Worked example
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An eight-bar hymn setting read for anything unclear. Nothing was changed: each doubt came back as a question, with its bar and beat.
What the musician filled in
- The piece
- Old Hundredth, the attached MusicXML
What the studio asked back
Nothing. The form had what it needed, so the work went straight ahead.
How long it took
15 minutes from the moment work began to the files being ready, for this short hymn. A longer score takes longer.
What came back
- The list of unclear placesEight questions on the whole setting and twelve places bar by bar
- The guideWhat was done, what was not, and how to perform it
| Where | What is unclear |
|---|---|
| bars 1.2 – 2.2 | Alto doubles the bass in octaves for five chords; bass and tenor in parallel fifths |
| bar 2.1 → 2.2 | Alto jumps above the note the soprano just sang |
| bar 2.3 → 2.4 | Bass and tenor in parallel octaves at the end of line 1 |
| bar 3.2 → 3.3 | Bass and alto in parallel octaves |
| bar 4.1 → 4.2 | Soprano and bass in parallel octaves (outer voices) |
| bar 5.3 → 5.4 | Bass and tenor in parallel octaves |
| bar 5.4 → 6.1 | Leading note F♯ in the alto falls instead of rising |
| bars 6.1 – 6.3 | Same block-parallel pattern as bar 1 (octaves and fifths) |
| bar 7.2 → 7.3 | Bass and alto in parallel octaves; bass and tenor in parallel fifths |
| bar 7.4 → 8.1 | Bass and tenor in parallel octaves; D major moves to A minor |
| bar 8.1 → 8.2 | Tenor and alto in parallel fifths |
| bar 8.3 → 8.4 | Final cadence: tenor F♯ jumps up to B instead of resolving to G |
What the delivery declares
- Old hundredth: the score was checked in an independent model review the platform recorded
- No human listening claimed
- That reviewer left three notes on the wording, and they were not acted on.
- Old hundredth: the automatic check against your source did not run.
From the list
These lines are copied from the list that was delivered.
B5. Bar 4, beat 1 → beat 2: soprano and bass in parallel octaves (outer voices)
Soprano G4 → C5 (the tune) and bass G2 → C3: both rise a fourth, two octaves apart. The chords are G major → C major (I → IV).
These are the outer voices, so this is the most audible of the parallels. The soprano is the tune, so a fix would mean a different bass note or chord on one of these two beats.
Question: Keep, or may the bass (or chord) change on beat 1 or beat 2 of bar 4?
B12. Bar 8, beat 3 → beat 4 (final cadence): tenor jumps up from F♯
The tenor's F♯3 (the leading note) jumps up to B3 instead of rising to G3. This is a deliberate kind of trade-off: if the tenor rose to G3, the final chord would be G – G – D – G, with no B, so no third.
Start one like this
The same few questions, with your own music. Nothing runs until you have set a spending limit and pressed Start.
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