The teaching and accompaniment of plainsong . Come, Ho - ly Ghost, Cre ^=^: =t :ps=zj A » m -P tor blest, Vouch-safe with - _& 1 S ^ ;t- E t=t- 7 rest; Come Thy grace and. 76 THE TEACHING OF PLAINSONG heavn-ly aid. And fill . the hearts which Thou hast made. s± J If—* f ^ 1 B—D Now we will proceed to the accompaniment of areally ornate piece of Plainchant, the Kyrie fonsbonitatis, and for this a slightly different version ofthe melody from that given in the former analysis isselected, because it enables us to see how theseprinciples are being advocated by eminent Europeanexperts. This version
The teaching and accompaniment of plainsong . Come, Ho - ly Ghost, Cre ^=^: =t :ps=zj A » m -P tor blest, Vouch-safe with - _& 1 S ^ ;t- E t=t- 7 rest; Come Thy grace and. 76 THE TEACHING OF PLAINSONG heavn-ly aid. And fill . the hearts which Thou hast made. s± J If—* f ^ 1 B—D Now we will proceed to the accompaniment of areally ornate piece of Plainchant, the Kyrie fonsbonitatis, and for this a slightly different version ofthe melody from that given in the former analysis isselected, because it enables us to see how theseprinciples are being advocated by eminent Europeanexperts. This version of the Kyrie fons bonitatisis taken from the new Vatican Gradual which hasgiven rise to several large books of accompanimentsby various Continental organists. In this Kyrie wefind a degree of melodic ornament very muchin advance of anything which so far we haveconsidered in these accompaniments. We find thewords of the text occurring only at the beginningand end of the musical phrase, so thatconsiderations of verbal accentuation are confinedto the earlier and latter notes of the melody. Allthe intermediate section is taken up with pureornamentation; the word
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