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 . Anointed ! D. B., Special Hymns in Anthem form. G. Schirmer, New York. 84 CHOIR ACCOMPANIMENT. Open Dia-pason Eight-foot Obligato. The Open Diapason of eight feet in oitr modem organs (the Great Organ Diapason ismeant) will almost uniformly be too powerful for any use with solo voices in the manner ofwhich we are now speaking. With the older instrmnents built some iifteen or twenty yearsprev
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 . Anointed ! D. B., Special Hymns in Anthem form. G. Schirmer, New York. 84 CHOIR ACCOMPANIMENT. Open Dia-pason Eight-foot Obligato. The Open Diapason of eight feet in oitr modem organs (the Great Organ Diapason ismeant) will almost uniformly be too powerful for any use with solo voices in the manner ofwhich we are now speaking. With the older instrmnents built some iifteen or twenty yearsprevious to the present day (1877), it might doubtless be made xise of occasionally. With aquartet or double quartet of voices, the modern full-toned Diapason can sometimes be introducedfor a short passage with fine effect, if the obligato lies beneath the whole vocal harmony. If thechoir be larger, other stops must of course be added. This will cover its characteristic tonemeasurably, but the obligato -noil not thereby lose its effect. A specimen of this episodicalobligato use of the Open Diapason follows, taken from the Short Requiem of Mozart at thepassage, Quam olim AbralimpromisistiP Example 77.*. Accomp. The entrance of the Pedal (which is coupled to the Swell) will be noticed. By this means,the left hand is enabled to leave the Great Organ for the Swell, through which the finaldiminuendo is obii- The wliole family of Flutes, in contradistinction to the reeds, almost invariably sound gato, Eight- -fetter when the obligato overlies the voice. This arises partly from the fact that the charac-teristic quality of this stop, as with its orchestral prototype, lies in its upward rather than itslower and mediiun compass. This, it will be perceived, is a radical difference as compared witliboth sti-ing and reed stops. Among the Flutes, we class the various Stopped Diapasons of wood ami metal as comingessentially under this head. The fact remains, however, that an op
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
