Figure 1
The start of Niels Schiørring’s Choralbook as an example of figured bass realisation.
Table 1
Summary of data types by corpus (at the time of going to press)
| Corpus | Symbolic Score | Metadata | Text (‘Lyric’) | Audio | Figured Bass | Calendar |
|---|---|---|---|---|---|---|
| Goudimel (Section 4.1) | 41 | YES | YES | . | N/A | Implied |
| Bach (Section 4.2) | 389 | YES | YES | YES | N/A | YES |
| Rein (Section 5.1) | 201 | YES | . | . | YES | . |
| Zinck (Section 5.2) | 162 | YES | . | . | YES | . |
| Kittel 24 (Section 5.3.1) | 24×8+ | YES | . | . | YES | . |
| Kittel Vierstimmige (Section 5.3.2) | 162 | YES | . | . | YES | . |
| Schiørring (Section 5.4) | 102×3 versions | YES | . | . | YES | . |
| Apel (Section 5.5) | 177 | YES | . | . | YES | . |
Figure 2
Original encoding formats of the eight sub‑corpora and their conversion paths to the authoritative MuseScore files (.mscx) that each of them is provided in. .json: Tiny notation; .mxl: compressed .musicxml; .mscx: Uncompressed MuseScore 3.6.2 format; .xlsx: Excel format; .marcxml: MARC 21 metadata format; .mei: MEI Basic 5.0, converted with MuseScore 4.4.
Figure 3
Reduction of Lasset uns aufsehen auf Jesum Christum from C.P.E. Bach’s Passions‑Cantate (Hamburg, 1789). The reduction and transcription (by last author, MG) show the choir’s S,A parts (T,B are 8vb) and the orchestra’s continuo part (which is doubled in orchestral unison including at the octave). Non‑doubling orchestral parts enter with the voices (not shown).