The teaching and accompaniment of plainsong . al - way keep thy law : yea, for ev - er and ev vi/ Hitherto we have dealt with the accompaniment ofsyllabic Plainsong as used in metrical hymns andin the Psalms. The rhythmical treatment of themelodic phrases has been comparatively now have to deal with those specimens of theChant in which melodic decoration appears. Wefound that, in analysing such melodies as Ave mavisstella, there are two kinds of stress to provide there is the verbal accent which safeguardsthe rhythm of the words, and then there is thesecondary musical
The teaching and accompaniment of plainsong . al - way keep thy law : yea, for ev - er and ev vi/ Hitherto we have dealt with the accompaniment ofsyllabic Plainsong as used in metrical hymns andin the Psalms. The rhythmical treatment of themelodic phrases has been comparatively now have to deal with those specimens of theChant in which melodic decoration appears. Wefound that, in analysing such melodies as Ave mavisstella, there are two kinds of stress to provide there is the verbal accent which safeguardsthe rhythm of the words, and then there is thesecondary musical stress which gives life andmeaning to the decorative notes. In the first lineof the hymn there are three strong syllables comingon single notes, and three weak syllables fittedwith two or more decorative notes, the first of eachreceiving a musical stress less intense than thatgiven to the verbal accent. The plan adopted toprovide an accompaniment for an example like thishas been to change the bass on the verbal accent, 74 THE TEACHING OF PLAINSONG but not upon the secondary musical stress when
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