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 . Flutes offour feet Example 80. i-4- tjfeS: mi -m^. It is evident that the tone of the Flute is here two octaves -, distant from the voice, on which aecoimt it does not cover, 3 and sometimes proves useful in securing accurate intonation. It is rarely suited to obligato use, as being either too piercing on the one hand, or too delicate to be effective upon the other, according to t
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 . Flutes offour feet Example 80. i-4- tjfeS: mi -m^. It is evident that the tone of the Flute is here two octaves -, distant from the voice, on which aecoimt it does not cover, 3 and sometimes proves useful in securing accurate intonation. It is rarely suited to obligato use, as being either too piercing on the one hand, or too delicate to be effective upon the other, according to the voicing. The eight-foot Flute sometimes moves with the voice q an octave higher, but this stop being ordinarily found only on the Great or Choir Organ, will usually -prove too loud employed in this way, if the voice have a passage of subdued character. ? Cantate Domino iu G. D. B., Episcop;!! Dmrcli Music, 2d Serie?. G, Scliirmer, New York. 86 CHOIR ACCOMPANIMENT. Three Touequalities. Tone con-trast not a Example 81. In this example * Ada^. (the ending of Haii- dels immortal I knowthat my Redeemerliveth), Mozart* givesthe melody to the Or-chestral Fhite an octaveabove tlie voice. It mustnot be forgotten, how-ever, that the orchestralperformer can si^bdue his tone to pp. On the other hand, the Great Organ or Choir Flnte,of eight feet, would be unable to do this. The Swell will probably possess no eight-foot Flute(tETe Stopped Diapason will not answer in qiiality); therefore, this effect is best represented uponthe organ by a Salicional (as the piano of the string orchestra) and a four-foot Flute, playedas written, but speaking, of course, an octave higher. It should be evident to the student, from the illustrations thus far given, that the obligatoprinciple will find use in adaptation to the organ of accompaniments from oratorios, masses, andthe like, whenever the accompaniment takes upon itself a special melodic significance. In many cases, the obligato treatmen
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
