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 . i-^tl*==|i=i~Ep_=^irTr,_-3f; migbt and his glo - ry. —N & ^ niiiiht and his glo. |SEg^|i^^fe|| :tlt We call attention to the pedal point in the accompaniment to Example 16T, as occupyingthree out of the four measures given; likewise, the deceptive cadence of the accompaniment toB flat at the close of the same—the voices, considered by themselves, making a cadence inD minor. This pedal point
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 . i-^tl*==|i=i~Ep_=^irTr,_-3f; migbt and his glo - ry. —N & ^ niiiiht and his glo. |SEg^|i^^fe|| :tlt We call attention to the pedal point in the accompaniment to Example 16T, as occupyingthree out of the four measures given; likewise, the deceptive cadence of the accompaniment toB flat at the close of the same—the voices, considered by themselves, making a cadence inD minor. This pedal point does not occur in the voices (1;^ measures excepted), but it is givento a part of the orchestral basses as well as to the organ. Such a pedal point may freqiiently not occur in the piano score, although it does in this in-stance. If it does in the orchestral basses, it should be reinforced by the organ as best qualifiedto sustain it. It is evident, then, that the accompanist should familiarize himself in advance with the mainfeatures of the orchestral scoring of a given piece, especially as to the character and treatment ofthe basses. This applies particxdarly to such works as have not a definitely written out organaccompaniment by the composer. Recurring to Example 167, we a
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectorganmu, bookyear1888
