Rudiments of Music

From DPWiki
Jump to: navigation, search

Note

This project entered PP in April 2010.

Introduction

This project page is set up to facilitate collaboration on "Rudiments of Music" by Andrew Adgate. This is a Lilypond project which is made all the more difficult by the old-style musical notation in the original, the obscurity of some of the hymns within, as well as the poor quality of the images (the original document was a microfiche).

The Project Manager will be going back to consult the microfiche originals when the project has completed F2. He has requested that volunteers make notes where the text is illegible or difficult to proof. To help him, it is suggested that volunteers consolidate their notes and observations on this wiki, besides leaving notes on the individual pages that they have proofed.

Please also share Lilypond tweaks and tricks which you might have discovered or developed while tackling these pages.

Because of the poor quality of the images, it is useful to check against other sources for the lyrics and notes of the hymns when working on the pages. Please add any useful online sources where scores or lyrics of hymns may be found.

About the Book

This is a description of a similar (perhaps not the same) physical book being offered for sale on ABEbooks.com:

"... Extremely rare Philadelphia songbook by the founder of the Urania Society, an early organization founded to promote choral performance in America. My research reveals that this may be one of only 3 of this edition extant. One other being complete, and the other incomplete, lacking all pages after page 64...."

In short, an extremely rare book with some old hymns which are hard to find elsewhere. Definitely worth saving.


Lilypond Tweaks and Tricks

Reversed C Time Signature

ReverseC.png

According to 15.png, the reverse C time signature represents a time of 2/2 with a tempo of 2=60. This time signature symbol is not available in Lilypond but can be "faked" in the following way:

  1. Insert the real time signature of 2/2.
  2. Make it transparent with \override Staff.TimeSignature #'transparent = ##t
  3. Using \markup, insert a C time signature, rotate it by 180 degrees, and anchor it to a suitable object, usually the first note or rest on the staff.
  4. Using once \override TextScript #'extra-offset = #'(a pair of numbers), position the inserted "fake" time signature correctly:
\once \override TextScript #'extra-offset = #'(-3.5 . -2.55) r1^\markup { \rotate #'180 \musicglyph #"timesig.C44"}

For an example, refer to the code for 32.png.


Triple Line Bar

TripleLineBar.png

The pieces in this book all end with a bar comprising three lines, two long and one short. This is not available in Lilypond. A complex series of text markup commands can, however, be used to "fake" it. This is done in the following way:

  1. Create the real bar: a regular double-line bar at the end of the musical piece. Make it transparent.
  2. Using \markup, and the filled-box command, create 3 boxes, 2 long and one short. This is the "fake" 3-line bar.
  3. Anchor the "fake" 3-line bar to the real bar using rehearsal marks and extra-offset.
  4. For convenience, create a macro.
  5. A number of other commands are needed in the layout block.

Refer to 30.png for an example. The macro code can be copied from there. Remember to also include the code for the layout block.


Online Sources of Hymns

Choral Public Domain Library

Southern Harmony

Anthology of American Hymn Tunes

Sunday School Books in 19th Century America

This contains, among other things, scanned images of Sacred Harp. To know which page number to jump to, you need to consult Sacred Harp Title Index. The jpg will be one minus the number against the Title on the list. For example "33b Abbeville" can be found at 32.jpg.

Notes for the PM/PPer

Notes for PM/PPer:

On the music scores, composers' names don't always end with a period. We have matched the image -- where there is a hint of a period, a period is inserted.


021.png

Psalm 34

  • Title: are there periods after Psalm. and 34. ? Looks like there are in the image.
  • Alto part 5th measure after the repeat sign. Could be a missing note, or could be a dotted minum E. Source here: www.bethel.edu/~rhomar/index.htm shows dotted E
  • Bass lyrics appear truncated. Last line of image missing? Lyrics here inferred from tenor part.
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired


022.png

Little Marlboro

  • Check 2nd bar alto and bass. Do they really have 2 notes on the stem?
  • Check punctuation of lyrics (looks like all periods, but doesn't match other sources of this hymn)


023.png

Suffield

  • Check punctuation of lyrics (there isn't any on image)
  • Lyrics: Image shows "lifes" but shoud it be "life's" ?
  • There is a source for comparison at the (commercial) site www.musicnotes.com
  • Tenor part 4th measure, check microfiche for accidental on d quaver. Assumed it is natural.
  • Tweaks employed to generate the old style repeat used in the image.
    • A separate section of code created to unfold the repeat and generate the correct midi
    • This section also contains code for the regular volta style repeat.]


Standish

  • 12th measure confirm it is g-sharp
  • check punctuation of lyrics
  • 3rd last word of lyrics -- the or their?


024.png

Bridgewater

  • Sources for comparison: Missouri Harmony, and Sacred Harp images online at http://digital.lib.msu.edu/projects/ssb/display.cfm?TitleID=610&Format=jpg&PageNum=275
  • Meas. 7: First note in tenor could be D or E. Went with E to avoid D+E, but D in Missouri Harmony facsimile as well as Sacred Harp
  • Meas. 15: pitch of last note in alto unclear (B or C). Went with C to avoid B+C, but B in Missouri Harmony facsimile. Sacred Harp shows C.
  • Under meas. 13 in the alto part is a small phrase "Let "&c.". This seems to be there only to show where the altos should enter, since there is not enough space to properly align the lyrics to the alto notes at this point in the image. In the Lilypond output, the main lyrics can be aligned with the alto notes, and hence the small "Let &c." is not necessary. Thus I have left it out.


Old 100

  • Suggested tempo: 1/2-note=80 (2x speed recommended 015.png)
  • The index (020.png) incorrectly lists this piece ("Old Hundred") as being on page 44, instead of 24.
  • The only piece on page 44 is [Psalm] 46.
  • Lyrics checked with Google books search.
  • Meas. 18: On 2nd note D+E+F#.


025.png

Funeral Thought

  • Soprano part 12th meas. (2nd last) confirm it is g-sharp. Tentatively assigned g-sharp.
  • Alto 3rd meas. check whether crochet should be e4 or d4? Tentatively assigned e4.
  • Bass part 4th meas. confirm is it f or f-sharp? There's f-sharp in soprano part.
  • Check punctuation of lyrics
  • 3rd last word of lyrics -- the or their?


026.png

Brookfield

  • Composer is (William) Billings.
  • Some notes unclear, especially last measure in all parts. Can't make out the length of this note. I went with a whole note because if the song were repeated it would dovetail neatly with first measure, but don't know if correct.
  • Beginning of first measure of top part obscured, rests inferred from other three parts.
  • Measure 13 of top line: sharp is not clear, but matches measure 5 in same line.
  • Last four measures in all parts: phrase markings not visible in scan. Inferred from earlier phrasing.
  • Tenor part 4 bars measures from the end -- confirm there is a C-sharp
  • Lyrics - check punctuation if any. 3rd last measure - confirm the word is "sinner"


Brunswick

  • Last third of lyrics unclear. Google search on legible part suggests these.
  • Phrase marks in last few measures unclear. Placed them so as to keep words in unison in all parts.]


