The teaching and accompaniment of plainsong . d cum Si - byl - la. mk m q: i i i =£=t tr :£ 82 THE TEACHING OF PLAINSONG Hear th un-earthly . cla - rion knell-ing Thro* dim vault and -U/.—^—m. # 9—\—d-^——K—i m—J 1—I—^—>—I——\ Tu - ba mi - rum., spar - gens so - num, Per se - pul-era i i x J I ,—Ti °%A m \ ~P m* ^ 4: t: r E char-nel dwell-ing, All be - fore . the. throne com-pel-ling. tSr re - gi - o - num, Co - get om - nes . an - te thro-num. i _ i 1^-fe -PE r lE^TJ Forth they bring the book-whosewri-ting, By its ter - ri - BE* —I- r ^=^= > LJ LJ ^33^33=^3^5 -!#- -(S> Li - ber scrip -
The teaching and accompaniment of plainsong . d cum Si - byl - la. mk m q: i i i =£=t tr :£ 82 THE TEACHING OF PLAINSONG Hear th un-earthly . cla - rion knell-ing Thro* dim vault and -U/.—^—m. # 9—\—d-^——K—i m—J 1—I—^—>—I——\ Tu - ba mi - rum., spar - gens so - num, Per se - pul-era i i x J I ,—Ti °%A m \ ~P m* ^ 4: t: r E char-nel dwell-ing, All be - fore . the. throne com-pel-ling. tSr re - gi - o - num, Co - get om - nes . an - te thro-num. i _ i 1^-fe -PE r lE^TJ Forth they bring the book-whosewri-ting, By its ter - ri - BE* —I- r ^=^= > LJ LJ ^33^33=^3^5 -!#- -(S> Li - ber scrip - tus pro - fe - re - tur, In quo to-tum X i i -9- a i i> i i r^ -G>- ££ P-E=E=pzp: ^ -*-*- ble in - di - ting, All the world with dread is smi - ting. ?JS—- X- con- ti- ne - tur : Un- de mun-dus ju - di - ce - tur. . T=P -=^l ACCOMPANIMENT OF PLAINSONG 83 The altruistic type of accompanist avoids helpingthe stronger power at the expense of the weaker byopening the same melody thus :—. So far, nothing has been said about the kind ofregistration which may best be used in playingthese accompaniments. Nor will it be necessaryto deal with this point, because the printedaccompaniments explain themselves. It is obviousthat they are based upon the idea of a soft andunobtrusive background ; they would be impossibleon large-scaled unenclosed diapasons, or on reedsof any kind. Such registration as is likely to drawattention to the accompaniment is to be avoided. There is no real necessity for Plainsongaccompaniments to be invariably of the four-parttype. In the actual performance of any of theforegoing melodies, when sung by a competentchoir, the author would not hesitate to omitduplicating the singers notes on the organ, andto play merely the undercurrent of three-partharmony which would be left. Nor is there anyreason why the melody should always appear inthe topmost part. In the accompanying ofPsalms a certain amount of inversion is bothle
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Keywords: ., bo, bookcentury1900, bookdecade1910, bookidteachingaccompan00burg
