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 . ops: at a, the Open Diapason, eight feet; at h, the Octave orPrincipal, four feet; and at c, the Twelfth and Fifteenth together. This increase of power mightbe carried further, but suffices to show a certain unsatisfactory abruptness of effect produced bythe entrance of each stop. The same played backward, beginning with all the stops namedand reducing them to the first combination, is nearl
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 . ops: at a, the Open Diapason, eight feet; at h, the Octave orPrincipal, four feet; and at c, the Twelfth and Fifteenth together. This increase of power mightbe carried further, but suffices to show a certain unsatisfactory abruptness of effect produced bythe entrance of each stop. The same played backward, beginning with all the stops namedand reducing them to the first combination, is nearly as unsatisfactory. The effect in Example 17will be found to be much better. EXAJVIPLE 17. Op. D. Let us analyze the reasonof this: A perfectly even crescen-do, by means of adding stops,is, of course, unattainable fromthe varying character of thestops themselves. It will befound, however, that theabruptness of their entrance, before alluded to, can be greatly mitigated, and, under certain condi-tions, made to produce a positively good effect. In accompanying voices, these conditions mainlyarise from the se7ise or significance of the vocal text. The following illustrations will give anidea of this:. Example 18 (in ceescendo : adding stops).To Him be praise -iz -t-_^_^__: ^J - ff Allegro. To Him Ije praise who reign - etli on liigli! —\—a 1. Example 19 (in deceescendo : witiideawing stops). i -2- ^— =5—--Lg :=3E ::6^.j±-—L^r^; 0 come, let wor - sliip, I I PP ~^ and full lUiwn. m-. i 19 ; which is seen to be essentially Mxample IS in reversed will also be noticed that the simple imitation t)ccurr!iig iiample 18, materially strengthens the rhythm. It is intended that thestudent add or withdraw thestops in these examples pre-cisely as in Example 17 (withwhich example Me wouldnow compare Examples 18and 19), carefully noting thesignificance of the words inconnection Mith the accentsproduced. In the first place, it Millbo noticed that the passagerises with the nat
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
