The organ accompaniment of the church services : a practical guide for the student

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English

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H. W. (Henry William) Richards

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160

pages

English

Documents

Lire

Le téléchargement nécessite un accès à la bibliothèque YouScribe Tout savoir sur nos offres

Publié par

les_archives_du_savoir

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Licence :

Langue

English

Poids de l'ouvrage

10 Mo

. '^ " 1L \ J ' ' •. T [ 1 5 ft 5 \ . . . .RCM JiJ^^^^SS^ ii i Is m 1 •. A "1^ ^"^ 3 -J- T"\ H, w, ; -lARDS^ [ i \ \B, .. \ '^^^HHI r A^ '9 \ J \ ^ ^ i nr 1'i ^11901 i- i 1/152^^^ K. \ * : ->-^- 19. a mm sometimes, alas ! w4th its semitone below : These devices for the purpose of securing a simultaneous beginning ought to be considered quite obsolete ifas ; once established, the choir will depend on them, to the destruction on their part of all promptitude of attack. The decisive * THE CIIUBGH SEBVIGES. 17 after the playing over shouldstriking of the first chord directly and will prove to be so if the choir is trained tobe enough, expect nothing else. "is that of combing " {i.e.,Another rather common trick — :first chord, as in Example 21arpeggiating) the rt»= i 21. m^- will, all probabihty, produce a ragged beginning,This in sound crisp orand can never, under any circumstances, satisfactory. remarked that whenever an organist showsHere it may be or to play themtendency to open the chords in this way,a r.h., however slightly, this irritatingwith the L.H. before the once checked before it becomes ingrained andhabit must at be almost impossible to eradicate. and perhaps there isThe next point for consideration is pace ; which such a diversity of opinion exists. One hasno subject on only to attend half-a-dozen places of worship hymns, different and even oppositePace of to discover what ideas prevail on this question.! will first take the beautiful German Chorales.

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Publié par

les_archives_du_savoir

Nombre de lectures

Licence :

Langue

English

Poids de l'ouvrage

10 Mo

-^- 19. a mm sometimes, alas ! w4th its semitone below : These devices for the purpose of securing a simultaneous beginning ought to be considered quite obsolete ifas ; once established, the choir will depend on them, to the destruction on their part of all promptitude of attack. The decisive * THE CIIUBGH SEBVIGES. 17 after the playing over shouldstriking of the first chord directly and will prove to be so if the choir is trained tobe enough, expect nothing else. "is that of combing " {i.e.,Another rather common trick — :first chord, as in Example 21arpeggiating) the rt»= i 21. m^- will, all probabihty, produce a ragged beginning,This in sound crisp orand can never, under any circumstances, satisfactory. remarked that whenever an organist showsHere it may be or to play themtendency to open the chords in this way,a r.h., however slightly, this irritatingwith the L.H. before the once checked before it becomes ingrained andhabit must at be almost impossible to eradicate. and perhaps there isThe next point for consideration is pace ; which such a diversity of opinion exists. One hasno subject on only to attend half-a-dozen places of worship hymns, different and even oppositePace of to discover what ideas prevail on this question.! will first take the beautiful German Chorales." />

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Conserbaturg of ^usic
by
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in 2007 with funding from
IVIicrosoft Corporation
http://www.archive.org/details/churchorganaccompOOrichuoftThe Organ Accompaniment
OF THE
ServicesChurchTO
Sm George C. Martin, M.Y.O.-^^f^-Sr^?^
^^•U^/.^
MUSICSERIES OP HANDBCJOKS/OSJOSEPH WILLIAMSTHB
OP STEWART ^^Cf^HE^NUNDER THB EDITORSHIP
AccompanimmtThe Organ
OF THE
ServicesChurch
GUIDE FOK THE STUDENTA PKACTICAL
BY
RICHARDSH. W.
MUS. DOC, ETC.
Choir Training in the Royal AcaiUmy of MiisioProfessor of the Organ and
and Clioirmaster Christ Church, Lancaster Gate, W.Organist of
PBICE THBEE SHILLINGS NET
LONDON: JOSEPH WILLIAMS, LIMITED
Great Portland Street, W.32,
Boston, Mass., U.S.A.: THE BOSTON MUSIC COMPANY (G. Schirmt:r. Inc,)
CopyHght, U.S.A., 1911, by Joseph Whxiamr, LianTF.n.PRINTED BY GEO. BARBER,
( FURNIVAL STREET, HOLBOKN AND
;
FUi^NIVAL "KESS.-^
^yjjgj^Qj^ CHANCERY LANE, E.C.
No. Holborn.Tel, 1077———————————— — —
TABLE OF C0NTP:NTS.
PAGE
viiPreface
CHAPTER
--- 1I. Introductory
to the Art ofII. Consideration of matters inctf-e^ttal
—THE Accompanist
I. Touch 5
SightII. Eeading at 7
III. Score Reading 8
IV. Reading from a Figured Bass 10
12V. Transposition
III. Accompaniment of Hymns 12 of Hymns (continued) - - - - 19IV.
-V. Accompaniment of Psalms and Canticles - - 28
—VI. Variety in accompanying Hymns and Psalms Embel-
-lishment, AND Re-arrangement of Voice Parts 36
VII. Variety inHymns and Psalms [continued).
Organ Treatment aio) Effects of Colour - - 47
- -VIII. Accompaniment of Responses and Monotone 56
IX. of Anthems, and Settings op the
Canticles 66
X. Choral Communion Service 75
-XI. Preludes to Anthems, and Extempore Voluntaries 80
XII.— Accompaniment ofI. Oratorios, Sacred Songs and
Recitatives 89
II. Organ and Orchestra 101
XIII. Accompaniment of Plainsong 103
Appendix I.— Short ...A Analysis of The Psalms 113
II. Occasional Services :—Choral Baptismal Service„
—Confirmation Service—Marriage
-Burial Service—Commination Service - 135
.-.-...,,,General Inde^ 137

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