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 . 36 CHOIR ACCOMIAXIMENT. An*, from Beethoven. ) ^—^-—-^.^ -^^ »_-^^X-^___IJ. m-»--=- J ?*--#• I Fed. gl|iPil|=i^^i^ The accompaniment to Example 30, as here experimentally given, leads to the followmgcomments: The registration, as in the previous example, should be quite subordinate to the voices at thebeginning of the tune. At a, it will be noticed that the Pedal enters on the accent of the
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 . 36 CHOIR ACCOMIAXIMENT. An*, from Beethoven. ) ^—^-—-^.^ -^^ »_-^^X-^___IJ. m-»--=- J ?*--#• I Fed. gl|iPil|=i^^i^ The accompaniment to Example 30, as here experimentally given, leads to the followmgcomments: The registration, as in the previous example, should be quite subordinate to the voices at thebeginning of the tune. At a, it will be noticed that the Pedal enters on the accent of the firstfull measure, and not on the previous quarter-note. This is in order to help the accent, withwhich tlie tune may propeily be said to begin. In the second stanza, we have an illustration of that disagreement (already alluded to)between the accent of the musical phrase and that of the words. This is too frequently allowedto occur in adaptation of hymns to music. (See comments to Example 28.) The natural accent of this stanza is, Arm me with jealous care. As forced by the music,it becomes, Arm me, etc. Tliis, as an expression of individual feeling, might possibly beallowed to remain in this instance. At all events, it may easily be rectified, by letting the voices n
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