028.png

Wells

  • Possible typo in alto part measure 4. Instead of C followed by 2 Fs maybe should be C followed by F and D.
  • This from version in facsimile of Missouri Harmony 1846 ed. (which has some other differences from this version).
  • In our version here discord with the F (alto) against G in bass part.
  • Check punctuation of lyrics. Punctuation inferred from other sources.


Aylesbury

  • Check punctuation of lyris. Some sources have ? after die and clay


029.png

Virginia

  • Check composer's name. Brownson?
  • Check lyrics. Lyrics are infered by comparing with other sources.
  • The thorn symbol with raised e (y.^e) is used as an abbreviation for "the"
  • Alto part second last measure confirm there is a d-sharp accidental
  • Tenor part 11th measure. Stems are on wrong side of notehead. Not reproduced, but can be done if desired, with stem and notehead offsets.]


030.png

Washington

  • Note: A useful edition for comparison is at www.cpdl.org
  • Title: is it Washington L. M. or Washington P. M.?
  • Traces of punctuation in Lyrics. Please verify against microfiche.
  • This piece continues onto part of 31.png. Sections from both 30 and 31.png have been united into one score here
  • Text markups are used to reproduce the old-style repeat used.
    • A separate score section is provided to unfold the repeat and generate the correct midi. This section is not necessary for the layout
    • This section also contains the regular volta style repeat, if the old style is not desired.


031.png

Worthington

  • First few bars are part of hymn on 30.png (previous page). Code for these bars is on previous page.
  • Composer's name - Strong or Streng?
  • Any lyrics for the bass part? Not visible in image


032.png

Rainbow

  • Alto part measure 7 smudged. Notes inferred from another score
  • Tenor part measure 11 (end of 1st line). Check it is e half-note
  • Tenor part measure 12. Check the third note is e half-note
  • Bass part last measure. Check if the slur is above or below. Assumed below.
  • Text markups are used to reproduce the old-style repeat used.
    • A separate score section is provided to unfold the repeat and generate the correct midi. This section is not necessary for the layout
    • This section also contains the regular volta style repeats


033.png

Bedford

  • Check punctuation of lyrics. Best guess based on other source.


Plymouth

  • Check punctuation of lyrics
  • Check there are accidentals at soprano meas. 14 and bass meas. 13. Have assumed they are sharps


034.png

St. Martin's

  • Two styles of "St." Sometimes "t" is raised as in 22.png. In this case, looks like it is not
  • Name of tune is "St. Martins" or "St. Martin's" ? Sources usually give "Martin's" but apostrophe is not visible in image.
  • Name of composer: looks like "Tansur". Other sources spell it "Tans'ur".
  • Is the last note a dotted whole-note? Some dots seen. Other sources indicate a simple whole note.
  • Check Punctuation of lyrics. Best guess based on other sources.
  • Lyrics last few words. Should "before" have a capital B?
  • Other sources capitalise first letters of "His" and "Name".

Isle of Wight

  • upper staff 13th measure. G or F? Assumed G.
  • lower staff 3rd and 4th measure. Check any accidentals? Looks like there are, but sounds odd. Nonetheless, assumed F-sharp and A-sharp.
  • lower staff 13th measure. Check any accidentals. Assumed F sharp.
  • Lyrics punctuation is best guess, from other sources

Morning Hymn

  • Name: Morning Hymn C. M. or L. M.? 8 syllables per line. Assumed L. M.
  • Check lyrics. This is a best guess. Can't find other sources.
  • Some slurs unclear. This is also a best guess/best fit to the lyrics.


035.png

New Jersey

  • Composer's name unclear. Spicer?
  • Lyrics found in Google Books search. Check punctuation. Final punctuation should be "?" ?
  • Thorn symbol plus raised e (y.^e) is used in image as abbreviation for "the"

Mear

  • Title from Missouri Harmony facsimile ed.
  • Please check punctuation. Some sources put a semi-colon after second line.


036.png

Carlisle

  • Bass line measure 4 looks like half-note c followed by quarter-note d, but I think the second note should really

be a half-note.

  • Unusual dissonances! G + G# in measure 8 (alto: "our Lord") D# + E in measure 17 (bass: " ho -- ly").
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired


037-038-039(part).png

Anthem Psalm 124

  • Lines from 037 to 039.png all merged on this score
  • Lyrics from Google book search.
  • Measure 32-33 in alto line: horizontal dashed line may be indicating word omitted from lyrics for reasons of space("...the stream had _gone_ over our souls")
  • Inconsistent use of "Soul" and "souls"
  • Bass part meas. 41 uses "lord" but the corresponding soprano part (3 meas. back) uses "Lord"
  • Soprano-- Measure 24: unclear which of notes other than 2nd is 1/2-note. Chose based on lyrics.
  • Measure 27 (2 measures before 1st dotted bar repeat): Notes unclear(sharp? rhythm?).
  • Measure 32: sharp unclear.
  • Tenor-- Meas. 13: 3rd notes pitch unclear.
  • Bass-- Meas. 5: 2 backward notes. Not reproduced in the Lilypond. Can be done if desired with Stem extra-offset.
  • Meas. 13: sharp unclear. Meas. 19-20: Rhythm unclear-- additional notes dotted?
  • Meas. 29: 3rd notes pitch unclear.
  • Two particularly discordant measures may contain typos.
    • Meas. 29 has A+B+C.
    • 5th measure from the end, where lyrics in unison "of the Lord" has C+D+E. Perhaps Ds in bass part should be Cs.
  • Complete PDF takes 3 pages -- set paper height so that entire score prints on one tall "page" if you want to print png image. Code is in \paper block, commented out
  • Bar numbers are left on to help checking. To remove, uncomment the Remove Bar_number_engraver line in the layout block
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired


039.png

Angel's Hymn

  • Unsure whether top line represents soprano or tenor part (i.e. one octave lower). Assumed soprano.
  • Title: Angel's, Angels or Angels'? Followed index on 20.png which says Angel's.


Bangor

  • Unsure whether top line represents soprano or tenor part (i.e. one octave lower). Assumed soprano.
  • Not sure if lyric "shewn" or "shown", but looks more like "shewn" to me. Found both ways in Google books.


