;.cR. Shlomo / niggunim / alphabetic notation / Cont. of =sh_samu*
;.l1,6,60,66,1,0,10,75,192,2,15,20,25,127,10,0,
;.l2,15,75,192,2,20,25,127,15,0,
;.l3,20,75,192,2,25,127,20,0,
;.l4,25,75,192,2,127,25,0,
;.l5,30,75,192,2,127,30,0,
;.l6,12,90,192,2,18,24,127,12,1,
;.l7,17,125,192,2,26,35,127,17,2,
=sh_samu4
Continuation of =sh_samut, =sh_samu2, =sh_samu3
R. Shlomo niggunim, from transcripts, in alphabetic notation.

{SA75A - SAMPLE TRANSCRIPTION}
Niggun: (familiar):  Simcha l'aretzecha:  P129
Sung on %rp3, Side A {600}:  Teachings of Joy and Oneness, withYoram Gershavsky.
THIS IS A SAMPLE ALPHABETIC MUSICAL TRANSCRIPTION, FROM THEMUSICAL NOTATION TRANSCRIPTON P129                                      
2/4
a  B^ b^ / a  G / F   A / G2  [bis]
r +D  d  / C  B^/ A   G / C2
c  C  c  / B^ A / G   F / G2

d  G  g  / fe F / e^d E^ / dc# D /
r  B^ b^ / fe F / e^d cd / G2         [Repeat Lines 5-6]

OK:  I still haven't polished this alphabetic notation, nor beenconsistent in my conventions.
r is rest; lower case is half-beat, upper case is 1/2 beat; &means add half the value of that note; eg G& would be a dottedwhole note , g& would be a dotted half-note g . 
^ is flat, # is sharp.
I haven't been putting in key signatures; so all accidentals mustbe marked, and all naturals assumed.
I'm only putting in + signs when it's not obvious whether the notewas higher or lower than the preceeding one.  I've beeninconsistent on that point in my notation. 
I made this transcription directly from P129, to illustrate mysystem.
---------
.p

{sa76}
From =sh_rp3yg
Tune: Ka Ribon; but different text:  Shochein Ad tzadek
6/8,                   

(dc F +G) D#2& g / D3-    -D3 [bis]
 gd G B^  A3     / ad A C  B^3
 gd G B^  A2 F#  / G3     -G2       b^c
 
 dc D2    dc D2  / DCD     D#DnC    
 cb^C2    cb^C2  / CB^C    DnC B^  [repeat these 2 lines, but end
                           B^3     Da Capo.
  
==================================================================
{sa77}
Karliner Niggun:
From Best of SC, Volume III, 80s; Tape 2, Side B. 
Tape copyright, circle-C, circle-P, Noam Productions Ltd.Jerusalem                                                   
3/4, Stately  

In some cases, I use (x) to indicate a grace-note, as in bar 1hear.
The niggun begins on the last beat of an unstated measure; I putthat note in squiggles at the end of the line preceeding bar 1,but repeat it, for clarity, at the start of bar 1.

l7
                                                            {B^}
 B^  /  (d^)D^ D^ D^(d^) / (e^)E^ E^ E^  / d^&(c) B^ C / D^2 B^ [bis]
                                                         D^3  
        (f) F  C  D^     / (e^)E^ D^ C(c)/ B^     D^ F / B^3  

l1
------------------------------------------------------------------

{sa78}, Ahavas Olam, from =sh_rp3yg > rp3, Teachings of Joy andOneness, with Yaron Gershavsky, (Side B {600}
   ahavas olam, tovim _______
   bris   olam  ?bne tiskor
    

3/8, brisk

 D2 G    / B^2   G   / +C B^ C /  B^3    /
 D2 G    /+dc B^ C   /  B^3--  /--B^3    / [Repeat Lines 1--2]
 C B^ C  / B^2   G   /  C B^ C /  B^2  G /
 C D  E^ / F  E^ D   /  C B^ D /  B^2  G / [Repeat Lines 3-4]
                        C B^ A /  G3     / [ending the repitition]
+D3      / F3        /  C3--   /--C3     /
 C3      / E^2   C   /  B^3--  /--B^3    / [not sure of this]
                                           [Repeat Lines 5--6]
                                  B^2  G / [Then back to line 3]
[bis] is:  repeat the line
I use a dash, eg  B3-- / --B3  to indicate a held note

The ! [read: gvalt] is on Line 2, Bar 2, the +d, which R. Shlomounderstates when he sings it -- almost a pp on that one note, or asort of legato.  Since the note is 'brilliant' -- that is, ahigher interval than one anticipates -- understating it doublesthe impact. 


================================================================= 
The following were listed in =sh_samut; I changed the underliningto a %, and so re-copy them here:

NIGGUNIM:
   from =sh9312hb.exp
CHANGE OF NOTATION (12/31/97):
I have not been consistent in notation used to indicate whether agiven note is higher or lower than the preceeding note.
In many cases, I don't note it; hope it will be clear fromcontext.
I mark either higher, or lower, but not both, of course.
I often use + to indicate that the note is higher than thepreceeding.
I here used underlining to indicate that the note is lower thanthe preceeding.
Since underlining does not translate into ASCII, I will replaceunderlines with a % sign.

(ab)= 1/2 unit   a=1/2 unit  A=1 unit A2 = 2 units, A3=3 units

3/8  No accidentals   A minor (?)
NO WORDS

(c%b)%A  (c%b) %A   DE%D (%c%b)%A   {This line missing; inferred}          
(c%b)%A  (c%b) %A   DE%D %C2a     
(c%b)%A  (c%b) %A   DE%D %c%b%A
(c%b)%ac (%b%a)%gb %A2

(Repeat)
(Repeat l octave lower)

{100}
----------
6/8 No accidentals   A minor (?)
NO WORDS

cde D3                / cba  G 
abc cde               / dcb  A
cde D3                / cba  G 
D2d bcb               / A2       [(ab)] (on repeat only)

c   (cccc)   C3       / cdc bag

b   (bbbb)   B3      / bcd cba

c   (cccc)   C3      / cdc bag

D2            d bcb  / A2  

(Repeat 2nd verse)
(Repeat lst verse) 
(Repeat 2nd verse) 

-------------------------------
{200}
 4/4, no accidentals, A minor (?)
{SUNG WITHOUT WORDS, EXCEPT 1 Verse 1 time: 
NEED HEBREW TEXT}
{200}

_____         goshen bo??
bo l'______  kodesh k'doshim??
tzadik?? b'yad??  ___________
ohel??   __________ 
{no words this line}
shir ?? 
v'lo  [v'rosh??]    __________
_________  ha yom??? 


  cd   e%c %B B /  bc  d%b  %A A
  cd   e%c %B B /  bc  d%b  %A2
! c%b %a%e  F F /  b%a %f%d  E E  [note the f]
  c%b %a%e  F F /  b%a %g%d  E
  c%b %a%e  F F /  b%a %f%d  E E
  c%b %a%e  F F /  c%b %a%g# A2
----------------------------------------------------------------

{sa79}
From =sh_bst60, Best of Shlomo Carlebach, 60's, Stories, Side A:
{190}

Stately, maybe MM=60 .  Poignant. 

B^2   F  B^ / A^2 F2 /   !
B^ B^ F  B^ / A^4    /
B^2   F  B^ / A^2 F2 /   
F  B^ A^ G  / F4     / 

------------------------------------------------------------------
