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40 Lessons in how to correctly play improvisations.

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Accompaniment to Melody                      77
Others, again, have a four-part accompaniment:
The whole subject of accompaniment of melody would fill a volume if treated exhaustively. The keyboard stuĀ­dent will do well to concentrate upon a few types.
The main points to remember are:
(i) That four-part playing is still good, but by no means now necessary;
(2)   That broken figures may be substituted for chords en bloc in endless ways;
(3)  That in many cases only a portion of the melody should be harmonized, especially noticing that initial notes are often sounded separately;
(4)  That in many melodies only the outstanding notes require harmonizing, many tones being suitably treated as passing-notes, neighbours, chord-lines, or other ornaments;
(5)  That the whole or portions of lines may be doubled in octaves, sometimes in the melody itself, sometimes in the bass, and occasionally in an inner voice;
(6)   That, though the accompaniment is usually inĀ­ferior in interest to the melody, in some cases the inner lines gain so much in significance that they assume the importance of secondary melodies;
(7)  That, when the inner voices finally gain equal attention with the highest voice, the harmony passes into counterpoint;
(8)   That a melody may sometimes be placed in a middle voice, with accompaniment above and below; sometimes
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