040-041(part).png

Ocean

  • Part of music continued on 41.png. Merged here.
  • Measure 12: note cut off in all parts. Inserted note from Missouri Harmony facsimile.
  • Least likely to be correct in alto part, which is quite different from this version. Notes however match those in Sacred Harp (see url below) where parts are mor similar.
  • Measure 12 should be checked against microfiche in all parts.
  • Big smudge in alto part at end of phrase ""&" swell the towring waves". I think 1/4-note rest correct, but very obscured.
  • Check notes for possible typo at beginning of phrase "And swell the towring waves"(in alto part):
    • Bass has G against As in alto and tenor. Missouri Harmony has F in bass part instead.
  • Lyrics inferred from Google books search, Missouri Harmony and Sacred Harp (online images at www.digital.lib.msu.edu/projects/ssb/display.cfm?TitleID=610&Format=jpg)
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired


041.png

Amherst

  • Lyrics checked with Google books search.
    • I think the text in the scan may say "Your voice raise" instead of "Your voices raise", but it doesn't fit the notes that way(plus it seems like "ye cherubim & seraphim" would have plural voices). No hits Googling -> starry frame "your voice raise" but lots on -> starry frame "your voices raise"
    • Hence "Your voi -- ces" is used on lyrics. If "Your voice" is desired, insert melisma against corresponding notes
  • Check lyric punctuation. Only one period visible in image.
  • Because of the repeat, a separate section of code is provided to generate the midi


042.png

Maryland

  • Check Title Meter -- unclear. Might be S.M.,(6.6.8.6) or could be L. M., B. M. etc. Aylesbury 28.png has same lyrics 6.6.8.6. but is L. M.!
  • Odd and unclear notes in Bass part--
    • Meas. 3: A + G# on 3rd note. Perhaps both should be G#(esp. with B in soprano)?
  • Meas. 16: pitch of 1st note unclear.
  • Because of the repeat, a separate section of code is provided to unfold the repeat and generate the midi.


043.png

Sherburne

  • Unclear notes in bass part:
    • The last note of meas. 15 and 1st note of meas. 16are of unclear pitch (D or E). The Missouri Harmony facsimile shows D's, and that fits better with other parts (which have D and F).
    • Also verified with http://www.bethel.edu/~rhomar/TunePages/Sherburne.html which shows D's
  • Inconsistency in lyrics: mostly "He has my heart", but at meas. 14 in tenor: "he has my heart"


044.png

46th

  • Title: Is there a period after 46, as in 46.th? Assumed yes
  • Title: Is the meter "P. M."?
  • Lyric punctuations: please check. This is a best guess based on other sources.
  • Soprano part 6th measure, stem is on the wrong side of notehead. Not reproduced.


045.png

Dalston

  • Check title: Dalston P. M.?
  • Check punctuation of lyrics. Only final period visible.


046.png

Greenfield

  • Lyrics checked with Google books search.
  • In second section soprano lyrics don't fit notes as phrased in scan.
  • Not sure about triplet in measure 9 of tenor line, would be good to check with microfiche.
    • Looks like a triplet, and Southern Harmony source above agrees but midi sounds strange
  • Possible typos:
    • in meas. 3, soprano has two A's while tenor has two B's.
    • in meas. 18 (5th from end), above the alto lyrics "torn", bass has D and alto has E.
    • In meas. 20 (3rd from end), above the alto lyrics "roar", soprano has G# while tenor has A. ]


047.png

Greenwich

  • Some notes with stems on the wrong side of notehead:
    • Two tenor line measure 13 (1/8-notes) (below alto lyrics "In pride &"
    • One backward note in bass line measure 23 (1/4-note) (below alto lyrics "sanc-tu-a-ry".
    • These are not reproduced as it would be too complex. But can be done with a lot of tweaks.
  • Meas. 22 (alto lyrics "Thy" ) last beat: discord B+C+D?
  • There is a small "But &c." above the alto lyrics (above "dreadful end" on the image).
    • This looks like it is there to indicate where the altos should come in as the alto lyrics in the image are not aligned with the notes.
    • This small "But &c." is not reproduced as the alto lyrics are aligned with the notes in the Lilypond version.
  • Please check. Lyric punctuation entered where visible. The periods at the ends of lines are inferred.
  • As this piece involves a repeat, a separate section of code is provided to unfold the repeat and generate the midi


048-049(part).png

Worcester

  • Piece continues onto 049.png. All merged here.
  • Title: check that it is "Worcester S. M." S. M. inferred from meter.
  • Check punctuation. No hint of any on image, but can be found on lyrics from other online sources.
  • Capitalized "Saviour" and "King", but image is not very clear, please check.
  • Check spelling of "Saviour". Could be Savour or Sav'our. Appears to be a dot, suggesting an "i".
  • Because of the repeat, a separate section of code is provided to generate the midi.


049.png

Norwich

  • First part of page is a continuation from previous piece and code for that is on previous page.
  • Title: Check that it is "Norwich S. M."
  • Soprano part, 3rd last measure, check it is g-sharp accidental
  • No lyrics punctuation visible on image
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired


050.png

Hartford

  • Meas. 1: rest missing in alto & bass (corrected).
  • Meas. 20: Alto & tenor have A+G on first beat (confirmed in Missouri Harmony facsimile)
  • "building" in lyrics confirmed with Google books search.


051.png

Montague

  • Meas. 12: 1st D in bass could be E but would clash with D & F's. (Missouri Harmony facsimile has D in bass.)
  • Meas. 13: backwards 1/8-note A in bass. Also E+F in alto & tenor on first beat.
  • Meas. 14: split in half with linebreak.
  • Meas. 21 seems extra discordant.
  • I know we don't rewrite history, but I have to mention that modern shape-note singers (in St. Louis, anyway) who sing this hymn substitute "The people see him thus forlorn..." for "The Jews behold him thus forlorn..." --QMacrocarpa


052.png

Lenox

  • Check title. Looks like "Lenox". Most online sources agree, it should be "Lenox" by Edson. However index on 20.png says "Lennox"
  • Measure 3 -- possible typo/dissonance: accidental f-sharp in the alto part against f-natural
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired


