The teaching and accompaniment of plainsong . ac - ti - bus, Nos ser - vet no cen - ti There are several points in this harmonizationwhich call for remark. The first is, that in order tosecure the effect of strength on the second syllableof line I, we begin the hymn with bare octaves ;next that at the beginning of line 2 the writer ofthe hymn has obligingly written De-um instead ofDe-um, so that we can appropriately begin that line ACCOMPANIMENT OF PLAINSONG 65 with a new chord, though that is a feature whichapplies only to this particular verse ; then we securesffect of stress on the se
The teaching and accompaniment of plainsong . ac - ti - bus, Nos ser - vet no cen - ti There are several points in this harmonizationwhich call for remark. The first is, that in order tosecure the effect of strength on the second syllableof line I, we begin the hymn with bare octaves ;next that at the beginning of line 2 the writer ofthe hymn has obligingly written De-um instead ofDe-um, so that we can appropriately begin that line ACCOMPANIMENT OF PLAINSONG 65 with a new chord, though that is a feature whichapplies only to this particular verse ; then we securesffect of stress on the second syllable of line 3 inthe words by keeping the preceding weak syllableon the same bass as that upon which the previousline ends. It is not very good, of course, to have anew bass for the final syllables in lines 1, 2, and 4of the words, but it seems unavoidable, and in anycase the difficulty would disappear with an Englishtranslation of the text, as the final syllables wouldthen have emphases of their own. It will benoticed that on those three chords the bass movesnearer to the melod
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Keywords: ., bo, bookcentury1900, bookdecade1910, bookidteachingaccompan00burg
