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 . ) plays well enough to play in chiirch. The form of accompaniment in Example 61 may, in some resjiects, be termed ohllyato. Itis not strictly so, in that it has no real melodic significance of its own, but simply conforms tothe requirements of the solo as to harmonic support. It is, then, obligato only in the sensethat it is wholly distinct from the voice part, and has its owm harmonic iiide
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 . ) plays well enough to play in chiirch. The form of accompaniment in Example 61 may, in some resjiects, be termed ohllyato. Itis not strictly so, in that it has no real melodic significance of its own, but simply conforms tothe requirements of the solo as to harmonic support. It is, then, obligato only in the sensethat it is wholly distinct from the voice part, and has its owm harmonic iiidepeiuleiUC withoutcalling upon the voice to complete the same, as at Example 60. The tme obligate foi-m will be considered under its own especial head. We have spoken of motion in the accompaniment as contrasted with, and avoiding motionwhich may occur in the solo voice. We now give a good example of l>oth of these points,together with an illustration of a case where the accompaniment may appropiiately move inunison with the voice. Dies Irm. Special Hymns in Anthem form, P. B.—O. Schirmer, New York. ACCOMPANIMENT OF SOLO VOICES. 11 Example 64.* Heney Wilson. Andante non irippo. SoprSolo. At ((, the first two measures establish the quarter-note motion which is to prevail throughoutthe solo. At h, the entrance of the solo voice with this motion renders it possible to dispense with conditions TTT 1 • I 1 J- * J. 4- + Tinker which the same in the accompaniment for a measure or two. Were this lack of motion to continue too ^^^^^^^ j^^^^long, the rhythmic accent would suffer, as the progression of the voice alone would not atone for companimentcontinued lack of motion in the accompaniment. For the time being, however, the solo voice is ^by this means thrown into strong relief against the accompaniment, which is of course subdued. At 0, note how the composer has avoided any attempt to follow the actual voice progressionat the words, the water-brooks, thus giving the solo
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