053 - 058.png

Rose of Sharon

  • Code for the entire piece from 053 to 058.png merged into this single page
  • Alternate source: www.cpdl.org (note, not a primary source) and Sacred Harp at http://digital.lib.msu.edu/projects/ssb/display.cfm?TitleID=610&Format=jpg&PageNum=253
  • Bar numbers are left on to facilitate checking. Uncomment the relevant line in the layout block to remove them later.
  • Meas. 18: Wrong type of rest in tenor-- should be 1/4-note instead of 1/2-note(corrected).
  • Meas. 22: Unclear-- G's could be A's but sources above show G's
  • Meas. 35: Unclear-- last note in tenor could be G instead of A(but would clash with F in alto). Sources above indicate B->A, but left as per image as A->A
  • Meas. 38 alto part, note has missing stem, corrected (should be a half-note).
  • Meas. 54: Tenor F-sharp clashes with E in alto. Above sources show it as E, but left as F-sharp as in image..
  • Meas. 56: A+B+C in first beat. Sources above show soprano should be A, but left as B as per image. D+E in last beat but so is it in the other sources.
  • Meas. 62: rest symbol missing in bass(corrected).
  • Meas. 63: pitch of first note in tenor unclear. Assumed G, (that is G-sharp in this key), after comparing with above sources
  • Between meas. 71 and 72: barline missing in bass part(corrected).
  • Meas. 104: Possible accents marks above notes in bass line(on word "mountains")
  • Meas. 108: Same possible marks above notes in all parts("mountains" again). Assumed both mean staccato.
  • Meas. 112: Doesn't sound right. G instead of A? Sources above show G's.Left as A as per image.
  • Meas. 126: extra bar-line in tenor(corrected).
  • Meas. 127: Note-lengths(and rests) unclear in all but alto. Inferred from sources above.
  • Meas. 132: Unclear-- D in tenor could be E but sources above agree it is D.
  • Meas. 133: Rhythm in alto unclear. Matched rhythm in tenor & bass.
  • Meas. 134: Rhythm unclear in tenor and alto. Matched rhythm in bass.
  • Meas. 136: Backwards A in soprano. Not reproduced.
  • Meas. 136: 4th beat: E+F. Sources above show the top bass note as D not E. Left as D. 5th beat: C+D. but Sacred Harp source agrees.
  • Meas. 140: Unclear-- D in tenor could be E(but would clash with F's). Sacred Harp agrees it is D, so left as D.
  • Lyrics:
    • alto part has lyrics even when there are no corresponding notes. Assumed that they serve the other parts, e.g. meas. 123 lyrics in the alto position are probably there to serve both tenor and soprano parts. Such lyrics are aligned in the alto part by setting associated voice to whichever part has notes.
    • hardly any punctuation visible. So left punctuation out except for periods after "&c." which are clearly visible.
    • 54.png bass part bottom right illegible. Inferred from other sources. But can't be sure whether "Banqueting House" is capitlized in this version. Also "brot" has no apostrophe here.
    • large symbols which look like double percent signs appear to be used as "ditto" or repeat signs. Reproduced with text markups.
  • The post-processor may wish to adjust the tempo where the time signature changes.
    • Suggested tempo. From 15-16.png 2/4 is 4=120, 6/4 and 6/8 is 4=180. However the latter sounds a bit fast, so slowed it to 4=160.
    • Adjust the \tempo settings in the soprano part to get the desired tempo.


059.png

Bristol

  • Notes compared with this source: http://www.bethel.edu/~rhomar/TunePages/Bristol.html
  • Alginment of tenor lyrics is a best guess. Even the source above is not very clear.
  • No punctuation visible in lyrics
  • In image, some words are stretched with dots like "fra.....me" Did not reproduce this effect.
  • Tenor lyrics, check spelling of "unwearied". It looks like "unweari'd" where the "i" is clearly visible, but the "e" appears to be replaced by an apostrophe.
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired


060.png

136

  • Check name of composer. Horton? Merton? Morten?
  • Unsure whether upper staff represents soprano or tenor part. If tenor, should lower by one octave.
  • No punctuation visible in image
  • Tempo is set to 4=120. 16.png suggests 4=180 but that seems too fast.
  • Because of the repeat, a separate section of code is provided to generate the correct midi. ]


St. Humphreys

  • Second piece on page
  • Unsure whether upper staff represents soprano or tenor part. If tenor, should lower by one octave.
  • Check title. "Humprey's" or "Humphreys" ? ]


Stafford

  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired]


061.png

Middletown

  • Check lyrics measure 8: "wishful" or "wistful" ?
  • No lyrics punctuation visible in image
  • Lyrics inferred from internet sources
  • Tweaks employed to reproduce the old style repeat as shown in the image.
    • A separate section of code is provided to unfold the repeat and generate the correct midi
    • This section also contains the code for the regular style volta repeat, if desired]


062.png

Majesty

  • Sources for comparison: Missouri Harmony and this image online at: http://www.bethel.edu/~rhomar/TunePages/Majesty.html
  • At end of this piece, there appears to be a two-dot (:) repeat sign, but the beginning of this repeat does not appear to be marked. If this is really a repeat and not a figment of my imagination, my guess is that the repeated section begins with measure 18 where the basses have "On cherubs and on cherubims..."
    • Missouri harmony shows a repeat from this point. The online source above also shows a segno repeat symbol here.
    • Therefore in coding, we assumed that the repeat begins at this point for the purposes of generating the midi (which is done with a separate section of code).
    • However the main code generates a layout which matches the image, dots at the end, but with no segno, dots or any other notation to show where the repeat begins.
    • I guess users in Adgate's days knew where the repeat began by experience.
  • Meas. 10: rhythm unclear in soprano. Matched phrasing in tenor.
  • Meas. 14: pitch of 4th note in soprano unclear (A or G). Missouri Harmony facsimile has A, so went with that, but produces F+G+A dissonance (also present in both sources).
  • Meas. 15: Bass note on 4th beat could be F or G. Went with G to avoid E+F+G. (Both sources agree)
  • Meas. 15 (continued): In last beat, B-natural in soprano clashes with B-flat in alto. (Online source is similar)
  • Meas. 25: Upper bass note on first beat could be A or B. Went with B since makes sense with B octave below. (Both sources agree it's B)
  • Lyrics checked with Google books search.
  • Lyrics below the alto part continue, even when there are no corresponding notes in alto part. We assume that the lyrics apply to all parts, whoever has notes.
  • Therefore the alto lyrics are aligned using "set associatedVoice" to the tenor or bass lines where appropriate. ]


063.png

Newbury

  • No free online sources found for comparison.
  • There are some places where measures contain a combination of 1/2-notes and 1/4-notes, and it is hard to be sure which one is the 1/2-note,
    • e.g. measures 1 and 10 in bass, measure 17 in alto. Chose based on other parts, lyrics, and which if any notehead showed any white.
  • Meas. 7: unclear rhythm in soprano. Chose dotted 1/4 note, quaver, 1/4 note, 1/4 note in the end, since there is a hint of a dot in first note.
  • Meas. 16: beat 1 has E+F; beat 3 has D+E; beat 4 has B+C.
  • Meas. 17: beat 1 has B+C; beat 3 has G+A+B (
  • Still, the midi sounds strange.
  • Lyrics checked with Google books search (particularly "thou shalt" which I couldn't decipher in scan)


064.png

149

  • Meas. 10: Sharp on 3rd note in bass unclear.
  • Title is shown in index (020.png) as [Psalm] 149th.


