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 . nd also by the tremolo which here lies between melody and bass. At b, the organ form of the same example, Ave retain two sustained tones, which, with themelody, produces an independent three-part harmony. The repetition of the FjJ, here absolutelynecessary to the establishment of the marked rhythm desired, is carried out in a much moreeffective way than the piano form of the same thing—namel
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 . nd also by the tremolo which here lies between melody and bass. At b, the organ form of the same example, Ave retain two sustained tones, which, with themelody, produces an independent three-part harmony. The repetition of the FjJ, here absolutelynecessary to the establishment of the marked rhythm desired, is carried out in a much moreeffective way than the piano form of the same thing—namely, by the pedal in the lower octaveplayed staccato. The tremolo or prolonged shake, coming between the legato melody and thetwo sustained tones, may be retained literally with good effect. Thus, the organ form comesmuch nearer the orchestral original, even when we leave out all considerations of registration, asthe required motion is preserved upon the one hand, while, upon the other, the sustained tonesgive the passage an inner unity which the piano form fails to accomplish even Avith the use ofthe pedal. Example 103. Beethoven. Mass in C. Motion iuthe middleparts withmore than The literal performance upon the organ of piano accompaniments similar to the above inversion oi ahvays sounds badly, even if one or two sustained tones are siibstituted for the continual repeti- ^ accom- J -J ^ panimental tions in the left hand. The effect of the diminished chord, taken by the left hand so low down chord. 102 CHOIR ACCOMIAXIJIEXT. P-b- wpon the organ, is not only gloomy in itself, bnt it is here diametrically opposed to the originalorchestral setting, which is transparent and clear in effect. This is not owing simply to thequality of tone jsroduced by stringed instnunents (to which this tremolo is given) as opposed towind instraments, biat rather to the different inversion of the accompanying chord. In suchcases as the previous one, this inversion would usuall}^ be
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
