. Wiirnii. (i. Scliiniicr. \f ON OBLIGATO ACCOMPANIMENT AND THE USE OF SOLO-STOPS. 81 H m the morn
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