065-068.png

Anthem Luke 2. Chap

  • This piece is spread over 4 pages, all consolidated into a single block of code.
  • For ease of checking, bar numbers are left on. They have been synchronised to denote numbers of physical measures, complete or incomplete as long as they are closed by solid single or double line bars on the image.
  • When subsequent comments refer to measure numbers, we mean the physical measure count on the image. (For example the 1st line on 65 png is meas 1-12, the second line is meas. 13-25.
  • To remove bar numbers simply uncomment the relevant line in the layout block
  • Title is shown in index (020.png) as "Behold, I bring you glad tidings" (text from 2nd chapter Luke).
  • Title: could "2." be "2^d."? Some raised marks visible next to the "2".
  • Meas. 20 (above bass lyrics "born this"): rhythm unclear on last beat in alto line-- not sure if dotted or 2 1/8-notes.
  • Meas. 27 ("who is"): rhythm unclear on last beat in alto line--again, possibly dotted, but not sure. Left as 2 1/8 notes.
  • Meas. 38 ("of joy"): sharp unclear--last note in soprano line. Assumed it is there.
  • Meas. 51 ("ly....ing"): not sure about combined B/D in alto line--unclear but assumed it is there
  • Meas. 66 (2nd ending "host"): this note appears to be a whole note in all parts in scan. Shortened to 1/2-notes.
  • This anthem includes many repeats which are not clearly opened or closed with dotted bars.
    • In generating the layout, we have followed the physical appearance of the original scan, and therefore we have not included any dotted bars or other repeat signs which were not on the scan.
    • However in generating the midi, we have made the following inferences about where repeats began and closed
      • Repeat 1 begin at meas. 8 last beat (dotted bar) "Behold &c"; close with 2 alternate endings meas. 15 and 16 (clearly shown on image).
      • Repeat 2 begin at meas. 21 last beat (dotted bar) "In the city of David"; close (inferred) at meas. 25 double line bar.
      • Repeat 3 begin at meas 33 (bar with dots) "Gl........ad tidings"; close with 2 alternate endings meas. 42 and 43 (clearly shown on image).
      • Repeat 4 begin (inferred) last beat of meas. 43 where tenors are alone "And this shall be a si....gn"; close with 2 alternate endings meas. 55 and 56.
        • could also open after the tenor solo part at last beat of meas. 47 instead "You shall find....".
      • Repeat 5 begin (inferred) at meas. 1/8 note of meas. 56 soprano "And suddenly...."; close with 2 alternate endings 65 and 66.
      • Repeat 6 begin at meas. 73 bar with 4 dots, "Glory to God in the...."; close at meas. 84 double line bar.
    • Because of the complex pattern of repeats, a separate section of code is provided to unfold the repeats and generate the midi.
  • From 15.png, recommended tempo is 4=120 but this sounded very fast, so slowed it to 4=80
  • Meas. 67 bass solo ("Praising God") has a dotted slur. Note that in the Lilypond output, the dotted slur shows up differently depending on which PDF viewer is used. Some PDF readers show dashes instead. Ghostview and Adobe Reader are known to display the dotted slur properly.


069.png

Landaff

  • Suggested tempo: 1/4-note=120 (50% faster than suggested on 015.png)
  • Meas. 6: pitch of 2nd note in bass unclear. Went with F# because makes more sense than G# with A in soprano.
  • Meas. 8: 2nd note in tenor could be G or F. F sounds better with A in soprano.
  • Meas. 8: E-naturals make the midi sound strange, but they are clearly there, so left them in.
  • Meas. 16: 3rd note in bass could be G or F. F sounds better with A in soprano (and matches meas. 12 which appears to be identical in all parts).
  • Checked lyrics with Google books search (especially "south").
  • Possible typos in lyrics: "sovreign" --> "sov'reign"; "trembels" --> "trembles"; "Thro" --> "Thro'"
  • Most sources examined in Google books search have "cheerful", but one instance of "chearful" found.


070.png

Litchfield

  • Can't find online sources for comparison of notes.
  • Checked lyrics with Google books search.
  • Meas. 8: first note in bass could be B or A. Went with A to avoid A+B+C.
  • Meas. 9: Sharp unclear on first note in soprano. Also pitch of 1st 2 notes in alto could be E or F. Went with E.
  • Meas. 12: pitch of whole note in bass is unclear. Assumed G.
  • Meas. 14:
    • Rhythm in soprano unclear. One of notes must be 1/2-note. Chose slurred notes to be 1/4 notes and 3rd note to be 1/2 note to match rhythm in tenor line. However there seems to be a tiny trace of white in the first of the slurred notes.
    • Also, first note in alto is D/G combined (unless D is smudge)-- clashes with E's in tenor & bass.
    • Beat 2 in alto has G against A in soprano.
  • Meas. 19: Sharp unclear on last note in soprano.


071-073(part).png

Anthem Words from Watts

  • Suggested tempo: 1/4-note=120 (from 015.png)
  • Title is shown in index (020.png) as "Lift up your eyes" (under Anthems).
  • Perhaps missing punctuation in title-- "Anthem: Words from Watts" e.g.?
  • Checked lyrics with Google books search (The Works of the Rev. Isaac Watts D.D. in Nine Volumes (!))
  • Bar numbers left on to facilitate checking. To turn off, uncomment the relevant line in the layout block.
  • Several slurs are somewhat unclear as to how many notes they include:
    • Meas. 5 in alto (assumed phrasing is same as Meas. 6 )
    • Meas. 6 in bass {matched phrasing, rhythm of soprano and tenor parts)
    • Meas. 8 alto: is there a slur for the first 2 notes? It would match the other parts, and is needed to fit the lyrics but I have not put it in as it is not visible in image.
    • Meas. 8 in soprano and tenor: slur ending best guess to fit lyrics (rhythm also rather unclear in 1st 2 notes of soprano -- again, a best guess)
    • Meas. 9: can't see slur in tenor in scan, but added to fit words.
    • Meas. 19 in alto (best guess, to fit lyrics)
    • Meas. 19: can't see slur in tenor in scan, but added to fit words.
    • Meas. 24: can't see slur on first 2 notes in tenor in scan, but added to fit words.
  • Meas. 2: last note printed backwards in bass (not reproduced in Lilypond)
  • Meas. 11: 2nd note in bass has unclear pitch. Think it's E but could be F. (assumed E)
  • Meas. 12: pitches of starting run of notes in tenor unclear.
  • Meas. 15: some pitches unclear in tenor.
  • Meas. 20: Hard to read in top three parts, especially tenor. Tenor rhythm is rather speculative.
  • Meas. 20: extra (courtesy or cautionary) time signature and key change reminder.
    • It is probably there because in the image there was a page break to a non-facing page.
    • In the Lilypond version, it is not necessary as the timing and key has not changed since meas. 13. and there is no line or page break here. It and would look strange if inserted. Therefore I have not inserted them.
    • The extra courtesy time signature can be inserted easily with \time. The extra key signature can be done I guess, but it would take a bit of tweaking and extra code.
  • Meas. 21: pitch of last note in alto unclear, F or G. (assumed F)
  • Meas. 22: in alto, can't tell which note is 1/2-note. Followed rhythm in other parts.
  • Meas. 24: pitch of last note in soprano is unclear, C or B (B would create A+B) (assumed C).
  • Meas. 26-27. Consider the notes which go with "Jesus the God exalted reigns his...." "Jesus the God" is placed on the alto lyric line even though alto has no notes for it.
    • I think the intention is that these are common words for the S,T,B parts, which do have notes. Alto then comes in at "exalted reigns", where all 4 parts have notes.
    • The last word in meas. 27 is strange: "his". Only tenor has notes for it, and it is meant to continue into meas. 28 as part of tenor solo "his sacred name". But in the original image, the typesetter chose to put "his" on the alto lyrics line instead of on the tenor lyrics line. This is probably because, with the line break at this point, "his" would be all alone on the tenor lyrics line. So rather than have the isolated word, the typesetter chose to put "his" together with the alto lyrics.
    • In the Lilypond version, I have left it as shown on the image, but as there is no linebreak in the Lilypond version here, it looks strange. Better to have "his" join up with "sacred name" on the tenor lyrics line.
  • Meas. 31: pitch of 2nd note in alto unclear, E or F. E would produce E+F. (assumed F)
    • Besides, F keeps the "heavenly plains" nice and level! All other parts are level.
  • Meas. 33: missing rest in alto on last beat (added).
  • Meas. 34: pitch of first note in bass unclear, E or F (assumed F).
    • Also 3 beats of rests missing at end of measure (added).
  • Meas. 36: rhythm unclear in 2nd half of measure in soprano. Followed other parts.
  • Meas. 40: Last note in bass is placed quite high for a C, but since no 2nd ledger line visible, I assume it is C.


