Moreover, the accompaniment, at least such of it as was contrapuntal in nature or consisted of successive chords, was played usually upon the _positif_ (choir), whose pipes were less powerful than those of the great organ; the bass was executed upon the latter manual in the manner already indicated, sometimes also _legato_. The pedal itself might be added here; in certain passages it only marked the accents with stops of more emphatic quality, when it was desirable to emphasize the breadth of the rhythm, or to avoid confusion, when the movement was too rapid. This is confirmed by Saint-Lambert (_Traité d'accompagnement_, p. 58): "When the tempo is so rapid," says he, "that the accompanist cannot conveniently play all the notes, it will suffice if he play and accompany only the first notes of each measure, leaving to the basses the task of performing all the notes, which they will be able to accomplish much more easily, having no accompaniment to play in addition. Very rapid tempi are not suited to accompanying instruments; on this account, if particularly quick passages are encountered, even in a slow movement, the _accompagneur_ (sic) may leave them to the other instruments; or, if he play them himself, he may so modify them as to play only the principal notes of such passages; that is to say, the notes which fall upon the principal beats of the measure." Again, the organist was obliged to take into consideration the small number of orchestral players and of voices. Bach, in a memorandum of August 23, 1730, enumerates twelve singers and eighteen players, besides the organist; the _Kapelle_ over which Gerlach held sway in the new Protestant church at Leipzig, was still smaller: four singers and ten players.