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 . hemeprominence—in which case a soft accompanimental registration may be employed—or he maycouple with that manual which has no sixteen-foot stop drawn. This is also the way tobe employed when the organ possesses no eight-foot pedal-stop. In such case, the effect is onlyto be obtained, if at all, through coupling. The use of the pedals, then, becomes a purelymechanical one, as they utter no t
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 . hemeprominence—in which case a soft accompanimental registration may be employed—or he maycouple with that manual which has no sixteen-foot stop drawn. This is also the way tobe employed when the organ possesses no eight-foot pedal-stop. In such case, the effect is onlyto be obtained, if at all, through coupling. The use of the pedals, then, becomes a purelymechanical one, as they utter no tone of their own, but simply free the hands for other purposes. This treatment is by no means recommended as a form to be employed off-hand, whengiving out the tiine from the book, but to be maturely considered by the student as a means ofregistration, and possibly written out by him as an exercise. An example of far more elaborate character coming under this head is offered in theVariations by Eink on God save the King (Variation 8). We give but two measures, as thework itself is well known among organists and easily procurable: foot effectthroughcoupling. Example 143. CU. Flntes, 8 & 4ft,. It will be seen that the registration (by W. T. Best) calls for a pedal reed of four feet. This will not only give the Cantus Firmus a decided prominence, but it will also cause the theme to be heard iu tenor range abow the coiiti-ajjuiital bass as played by the left hand. It is scarcely possible to perform this variation without a stop of this kind in the Iedal Oi-gau. on accoimt of the \rpward i-ange of the choral theme, which precludes its being played an dctave higher with eight-foot It not uufrequcntly occurs that the principle of transposition in tlie upper octave may be of Pedal-part jiclvautageously applied to the sixteen-foot stops of the Pedal Organ, when the compass allows in the upper ? ^^?^^^•\e^ Octave. of such transposition. This finds its most frequ
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
