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 . r of per-formance, which may be ad libi-tum. As to the speed at the beginning, it must not be so rapid but that the building up ofthe chord may be clearly distinguished. On the other hand, it must be equally removed froma sluggish, rhythmic addition of note to note. The tema upward roll best characterizesthe effect. In this connection, see Chapter III., Example 22, and the following remarks.
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 . r of per-formance, which may be ad libi-tum. As to the speed at the beginning, it must not be so rapid but that the building up ofthe chord may be clearly distinguished. On the other hand, it must be equally removed froma sluggish, rhythmic addition of note to note. The tema upward roll best characterizesthe effect. In this connection, see Chapter III., Example 22, and the following remarks. The practical advantage of this mode of beginning is to help a choir to commence the firstrecitative promptly togethei-. Singers soon accustom themselves to seize upon the culminationof the arpeggio as the point where the voices are to enter, and in chanting much depends uponbeginning simultaneoiisly. The foim of the arpeggio may also be varied so as to introduce passing notes. By this other forms means, other inversions of the chord may be led to. Thus, in Example 43, the arpeggio leads to ° the Arpeg-the fifth of the chord. Example 44 (LEADme to the thied). 1^ Example 45 (leading to the octave). IfE At a, Example 44, it should be noticed that the lower third in the bass is not held, as thearpeggio resolves itself into the chord proper. This is on account of the doubled third whichoccurs in the full chord. This is sufiicient to balance the chord without the low A, which woxddonly tend to obsciu-e it. This also applies at «, Example 45. In Example 43, the higher tone arrived at (c) as the culmination of the arpeggio sustainsthe addition of the lower tone by way of balance. Besides this, the chord thus created containsa triple fifth and tonic of eight-foot pitch without considering the pedal tonic of sixteen feet. At h. Example 44, the octave {F, last note but one of the arpeggio) is not held down. Thisis in order that the diatonic leading of the passage to the upper third ma
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