073.png

Putney

  • Suggested tempo: 1/2-note=60 (from 015.png)
  • In title, "L.M." instead of "L M"?
  • Printing error: this piece and the next (Sophronia) are joined by a 4-staff brace, but each should have its own 2-staff brace.
  • On the question of whether the upper part is soprano or tenor line, the shape-note tradition suggests that it could in fact be BOTH. In shape-note singing (which overlaps with this repertoire), men sing bass, women sing alto, men AND women sing treble (top line), and men AND women sing tenor.
  • For the purposes of generating the midi, assumed that upper staff is soprano and lower is bass.
  • Meas. 16: slur in top line looks like it includes all 3 notes in measure, but doesn't fit words that way,
    • changed to include only first 2 notes in slur (matches rhythm in lower part).


Sophronia

  • Suggested tempo: 1/2-note=60 (from 015.png)
  • Meas. 11 & 12: I think that's just a tie between the 2 A's in the top line (as in bottom line), but the mark is a bit off-center so it could conceivably be a slur including the previous G (wouldn't fit the words though).


074-076(part).png

Denmark

  • Suggested tempo: 1/4-note=120 (from 015.png) -- might be a bit fast.
  • Title listed in index as "Before Jehovah's awful throne" (under Anthems)
  • Composer probably Martin Madan--see http://www.cpdl.org/wiki/index.php/Denmark_(Martin_Madan)
  • Can't make out characters before "Madan" clearly, but could be D^r--compare next hymn Leeds, which also shows D^r Madan.
  • CPDL search for Denmark also yields a number of links to similar (but not the same) piece of music
  • Lyrics checked with Google books search.
  • Bar numbers left on to facilitate checking. To remove them, uncomment the relevant line in layout block.
  • Many notes in this piece have ambiguous pitch. Made my best guesses, but perhaps a candidate for comparison with microfiche:
    • Meas. 15: backwards notes in tenor -- not reproduced.
    • Meas. 17: Small note (ornament?) in top two lines. I assume they are grace notes and reproduced as such.
    • Meas. 19: B+A+G on 1st note.
    • Meas. 22: I think this measure should start with two 1/8-rests, but it looks like they are backwards, looking more like 1/4-rests. Anyway inserted as r8.
    • Meas. 23: Rhythm unclear in top line. Matched bottom line, i.e. second note is g16.
    • Meas. 28: Rhythm unclear in top line. Matched other two lines.
    • Meas. 30: Small note (ornament?) in top line. Inserted as grace note.
    • Meas. 30: Bass 1st note unclear. Guessed d4 after comparing with sources linked from CPDL.org
    • Meas. 33: Rhythm unclear in top line. Matched 2nd line.
    • Meas. 34: Tenor part: faint marks just before 1st note. Is there a grace note, just like in soparano part?
    • Meas. 35: B+A+G on 1st note.
    • Meas. 36: Rhythm unclear in 2nd line. Matched other two lines.
    • Between meas. 33 and 34: missing bar line in 2nd line (inserted).
    • Meas. 45: C+D on 1st note.
    • Meas. 54: In top line, not sure if 3rd note included in slur. Beaming suggests no, but parts seem to be in synch here, which suggests yes. Went with yes.
    • Meas. 55: Rhythm unclear in bottom line. Matched other two lines.
    • Meas. 62-66 (just after "sounding praise"): I don't see any words for these notes?! <extreme puzzlement> Hmm...
      • An improvised repetition of "sounding" would fit i.e. "shall fill thy courts with sounding, sounding praise"; but no guarantee of correctness!
    • Meas. 80: Last two notes in bass look like straight 1/8-notes, but perhaps should be dotted as other parts? Went with dotted first note to match other parts.
    • Meas. 82 (at "Firm as a"): Extra clef and key signature here (no change in key). Not reproduced as there may not be a page break in Lilypond output here.
    • Can't see slur on last two note in top line, but seems like it should be there (added).
    • Meas. 83 (at "rock thy"): In 2nd line, is that a stray mark or perhaps a poorly printed natural sign? Or...?
    • Repeat from meas. 73 to where? Assumed repeat ends at Meas. 99 i.e. all the way at the end, but not at all sure if this is the right spot.
  • Tweaks and text markups are used to reproduce the old style repeats
    • a separate section of code is provided to unfold the repeats and generate the midi
    • this section uses regular volta style repeats
    • Lots of "Loud" and "soft" indicators scattered around. Inserted as text markups in the layout. In the code for midi, regular f and p dynamic marks are used so that the midi can interpret them and adjust the midi volume accordingly.


076.png

Leeds

  • Suggested tempo: 1/4-note=120 (from 015.png)
  • Checked lyrics with Google books search (especially "beauty").
  • There are rhythmic ambiguities in a number of measures:
    • meas. 3 in the 2nd line;
    • also measures 6, 11, 13, & 14 in bottom line. In each case, matched rhythm in other parts.
    • meas. 8: Last note is difficult to read in top two lines, and to further confuse matters, I think it possible that the last note in bottom line should be D instead of (clearly printed) C. Currently B(+G)+C bass. Top note could be A instead of B, which would produce A+G(+C).
    • meas. 10: Unmarked triplet in top line? Added triplet marking to make beats add up. Consistent with triplets marked in measure 14.
    • meas. 17: In top line note appears to be undotted 1/2-note, but changed to dotted 1/2-note to match other parts and established meter.
  • Part of lyrics under soprano line, part under tenor line, can't understand why this is so, but I reproduced the effect anyway. It looks strange when the score wraps, but the strangeness can be reduced by forcing a line-break where the lyrics switch from being under the soprano part to being under the tenor part (which I have done). This also matches the line-break in the image. The placement of the lyrics under different parts could have been a printer's error, and you could just as easily put all the lyrics under the soprano part. Of course, it all depends on how you wish to PP the page.


