The teaching and accompaniment of plainsong . to be pointed out in that wehave a new chord on the weak syllable Nos, at thebeginning of line 4 of the words. That seemsunavoidable, but if it be thought that this weaksyllable is too heavily treated we could leave C inthe bass and place F in the tenor, so as to give barefourths just for the one syllable. But it would looklike ugly part-writing in relation to the chord whichfollows it, and it is the kind of thing one wouldrather play than write down. Still, whatevercriticisms may be made upon this harmonization,it does reflect the rhythmic accents
The teaching and accompaniment of plainsong . to be pointed out in that wehave a new chord on the weak syllable Nos, at thebeginning of line 4 of the words. That seemsunavoidable, but if it be thought that this weaksyllable is too heavily treated we could leave C inthe bass and place F in the tenor, so as to give barefourths just for the one syllable. But it would looklike ugly part-writing in relation to the chord whichfollows it, and it is the kind of thing one wouldrather play than write down. Still, whatevercriticisms may be made upon this harmonization,it does reflect the rhythmic accents inherent in thewords and transmitted by them to the melody, andtherefore it is the least mischievous form ofaccompaniment which can be devised. Let us now consider another melody harmonizedon similar lines. It is one of those alreadyanalysed at an early stage, and it is transposeddown a minor third from its original seat; hencethe key-signature of its harmonization is A flatinstead of C :— To Thee be - fore the close of day, Cre - a - tor. d d * d » j g £>=]*= of the world, we pray, That with Thy wont - ed
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