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 . * The first edition of Hopkins work wni- imldislicd in \6Mi. ACCOMPANIMENT OF THE CHANT. 55 The recitathe is liere given in | measure, in order to represent, as nearly as possible, theequal division of the sentence recited. At all ye works, the left hand changes to the GreatManual. At in all places, the octave is added. In some cases, the single tone (without addingthe octave) will be found
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 . * The first edition of Hopkins work wni- imldislicd in \6Mi. ACCOMPANIMENT OF THE CHANT. 55 The recitathe is liere given in | measure, in order to represent, as nearly as possible, theequal division of the sentence recited. At all ye works, the left hand changes to the GreatManual. At in all places, the octave is added. In some cases, the single tone (without addingthe octave) will be found sufficient for the purpose intended. It is by such apparent trifles asthis that a good accompanist will often control the crescendo and diminuendo of his singers—they instinctively feeling what he desires of them. Technique on the uart of the player is notso much demanded here as taste. Example the Love. This arpeggio indicates, as The Arpeg-nearly as may be, a frequently ^^ ^°^ mencinga employed form of beginning the Each note of the chord isto be held down as the arpeggiorises, and the notation does notexactly indicate the manner of per-formance, which may be ad libi-tum. As to the speed at the beginning, it must not be so rapid but that the building up ofthe chord may be clearly distinguished. On the other hand, it must be equally removed froma sluggish, rhythmic addition of note to note. The tema upward roll best characterizesthe effect. In this connection, see Chapter III., Example 22, and the following remarks. The practical advantage of this mode of beginning is to help a choir to commence the firstrecitative promptly togethei-. Singers soon accustom themselves to seize upon the culminationof the arpeggio as the point where the voices are to enter, and in chanting much depends uponbeginning simultaneoiisly. The foim of the arpeggio may also be varied so as to intr
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