079-085(part).png

Cheshunt New

  • Tempo of this piece. The PPer may wish to experiment, especially with changing tempo where the time-signature changes.
    • Following 15-16.png, the C sections should be 4=60 and the duet 3/4 should be 4=120.
    • 4=60 for the C sections sounded a bit slow, so sped it up to 4=80.
    • You can easily adjust the tempo by changing the \tempo settings in the soprano sections.
  • Lyrics checked with Google books search.
  • Bar numbers left on for easier checking. To remove them, uncomment the relevant line in the layout block
  • Bar numbers refer to the physical bars as seen on the original image.
  • Meas. 7: Backward natural symbol in bass(?)
  • Grace notes: lots of grace notes in this piece, check them carefully, listen to the midi to see if they sound all right.
    • I assumed grace notes are 1/4 notes as they look like they don't have tails
    • Instances where grace notes may need an accidental because of sharped note in previous measure:
      • Meas. 15 tenor part: inserted sharped grace note. Midi sounds better that way.
      • Meas. 43 tenor part: previous note is C-sharp, inserted grace note also as C-sharp otherwise midi sounds really strange.
      • Meas. 51 tenor part: same as for meas. 43.
      • Meas. 54-55 tenor part: see below comment on meas. 54.
    • Meas. 59 tenor part: is there a slur between the grace B and the C 1/4 note? Looks like it, therefore inserted an appoggiatura
    • Meas. 79 tenor part: another appoggiatura? Inserted it.
    • There are some marks which may or may not be grace notes. Erred on the side of grace notes.
      • Meas. 43: Not entirely sure grace-note in bass is really a grace-note in scan, inserted it.
  • Meas. 16: Word above staff: "For."(as in Forte?)
  • Meas. 28: Word above staff: "Duet."
  • Meas. 54: Last note in upper line-- C# instead of C? See otherwise identical measure at 50. I sharped it as well as the following grace note. Otherwise midi would sound really strange.
  • Meas. 83: Looks like this measure is only 2 quarter-notes long (1 halfnote). Left it that way as transition back to 4/4. Lilypond needs this bar set as a cadenza, otherwise you will get a barcheck fail.
  • After the cadenza, bar numbers were reset to show up correctly. I.e. where duet ends at bar 83, and the start of 082.png (all 3 parts together) is bar 84.
  • Meas. 84 : Word above staff: "For."(as in Forte?)
  • Meas. 96 : (at second "is the Conqu'ror's"): Pitch of last note in bass part is obscured by giant blot. Made best guess.
  • Meas. 117: ("who who is the"): In the scan (084.png) this measure appears to have 5 beats in all parts:
    • 1/2-note, 1/4-note, dotted 1/4-note, 1/8-note.
    • Changed rhythm to add up to four beats: 1/2-note, 1/4-note, dotted 1/8-note, 1/16-note. Could also solve problem by halving length of first note.
  • There is a duet on 081.png where the piece changes from 3 parts to 2 parts. To produce this, the soprano part for this section is filled with multimeasure rests. Linebreaks are forced are forced just before and after this duet section. \RemoveEmptyStaffContext is invoked to cause Lilypond to removes the soprano staff, leaving the tenor and bass staffs, and thereby producing an effect which matches the image.


085(part)-086(part).png

Hotham

  • 085-086.png, piece after Cheshunt, before Helmsley
  • Suggested tempo: 1/4-note=60 (from 015.png)
  • Meas. 2: First note in bottom line has uncertain pitch-- placed high for a B, but no ledger line visible, so went with B.
  • Meas. 4, 13, 14 have grace notes. Can't say whether they are 1/4 notes or 1/8 notes. Saw a hint of a tail in meas. 14, so used 1/8 notes for all of them, but please check microfiche.
  • Meas. 4: Grace note in top line-- looks like slur between it and main note. Reproduced in Lilypond as \appoggiatura but can't be sure this is what is intended by the composer. May be just a speck.
  • Meas. 13: Grace note in top line, but check whether there is one on 2nd line-- smudgy. Also, should these be appoggiatura as well?
  • Meas. 14: Grace note in top line before 1/2-note(?), inserted as \grace, but should it be appogiatura? Is there a faint slur?
  • General: There seem to be a lot of instances of A-flat+B-flat in this piece. For instance, measures 2, 3, 4, 9.


086.png

Helmsley

  • Suggested tempo: 1/4-note=80(from 015.png)
  • Punctuation between "Hallelujahs" unclear.
  • Lyrics checked with Google books search.
  • A separate section of code is provided to unfold the repeat and generate the midi


087.png

Falmouth

  • Title: P.M. or P. M.? Most pages are C. M. or L. M. etc
  • Suggested tempo: 1/4-note=80(from 015.png)
  • First system is very hard to read in scan! So the notes were compared against a PDF of the 1791 edition of Adgate which a friendly contact on a shape note mailing list had obtained from Early American Imprints Series 1.
  • Unusually, 2nd line(of 4), alto, in treble clef. Assumed that it is also treble_8
  • Meas. 11: Slurred grace-note in middle two lines. Input as \appoggiatura


088.png

Trumbull

  • Title: C.M. or C. M. ?
  • Many rather discordant spots.
  • Alternative version in the online Sacred Harp facsimile: http://digital.lib.msu.edu/collections/index.cfm?action=view&TitleID=610&Format=jpg&PageNum=290
  • Meas. 13-16 bass part. I assumed that the last 4 E's are tied notes, meaning that the basses have to hold the note all the way.
    • However Lilypond can only produce ties between pairs of notes and can't doan over-arching tie which spans the 4 notes.
    • On the other hand, if I simply use a slur to imitate the tie, the midi would play out all 4 notes instead of holding it for the duration.
    • I have therefore reproduced the effect by using normal ties between pairs of notes and making them transparent, then using a slur to span the four measures.
  • Meas. 13 -16. On the image, a dotted slur is used. However I noted that in a previous piece, some PDF viewers have trouble displaying the dotted slur generated by Lilypond, therefore I have used a solid slur here.
  • Tweaks and markups have been used to generate the old style repeats.
    • a separate section of code is provided to unfold the repeats and generate the midi
    • this section also contains the code for regular style volta repeats
    • for best effect, the midi is set here to "church organ".
  • This piece was particularly difficult to layout on "paper".
    • The priority was to try to keep slurred phrases together on the same line, especially the long bass "fie..ld".
    • The result was that the output pdf needed 2 pages, and no more than 2 systems could fit on the first page with an ugly gap between the first 2 systems.
    • I therefore used a \paper block and set ragged-bottom to true to remove the gap between the first and second system on page 1.
    • These settings are all tentative, as it depends on how the post-processing is done. If there's a link to a pdf for users to download, then the pdf should probably be set to print nicely on A4 size paper. For the html, though, it is probably better to have the whole score on one contiguous png graphic. You can set the appropriate line-width and paper-height to some big number in the \paper block to achieve this.


