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 . ountry at present. An example of what our ordinary services might permitfollows. The figuration is probably as elaborate as would be found suited to actual church (i6 CHOIR ACCOMFANIMENT. use, althoTigli a richer figuration and more extended development furnish excellent organ study,both theoretical and practical. Advanced students will find it an interesting and profitable task to construct
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 . ountry at present. An example of what our ordinary services might permitfollows. The figuration is probably as elaborate as would be found suited to actual church (i6 CHOIR ACCOMFANIMENT. use, althoTigli a richer figuration and more extended development furnish excellent organ study,both theoretical and practical. Advanced students will find it an interesting and profitable task to construct fonns of givingout the tune similar to the following. The choral melody {Cmitus-Firmus) may be placed ineither Soprano or Tenor, and even in the Bass. In this latter case the Pedal is usuallyregistered with four-foot tone. The tune Mear forms the sixbject of the following treatment. It will be understoodthat the Swell is not used expressively, as the nature of the tune does not require it, and thepedals require the use of both feet. fc Example 59. mf zi=t: :±zr: 6. Sw. with Oboe. 6. vgi!|=?=f:t^ Ch. llelodia and Dulc. fe rtv 0 Ped. Coupled to Ch. \» — n- i^l ii a>—- (^^^^^^^^^^S^^^^^^^^^^. ^^^^^^^^^^^^^^^^^^^^^^^^^W=^^ aii^pg V 0 V 0 V *_ ;tE^t SE^ 1^^^] In Example .59, the four prcludial measiu-es previous to the entrance of the Cantris-Firmiisestablish the contrapuntal motion which to continue throughout, and the essential mof/ve ofthe same may be thematically employed throughout in this kind of treatment. ON GIVING OUT THE TUNE. 67 In Buch forms, care should be taken so to construct the bass, by means of deceptive cadences. Avoidancesuspensions, etc., that the tune may have everywhere a continuous contrapuntal flow, and not ^ Cadences,divide itself into the too evident foiu- sections corresponding with the four-line stanza. See inillustration of this the avoidance of the chord of G in accompanying the first two notes of theCamtus-Firrrms; likewise the avoidance
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
