The teaching and accompaniment of plainsong . o that the last note may be harmonized on the chord of D major. Thepractice of the Polyphonic composers is quoted in support of this, as wellas the fondness of Bach for the Tierce de Picardie in the concludingchord of a minor passage. The obvious rejoinder is that neither Bachnor the Polyphonists were pretending to write organ accompaniments toPlainchant melodies. They were engaged upon constructive composition,and were as free to evolve their own harmonic devices as is any modernwriter who produces a fantasia upon an old theme. 64 THE TEACHING OF
The teaching and accompaniment of plainsong . o that the last note may be harmonized on the chord of D major. Thepractice of the Polyphonic composers is quoted in support of this, as wellas the fondness of Bach for the Tierce de Picardie in the concludingchord of a minor passage. The obvious rejoinder is that neither Bachnor the Polyphonists were pretending to write organ accompaniments toPlainchant melodies. They were engaged upon constructive composition,and were as free to evolve their own harmonic devices as is any modernwriter who produces a fantasia upon an old theme. 64 THE TEACHING OF PLAINSONG the verbal accents by a change of bass when theyoccur. The following transcriptions into modernnotation use the quaver to represent the notes ofthe Plainsong and the crotchet to represent allnotes which are subject to any pause or rallentando ;this is in accordance with the practice of theContinental authorities :— Jam lu - cis or to si de - re, De - um pre - I 9 J =tEEl=*==M: > J- — in ca mur sup - pli - ces, Ut di ur - nis. ac - ti - bus, Nos ser - vet no cen - ti
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