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ers by causing them to force their voices, and makes a light and free execution impossible.
A calm accompaniment, varied by a judicious change of chords, affords the most satisfaclory setting for Psalm-tones.
The accompaniment should be very simple in texture, the parts moving as little as possible, and with as small intervals as may be; for every large interval (more especially in the bass), tends to make an accompaniment sound heavy, and actually makes it difficult to avoid playing heavily, thereby hampering the freedom of the rhythm.
Nevertheless, the accompaniment must be sympathetic. The organist must be in touch with his choir, he must feel for its weaknesses and be ready to give support; he must know its strong points and give them scope; but he must be willing to restrain those gorgeous harmonies which too often seduce the accompanist of Plain Chant.
Lastly, the organist should always remember that he is subject to the direction of the Cantor in all matters that affect the choir.*
* For further guidance in this matter see other works, e.g.
The tArt of Accompanying Plain Chant, by Max Springer—■ (Fischer & Bro., 111 New St., B'ham & New York).
Rhythmic Accompaniment of Plainsong, by Rev. S. G. Ould, O.S.B. (Ampleforth Journal, July 1915).