089.png

Montgomery

  • A separate section of code is provided to unfold the repeats and generate the midi
  • Segno above meas. 18 is probably redundant but inserted it anyway to match the image]


090.png

Weston Favel

  • Alternative online source for comparison is: http://www.bethel.edu/~rhomar/TunePages/Weston%20Favel.html
  • I assumed the alto part is one octave down, similar to tenor.
  • Lots of unclear notes need checking against microfiche:
    • meas. 5 soprano part. This is a best guess, as it looks different from the alternative source.
    • meas. 7 soprano. Is there an accidental sharp for the A there? There isn't one in the case of the source above.
    • meas. 7 tenor, confirm there is an accidental sharp for the C? There _is_ one at the above source, so inserted it.
    • meas. 8 bass, confirm there is an accidental sharp for D? Looks quite clear, so inserted it. But sounds terribly discordant, and sounds good without it, and there _isn't_ an accidental in the case of the above source.
  • Title. There is a period after "Favel" so inserted it. Not sure if there is anything after "Weston".
  • Lyrics. Please check punctuation. Can't see clearly. What there is does not appear logical. For example "But all. But all"
  • Tempo of 4=120 taken from 15.png


092.png

Huntington

  • Title: should it be L.M. or L. M.? Matched the image and left it as L.M. even though most other pages have a space
  • Assumed alto line is one octave lower i.e. treble_8
  • Meas. 18-21 bass part. I assumed these are tied notes, where the basses hold the word "so" for 13 beats. However Lilypond can only produce ties between pairs of notes and can't do an over-arching tie which spans the 4 notes. On the other hand, if I simply use a slur to imitate the tie, the midi would play out all 4 notes instead of holding it for the duration. I have therefore reproduced the effect by using normal ties and making them transparent, then using a slur to mimic the over-arching tie.
  • Tweaks and markups have been used to generate the old style repeats.
    • a separate section of code is provided to unfold the repeats and generate the midi
    • this section also contains the code for regular style volta repeats
    • for best effect, the midi is set here to "church organ".


093.png

Amanda

  • Suggested tempo: 1/2-note=60(from 015.png)
  • Lyrics checked with Google books search.
  • Meas. 1: First rest looks more like a half-rest, so inserted \partial 2*2 (partial bar of 4 beats only).
  • Segno between measures 9 and 10(above top staff) is a(redundant?) repeat sign, since there is already a bar with 4 dots, but inserted it to match image.
    • See 014.png, right side, lower half, where it shows :S: symbol. Lilypond's equivalent is \segno
  • Meas. 15: Second slur in third line not visible, but since lyrics are in synch throughout, seems needed(added).


Albany

  • A separate section of code is provided to unfold the repeat and generate the midi


094.png

Amsterdam

  • Inconsistent use of "soul". Sometimes capital S, sometimes not.
  • Assumed that alto is one octave lower, i.e. clef = treble_8 , same as tenor

A Canon of Four in One

  • Lyrics, just a hint of punctuation after "Father" & "Son". Assumed they are commas. Cannot see any other punctuation marks.


095.png

Chamberstown

  • meas. 2 soprano part. 2nd note in run of quavers unclear -- guessed pitch and duration. Since first note looks like it has a hint of a dot, guessed it is g8. a16
  • same for meas. 14 tenor part run of quavers. Guessed it is g8. a16.
  • meas. 14 tenor part. On image, a downwards slur becomes an upwards slur when continuing into meas. 15. Went with an upwards slur.


Psalm 33

  • Definitely a period after both the large and the small "33". What is "D. W."? Part of title of piece?
    • don't think it is part of the name of the composer which is William Tuckey
  • Unusual rest symbol in first measure. Have reproduced it using a text markup but have assumed it is of 1/2 note (i.e. 1 full measure) duration
  • meas. 12 image seems quite clear, but rhythm in tenor does not match the other parts.
  • Text markups and tweaks used to generate the old style repeats.
  • A separate section of code is provided to unfold the repeats and generate the midi.


096.png

Norristown

  • Meas. 8 1/2 or 3/4 notes? Cannot see any dots, so assumed 1/2 notes, but that means meas. has only 3 beats.
  • Tweaks were used to generate the old style repeats
    • a separate section of code is provided to unfold the repeats and generate the midi.


098.png

Despair

  • Suggested tempo: 1/2-note=60 (from 015.png)
  • Can't make out text above first measure. Author of lyrics is Alexander Pope, but though text may start with A, can't make it fit.
  • Punctuation in lyrics unclear.
  • Checked lyrics at http://stoddardfamily.home.comcast.net/L/048.html
  • 2nd line uses alto clef.
  • Meas. 15: Not sure about sharp in bass line. May be smudge instead.
  • Some discordant spots:
    • Meas. 9: G+G#
    • Meas. 11 A+B
    • Meas. 17: D#+E


Wethersfield

  • 098-099.png (between Despair and Hosannah)
  • Suggested tempo: 1/2-note=60 (from 015.png)
  • Lyrics checked with Google books search.
  • At repeat sign in measure 10, :S: symbol above staff again. Inserted.
  • 2nd line uses treble clef again.


099.png

Hosannah

  • Suggested tempo: 1/2-note=60(from 015.png)
  • Lyrics checked with Google books search.


100.png

Stroudwater

  • Suggested tempo: 1/2-note=100(faster than 1/2-note=60 suggested on 015.png)
  • 2nd line treble clef.
  • No words provided in scan, but of course suitable for any Common Meter(C.M.) set of lyrics!


St Anns

  • Sped tempo up to 80 = 2 faster than 2 = 40 suggested on 015.png)
  • No lyrics in scan.


Christ Church

  • Sped tempo up to 2 = 80, faster than the 2 = 60 suggested in 015.png
  • No lyrics in scan.


101.png

104th

  • Tempos adjusted to keep half-measure beat the same in both verse and chorus, verse is 4=75, chorus 4=100
  • Checked lyrics with Google books search(The Works of the Rev. Isaac Watts D.D. in Nine Volumes) which indicates that "Chorus" is part of "Psalm 104th".
  • Several fermatas. Lilypond has a feature for inserting fermatas, and these show up well in the layout, but can't be sure that Lilypond is interpreting the fermatas when it comes to generating the midi -- the effect is very subtle and difficult to distinguish.
  • 5th full measure: smudge beside second note in bass? Or accidental? Assumed it is a smudge.
  • 10th full measure: fermata unclear over first bass note but it must be there to match top line (inserted).
  • Above staff of four-part section: "Chorus."
  • In the measure with "tongue can frame An": pitch of 2nd note in tenor a bit unclear B or C. Went with C.


Williamsburg

  • Suggested tempo: 1/2-note=60 (from 015.png)
  • Some measures contain only two beats instead of three, unless theres some convention I don't know about. Lilypond keeps complaining about a bar-check fail. So to make beats add up:
    • I have dotted all the whole notes which appear by themselves in a measure.
    • For measures which have a 1/2-rest and a 1/2-note, I have changed to a whole rest and a 1/2 note. But note that this means the rests no longer match the image.
    • The other alternative is to turn bar-check and time-keeping off.
  • Slurred grace-notes on word "loves" - inserted as \appoggiatura
  • Lyrics checked with Google books search.