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 . nature of the organ. The staccato chords given in Example 150 represent the identical notes played by the stringedinstnnneuts throughout the passage.* The whole composition consists of seventy-two measures, not counting a postludium wliichleads directly to the following and final movement. Within this limit, twelve measures arewithout accompaniment, and the staccato passages comprise forty-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 . nature of the organ. The staccato chords given in Example 150 represent the identical notes played by the stringedinstnnneuts throughout the passage.* The whole composition consists of seventy-two measures, not counting a postludium wliichleads directly to the following and final movement. Within this limit, twelve measures arewithout accompaniment, and the staccato passages comprise forty-tliree measures. Sliould thestudent ask why Spohr has thus prolonged this effect, the answer may be found in the signifi-cance of the initial line of the text: Walk ye, walk, ye hundred thousands! The essential march character of the accompaniment is obligatory, or at least higlilyappropriate. We have already alluded to the modifying influence of the entrance of tlie soloAoices (in the second measure) \ipon the staccato, qualifying it as by the entrance of wind instru-ments. This continues imtil the seventh measm-e. Here, Spohr introduces the wind instrumentsthemselves as follows: Example 151. * They differ only by a note or two from Novelloa piano score, page 15. When they do so, it is because, inthe Novello copy, the transcriber lias introduced a few important sustained notes of tlie wind instruments. THE STACCATO TOUCH. 145 Here, let the student (carefully comparing Example 151 with the corresponding measm-es ofExamjjle 150) notice that the wooden Avind instruments (1st Clarionet and 1st Bassoon) enter, asit were, unobserved—that is, they enter inano on the imaccented part of the measure. Moie-over, this tone is tied to the first note of the following measure. In this way, they do notobstruct the clear accent and articulation of the two voices on tlie first beat of measure 8. Theinstruments assert themselves more decidedly as the crescendo progresses. At the tenth mea
Size: 2408px × 1038px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
