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 . ary at the final close of a piece. Here the slightest after-sound of the organ is very offensive when orchestra and voices cease promptly. Theplayer must remove both hands and feet from the instrument simultaneously with the sign fromthe conductor. Nor is it allowable for the pedal tone to linger a moment, as we have seen isfrequently done with good effect, m church music, the organ being th
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 . ary at the final close of a piece. Here the slightest after-sound of the organ is very offensive when orchestra and voices cease promptly. Theplayer must remove both hands and feet from the instrument simultaneously with the sign fromthe conductor. Nor is it allowable for the pedal tone to linger a moment, as we have seen isfrequently done with good effect, m church music, the organ being then the only accompanyinginstrument. That Mendelssohn realized the importance of this cessation of tone may be seen bycomparing the close of Example 164 Avith the voice parts. (See piano score of Elijah.) We now proceed to give certain extracts from the organ accompaniment to Mendelssohns Elijah. The student should carefully compare them Avith the piano score at least, A-iewingthe piano score as an outline of the orchestral accompaniment. other hin-drances. ThebraBB instru-ments anddrums. Avoidanco of*after-toneat final close. Examples forcomparisonfrom Eli-jah. Example 173. Ho. t,—Andante, 170 CHOIR ACCOIIPANIMENT. In this example, it is evident that the pedal should be used in the lower octave during theff. jSTeither is it necessary to repeat the chords, as given in the first four measures, in view ofthe accentuation of the voices and the figuiatiou of the orchestral accomjjaniment. Beginningwith the ninth measure, the j)edal only is of The studcnt will find it a great source of improvement if, in such cases as the above, he ask study. himself, WTiy has the author done this ? Careful study of voice parts, accompaniment, andorgan part will almost invariably reveal the reason. ExAilPLE 174. No. 9.—{Beginning with 27tli measure.) ^g^^^^^i^ia^£i^=^a^^^ ^^— f—i^ 9ifeE i F- S> Tg- • m ExAilPLE 175. n Basa. ^ ^ ^ -4. -^ fii^^^l^^^y :ta=i But the
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
