Harp. In 1909, J.L. White made another effort to modernize the Sacred Harp. This time, he labeled his new book as the fifth edition of The Sacred Harp. The book began with B. F. White's rudiments of music and about 300 pages of music from the fourth edition. Afterward appeared a second rudiments of music section by J. L. White and about 200 pages of new music, much of it in contemporary musical styles. The supplement also included settings of songs from the 1870 Sacred Harp with alto parts added. In the second part of the book, J. L. White undertook to correct his father's "errors in harmony," as he called them, by altering the notes in other parts as well—resulting, as Buell E. Cobb (see reference below) has maintained, in parts that were frequently monotonous and uninteresting to sing. The 1909 edition not only failed to sell well, but was outright condemned by some Sacred Harp groups. The Cleburne County (Alabama) Sacred Harp Convention pledged that it would continue to use the old Fourth Edition. It called for a new revision, and asked that any new songs in subsequent revisions would "be of the Sacred Harmony and arranged as in the Old Book." The Mulberry River Convention, also of Alabama, asked that any new songs be "composed by Sacred Harp singers only." White prepared a revised release of the "fifth edition" in 1910, and then scrapped the idea altogether by the next year. In 1911, he released The Sacred Harp, Fourth Edition with Supplement. This was the old 1870 edition with a supplement of newer gospel songs, but none of the reharmonizations of old songs. This 1911 "White Book" contained 597 total songs and was the largest of the early 20th century revisions of the Sacred Harp. In just two years, J. L. White made three attempts to revise the Sacred Harp in a manner that would satisfy Sacred Harp singers. With the exception of the added gospel songs in close harmony, this 1911 "White Book" is the most traditional of the three early 20th century revisions of the Sacred Harp, reprinting the 1870 book almost "verbatim", removing and/or adding alto parts to only a few of the old songs. Almost 60% of this book's songs are presented in three-part harmonies. Having satisfied the public's demand for a more traditional book, J. L. White finally experienced a degree of