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 . it dignity, as thismiddle compass is full-toned and characteristic in most stops. The accompaniment is again seen to be the reproduction of the Alto and Tenor parts (as inExample 48), with the addition of certain complementary tones to give fiilness to the harmoniesof the first and second measures more especially. The new feature in Example 52 is that the accompanuuent lies above the melody.
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 . it dignity, as thismiddle compass is full-toned and characteristic in most stops. The accompaniment is again seen to be the reproduction of the Alto and Tenor parts (as inExample 48), with the addition of certain complementary tones to give fiilness to the harmoniesof the first and second measures more especially. The new feature in Example 52 is that the accompanuuent lies above the melody. On thisaccount, stops of ioxir feet can rarely be added to the Swell (with an eight-foot combination uponthe Great Organ) in accompaniments of this kind, as they would extend such accompanimentsanother octave higher than the melody. If, however, the Great Organ combination contains acomparatively strong four-foot stop, one or two four-foot stops of mild intonation may be addedto the Swell. It may be well for the student to realize the actual effect thus produced by theperformance of Example 52 with this combination. The following represents the tones actuallyheard: Accompani-ment abovethe g=^=i:=^e^j=:ij4ii?__i_^,^,^si-—4-tzz -0 -^ -0- . -^ ^tf-l—-M- -tr — ?•• -^ giEE Example 53. The series of tones at * is ob- tained from the Swell four-footstops which are coupled with thepedals. The accompaniment lyinghigher than the theme, a carefuluse of the Swell Pedal is at timesnecessary to subdue the accompa-niment to such a degree that theattention may not be called offI ^ I I > I from the melody proper, and un- duly attracted to the melodic progression of the Swell itself. Measures 3 and 4, as far as theletter c, Example 52, illustrate this. For this reason the use of one foot obtains here, as in Ex-ample 48, except in case of modern instruments provided with either a balanced or a so-called ratchet Swell Pedal. This will be referred to later. At 7>, Example
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
