Lately, I have been leaning towards accompaniments that have a much slower rate of chord change; aiming for something similar to what you can hear with recordings from the monks of Fontgombault. [Edit: In particular, the bass note may often remain constant for long phrases, although the upper voices may add subtle motion over top of it.] As far as I know, there are not really books that have written out accompaniments in this style; I have just worked them out in my head ahead of time, and then semi-improvised them at Mass.
For example, when I do the Sanctus from Mass I with Do=Ab, the big changes might be something like (caveat: thinking away from an organ here!): Sanctus-Sabaoth: Eb-Cmin-Eb (moving where it seems logical) Pleni: Fmin Terra: Eb Gloria: Cmin Hosanna: Eb Benedictus: Fmin Venit: Eb In nomine: Cminor Hosanna: Eb to the end (or, a progression to end on a G open 5th, the final)
Anyhow, the relevant remark is that if you improvise the accompaniments more or less by ear, you don't have to worry about always having a score in the correct key. Although, if I have one, I will tend to play with it in front of me, and occasionally add things from it for interest.
When I accompany Propers I usually improvise the accompaniment. When I accompany the Ordinary I use a pre-composed one (if available) so that the congregation aren't thrown off by a chord-change where they aren't use to there being one. I tend to use the accomps. by Achille Bragers, Julius Bas, and Annie Bank; of these I prefer Bank's, then Bragers'.
I really like the Novus Organi Harmonia accompaniments, but I find constantly fiddling with print-outs annoying.
My solution to the "handouts" problem is to simply print the entire book (double sided of course), print out the covers on cardstock, take it all to the local copy center and have the people at the copy center laminate the covers and spiral bind the whole thing.
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