ACCOMPANIMENT, in music, is the assisting or aiding of a solo part by other parts, which may consist of a whole orchestra, or a single instrument, or even subservient vocal parts. It serves to elevate and beautify the solo part, and is subject to certain rules for composition as well as for performance. It must be subservient, and therefore should not predominate, but merely assist to place the solo part in its brightest light. In this point of view, modern composers have often erred by making the A. too full, and causing it to stand out so independent and engrossing, that the solo part is often, as it were, entirely lost. This abuse takes place mostly in vocal music; and not only is the effect destroyed, but the vocal organ of the singer is frequently ruined. Were it not too true that this bad practice has become the fashion, it would be difficult to believe that a composer would lend himself to it. In proper A., after faithfully fulfilling its duty to the solo part, there always remains opportunity enough for display in the ritornells and symphonies. The Italians in their best period were celebrated for the simplicity and effectiveness of their A. Now they have entirely lost this claim. In A., the composer must keep three principal points in view—namely, harmony, rhythmical figure, and suitable choice of instrumentation, in respect to number and character of tone; but all must be subservient to the ruling character of the solo part. Right or
proper harmony is, or should be, easily found by every experienced composer. It is, as it were, born at the same time with the melody, and only requires to be litre and there adjusted with care. When this is not the case, there arises a double character, which interrupts and totally destroys the melody. The figure of the A. should be chosen so as to be conformable to the solo part, having to express what the solo part cannot be expected to do, and may also, by a succession of secondary ideas, render clear and certain the individuality of the principal solo part, such as the blustering of the poltroon, the daring of the courageous, or the fear of the timid. The necessity of a judicious choice of instrumentation for the proper support of the solo part is evident. The A. should, above all things, by its certainty and firmness, prevent wavering. Good A. is as creditable as solo playing; and all qualified orchestras view it as of great importance.— The word also means the art of playing harmony from a figured bass; this, though more in use formerly, is still a necessary study for the A. of recitative. Sec FIGURED BASS.