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 . hecks piossible abruptness. Example 22. r—^=@—I—g-^^lg^--^-^— -sfe lliPi=[tS3^J^^l This ending is given as nearly as may lie expressed in notes, and may l)e 31 termed the downward roll, as the effect to be produced is not tliat of a measured arpeggio. Tlie chord must, as it were, sinkCoupler off. away suddenly and disappear, leaving only ~~~^~~~11 ^^ momentary prolongation of the jiedal- ton
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 . hecks piossible abruptness. Example 22. r—^=@—I—g-^^lg^--^-^— -sfe lliPi=[tS3^J^^l This ending is given as nearly as may lie expressed in notes, and may l)e 31 termed the downward roll, as the effect to be produced is not tliat of a measured arpeggio. Tlie chord must, as it were, sinkCoupler off. away suddenly and disappear, leaving only ~~~^~~~11 ^^ momentary prolongation of the jiedal- tone. To this end, tlie tiiii. bo removed with rapidity and great precision. This and the former example are given as illustrations of certain means eiii])l(iyed to avoidan abrupt close, such as is produced by simultaneously taking liaiids and feet otf the instrument,and are effects peculiar to the Organ. On the other hand, multitudes of examples might becited where the abruptness of close referred to is precisely the effect to be sought for ascharacterizing the composition. One illustration of this will suffice. OF ADDING AND AVITHDRAWING STOPS DURING PERFORMANCE. 27 Example 23. ^ In examples similar to this (theending of the Sanctus of MozartsRequiem Mass), any prolongation of -. -, tone, throngh a hold upon the pedalor otherwise, wonld be manifestly outof place. The dexterity (which it is hoped this Judgmentchapter will assist the student in acquir- ing) might be canied to such a degree that a change of combination or effect might be possible innearly every measure of a moderate movement. It must not be forgotten, however, that a realizingsense of varying conditions—in a word, good taste—governs the use of these means. This is thereal artistic law, and no written studies, illustrations, nor even hearing good model performances,can teach it if the genn be not latent in the pupil. Thus it is a matter of course that effects likeExamples 21 and 22 are not t
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
